ARTIST RESIDENCY PROGRAM
Since 1999, our Artist Residency Program (ARP) has provided more than 50 artists and ensembles with the opportunity to create new works that explore sound in a variety of artistic genres and cultural contexts. Projects have included audio art, music, installation, cinema, and other disciplines. The 2013/14 ARP is partially supported by a generous grant from the National Endowment for the Arts. Technical assistance and engineering was provided for all projects by ESS Chief Engineer/Technical Supervisor Alex Inglizian.
From July 12th to August 24th, ESS will present the work of our 2013/14 resident artists in an exhibit in Audible Gallery, and at an opening event with live performances and a screening. The artists and brief descriptions of their projects are as follows; please scroll farther down for detailed information about each project.
Media sculpture incorporating sound as a tool for communicating forms that don’t physically exist, yet are felt.
Performance opera exploring the female body’s relationship with machinery, particularly in the context of the textile industry.
Short film that uses live action footage and drawn animation to present a surreal, mysterious depiction of a 200-year-old star-shaped brick fort in Alabama.
Improvising violin/percussion/electronics trio using inventive amplification, preparation, and live processing.
SATURDAY, JULY 12TH, 6PM
Performances and screening begin at 7:30pm
In Audible Gallery:
Gwyneth Anderson, Aeriameter, media sculpture
Paul Schuette, Vaster than Empires, scores
Screening & Performances in Studio A:
Vaster than Empires (Erica Dicker, violin; Allen Otte, percussion; Paul Schuette, live electronics): live excerpt from Vaster than Empires
Alexander Stewart: Fort Morgan, video with sound
Ryan Ingebritsen, live excerpt from 3 Singers, a performance opera in collaboration with choreographer/director Erica Mott, vocal deviser Fides Krucker, and performers Katie Mazzini, Hope Littwin, and Jenna Lyle.
07.12-08.24, Saturdays & Sundays, 1–5pm
or email firstname.lastname@example.org to schedule an appointment
About the Projects
Often working in hand-drawn animation, Gwyneth Anderson investigates perception and its representation. Her sculpture Aeriameterfurthers this exploration, incorporating sound as a tool for communicating forms that don’t physically exist, yet are felt. Aeriameter consists of an altered Kodak Ektagraphic AudioViewer Projector, an instrument specially designed for examining microscopic airborne specimens. The accompanying slides contain phenomena that permeate the air, invisible to the naked eye. Visitors are encouraged to forward through the slides and study each specimen’s sonic and gestural composition.
This project is partially supported by a Community Arts Assistance Program grant from the City of Chicago Department of Cultural Affairs and the Illinois Arts Council, a state agency.
3 Singers is a performance opera collaboratively produced by composer Ryan Ingebritsen, choreographer/director Erica Mott, and vocal deviser Fides Krucker. The piece explores the female body’s relationship with machinery, particularly in the context of the labor, production and policy of the textile industry. In three song cycles, a series of intersections are drawn between labor practices in pre-civil war agricultural production, the industrial revolution, and the contemporary “sweat shop.” 3 Singers refers to the three vocal performers as well as their three sewing machines, each modified with Arduino technology to interrupt the performers’ voices and control sampled sound and video in an immersive installation.
3 Singers is slated to premier at the Cleveland Public Theater October 9-11 and 16-18 of 2014, and will have its Chicago premier January 22-24 and 29-31 2015 at the National Museum of Health and Medicine, Chicago.
Alexander Stewart’s Fort Morgan is a short film inspired by a brick fort of the same name on the Alabama coast. The film uses live-action footage and drawn animation to examine the geometric plan, physical materials, and structure of the 200-year-old fort. A solitary figure wanders in sandy landscapes, then designs and builds a fort using bricks. Following an intricate geometric diagram, the fort grows of its own accord like an oyster shell or a crystal forming, until it is eccentrically shaped, encrusted, and overgrown. Fort Morgan is a meditation on basic ideas of vulnerability and protection. It depicts the transition of a carefully-planned defense into a burden. Calcified, hardened, and immobile, the shell becomes a limit.
Vaster than Empires (Erica Dicker, violin; Allen Otte, percussion; Paul Schuette, live electronics) makes improvised music that channels a diversity of influences and energies—think Cardew meets Coleman. Erica, tapping inspiration from her heroes (Jenkins, Kremer, Braxton, et al), creates everything from densely lush and drone-like textures to harsh and grating sounds by subjecting her violin to chains, screws and electric fans. Allen, a friend and collaborator of John Cage, brings a wild menagerie of sounds to the table that include his prepared yang-chin (a Chinese dulcimer), bicycle wheels, rocks, beer cans, and the occasional bowed piece of styrofoam. Paul provides a layer of electronic effects to this soup to stir it all together by suggesting new directions, creating new textures, and providing just the right number of curveballs to keep the music in the moment. The result is a far ranging blend of textures and sounds from players who are comfortable exploring any point along the space-time continuum.