The first of our 3 extra colloquium sessions this week will be on Thursday, the 19th of November. We will meet at 6:00pm on the 6/F in the Future Cinema (M6094). In this session we will be hearing from artists Feng Hao and Eli Kessler about their work.
About the Artists and their Talks:
Feng Hao is an art creator. His works mainly focus on sound art and experimental music, and he is involved in drawings, performances, images, performing arts and design etc., which makes him an interdisciplinary artist with various styles. He researches on performances with pre-made guitars and explores every possibility in them. He also creates works in sound art related to social phenomenon; he also makes plunderphonic works with the name “DJ Strausss”. His experimental band Walnut Room explores music languages such as improvisation, the industrial, no wave, dark wave, etc. and expressions in performing arts.
“I am going to talk about the project “Bustling Declaration”. Working and living in Beijing, I can feel the changes indifferent aspects in the society every day; I see also quite a number of interesting phenomena with Chinese characteristics. With all these changes in the society, new problems arise. No matter you are willing or not, it seems hard to escape from the stimulations that the social environment has brought about. I will share how these interesting phenomena have influenced my works.” – Feng Hao
Keszler is a New York based artist, composer and percussionist who situates his practice within the intersections of architecture, performance, installation, notation and composition. His work uses microprocessor-controllers and sound producing constructions that activate motors to strike, scrape and vibrate enclosures. These works are often accompanied by collections of visual works, drawings and scores. His installations can be experienced autonomously or with an ensemble/solo performance featuring Keszler’s aggressively propulsive drumming.
“I will talk about piano wire as a mode of looking into various aspects of musical and extra musical avenues. As a material whose expansive capabilities allows me to work with architecture, as a form of installation and composition. I’ll talk about the transition from
working with this material outside of the context of the pianos history, and the way I’ve begun to exam its relationship with the instrument and music construction as a whole.” – Eli Kessler