Now Showing: Exhibits

CHRIS ABRAHAMS & ANTHONY PATERAS: 176 (2007/16)

The Auricle Sonic Arts Gallery
Showing: 4th – 28th February, 2016
Opening: Thursday 4th February, 6-8pm
Facebook event

176 is a 2-hour tape piece for two pianists who don’t use their fingers, only playing with all other parts of their arms, very softly and with no sustain pedal. Featuring two usually dexterous performers, the strategy is an inbuilt subversion mechanism of their typical techniques, thus existing as a complete anomaly in their respective oeuvres. Two Steinway Ds were recorded at ABC Melbourne, close miked at high gain to exaggerate the tactility and fragility of performance. The Auricle installation is the world premiere of this work.

Chris Abrahams (B. 1961, Sydney) is best known as the pianist for the legendary Australian trio The Necks. He made a name for himself in Australia as part of Mark Simmonds’ Freeboppers in the 80s and as a close collaborator of Melanie Oxley’s in the 90s. Abrahams can currently be found in close playing partnerships with Australian composer Anthony Pateras, German percussionist Burkhard Beins, and Italian laptop composer/linguistic deconstructionist Alessandro Bosetti.

Anthony Pateras (B. 1979, Melbourne) is a composer, pianist and electro-acoustic musician. His work explores sound and its mutation through varying constellations of notation, improvisation, electronic and acoustic materials. Pateras’ compositions have been performed worldwide and he has toured his own bands since the late 1990s. Aside from recently releasing tētēma: geocidal with Mike Patton, he runs the Immediata label, which will be releasing a series of 15 investigative CDs with interviews and essays throughout 2016/17.

Recorded by Christopher Lawson, Iwaki Auditorium, ABC Southbank, Melbourne. 5.1  mix and master by Byron Scullin, Deluxe Mastering, Melbourne.

http://www.thenecks.com/bio
http://anthonypateras.com/

Error Message by Richard B Keys

The Auricle Sonic Arts Gallery
Showing: 7th – 30th January, 2016
Opening: Thursday 7th January, 6-8pm
Facebook event
An exploration of the materiality of the digital and the inaesthetics of spam, waste, and the digital banal.

The digital realm is an avant-garde to the extent that it is driven by perpetual innovation and perpetual destruction” Sean Cubitt, interviewed by Simon Mills, Framed.

Error Message is an installation work comprised of digital audio-visual elements that engage with the aesthetics and methodology of the glitch, aggregated with found sculptural elements comprised of e-waste. The work seeks to explore the underlying materiality of the digital, and the relations of production that constitute and sustain the aura of the digital. The generic desktop landscape wallpaper, given both its ubiquity and its implicit gesture towards a romanticised yet simulated environmental exterior, is employed as an aesthetic and conceptual departure point, as well as the original data-input for these explorations.

Richard Benjamin Keys is an artist, writer and electronic musician who is currently based in Lyttelton, New Zealand. Richard’s work explores the convergence of media technologies, spatiality, subjectivity and political-economy employing a critical materialist methodology that seeks to interrogate and explore what underlies given techno-sociological surfaces. He produces and performs electronic music as Voronoi, and runs the label/mix series VMR. He was the founder and curator of the New Zealand Sound Map (2012-2014), and is the co-editor of New Zealand’s only Sonic Arts journal Writing Around Sound. He has exhibited and performed his work throughout Australia and New Zealand.

Richard currently works as the Assistant Gallery Manager of the Auricle Sonic Arts Gallery in Christchurch New Zealand. He holds a Bachelor of Arts with Honours in Media Studies, and a Masters of Media Design, from Victoria University, Wellington, New Zealand.

Fate of Things to Come by Phil Dadson

The Auricle Sonic Arts Gallery
Showing: 3rd – 31st December, 2015
Opening: Thursday 3rd December, 6-8pm
Facebook event

Fate Of Things To Come (a conference of stones) 2013
Three channel synchronised video and sound installation. Duration 9’48”

No ordinary stones these, and what better community to discuss the fate of things to come – a collection of song/stone voices from diverse geophysical sources.

