Sarah Hennies / Joe Moffett + Glochids + Jorge Bachmann / Jen Boyd / Kevin Corcoran + Karla Hargrave
Date(s) - 06/14/2018
7:30 pm - 10:30 pm
- New Music
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For our June Canessa musical event we are excited to have Ithaca, NY based percussionist Sarah Hennies, NYC based trumpeter Joe Moffett, Arizona / Oakland sound artist Glochids and a trio of Jorge Bachmann, Jen Boyd, and Kevin Corcoran presenting an array of organic-electronic sounds. Field recordist Karla Hargrave will be presenting recordings from a recent trip to Patagonia in-between sets.
Sarah Hennies (b. 1979, Louisville, KY) is a composer and percussionist based in Ithaca, NY. Her work utilizes an often grueling, endurance-based performance practice in a subversive examination of psychoacoustics, queer identity, and performance art. She has presented her work in a variety of contexts including Café Oto (London), cave12 (Geneva), Ende Tymes (NYC), Festival Cable (Nantes), the Johns Hopkins Digital Media Center, O’ Art Space (Milan), and Second Edition (Stockholm) and has received commissions for new work from Cristian Alvear, Bearthoven, Bent Frequency, R. Andrew Lee, LIMINAR, Qubit Music, and the Thin Edge New Music Collective. Her work has been supported by the Foundation for Contemporary Arts, New Music USA, New York State Council on the Arts, and in 2016 was awarded a fellowship in music/sound from the New York Foundation for the Arts.
Hennies is currently a member of improvised music group Meridian with Greg Stuart and Tim Feeney, a duo with sound/performance artist Jason Zeh, and the Queer Percussion Research Group with Jerry Pergolesi, Bill Solomon, and Jennifer Torrence. In late 2017 she premiered the groundbreaking work, Contralto at Issue Project Room (NYC), a film featuring a cast of transgender women with a live score for string quartet and three percussionists.
Joe Moffett approaches his work with a keen interest in unconventional sounds and forms, collective improvisation, and the intersection of action and stillness. He is a co-founder of several projects, including ambient improv trio Earth Tongues, in addition to performing frequently as a solo artist. He has also appeared with a number of artists and projects including Yoshi Wada, Joe Morris, and Tredici Bacci. His material appears on Neither/Nor, Underwolf, Eh?, NotTwo, and Prom Night Records.
Glochids is James Roemer, hailing from the desert of Arizona, currently residing in Oakland, California.
Jorge Bachmann / Jen Boyd / Kevin Corcoran
Multi-disciplinary, mixed-media and sound artist. Since the early eighties, he has been exploring the strange, unique and microcosmic sounds of everyday life, collecting field recordings. The sound atmospheres created are meant for deep listening and are composed in symbiosis with the sculptural installations.
He creates equally sensual and detailed oriented photo-based work. His art explores social and sensual constructs and experiences.
She spends time recording sounds in her environment and then arranges them into layered soundscapes. In these pieces, some sounds unfold naturally while others are processed. Jen uses a variety of different microphones to explore the textures and timbres in her environment. Many of her soundscapes seek to give depth to these delicate sounds. Although her work mostly relies on ‘natural’ sounds she uses a wide variety of sound sources to paint sonic pictures for the listener. Jen founded re:sound in 2015, a sound series on Mare Island focusing on forgotten space, environment and sound. In future projects, Jen will continue to explore the depths of natural sound and their presentation as art through live performance and sound installations. She hopes to spark the interest in people of all ages to listen more closely to the environment they live in everyday.
Kevin Corcoran works with an open interest in sound as medium as it moves through contexts of art, music, ecology, and communication in performance and fixed media pieces.
As a percussionist he is most interested in techniques which extend the sonic possibilities of the instrument emphasizing textural sound, friction, sympathetic vibration, sustained tones and the use of found objects. In this way, emphasis is placed on freely arranging sonic events in duration rather than marking time by rhythm.
He works also with environmental recordings, interested in sounds of natural and built surroundings through both observing and interacting with sites, and electronic sound through feedback systems, computer software and cassette tapes. These sounds are often combined with percussion in his performances where displaced environmental sounds provide a temporary acoustic identity of the space, and layers of past actions join the present moment of sound-making.
Field recordings by Karla Hargrave.