ELISION’s concert takes audiences on a dynamic sound journey

tristram-williams-the-surface-project

Tristram Williams performing Matthew Sergeant’s work ‘terrains’ at ELISION Ensemble’s concert The Surface Project, RMIT Storey Hall, 2016. Photo by Margund Sallowsky.

Congratulations ELISION Ensemble on a wonderful performance at last night’s concert of The Surface Project at RMIT Storey Hall, presented by RMIT Gallery in partnership with RMIT SIAL Sound Studios.

The concert was part of the public programs for the RMIT Gallery exhibition ELISION:30 years, on until 22 October.

Composers Matthew Sergeant flew in from the UK and Timothy McCormack from the US to hear their works performed.

Sergeant’s work [terrains] was written for Tristram Williams (who performed the piece), “in friendship and the sincerest admiration.”

img_4115

Composer Matthew Sergeant applauds musician Tristram Williams after his performance of ‘terrains’

“It’s certainly not really about development, as the word is usually defined. Nor is it really about contrast,” explains Sergeant.

“In one way I suppose it’s more like watching an earwig or a mountain goat weave its way across different planes – some steep, some high, some tight, some sprawling – and watching that same creature accommodate such different lands in its gait.

“And yet, in another way, it’s about the land itself. A mountain not just as a relief but as an imprint in the sky. And how – just like the ‘Gestalt Vase’ (is it a vase or two opposing faces?) – one’s impression oscillates between foregroundings of these different states. Relief/imprint. Pitch/noise.

The Surface Project concert performance was especially emotional for composer Timothy McCormack, as it was the world premiere of his work ‘subsidence’.

The music, performed by Daryl Buckley and Peter Neville, took audiences on a haunting Gothic journey – and the composition itself took four years and featured a ‘third player’ – according to Buckley, ‘the instrument asserted itself in the piece.’

McCormack explains: “subsidence plumbs a nearly featureless world of soft but charged noise to reveal its subterranean motion. At times static, at times turbulent, the movements and behaviours within this noise embody a geologic heaviness and hugeness.

“Named after the gradual caving in or sinking of an area of land, subsidence enacts a slow concentration of matter and energy which give way to a protracted, eventually cataclysmic implosion.”

img_4046

(left to right) Daryl Buckley in rehearsal with composer Timothy McCormack, working on McCormack’s piece ‘subsidence’.

Subsidence was commissioned and recorded for the RMIT Sonic Arts Collection.

The Surface Project comprised four works – Aaron Cassidy’s The wreck of former boundaries (for electric lap-steel guitar and electronics),  Matthew Sergeant’s  [terrains] (For quartertone flugelhorn with preparation), the world premiere of Timothy McCormack’s subsidence (for electric lap-steel guitar with two players) and Richard Barrett’s Codex III (for three players).

Associate professor Lawrence Harvey, Director of the RMIT Spatial Information Architecture Laboratory (SIAL) provided sound spatialisation, along with technical management by Simon Maisch.

“This concert continues RMIT’s research and practice into spatial music performance,” said Harvey.
“For this performance we used a different software solution, but similar technique to previous events.  The different software for sound spatialisation, meant we could move individual instrument sounds in real-time, making for a more dynamic and responsive approach to the sound.
the-surface-project-musicians

ELISION Ensemble musicians (left to right) Tristram Williams, Peter Neville and Daryl Buckley perform Richard Barrett’s ‘Codex 111’ at The Surface Project concert performance, RMIT Storey Hall, 2016. Photo by Margund Sallowsky.

 “We also placed the performers further into the sound-field of the speakers, allowing them to hear more of the spatialisation.”
A video of The Surface Project concert will be shown during the RMIT Gallery exhibition ELISION: 30 years (9 September – 22 October).

 

 

ELISION to perform at RMIT Storey Hall on 30 April

left to right: Lawrence Harvey, RMIT and Daryl Buckley, ELISION Ensemble Left to right: Lawrence Harvey, RMIT and Daryl Buckley, ELISION Ensemble at RMIT sound studios.