A stand-alone work symbolizing harmony and solidarity, Fate of Things to Come was originally devised as a contribution to Lines in the Ocean, an exhibition in support of the establishment of a fully protected ocean sanctuary around the Kermadecs, a unique region of mostly underwater volcanoes located north of Aotearoa/New Zealand between White Island and Tonga. Five years of negotiation have finally succeeded with NZ Government announcing approval this year of the Kermadec Sanctuary proposal.
Full ratification will occur in April 2016)

Credits:
Camera by Bruce Foster
Sound recorded by John Kim
Devised, performed, edited by Phil Dadson 2013/14
Produced with the support of:
Pew Charitable Trust
CNZ Arts Council of New Zealand
Colab Creative Technologies/AUT University Auckland.

Exhibited: Silo Summer of Sculpture, Auckland. 2013. ‘Lines in the Ocean’ exhibition, Museum of Contemporary Art, Santiago, Chile, 2013 & Tjibaou Cultural Centre, New Caledonia 2015.

Phil Dadson’s transdisciplinary practice includes digital video/audio and installation, performances and exhibitions, building experimental sonic objects, graphic scores, drawing, music composition and improvisations on invented instruments. Following membership of the foundation group for Scratch Orchestra (London, 1969, with Cornelius Cardew, Michael Parsons and others), Dadson returned to New Zealand to establish Scratch Orchestra (NZ), and later From Scratch (1974 – 2004), remembered as New Zealand’s most original rhythm/performance group, known internationally for its funky rhythms and compelling performances on original instruments. Appointed to the Elam School of Fine Arts Sculpture department in 1977, Dadson was made Head of Intermedia/Time-based arts in 1986; a position he held and was influential in until 2001 when he left to focus on his personal practice. He has been the recipient of many key awards and commissions including a Fulbright Cultural Travel Award to the USA, an Arts Foundation Laureate Award in 2001, Antarctica Artist Fellowship in 2003, ONZM in 2005 and various International research residencies including a Wallace/Fulbright Headlands residency award for 2016. He lives in Auckland with his wife Camilla and loves nothing more than drifting off shore in a kayak. He is represented by Trish Clark Gallery, Auckland.

KL Soundscapes by Paul Timings

The Auricle Sonic Arts Gallery
Showing: 5th – 29th November, 2015
Opening: Thursday 5th November, 6-8pm
Seminar: Saturday 7th November, 3pm
Facebook event

KL Soundscapes is an interactive algorithmic composition playing sounds in rhythmic patterns, at volumes and speeds determined by you the gallery participant. The rhythmic patterns are integer-based transcriptions of modern musical notations of the folk idiom – in this instance the notation of a traditional Malaysian percussion ensemble. The sounds are composed from selected field recordings gathered during Timings’ artist residency in Malaysia during July – September 2015, along with mathematically produced generative synthesis. The combined effect of the synthesis produces a harmonic structure of detuned whole tone scales.

The artist would like to invite you to take the time to explore the rhythmic patterns, field recordings and synthesis firstly as an artist’s descriptive experience; and secondly as several signs comprising a system, and their relative meanings in the context of a temporal framework where modality focuses on the digital vernacular.

Paul Timings is a sound artist who performs experimental music; composes field recordings and electroacoustic recordings; and organises sound. KL Soundscapes is a result of an international artist residency awarded by the Asia New Zealand Foundation, and was primarily organised when Timings was located in Kuala Lumpur, Malaysia for a three month period. Paul will give a Saturday Matinee artist seminar on the 7th Nov from 3pm, speaking of his experiences and arts practice in Malaysia.

The composition’s interface was designed by sound artist Nicolas Woollaston.

Khal by Helga Fassonaki

The Auricle Sonic Arts Gallery
Showing: 8th – 31st October, 2015
Opening: Thursday 8th October, 6-8pm
Performances: Friday 9th October from 7pm
Facebook event

An iteration of Helga Fassonaki’s project Khal with the original 16 scores and recorded interpretations by the participating artists. In addition five local artists will be performing Fassonaki’s scores live on Friday 9 October at the Auricle Sonic Arts Gallery.

While residing in Tabriz, Iran for a month in 2014, Helga Fassonaki made 16 sculptural ‘scores’, which were sent abroad for 16 female artists to interpret. In order for these scores to be performed in a legal fashion, they had to be unleashed from the laws that rule post-revolutionary Iran, laws that forbid women from singing in public because of ‘the seductive quality of the female voice’. Sending these scores out into the world to be performed was an attempt to bring attention to this law whilst also acting as a gentle protest in the form of a disguised language traveling freely and unbound by governing law.

