The common denominator at this year’s Mixology is Roulette’s powerful 12 channel sound system with which each participant will open up a unique perspective on sonic space.
Roulette’s annual electronic music festival, Mixology, will also make a reappearance with Michael J. Schumacher as curator. The four day festival will witness live performances from Olivia Block, Anne Guthrie, Greg Fox, Eli Keszler, Kenneth Kirschner, Jason Lescalleet, Daniel Neumann, and Stefan Tcherepnin, complimented by nightly installations from Mario de Vega, Cecilia Lopez, and Ben Manley. The final performance of Mixology will feature a dance installation from Liz Gerring with Michael J. Schumacher, Ursula Scherrer, and Leila Bordreuil.
When & where
Wednesday February 22—Saturday February 25, 2017 @ 7pm
Roulette, 509 Atlantic Avenue, Brooklyn
Installations 7pm / performances 8pm
Tickets $20 / $15 at the door or online
Wednesday February 22
Mario de Vega , Cecilia Lopez installations
Jim O’Rourke, Olivia Block, Jason Lescalleet performances
Mario de Vega’s sound installation Target ZIP Code (Zone Improvement Plan), which features the exhibition space translated into a frequency value, will be on view each night throughout the festival. Exploring the physicality of listening and the threshold of human perception, Mario de Vega researches the materiality of sound, the vulnerability of systems, materials and individuals, and the potential of unstable systems.
Cecilia Lopez presents eardrumcluster, an installation and composition for resonating steel drums made with multichannel sound, feedback and live performers. The piece explores the juxtaposition of two different resonant spaces: the ears and the steel drums. The sound material is constructed with recordings of otoacoustic emissions and sounds tuned to the resonance of the steel drums. Cecelia Lopez is a composer, musician and installation artist from Buenos Aires. Her work explores the boundaries between composition and improvisation, as well as the resonance properties of diverse materials through the creation of non-conventional sound devices and systems.
Olivia Block performs a live mix of an extended version of Dissolution B in 16 Channels, improvising the diffusion of sounds through different channels and speakers. Block creates studio-based sound compositions for concerts, site-specific multi-speaker installations, scores for chamber groups, and cinematic sound designs. Her compositions include field recordings, amplified objects, orchestral instruments, and electronic textures. Her current work reflects her interests in ethnographic sound and “found” recorded and text-based materials. Her recent installation, Sonambient Pavilion, which utilized the sounds from Harry Bertoia’s Sonambient sculptures, was featured on the cover of the Chicago Reader. Her electroacoustic studio piece, Dissolution, is now out on Glistening Examples.
Jason Lescalleet presents the world premiere of modern musique concrete for multichannel immersion. The performance will be a hybrid of tape music, field recordings, and electronic music. Since establishing himself as a preeminent voice in contemporary electro-acoustic study, Lescalleet has exploded the notion of what is possible within the realm of tape-based music. His recorded catalog acknowledges a diversity of application, from lo-fi reel-to-reel soundscaping and work for hand-held cassette machines, to digital sampling and computer generated composition. Lescalleet’s live actions further expand his oeuvre to include work with video, dance, performance art and multimedia concerns.
Jim O’Rourke , Sonic Youth producer, is an American musician and record producer who has collaborated with Loren Connors, Phill Niblock, Fennesz, Oren Ambarchi, and Keiji Haino amongst others. O’Rourke played for the Merce Cunningham dance company for four years with music director Takehisa Kosugi. He is the 2001 recipient of a Foundation for Contemporary Arts Grants to Artists Award.
Thursday February 23
Mario de Vega installation
Greg Fox, Stefan Tcherepnin, Eli Keszler performances
Greg Fox is a New York City born-and-bred drummer, multidisciplinary artist, and teacher. He has played on and released 49 records since 2008, including his work with Liturgy, ZS, Ben Frost, Colin Stetson, Skeletons, Hieroglyphic Being, Man Forever, and others, as well as with his own solo work and his projects GDFX and Guardian Alien. Fox has toured worldwide with various groups and collaborations, held residencies at Clocktower and Pioneer Works, and was awarded “Best Drummer in NYC” by the Village Voice in 2011. Fox uses a hybridized electroacoustic drum setup to explore new dimensions through the traditional gestures of the modern drummer and the possibilities inherent in electronic and computer music.
Eli Keszler is a New York-based artist, composer, and percussionist. His compositions and visual works examine the limits of instrumentation, notation, and space in its institutional, musical and public form. Keszler’s sound installations, music and visual work have appeared at Lincoln Center, MIT List Center, SculptureCenter, The Kitchen, MoMA PS1, and more. Keszler has released solo records for ESP-Disk and PAN, and most recently released Sounds of Speed on Empty Editions from Empty Gallery in Hong Kong. Keszler is a graduate of the New England Conservatory of Music in Boston and a 2016 NYFA Fellow.