On Thursday 30 April at 7.30 pm ELISION, Australia’s International Contemporary Music Ensemble, will perform the Australian premiere of Richard Barrett’s World-line cycle and Timothy McCormack’s Heavy Matter for solo trombone (played by Ben Marks), and Genevieve Lacey will perform Liza Lim’s Weaver of Fictions for alto Ganassi recorder.

Elision_evite_forposting

The ELISION event is presented by RMIT Gallery in collaboration with SIAL (Spatial Information Architecture Laboratory) Sound Studios. It will be recorded for inclusion in the RMIT Sonic Arts Collection, and be performed at Storey Hall, RMIT, 336-348 Swanston Street, Melbourne. Bookings are welcome (03) 9925 1717.

The performance will also feature: Tristram Williams, piccolo trumpet, flugel horn Benjamin Marks, trombone Daryl Buckley, electric lapsteel guitar Peter Neville, percussion Genevieve Lacey, Ganassi recorder.

ELISION has established a reputation for delivering authoritative and virtuosic interpretations of complex, unusual, and challenging aesthetics, often developed in close collaboration with the composer.

Recently the group has worked with composers Bryn Harrison, Sam Hayden, Einar Einarsson, Matthew Sergeant, Luke Paulding, Justin Hoke, Turgut Ercetin and Ann Cleare, and maintained a close research relationship with SIAL studios at RMIT, Melbourne.

ELISION has also developed a strong relationship with newly emergent strands of American composition made evident in the close association with composers Aaron Cassidy, Evan Johnson and Timothy McCormack and recent residencies at Harvard and Stanford Universities.

Richard Barrett’s CONSTRUCTION, a large project commissioned by the European Capital of Culture programme, was premiered by ELISION at the Huddersfield Contemporary music Festival in 2011 and broadcast live by BBC Radio3. In this video, ELISION performs DARK MATTER, an electro acoustic installation performance by Richard Barrett and Per Inge Bjørlo.

‘World-line’ is a term derived from the theory of relativity, and denotes the history of a particle or object as it passes through the dimensions of time and space. The music could be thought of as a miniature ‘universe’, whose matter and energy are composed of the expanding and contracting pitches of sound, and which is experienced in relation to the ‘world-line’ traced by the lap steel guitar and the shifting relationships and perspectives between it and the other instruments and sounds.

world-line is an interlocking cycle of compositions featuring the electric lap steel guitar (in a tuning and setup devised in collaboration with Daryl Buckley, to whom it is dedicated), together with various combinations of piccolo trumpet/flugelhorn, percussion and electronics. It consists of five components, also performable separately: dustriftknotlens, and rasa.

IMG_7897

dustknot and lens were commissioned for the RMIT Sonic Arts Collection, while the remainder of world-line was commissioned by the TRANSIT festival in Leuven (Belgium). The five pieces are not played separately, but split into different sections and recombined into a continuous form in which the electronic parts of dust create overlaps between the regions of instrumental activity.

ELISION has recorded over 22 compact discs, undertaken close to 40 international tours to over 14 different countries and initiated international commissions and projects supported by cultural organisations in the United Kingdom, Germany, Canada, Holland, France and Japan.

Daryl Buckley says being in the audience provides another level of engagement with the work: “I know we’re talking about sound, but the manner of engagement that you have with sound is pushed to another level, if you can actually witness what it takes to make that sound.

“So in this case, no sound is divorced from human agency or human action, everything is an outcome of gestures and of effort and of studies that we are making.”

Codex#6_Bremen

“And I think that dramaturgy, if you like, of locking and unlocking sound, as being something that emerges from and is scripted from what the body can do, is a really, really amazing thing.

“It’s athletic, it’s virtuosic, it has the same sort of fascination in the way that comes from watching somebody in a sporting area or overcoming any obstacle. It’s that application of energies and commitment. So I think it’s a really visually compelling thing to see.”

Details:

Venue: Storey Hall Auditorium, RMIT
Address: Level 5, 336–348 Swanston Street, Melbourne
Bookings: (03) 9925 1717/ rmit.gallery@rmit.edu.au
Free admittance. RSVP essential. No reserve seating. 

