Date(s) - 01/17/2018
7:30 pm - 10:00 pm
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January’s Canessa Gallery concert will be the album release show for the new album by arc, ‘monument 36’ and will feature performances by Syrnx, PVBLIC BATH, and Kaori Suzuki.
Arc refers to a process rather than an author. a curve within a void which makes something momentarily visible. material elements used to investigate immaterial states. framing the space of encounter as a site of unfixed ritual and sensory research. arc work has been presented at The Lab, San Francisco Cinematheque, Berkeley Art Museum and Pacific Film Archive, the San Francisco Museum of Modern Art, Ann Arbor Film Festival, Massart Film Society (Boston), NDSM Treehouse (Amsterdam), and L’ Abominable (Paris/La Courneuve), among others.
Kaori Suzuki (b. Tokyo) is a composer of electronic and electroacoustic music living in Oakland, CA. Her musical works are concerned with inner-sensory responses and transformative states, often emphasizing duration and dynamics through meticulous synthesis techniques. Her electronic performances often involve spatialization and high volumes to build saturated frequency interactions and resonances in the room. Her projects include her handmade instrument building platform Magic Echo Music, various solo/collaborative compositions with analog synthesis, and recently her solo computer music utilizing spectral properties of transducer-driven objects combined with the use of auditory distortion products and other inner-ear phenomena.
She has performed her music in numerous settings including DIY venues and galleries, music festivals such as Debacle Fest, TUFFest, and the San Francisco Electronic Music Festival, and academic institutions such as Mills College, Stanford (CCRMA), and the Berkeley Art Museum. She holds a master’s degree in electronic music and recording media from Mills College and has a forthcoming cd release in March.
PVBLIC BATH is the solo audio/video incarnation of Arthur Katrina. Primarily a printmaker dedicated to duplication and dissemination, opposed to preciousness, and committed to access to tools, PVBLIC BATH uses obsolete family VHS equipment (once marketed for its amateur accessibility) to process information and dwell on passing moments in time. Disturbed by the acceleration of communication technology, selective nostalgia and disposable memory, PVBLIC BATH is a meditated process of the world as seen through no longer desired viewfinders. Using broken and breaking tools for seeing and hearing, PVBLIC BATH is a collaboration between the conductor, their machines, and the light and sounds that are illuminated as the result of their movement together.
Informed by the sub-cultural attraction within metal, punk, and noise to suffering and abjection, the project inverts a victimizing gaze to make sounds & images by and for grieving freaks/survivors/invalidated bodies. Live sets are created with the idea of healing and protection in mind, assuming that trauma is nothing new to those drawn to harsh places. Believing that noise is inherently destructive to binary, hierarchy and respectability, PVBLIC BATH is made with the tools at hand with disregard for legibility within a genre – surrendering to intangible frequencies, amplified and guided to magnify an often unseen yet ever-present current.
(PVBLIC BATH regards performance as a conscious act of public vulnerability and consented power to lead a shared experience. bathing is a space of cleansing and intimacy – the outside world a space of misunderstanding and shame – a public bath is the ancient and often eroticized, criminalized space that exists between them. [With various exchanges of power, an element of the public bath experience is there in social media, in parties, anthologies, affinity groups, in hospitals, city beaches, toilets, hot springs, chat rooms and nightclubs, in live performances and spaces for exchanging fluids.])
Syrnx is degenerate drum elongation.
Sound inside sound, shifting awareness between speeds.
Ritualised display turned to the uses of each time period, interregnum made to each order– this January 17th one being for reformulating relaunching David Wessel’s touch.