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I K L E C T I K
'Old Paradise Yard' 20 Carlisle Lane, SE1 7LG London, United Kingdom
Going Along Without a Body: A Comment on the Sound Track Ritual
Sat 4 Nov 4.30-10.30PM | £10
Day festival exploring sound-tracking rituals with artists David Raymond Conroy, Libita Clayton, Claire Feeley, Rachael Finney, Joseph Noonan-Ganley, Nicky Hatton, Mary Hurrell, Benjamin Owen, Claire Potter, Kit Poulson, RATTLE, Cath Roberts (LUME), Fame is the Spur, Anne Tallentire, Chris Fite Wassilak, Tom Ward and Residents of Mildmay.
Going Along Without a Body brings together 8 artists and 8 musicians, together creating a continuous sound-track to a day-long programme of performances, talks, demonstrations and mind-altering music.
Supported by Cubitt and Nottinghill Housing Association
Only 60 tickets available so advance booking recommended!
David Raymond Conroy
David Raymond Conroy makes work about subjectivity, fidelity and desire. Conroy experiments with compositions: aggregating, editing, looping and overlapping texts, sounds and videos. Conroy’s work examines the politics of appropriation, particularly in relation to material generated from a position that is not one’s own.
Libita Clayton has a collaborative practice that plays with potential political and physical collapse. She proposes ‘a way out’ with D.I.Y performance. Recent projects include: bland choreography, ( CLAY- TON – RAW- SON ), New Year / New Noise 4, Arnolfini (2017), RESIST FLOW, ( Gal-Dem ) Victoria & Albert Museum, London (2016) and 1,2,1,2, //// black- voices – opera, ( Black British Classical Foundation ) RWA Bristol (2017).
Claire Feeley is a curator and writer based in London. Her curatorial practice includes exhibition-making, as well as collaborative projects combining art, architecture and performance. As co-founder of tillwehavebuilt.com, she has realised commissions with artists including Becky Beasley, David Raymond Conroy, Richard Healy, Mary Hurrell, Simon Martin, Ursula Mayer, Dennis McNulty, Francesco Pedraglio and Cara Tolmie. Forthcoming exhibition projects include collaborations with Seoul Museum of Art, Korea; and Art Tower Mito, Japan.
Rachael Finney’s work frequently deals with the relationship between listening, voice and the body. Her work makes extensive use of reel-to-reel tape whereby she uses players to both process and present her work. This interest in sound and specifically voice originates from her background in DIY music (La La Vasquez/Edible Arrangements) where she continues to release work under the moniker R Elizabeth. Previous releases include Cazenove, Comfortable on a Tightrope, M'Lady's, Savoury Days and Sex is Disgusting.
Joseph Noonan-Ganley is an artist who makes work through spending elongated amounts of time with particular archives, such as the writing of the medieval heretics the Cathars or Elizabeth Tolbert’s 1988 study of Finnish Karelian lament songs. His exhibitions take the form of installations that span performance, sculpture, textiles, drawing and music. Recent exhibitions include Café Night, 50 Taaffe, New York, (2016); On Curating Histories, Dublin, (2015); Letters, Kings College London (2015) and hmn 3, The Prince Arthur, London (2015).
Mary Hurrell works across performance and sculpture to explore choreography of the body, sound and object, investigating forms of language and movement in relation to physical and psychological experience. Hurrell graduated from BA Dance and Visual Arts, University of Brighton (2004) and MA Sculpture Royal College of Art (2011). Recent exhibitions and performances include presentations at David Roberts Art Foundation, South London Gallery, Carlos/Ishikawa and Bold Tendencies.
Ben is a filmmaker whose work explores politics as it is played out in the every day and in the commonplace. He often works in film, but his practice encompasses exhibition making, performing music and working in education. He is currently Cubitt community artist-in-residence at Mild May Care Home, a situation which forms the impetus for this event. His practice aims to expand the idea of cinema – creating environments where film, soundtrack and performance may coexist. Music plays a central role, with performers producing musical counterpoints in the form of live soundtracks, reframing documentary elements of his films.
