Every week we trawl through our emails so you don’t have to, here is our pick of events and openings happening in and around London this week. Special shout out to Primary Lates at venues across Notthingham tonight, 15 Feb.
Autarkia presented exhibition The Guest at Riga’s Kim? which opened December 15 and ran to January 21.
Directed by Robertas Narkus and produced by both Autarkia & Kim?, the “cabaret invites you to [reimagine] the near future as promised by sci-fi entrepreneurs” and includes work by Rainyr Askher, Gints Gabrāns, Kipras Garla, Antanas Gerlikas, Laura Kaminskaitė, Žygimantas Kudirka, Jonas Palekas, Nerijus Rimkus, Antanas Skučas, and others.
The exhibition immerses itself in fantasy, where thoughts of ‘spiritual perfection’ are attained. From large banners and a cave-like hole in the gallery wall to tiny offerings made on a piece of paper that ask what is the weather forecast for our next conversation?, Autarkia sets out to provide “an artist day care centre, a club of interests, an office for putative experiences and imaginary solutions.”
B.yhzz (pronounced /be-wise/) releases eight-minute track ‘Grasp Gesture’ via Stockholm/Zürich’s Country Music today, premiering via AQNB. The Warsaw-based producer and co-founder of the Polish Intruder Alert collective previously dropped EP Via on Montréal/Mexico City label Infinite Machine in July last year.
Using just a saw and a pitchfork belonging to his grandfather and recording simply on a Olympus sound recorder, B.yhzz applies resonance, distortion and lumbering rhythm to excellent effect. This is a uniquely lo-fi approach to what is a growing trend in simulating organic sounds via electronic means (think M.E.S.H. or Kai Whiston), except ‘Grasp Gesture’ does what it promises, processing the treble-laden and metallic echoes of actual physical objects into an electronic composition of sound and movement.**
The two recordings follow another recent EP, Piano Compositions [钢琴组成] , out on LA label Zoom Lens, all of which make up a musical project that reinterprets classical, Romantic and modernist forms in music. All the works are constructed from field recordings, live piano and MIDI simulations of the Chinese zither instrument called guzheng, as well as a series of samples, ranging from machinery and scenes of war to rain and sci-fi sound design. Zhu in turn applies 19th Century Hungarian composer Liszt‘s ‘symphonic poem’ approach to these compositions, an orchestral form in which a single continuous movement evokes some other non-musical source.
In the case of bod [包家巷] that source is what the producer calls the “untranslatable illegibility of the cycle of traumatic experience and its subsequent abusive outcomes.” ‘Detrimental Variance [损害方差]’ flows out of traditional Western logic and into its sung and effects-laden non-English lyrics, and a languid ambience that simply winds down and dissolves.**
Deniz Unal presented solo exhibition Characters of Control at London’s Almanac, which ran November 25 to December 14, 2017.
Accompanying the show was a series of events starting with a reading group looking at plays that explore “control, intimacy and desire” on November 25, a role play workshop on December 2, and a performative event on December 14 featuring Unal, along with Amy Gwatkin and Nadja Voorham.
The press release took the form of an “email to Yoko” where Unal writes of her long-standing focus on illness and how it relates to her current research drawing on BDSM, the dominatrix and “representations pain and power structures.” Through a (non-cliché) framework of “consensual and desired pain,” the work uses the audience-performer dynamic to explore forms of intimacy and interaction.**
The exhibition follows abreu’s time spent as New Media Fellow during the fall of 2017, and includes four new video works, sound, sculpture as well as a publication “meditating on opacity, limbo, and recirculation.”
Using the process of what the artist describes as ‘upcycling’ (repurposing previous work), abreu will piece together and pick apart “the tension between commercialism and community inherent to a digital practice today.”**