The scores, their performances and reinterpretations are collectively entitled ‘Khal’. Different iterations of Khal are being presented in galleries in the US and New Zealand in 2015 where the scores and their interpretations by the recipients of the scores are being displayed, heard, and reinterpreted – presenting the idea of a ‘living score’ as an archive open to edits, renewal and dialogue. As the series unfolds from one event to another, Fassonaki seeks to create a composition of voices and actions. Like the idea of Khal – a derogatory term in Farsi for Iranian Pop music that was sent to Iran by Iranian US immigrants in the form of homemade mixed tapes so that Iranian residents could listen to their country’s own pop stars.

The original recipients of Fassonaki’s scores include Kali Z Fasteau (NYC, NY), Kelly Jayne Jones (London, UK), Heather Leigh (Glasgow, Scotland), Jenny Gräf (Copenhagen, Denmark), Zaïmph (Brooklyn, NY), Chiara Giovando (Los Angeles, CA), Shana Palmer (Baltimore, MD), Purple Pilgrims (North Island, NZ), Rachael Melanson (London, UK), Christina Carter (Austin, Texas), Gabie Strong (Los Angeles, CA), Ashley Paul (London, UK), Angeline Chirnside (Auckland, NZ), Matana Roberts (NYC, NY), Rachel Shearer with Beth Ducklingmonster (Auckland, NZ), and Kathleen Kim (Los Angeles, CA). Additional participating artists thus far include Suki Dewey, Fariba Safai, Nazanin Daneshvar, Yasi Alipour, Laura Sofia, Julia Santoli, Jo Burzynska, Helen Greenfield, Sarah Kelleher, Ella, and Gemma Syme.

Helga Fassonaki, a recent transplant to New York City, creates and curates sound and visual installations, group situations, films, and performances that utilize and question temporality, power structures, subcultures and the human body as a sculptor of sound in space. Floating between worlds of sound and visual art, Fassonaki borrows from one to set up the rhythms and pulses that inform the other.
www.helgafassonaki.net
Also see www.vimeo.com/album/3309705

Black Series II by Jason Wright

unnamedThe Auricle Sonic Arts Gallery
Showing: 3rd – 27th September, 2015
Opening: Thursday 3rd September, 6-8pm
Facebook event

Black Series II focuses on process, the physicality of the materials and the making of the objects themselves, with abstract concepts of liminality being imparted on the objects by the creator. Wood, clay, paint and other malleable materials manipulated by the hand are paired together with specifically designed electronic sound. Contrast between maximal/ minimal elements, the sculpture as a whole and the detail upon the panels are important components. The visual and sonic elements of the work come together to envelop and repulse, to reflect and absorb the viewer.

Jason Wright is a composer and sound artist working across performance, sound installation and videography. Jason holds a Master of Music in Sonic Arts and Composition from New Zealand School of Music. Creator and curator of the Low Noise Exhibition series, Parliament 2013, Toi Poneke 2015.

Photography © Marine Aubert 2015

 

Scale by Olivia Webb

olivia-scaleThe Auricle Sonic Arts Gallery
Showing: 6th – 30th August, 2015
Opening: Thursday 6th August, 6-8pm
Facebook event

Scale is part of a series of observations of music traditions within the New Zealand Catholic Church. Discords and harmonies inherent in the multiple cultures present in this single Church are explored through Webb’s a capella voice-works.

Olivia Webb’s sound based art practice centres on the human voice as a way of exploring the histories of sites and spaces. Olivia draws on her experience as a classical singer, using a capella song as a way of revealing and ushering forth silent traditions and experiences embodied in space and place.

Continuous Flow Machines by Clemens von Reusner

The Auricle Sonic Arts Gallery
Showing: 2-31 July, 2015
Opening: Thursday 2nd July, 6-8pm
Facebook event

Continuous Flow Machines is an 8 channel 3rd order ambisonic soundscape (60’00’’) recorded at the Pfleiderer Institute for Fluid Machinery, Technical University of Braunschweig, Germany and reproduced in the Auricle’s 8.1 ambisonic surround sound Gallery.

Listen to the unremarkable stasis of steady flow, moving aimlessly forward in always new sound layers by gradual compression and uncompression, speaking for nothing other than itself.

