Relativity/Only Album Launch Thursday 25 March 2021, 8:30pm Avalon Bar, 387 Brunswick St, Fitzroy $10
My new album Relativity/Only (Nice Music/Shame File Music) will be launched later this month at Avalon (former site of Polyester Records). I will be constructing the sound sculpture that generated the music for the album (three turntables with suspensions and objects) for the event, and hopefully playing the tracks on Side A of the album on a “loop”, so to speak.
I will also be joined by Nick Ashwood and Michael McNab, and we’ll then play a “quartet” with the sound sculpture.
This will be my first live performance since September 2019!
in-Stability is a performance series running Thursday nights through August and September as part of my Stability exhibition, where artists from a variety of disciplines are invited to perform with my kinetic sound sculpture and projection works.
Michael McNab is a percussionist and interdisciplinary sound/performance artist. Listening with an unfixed body and open eyes, his kinetic interactions with objects, collaborators and site form the material of his work. He is interested in states of play, human and non-human presence as impetuses for sound making, and spatiality and anti-virtuosity as ways to shake up audience-performer relationships.
in-Stability: Michael McNab
Thursday 05 September, 2019 – 7:30pm sharp
Sunshine Art Spaces, 2 City Place, Sunshine (near Sunshine Station).
This is the edited film I projected on a loop as part of last month’s This Will Be My Last Test installation/performance with Carolyn Connors.
This film had an interesting evolution, and was the first part of the project I started working on. I began by asking some trusted improvisers I knew who were skilled in intuitive movement to improvise in the space. After each filmed session, what I wanted the footage to be evolved more and more in my mind, alongside the evolving performance and sound aspect I was working on with Carolyn (although I gave no further instructions to each performer for the filming sessions). By the time the third session was complete (with Emma Riches), an idea was forming in my mind for how the footage might be edited together in a way that reflected in subtle ways upon the themes that were developing in the performance part of the project.
I was very happy with how all the aspects of the work came together. And I have found that this silent film stands up well on its own. The process has also made me curious about filming dancers in other settings for projections and other purposes…future projects beckon…
My thanks to performers Chun-liang Liu, Michael McNab and Emma Riches, and to Carolyn Connors whose work in other aspects of the project influenced the making of the film.