Listen to the works and interviews of Carmen Bouyer and Azikiwe Mohammed on Clock Tower Radio:
http://clocktower.org/show/second-sundays-interviews-carmen-bouyer-azikiwe-mohammed-0

French artist Carmen Bouyerplays a selection of recordings she made while exploring urban farming in Turkey and Japan, while New York-based multimedia artist Azikiwe Mohammed discusses his mission to creative alternative histories with objects.

Azikiwe Mohammed is a multimedia artist who creates manufactured items with a focus on historical means of story telling and representation. He graduated from Bard College in 2005 where he studied photography and fine arts having since shown these things in and around New York City. In 2013 he was awarded a residency at Mana Fine Arts thru the ESKFF Foundation. He lives and works in New York City, and while at Pioneer Works will be continuing his work in textiles, sound and alternative photographic imaging processes.

Carmen Bouyer is a French artist and environmental designer dedicated to building resilient food systems and collaborative experiences in cities. She depicts and implements spontaneous urban food production, free gathering and environmental stewardship in open fields and urban farms in France, Turkey, Japan and America. Since obtaining her Masters in Design at L’Ecole Nationale Supérieure des Arts Décoratifs (ENSAD) in Paris, which included a year in environmental studies at Parsons The New School for Design in New York, she has presented her work in various venues such as Salone Satellite in Milano, The Halka Art Center in Istanbul, The Maquis Projects Gallery and Port Izmir 3 Triennale in Izmir, Park in Progress and the Palais de Tokyo in Paris.

T-1: A Live Essay by by Evan Calder Williams.
Tonight, July 21, 8pm
Artists Space Books & Talks: 55 Walker St., NYC 10013

A new live essay composed from video, text, and voice, T-1 assembles an intertwined montage from three discrete histories: ice, compromised vision, and colonial geography. The first presentation of Evan Calder Williams’ 2015 ISSUE Project Room residency, T-1 takes its name from an enormous roving Arctic island initially classified as “Top Secret” by the US Air Force. Incorporating video shot in both a modernist dollhouse and a melting spring forest, the performance moves widely among sites and texts, ranging from Anna Kavan’s slipstream novels to the nineteenth-century Caribbean and from fascist glacial cosmology to ghost ships allegedly crewed by cannibal rats. In this work, Williams continues to explore the blurry ground separating the speculative and the historical, seeking a visual and sonic language adequate to film and to speak what remains stuck in the middle.

http://issueprojectroom.org/event/t-1-live-essay-evan-calder-williams

EXHIBITION

No Longer Empty is pleased to present When You Cut into the Present the Future Leaks Out at the Old Bronx Borough Courthouse. Built 1905–1914 and attributed to architects Michael John Garvin and Oscar Florianus Bluemner, the Courthouse, once boasting granite floors, lavish stairways, and bronze doors, remains adorned by a statue of Lady Justice. Listed on the National Register of Historic Places in Bronx County, the Beaux Arts-style building has been shuttered for 37 years.

The Old Bronx Borough Courthouse is taken as both site and theme: a time capsule, witness, and symbol existing within a plurality of narratives about its future role in the neighborhood. Referencing a quote by Beat generation poet William S. Burroughs, When You Cut into the Present the Future Leaks Out echoes approaches attributed to cut-up poetry, early Hip-Hop, Spoken Word, and the sculptural practice of artist Gordon Matta-Clark, who sliced into urban spaces as social commentary. The exhibition will occupy three floors and include the works of 26 artists and site-specific works commissioned by No Longer Empty. Curated by Regine Basha for No Longer Empty

NO LONGER EMPTY
878 Brook Avenue, Bronx, 10451
Viewing hours: April 23–July 19, Thursday–Sunday, 1–7pm
http://www.nolongerempty.org/nc/home/what-we-do/exhibitions/exhibition/when-you-cut-into-the-present-the-future-leaks-out/

Check out Juan Betancurth and Daniel Neumann’s work:
In the second collaboration between Daniel Neumann and Juan Betancurth, the basement becomes a site-specific, atmospherically charged sound environment that accrues meaning from the sound of the building over time. The sculptural elements Betancurth designs as part of his practice often address control, power, and liberation using utilitarian tools familiar to the domestic sphere. Neumann’s contribution draws from the material force of sound inherent in objects. Together, their work speaks directly to the bodily and textural experience of sound and matter.

