Investigation – Christof Migone
Christof Migone
Can we use sound, repetition and difference to personally and collectively engage with space, time and labour?
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Can we use sound, repetition and difference to personally and collectively engage with space, time and labour?
A simple, gracefully bold set-up to allow Loïc to trace connections: of comments upon comments upon comments, of sounds next to sounds next to sounds.
Personal Spaces: inversion of a territorial bell, confusing the realms between rehearsal and performance, public and private space.
A recently reanimated Ascension, with mighty Leeds drum hero Paul Hession bringing a dense polyrhythmic torrent into play with Jaworzyn’s reinvigorated piercing guitar.
Nothing if not repetitive, film is founded on the incremental succession of minute difference. But how does repetition of the same play out, and is it a tool to comment on the standardising repetition of the mass media?
Performing with hand built radio transmitters, which react to interference in the atmosphere and the electrical impedance of his hands, his radio art is a form of social practice; a statement in opposition to mass media.
Torrential, wrenching wordless wails, guttural screams and roars, a Haino solo vocal performance.
Investigate film as language, via the language of film reduced to the basic units of film and language. A film as text in which each frame is a single word.
Taking a scalpel to the relationship between performer and audience: cutting something out to see what’s left, a drastic subtraction and shift of emphasis.
Jarringly beautiful and often maniacal expression of hallucinatory and very personal visions.
This set continues on from the Bud Neill inspired clatter using the contents of the Usurper twin’s pockets.
How do communities formed under the duress of violent othering and the joy of solidarity – such as ballroom culture, Black diasporas, Zapatistas – reform bonds of kinship?