CHRIS HERBERT & NICHOLAS BULLEN / ELÍAS MERINO / SAMUEL RODGERS
FRIDAY 28 NOVEMBER
VIVID PROJECTS
8PM
Tickets £5 (£3 earlybird)
For our final event this series we bring together local artists Nicholas Bullen and Chris Herbert to conclude our New Collaborations project. They will be joined during their set by local new media artist Antiono Roberts performing live visuals. Also on the bill are Samuel Rodgers and Spanish sound artist Elías Merino.
CHRIS HERBERT AND NICHOLAS BULLEN
Chris Herbert and Nicholas Bullen will make an improvised performance, the first time that the artists have performed together collaboratively.
With a shared interest in field recordings and found sound, the collaboration will develop sounds exchanged between the artists, focusing on the creation of textural soundfields and extended listening.
Chris Herbert lives and works in Birmingham, UK. Working in a relative vacuum (beyond the reach of contemporary electronic music trends), his work focuses on intuitive composition utilising the extensive manipulation of found sounds and environmental sources. His compositions draw on a mixed musical palette which interweaves sounds sourced from field recordings and scavenged from domestic environments, augmented by short-wave, degraded cassettes, processed guitar and cymbals. He has also worked with sound installations and radio works. His recorded work has been released globally on a range of labels (including Room 40, Kranky and Low Point).
Nicholas Bullen is an artist and composer based in Birmingham, England. Working across a range of media (including sound, text, film, installation and performance), his work explores strategies for the transmutation of elements and systems of communication. Beginning as a founder member of the ‘extreme’ music group Napalm Death at the age of 13, he has an over 30 year history of composition (releasing over 40 recordings) and live performance (both solo and collaboratively) . His sound performances focus on the use of environmental recordings as the basis of fixed media acousmatic composition alongside live improvisation and signal processing in real-time. His work has been performed or exhibited both in the United Kingdom (including Tate Britain, Institute of Contemporary Arts, Hayward Gallery, Serpentine Gallery, and Arnolfini Gallery) and globally (including Art Basel, White Columns, Creative Time, Schirn Kunsthalle, and MACBA).
ANTONIO ROBERTS
Antonio Roberts is a new-media artist and curator based in Birmingham, UK. whose work focuses on the errors and glitches generated by digital technology. Since 2007 he has curated a number of exhibitions and projects including fizzPOP (2009 – 2010), GLI.TC/H Birmingham (2011), the Birmingham edition of Bring Your Own Beamer (2012, 2013) and Dirty New Media (2013).
As a performer and visual artist his work has been featured at galleries and festivals including Databit.me in Arles, France, Loud Tate at Tate Britain in London, f(Glitch) at Stony Brook University, NY, glitChicago at the Ukrainian Institute of Modern art in Chicago, IL, and the Barber Institute of Fine Arts in Birmingham, UK.
He is currently artist in residence at the University of Birmingham where he is conducting research into Copyright an the reuse and remixing of archive material.
ELÍAS MERINO
Elías Merino is a composer and sonic artist whose work explores computer-generated composition, electroacoustic music, soundscape and concrète sounds as an abstract and imaginary object away from the acoustic environment, and sound processes mainly through digital technology.
Merino’s work to date is determined by a thorough conceptual study with the development of the discourse that defines it. He is interested in different approaches to the duality between subject and object in computer music, composition for abstract digital spaces, sound behaviour through time, philosophy and poetry, all with regards to sound composition.
He has obtained a Master Degree in Sonic Arts with Distinction and is currently studying for a PhD in Sonic Arts and Electroacoustic Composition at University of Huddersfield.
SAMUEL RODGERS
This performance will explore the ‘silence’ and acoustic of the performance space, as well as the divergent spaces offered by field recordings, resonant materials and vessels. The ‘silence’ of the space may be considered as the continuum of sound already present, to which and from which the performer will add and subtract sound sources (noise, sine tones, field recordings), expanding and contracting this field of activity. Positioning sound sources throughout the space, the performer will invite the listener into an active role in the formation of the piece, regarding each listener as a point within a constellation.