www.eyebeam.org/people/daniel-neumann

WGXC 90.7fm
Saturday, 11am, July 11,2015

Created for Wave Farm’s broadcast series “Climactic Climate,” commissioned by Kunstradio – Radiokunst in Vienna. Writes Oliveros, “I like to listen to the weather – its songs and rhythms. Sometimes the sounds of weather join me in my performances. Naples 1981 on tour with Elaine Summers Dance and Film Co. We were performing a dance piece about the wind. We were in the Castle of the Egg on an outdoor plaza. I was playing my accordion with wind like passages for the dance. The wind started to rise – soon we began to feel particles of sand from the beach below, the intensity of the swirling waves of sand soon drove us all off stage and inside to safety. I was in Guelph Ontario for a solo performance with my accordion. During the day at my hotel I was watching the largest media event in history – The funeral of Princess Diana. In Ontario thousands of people gathered in a stadium to watch this event. That evening as a prelude to my concert I invited the audience to join me in an exploration of the energies of two extraordinary women – Princess Diana and Mother Theresa. Mother Theresa had also passed a couple of weeks prior to Princess Diana. We were in a large square Anglican Church with beautiful stained glass windows and a good resonance. I thought this would be an appropriate tribute to these to powerful women. Just as I explained my process of performance to the audience and was saying “I have to listen to everything all the time and include what I am hearing in my performance” there was the first low rumble of thunder. The audience sighed audibly and I began to play. There were sudden flashes of lightning that lit up. the stained glass windows in wonderful irregular rhythms. Thunder growled and rolled. I felt like I was playing with God’s percussion and light show. Somewhere towards the middle of the performance two (not one but two) of the loudest thunder claps I ever heard sounded directly over the Church! As my forty-five minute performance began to end the storm tapered off and ended with me. The next day I read that not one but two tornadoes had blown through the town. What a magnificent duet. In the review of the concert the critic noted the storm as well. Maybe Princess Diana and Mother Theresa had spoken. A performance of my Environmental Dialogue took place with players from the Conservatorio di Musica Benedetto Marcello Venetzia on February 6, 2015 during a wind storm with twenty players from the Conservatorio and the Venice Ca’ Foscari University. Players were mixed Jazz, classical instrumentalists and singers plus a young girl of eleven years playing toy piano under the direction of Paolo Zavagna of the Conservatorio and Ca’ university Foscara under the direction of Daniele Goldoni. The beautiful old building that houses the Conservatorio became activated by the wind and the banging doors and windows became an engaging percussive part of the musical dialogue.”

https://wavefarm.org/wgxc/schedule/81cn5m 

Anxious Spaces: Installation as Catalyst is Clocktower’s annual performance and installation festival that introduces a new generation of artists who are based in New York, partner regularly with alternative event spaces and collectives throughout Brooklyn and beyond, and utilize installation work as a platform for performance. The exhibition brings a dynamic selection of these artists onto Knockdown Center‘s dramatic compound for a month of on-site development, and kicks off the exhibition with a July 5, 2015 celebration of the work and its fluid transformation from environment to stage. http://clocktower.org/event/anxious-spaces-performance-festival-2015-0

CHECK OUT:
Formed by a set of portable stand-alone single beat organic-analogue drum machines, Lucas Abela’s installation, IV:BPM, is made from medical intravenous drip equipment pedals, made possible with support from Death By Audio pedals, and wired to audio gear to generate overlapping complex surround polyrhythms. The public engages with the composition in three ways: by adjusting the IV nozzles to change the BPM, manipulating audio effects to augment the audio, and shifting the IV stands within the space to alter the mix. These participatory elements turn the installation into an instrument/drum machine orchestra, performed en mass by attendees and an organized procession on the day of the event. Using the IV:BPM installation as a backdrop, Abela presents his infamous performance, in which the artist purses his lips against sheets of amplified glass, employing various vocal techniques ranging from throat singing to raspberries, turning the discarded shards into crude musical instruments. The results are a wild array of cacophonous noise that is strangely controlled and oddly musical.

Tim Bruniges presents Normalize (the pull of the earth), a site-responsive sound and sculptural installation engaging material tension and acoustic resonance within the architecture of Knockdown Center. Through the use of non-traditional sound (re)production forms, this installation explores the agency of sound as an atemporal and regenerative, autonomous entity. The installation is developed through an artist-in-residence collaboration with SIGNAL, Brooklyn.