After the Big Bang – Korinsky’s sound installation in Experimenta Recharge

 

Abel Korinsky with his work Korinsky Collective: RL2000 2014 sound and mixed media installation dimensions variable. Photo Evelyn Tsitas, RMIT Gallery, 2014

Abel Korinsky with his work  RL2000 2014
sound and mixed media installation
dimensions variable. Photo Evelyn Tsitas, RMIT Gallery, 2014

We are all fascinated by artistic practice and the ‘working out’ of process that offers us a ‘behind the scenes’ glimpse of how creative work is developed. But what of the finished product?

German sound artist Abel Korinsky, who is in Melbourne on a two month residency with Experimenta and RMIT, gave audiences an insight into his process when he joined theoretical astrophysicist Dr Katie Mack and RMIT’s Lawrence Harvey, Associate Professor and Director of SIAL Sound Studios, on 29 October, 2014 at RMIT Gallery to talk about space – art – and Big Bang Sounds.

Missed the talk? Catch up with the podcast and blog – click here.

You can now see Abel Korinsky’s finished artwork using the ideas of the resonance of Big Bang sounds as inspiration for RL2000, by visiting the exhibition Experimenta Recharge: 6th International Biennial of Media Art at RMIT Gallery until 21 February.

Korinsky’s artwork RL2000 2014,sound and mixed media installation, picks up on the ideas he discussed in the Melbourne Knowledge Week talk available on podcast, and asks audiences to imagine that sound never fully disappears and is present in our universe forever. What would it sound like to hear all the sounds of the past and present? How would it change our perceptions of time and death?

Korinsky Collective: RL2000 2014 sound and mixed media installation dimenions variable. Photo Mark Ashkanasy, RMIT Gallery, 2014

Korinsky Collective: RL2000 2014
sound and mixed media installation
dimensions variable. Photo Mark Ashkanasy, RMIT Gallery, 2014

As part of the sound artist collective Korinsky (together with his twin brother Carlo, and younger brother Max) Abel presents the sound piece in an immersive installation inspired by the recent announcement by researchers at the Harvard-Smithsonian Centre that they had documented sound waves from the Big Bang soon after the birth of our universe. In a room in RMIT Gallery where the work is exhibited, when the lights go off intermittently the audience is plunged into darkness which quickly fills with fluorescent glow of paint on the spider-like central pod that is reminiscent perhaps of a 1950s Sci Fi movie set design. 

Korinsky Collective: RL2000 2014 sound and mixed media installation dimenions variable. Photo Mark Ashkanasy, RMIT Gallery, 2014

Korinsky Collective: RL2000 2014
sound and mixed media installation
dimensions variable. Photo Mark Ashkanasy, RMIT Gallery, 2014

The artists invite audiences to imagine the implications of hearing sounds from the past and to place themselves in a situation where perceptions of time, space and place might be disrupted.

Korinsky’s work has been developed during a residency with Experimenta as part of the EMARE AUS
CDN Move On Exchange (European media artists in residence in exchange with Australia and
Canada). This program is supported by the Culture 2013 Programme of the European Commission.

Sounds Like Deep Space – Big Bang Sounds podcast is live

Sounds Like Deep Space...(left to right) Dr Katie Mack, Abel Korinsky and Lawrence Harvey

(left to right) Dr Katie Mack, Abel Korinsky and Lawrence Harvey

Time, space, distance – who isn’t fascinated by what’s up in the stars and beyond?  Artists have been gazing to the heavens since they picked up something to draw with and record what they saw with their eyes and imaginations. So it is no surprise then that in 2014, an experimental artist has turned to the cosmos for inspiration.

Working with multichannel sound installations, artist German artist Abel Korinsky questions what could happen if sounds from the past could be reconstructed and heard. What would the Big Bang sound like? A new work by Korinsky is included in the upcoming Experimenta Recharge 6th International Biennial of Media Art exhibition held at RMIT Gallery from 28 November 2014 to 21 February 2015.

As a preview of things to come, he joined theoretical astrophysicist Dr Katie Mack and RMIT’s Lawrence Harvey, Associate Professor and Director of SIAL Sound Studios, on 29 October, 2014 at RMIT Gallery to talk about space – art – and Big Bang Sounds.

