John Duncan @ EMS 25-31 May, 2019
John Duncan has operated for decades at the cutting edge
of performance, video, experimental music, installation,
pirate radio and television.
He has played a pivotal role in the development of performance art in Los Angeles, of experimental music as a member of LAFMS, of Japanese noise and pirate radio in Tokyo.
Recent events include MANTRA, a multi-channel surround-
sound concert for voice performed for sellout audiences at Immerson 7 (Montreal) as well as the Flussi Festival (Avellino)
and Swedish Energies V (Brooklyn), RED SKY at
Cabaret Voltaire (Zurich) and MAXII (Rome),
TERRA AMARA with Coro Arcanto for Angelica (Bologna).
His music and performance work has been presented
at Nicodim Gallery (Bucharest and Los Angeles), Fylkingen, Gallery Niklas Belenius, ZKM, MAK (Vienna), MOT (Tokyo), MACBA (Barcelona), Super Deluxe (Tokyo), CCA Kitakyushu, MOCA, KPFK, The Getty Center, and The Box (Los Angeles), L'Arsenic and LUFF (Lausanne), Raum, Netmage and Angelica (Bologna), Ars Electronica and the 2nd Gothenburg Biennial.
His audio work has been released by Allquestions, iDEAL,
Vinyl-On-Demand, Fragment Factory, Tourette, Sub Rosa,
Touch and Ash International.
Recent LP releases include BITTER EARTH (2016), EMS Sessions Vol. 1 (2016), YEAH (2014 with Jim O'Rourke,
Oren Ambarchi and Joe Talia), The BLACK ALBUM
(2014 with Masami Akita), THERE MUST BE A WAY ACROSS THIS RIVER/the abject (2011 with Michael Esposito and Z'EV), The NAZCA TRANSMISSIONS (2009), two 5-LP box sets
of early recordings (2006 and 2012).
http://www.johnduncan.org/
of performance, video, experimental music, installation,
pirate radio and television.
He has played a pivotal role in the development of performance art in Los Angeles, of experimental music as a member of LAFMS, of Japanese noise and pirate radio in Tokyo.
Recent events include MANTRA, a multi-channel surround-
sound concert for voice performed for sellout audiences at Immerson 7 (Montreal) as well as the Flussi Festival (Avellino)
and Swedish Energies V (Brooklyn), RED SKY at
Cabaret Voltaire (Zurich) and MAXII (Rome),
TERRA AMARA with Coro Arcanto for Angelica (Bologna).
His music and performance work has been presented
at Nicodim Gallery (Bucharest and Los Angeles), Fylkingen, Gallery Niklas Belenius, ZKM, MAK (Vienna), MOT (Tokyo), MACBA (Barcelona), Super Deluxe (Tokyo), CCA Kitakyushu, MOCA, KPFK, The Getty Center, and The Box (Los Angeles), L'Arsenic and LUFF (Lausanne), Raum, Netmage and Angelica (Bologna), Ars Electronica and the 2nd Gothenburg Biennial.
His audio work has been released by Allquestions, iDEAL,
Vinyl-On-Demand, Fragment Factory, Tourette, Sub Rosa,
Touch and Ash International.
Recent LP releases include BITTER EARTH (2016), EMS Sessions Vol. 1 (2016), YEAH (2014 with Jim O'Rourke,
Oren Ambarchi and Joe Talia), The BLACK ALBUM
(2014 with Masami Akita), THERE MUST BE A WAY ACROSS THIS RIVER/the abject (2011 with Michael Esposito and Z'EV), The NAZCA TRANSMISSIONS (2009), two 5-LP box sets
of early recordings (2006 and 2012).
http://www.johnduncan.org/
Jasmine Guffond @ EMS 24-25 May, 2019
Jasmine Guffond is a sound artist and composer working at the interface of social, political and technical infrastructures.
