Marc Baron
Marc Baron
Three speakers play back pre-recorded sounds, Marc listens and responds: “What is played is the imperfect witness of what I listen to (or maybe better, how I listen).”
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Three speakers play back pre-recorded sounds, Marc listens and responds: “What is played is the imperfect witness of what I listen to (or maybe better, how I listen).”
A performance of Ueinzz’s new play. Each Ueinzz performance is a process of reinvention, between exhaustion and a fleeting vision: singular, collective, anonymous, plural, suspensive, intensive, unworking life.
Like walking through the abstracted amalgamation of 30 or so storms, trays of water shaken by thunder, light bouncing off pools.
Wordless, reverb drenched voice, ghosted electronics, seething and ferocious electronic damage and Patty Waters style vocal mania.
Dworkin asks: What would a non-expressive poetry look like? A poetry of intellect rather than emotion?
A performed reflection on Malin’s previous re-enacting of a super influential landmark of performance art from the French feminist and artist Gina Pane.
A stroboscopic and intense sensory overload of flashing abstract forms, cut to ribbons by modified projectors.
Three panels offering opportunities to discuss how to build stronger alliances between the sex workers’ rights, migrants rights and reproductive justice movements and how to face, together, an increasingly punitive and reactionary system.
Three iconic figures from the Japanese underground assembled as a trio to stand in for the advertised duo of Junko and Jerome Noetinger who was unable to attend the festival due to illness.
A guitar solo of frugal wringing, of notes in the dark, an attitude of making everything count.
Black Boned Angel’s is a rock sound, stripped of all extraneous detail right down to its core, stretched out and nailed to the ceiling.
The Tower performance at KYTN throws into that mix the 70’s fluxus light shows and films of Jeff Perkins and other filmic interventions tuned to their unique frequency.