Missed it? Listen to the podcast here:

As Lawrence Harvey pondered, why does the notion of the Big Bang hold such a fascination for people? It was a full house for the talk, with artists, scientists, and those simply fascinated by the concepts listening to the trio talk. Dr Sarah Jane Pell, an artist exploring the Aesthetics & Technics of Human Performance Exploration, grabbed a front row seat and questioned Abel Korinsky about placing himself in unusual environments to create his work and find inspiration for sound art and performance.

Artist Sarah Jane Pell and Abel Korinsky

Artist Sarah Jane Pell and Abel Korinsky

IMG_5601The audience sat enthralled, surrounded for the talk by the spectacular artwork from Balgo in the exhibition Warlayirti: The Art of Balgo. The exhibition has now come down to make way for Experimenta Recharge, which opens on 28 November – but Warlayirti: The Art of Balgo can be seen in the NT, at the Araluen Arts Centre (28 November – 15 February 2015).

IMG_5592

IMG_5597Katie Mack (@AstroKatie) suggested people are fascinated by space – and the Big Bang – because everyone wants to know where we came from and has a curiosity about the beginning and the end and what it would have been like at the beginning of time. Dr Mack is a theoretical astrophysicist. Throughout her career as a researcher at Caltech, Princeton, Cambridge, and now Melbourne University, she has studied dark matter, black holes, cosmic strings, and the formation of the first galaxies in the Universe.

IMG_5608

“I can think of time as distance – the concept of now is tricky. I can’t observe now anywhere else – if you are moving quickly time passes differently. Time and space are linked together.

“Time passes and things end but everything follows on from everything else. If we were on a planet 65 million light years ago and we had a powerful enough telescope we could see the dinosaurs on earth.”

IMG_5609

Interestingly, Kate spoke about how she uses art when thinking about time and space, referencing works such as Salvador Dalí’s The Persistence of Memory. The works from Balgo were another example of how the resonance of sound and ideas of time and space might be imagined, she said.

Warlayirti: The Art of Balgo  at RMIT Gallery, 16 September – Saturday 8 November, 2014. Photo: Mark Ashkanasy, 2014.

Warlayirti: The Art of Balgo at RMIT Gallery, 16 September – Saturday 8 November, 2014. Photo: Mark Ashkanasy, 2014.

The audience then heard a snippet of Abel Korinsky’s big bang sounds…..

The Big Bang Sounds talk release on podcast is timely indeed with the successful landing of a robotic spacecraft on a comet for the first time in history. Rosetta mission’s safe landing on gives scientists their first chance to ride a comet and study close up what happens as it gets closer to the sun.

Both scientists and artists reach for the stars when they launch ambitious projects. Their ambitions and fearlessness are about the challenge of being bold and not being afraid. The success of the Big Bang Sounds talk is a small step in this direction – the Rosetta Mission a cosmic and large one – and ventures are mirrored in the bold, ambitious new media works that will be on show at the  Experimenta Recharge 6th International Biennial of Media Art exhibition held at RMIT Gallery from 28 November 2014 to 21 February 2015.

 

 

 

 

 

 

ABEL KORINSKY IN APHRA MAGAZINE

Experimenta artist Abel Korinsky – who will speak about his work at RMIT Gallery tonight in the Big Bang Sounds event – is featured in a new article by APHRA magazine online.

Abel Korinsky one of the three brothers in the Korinsky collective (Germany). Their immersive installations and public sound works explore the emotional and physical effects of directional sound. Implementing their own  custom-developed software called ‘Vertical Sound Lab’, Korinsky produce highly rich, multi-layered auditory and visual illusions.
On Wednesday 29 October from 5.30-7 pm, Abel will join Lawrence Harvey, Associate Professor and Director SIAL Sound Studios, RMIT University and American astrophysicist Dr Katie Mack about dark matter, black holes and how new research and finding may change our lives in the future.
IMG_5448
Abel Korinsky is Experiment’a artist-in-residence as part of the EMARE AUS CDN Move On Exchange (European Media Artists in Residence Exchange with Australia and Canada). This program is supported by the Culture 2013 Program of the European Commission and the Goethe Institut. Abel is pictured above with (far right) Gabriele Urban, Cultural officer from the Goethe-Institut Australien (Melbourne) at the recent Recharge Experimenta sixth international of biennial art launch.