German composer, sonic artist and musicologist Clemens von Reusner studied percussion with Abbey Rader and Peter Giger, has been engaged in electronic music and soundscape composition since the 1970’s, and developed the pioneering graphical scoring application Kandinsky Music Painter.

http://www.cvr-net.de

Mishearings by Jo Burzynska

The Auricle Sonic Arts Gallery
Showing: 4-30 June, 2015
Opening: 4th June, 6-8pm
Facebook event


Mishearings, by Jo Burzynska (aka Stanier Black-Five), is a collection of sound-based installations that use the interaction of the senses to alter or intensify perceptions through the combination of sensory stimuli. Burzynska draws both on her own studies in sound and taste and current psychological research into crossmodal correspondences. These have shown that the senses can have a powerful influence over each other, with the conceptual elements of each exhibit achieved or intensified by employing auditory illusions.

In Hearing Lips and Seeing Voices Burzynska presents an audio-visual poem that can be perceived in three ways that offer up very different meanings. This uses the “McGurk Effect”, an illusion that occurs when the auditory component of one word is paired with the visual component of another, leading the viewer to perceive a third different word. Bittersweet is a work for 8 speakers and chocolate. This soundscape, created from the sounds of food production, cycles between low pitched industrial drones and high pastoral frequencies, which change the perception of the flavour of the chocolate from bitter to sweet.

The brain’s ability to construct meaning through noise is harnessed in Poetry as I need it, an exploration of sound, silence, form and time using John Cage’s Lecture on Nothing. And all the senses entwine in Carbonic oscillation, a chamber offering a highly visceral experience of effervescence, which participants are encouraged to experience with a glass of sparkling wine.

Burzynska will also be hosting a series of multisensory events over the month of the exhi-bition:

Thursday 4 June (6pm) – Opening event: featuring Carbonic Oscillation in the bar
Saturday 13 June – Oenosthesia III: artist talk and live sound and wine performance
Sunday 14 June – Wine and music matching workshop at the New Zealand Boutique Wine Festival, Auckland
Friday 19 June – Wine and music matching workshop
Saturday 27 June – Sensation: a multisensory dining experience: collaboration between Burzynska, chef, Alex Davies (Shop Eight) and visual artist, Toshi Endo

Jo Burzynska – who also records and performs under the name Stanier Black-Five – is a Christchurch-based sound artist and wine writer whose work in these areas has increas-ingly converged in the production of multisensory art. Her installations and performances regularly combine sound and taste, created at the intersection of the senses. Recent work includes the public installations Resonifying the city in Cathedral Square, Christchurch (2014); 150 years of rail at Ferrymead Heritage Park in collaboration with Chris Reddington (2013); Stepping Out in Colombo Street, Christchurch (2013) and Oe-nosthesia at the Intereferenze FARM Festival in Tufo, Italy (2012).

Burzynska’s audio work is largely based on the manipulation of her own environmental re-cordings and has been performed and released internationally. Live performances include major festivals, such as the London Musicians Collective’s annual Festival of Experimental Music in the UK to New Zealand’s Lines of Flight Festival. Recent album releases include Body Waves and Avast! on the European Entr’acte label. As a writer on music, she has contributed to the likes of the UK’s The Wire magazine and wrote a chapter of the book Erewhon Calling: experimental sound in New Zealand. As a wine critic, she writes one of New Zealand’s most widely read weekly columns for the New Zealand Herald’s Viva magazine.

She is one of the founders of The Auricle Sonic Arts Gallery, where she curates The Auricle’s “oenosthetic” wine list, in which she matches wines to the current exhibition and the music playing in the space.

More information about Burzynska’s sound art can be found at stanierblackfive.com and wine writing at joburzynska.com.

For further details, pictures or to book a place at any of the events, contact {This email is obscured. Your must have javascript enabled to see it}

Photography © Marine Aubert

Alive to the Timbre of your Touch by Nicolas Woolaston

The Auricle Sonic Arts Gallery
Showing: 7-31 May, 2015
Opening: 7th May, 6-8pm
Facebook event


A collection of improvised electronic instruments by Nicolas Woollaston

These works present an organic electronic palate for the senses, a synergy between person and electricity, manifested as sound created through personal electronics and their “direct carving” circuits completed by human touch, fingers and hands. Gallery participants are invited to freely explore the touch sensitive timbral possibilities of each machine.

Nicolas Woollaston is a creative technologist who has a passion for closing the gap between production and consumption, for electronic gadgetry, for wonderful and strange noises, for making it all personal.

Photography by Marine Aubert