Claire Potter is an artist writer from Merseyside working across performance, publication, installation and film to reconsider acts of reading, writing and speaking through forms of vernacular and modes of articulation. They are the author of Round that way (Ma Bibliotheque, 2017) and experimental fiction Mental Furniture (VerySmallKitchen, 2014), extracts of which are recorded as Mother To No Swimming Laughing Child (FortEvilFruit, 2015) with collaborator Bridget Hayden. Claire organises Shady Dealings With Language, a publication and performance project for art writing and performance writing in the UK.
Kit works with a variety of media, but painting is at the core of his practice. His painting is a balance of speed and reflection, with works emerging over long periods (years rather than months) but formed from a series of quickly executed episodes, which overlay, and sometimes argue with each other. His sound works grow from his interest in writing, and attempts to create equivalent images to those found in his paintings, using voice and drifts and shifts of sound.
RATTLE focus almost exclusively on drums and more drums, beneath a delicate overlay of vocal harmonies and percussive effects. Formed by Katharine Eira Brown (also of Kogumaza) and Theresa Wrigley (also of Fists), Rattle began as an experiment in crafting rich songs and melody using drums and voice alone. Their music weaves and intertwines post-punk, minimalism and experimental rock, through off-kilter rhythms, patterns and counter melodies. They released their debut album, 'Rattle' in August 2016 via Upset The Rhythm and I Own You Records. This led to invitations to support Animal Collective on a short UK tour and The Julie Ruin on their European tour. Their live performances, at once hypnotic, monastic and danceable have entranced audiences at recent Supersonic, Supernormal and Sin-Eater festivals.
Cath Roberts (LUME)
Saxophonist Cath Roberts works in a variety of ensembles exploring free improvisation, composed music and the territories that lie between them. Originally from Northamptonshire and based in London since 2005, she has strong links with improvisers from the north of England, who have become her closest collaborators. It is these connections that form the basis of her current working group, the quintet Sloth Racket. Alongside Dee Byrne, Cath runs LUME, part-record label, part-promoter, making things happen with a focus on the creation of new original/improvised music.
Fame is the Spur
Fame is the Spur is a band with members Ben Owen, Ben Trinkle and Ben Tupper. Fame is the Spur is also a novel by Howard Spring published in 1940. It covers the rise of the socialist labour movement in Britain from the mid 19th century to the 1930s. The title comes from John Milton's poem Lycidas: «Fame is the spur that the clear spirit doth raise / To scorn delights, and live laborious days».
Tallentire’s work explores the politics of location, displacement and languages of the everyday, through film, video, assemblage, action, installation and photography. In 1999 she represented Ireland at the Venice Biennale. Her work has been written about by theorists including Jean Fisher, John Seth, Charles Esche, Hans Ulrich Obrist, Vaari Claffey and Rachel Thomas. Tallentire was a Professor of Fine Art at Central Saint Martins where she taught and inspired generations of artists from the early 1990s to 2014. Forthcoming exhibitions include Truth: 24 frames per second at Dallas Museum of Art.
Chris Fite Wassilak
Chris Fite-Wassilak is a writer, art critic and curator, a regular contributor to Frieze, Art Review, Art Monthly and Art Papers. Projects include the ongoing quarterly event series 'hmn', co-organised with Anne Tallentire and his first anthology of essays Ha Ha Crystal was published by Copy Press earlier this year.
Tom Ward aka Madwort is a musician, programmer and composer from Yorkshire, currently based in London. He moved south in 2004 to study at the Guildhall School of Music and Drama, where he was privileged to play in projects with such luminaries as Hermeto Pascoal, Django Bates and John Taylor. Since then, Tom has continued his musical development with workshops at the SIM school in New York with Ralph Alessi and Steve Coleman, with the F-IRE Collective in London with Barak Schmool and Stephane Payen, and by learning traditional music with local musicians in the Gambia. He is also a professional computer programmer with an interest in electronic music.
Residents of Mildmay