Abel Korinsky is hosted by RMIT School of Art International Artist in Residency Program.

To learn more about Korinsky’s work read the APHRA article here.
A new work by Korinsky is included in the upcoming Experimenta Recharge 6th International Biennial of Media Art exhibition held at RMIT Gallery from 28 November 2014 to 21 February 2015.
Seating limited for the Big Bang Sounds talk: Bookings essential: (03) 9925 1717.

Big Bang Sounds – Art and Astrophysics at RMIT Gallery

Abel_Korinsky

What does the very distant past sound like? Can the Big Bang be seen and heard today? What place does it hold in scientific and artistic discourse?

Join us for a stellar discussion at RMIT Gallery on Wednesday 29 October from 5.30 – 6 pm, starting with drinks provided by the EU Centre at RMIT, and viewing of our current exhibitions Warlayirti: The Art of Balgo, and Garnkiny: Constellations of Meaningthen Big Bang Sounds from 6-7 pm.

German artist Abel Korinsky (above), American astrophysicist Dr Katie Mack (@AstroKatie) and RMIT’s Associate Professor Lawrence Harvey (below, left) Director SIAL Sound Studios will talk about dark matter, black holes and how new research and findings into Big Bang Sounds may change our lives in the future.

IMG_5444

Dr Katherine (Katie) Mack (below) is a theoretical astrophysicist. Her work focuses on finding new ways to learn about the early universe and fundamental physics using astronomical observations, probing the building blocks of nature by examining the cosmos on the largest scales. Throughout her career as a researcher at Caltech, Princeton, Cambridge, and now Melbourne University, she has studied dark matter, black holes, cosmic strings, and the formation of the first galaxies in the universe.

KatieMack

Abel Korinsky is currently in residence with Experimenta at RMIT Project Space, supported by EMARE (European Media Art Residency Exchange). He recently won the 2014 Mercedes-Benz Kunst Award and exhibited in Inter Spaces, Trieste Contemporanea, Trieste, Italy; International Scenography Biennial, Ludwigsburg, Germany; and Kraftwerk, Berlin.

KorinskyArtCollective

Abel Korinsky is a member of the art collective ‘Korinsky’ (pictured above) who are devoted to new sound interpretations and the artistic organisation of sound played upon vertical surfaces. ‘Korinsky’ stage three-dimensional tonal effects on vertical surfaces creating unique audio-visual experiences.

Working with multichannel sound installations, Abel Korinsky questions what could happen if sounds from the past could be reconstructed and hearable again?  What would the Big Bang sound like? If we knew, what would be the consequences for society, politics and history?

Big Bang Sounds is a pre-exhibition talk for the upcoming exhibition Experimenta Recharge 6th International Biennial of Media Art – RMIT Gallery, Melbourne, 28 November 2014 – 21 February 2015. Recharge delves into the nature of experimental practice, celebrating those inventive artists whose work is consciously inspired by and entangled in the past. According to the curator Jonathan Parsons, much of our current knowledge and meaning has deep roots, perfect for artists to explore using the most contemporary of tools. A new work by Abel Korinsky is included in the exhibition.

“You can’t really go further into the past than the Big Bang,” Mr Parsons (pictured, below right, with Abel Korinsky) said.

IMG_5451

Event: Big Bang Sounds

Date: 29 October 2014

Time: 5.30 pm – 6 pm: Drinks and viewing of art exhibitions Warlayirti: The Art of Balgo and Garnkiny: Constellations of Meaning. Drinks provided by the EU Centre at RMIT.

6 pm – 7 pm: Public talk

Location: RMIT Gallery, 344 Swanston Street Melbourne, 3000.

Bookings: RSVP necessary. Free but seating strictly limited. Ph: (03) 9925 1717.

The EU Centre at RMIT is co-funded through a Grant from the European Union and RMIT University.