Her practice spans live performance, recording, sound installation and custom made browser plug-in. Through the sonification of data she addresses the potential for sound to engage with contemporary political questions. Recent projects employed digital technologies, sonification and the aesthetisation of data as a means of fostering discussion around contemporary surveillance technologies as well as producing experimental audio works.
Interested in providing an audible presence for phenomena that usually lies beyond human perception, via the sonification of facial recognition algorithms, global networks or internet tracking cookies she questions what it means for our personal habits to be traceable, and for our identities, choices and personalities to be reduced to streams of data.
Jasmine has exhibited internationally including Akademie der Künste (DE), Deutsche Oper (DE) and the Museum of Contemporary Art (AU), performed live internationally at music and electronic art festivals, and recorded music for CD and 12inch vinyl releases with the Staubgold, Sonic Pieces and Karl Records labels.
http://jasmineguffond.com/
https://soundcloud.com/jasmineguffond
Her practice spans live performance, recording, sound installation and custom made browser plug-in. Through the sonification of data she addresses the potential for sound to engage with contemporary political questions. Recent projects employed digital technologies, sonification and the aesthetisation of data as a means of fostering discussion around contemporary surveillance technologies as well as producing experimental audio works.
Interested in providing an audible presence for phenomena that usually lies beyond human perception, via the sonification of facial recognition algorithms, global networks or internet tracking cookies she questions what it means for our personal habits to be traceable, and for our identities, choices and personalities to be reduced to streams of data.
Jasmine has exhibited internationally including Akademie der Künste (DE), Deutsche Oper (DE) and the Museum of Contemporary Art (AU), performed live internationally at music and electronic art festivals, and recorded music for CD and 12inch vinyl releases with the Staubgold, Sonic Pieces and Karl Records labels.
http://jasmineguffond.com/
https://soundcloud.com/jasmineguffond
Photo by Ilan Katin
She completed the Sound Studies, master in arts program at
the Universität der Künste, Berlin Germany, 2015 and received
the ‘Working Grant for New Music und Sound Art’ from the Berlin
Senate in 2016. She is a current PhD candidate at UNSWAD,
Sydney Australia conducting research into sound as a method
of investigation into contemporary digital surveillance.
the Universität der Künste, Berlin Germany, 2015 and received
the ‘Working Grant for New Music und Sound Art’ from the Berlin
Senate in 2016. She is a current PhD candidate at UNSWAD,
Sydney Australia conducting research into sound as a method
of investigation into contemporary digital surveillance.
Felicia Atkinson @ EMS 20-25 May, 2019
Félicia Atkinson works with electroacoustics sounds, piano melodies, field recording and spoken word. In the process,
she creates both abstract noisescapes and poetic acoustic collages inspired by her frequent travels.
She has recently played at Rensonanzraum-ElbPhilarmonie in Hamburg, Fylkingen in Stockholm, GRM / Festival Presence Electronique in Paris, Boers in Brussels, Issue Project Room in New York.
Her new album, the Flower and the Vessel, will be out on
Shelter Press in Spring 2019.
http://feliciaatkinson.com
http://www.shelter-press.com/
she creates both abstract noisescapes and poetic acoustic collages inspired by her frequent travels.
She has recently played at Rensonanzraum-ElbPhilarmonie in Hamburg, Fylkingen in Stockholm, GRM / Festival Presence Electronique in Paris, Boers in Brussels, Issue Project Room in New York.
Her new album, the Flower and the Vessel, will be out on
Shelter Press in Spring 2019.
http://feliciaatkinson.com
http://www.shelter-press.com/
Andrea Parkins @ EMS 13-26 May, 2019
Andrea Parkins is a Berlin-based sound artist, composer, and electroacoustic performer who is known for her pioneering gestural/textural approach on her electronically processed accordion, and investigation of embodiment, and chance with her self-designed sound-processing instruments. Her projects encompass multi-diffusion site- based sound installations; electroacoustic solo and ensemble compositions; electronic music pieces, and sound for contemporary dance, film and intermedia performance.
Photo by LR Parkins