Friday February 24
Mario de Vega, Ben Manley installations
Kenneth Kirschner, Daniel Neumann, Anne Guthrie performances
Kenneth Kirschner will perform a live multichannel realization of his composition September 27, 2016. A composer in experimental music working at the intersection of avant-garde classical composition and contemporary electronic music, Kirschner’s work is characterized by a close integration of acoustic and electronic sound sources; a strong focus on harmony, pattern, and long-form development; and experimentation with techniques such as chance procedures, indeterminacy, and microtonality within a digital context. His work has been released by labels such as Sub Rosa, 12k, and Room40. Kirschner was a 2015 artist in residence at Eyebeam and a 2016 artist in residence in Times Square.
Daniel Neumann’s FROM WITHIN A FIELD #05 is an ongoing electroacoustic live performance for multichannel speaker systems that uses loudspeakers and room response as an instrument to form a spatial field. Neumann is a Brooklyn-based sound artist, organizer and professional audio engineer, originally from Germany. He holds a master’s degree in media art from the Academy of Visual Art Leipzig and also studied electronic music composition under Emanuele Casale in Catania, Italy. Neumann’s main focus is how sound interacts with space and how spaces can be shaped by sound. Neumann is the curator and organizer of CT::SWaM, an event series in NYC and Berlin that engages in spatial sound works and focused listening.
Anne Guthrie premieres 3D field recordings and spatialized electronics that will be layered and processed in real-time to provide an immersive and flexible listening experience. An acoustician, composer, and French horn player, Anne Guthrie studied Music Composition and English at the University of Iowa and received her Ph.D. in Architectural Acoustics from Rensselaer Polytechnic Institute. Her electronic music focuses on exploiting the natural acoustic phenomena of unique architectural spaces through minimal processing of field recordings.
Ben Manley explores the natural variability of wind, amplified small vibrations, and resonant objects as a means of generating dynamic electroacoustic environments. Manley has presented performances and installations at venues including Experimental Intermedia, The Kitchen, Roulette, ISSUE Project Room, Paula Cooper Gallery, Harvestworks, and more. He has collaborated with Connie Crothers, Jim Staley, Dan Evans Farkas, and has appeared with Composers Inside Electronics in David Tudor’s Rainforest IV at the Lincoln Center Festival 1998 and with Essential Music in performances of works by John Cage and Robert Ashley.
Saturday February 25
Liz Gerring dance installation with Michael Schumacher, Leila Bordreuil and Ursula Scherrer.
This collaborative, durational performance between Michael Schumacher, Ursula Scherrer, and Liz Gerring will span 4 hours. These artists have been collaborating for decades together – Schumacher and Gerring’s work together dates back to loft performances in the 1990s, and Scherrer joined their experiments in the 2000s. Participants include members of the Liz Gerring Dance Company, musicians Michael Schumacher on piano and Leila Bordreuil on cello, and Ursula Scherrer projecting video. The music, video and dance aspects will respond to one another throughout the duration of the piece, working on similar timing but each improvising through a pre-determined structure in response to a musical score written by Schumacher.
Ursula Scherrer’s work reminds one of moving paintings, drawing the viewer into the images, leaving the viewer with their own stories. Scherrer transforms spaces and landscapes into serene, abstract portraits of rhythm, color and light. A Swiss artist living in New York City, Scherrer’s aesthetic training began with dance, transitioned to choreography, and has now expanded to photography, video, text, mixed media and performance art.
Liz Gerring studied dance at the Cornish Institute in Seattle. In 1987, she received a BFA from The Juilliard School, where she studied with Kazuko Hirabayashi and Doris Rudko. In March 1998, she presented her first piece, a four-hour movement installation, and soon after formed the Liz Gerring Dance Company. Liz Gerring was awarded the Jacob’s Pillow Prize in June 2015 and a Joyce Theater residency and creation award in the same year. In 2016/17 she was awarded a New York City Center Choreographic Fellowship.
Leila Bordreuil is a Brooklyn-based cellist and composer from Aix-en-Provence, France. Her cello playing is often improvised, and mainly focuses on texture variations and a collage of phantom overtones and pitched utterances. Through an original vocabulary of extended techniques, preparations, and imaginative amplification methods, her instrument is used as an abstract resonant body to challenge conventional cello practice. Her composed works draw from a similar texture-based musical aesthetic, but also focus on the relationship between sound and space.