EXCLUSIVELY AT THE PARRISH
A LIVE, SITE-SPECIFIC PERFORMANCE
FEATURING 18 INNOVATIVE VISUAL & SOUND ARTISTS
FROM AROUND THE WORLD
FRIDAY, SEPTEMBER 27, 7-11PM
The audience can experience the performers in OPTOSONIC TEA@ THE PARRISH
in unexpected places inside and around the Museum
OptoSonic Tea at Pioneer Works, New York. Photo: Courtesy OptoSonic Tea
OptoSonic Tea @ the Parrish—a durational, site-specific indoor/outdoor multimedia performance featuring 18 of the most innovative video and sound artists from around the world—will be presented exclusively at the Parrish Art Museum, Friday, September 27, 7pm–11pm. Visual artists will perform simultaneously to a continuous performance by live musicians/sound artists throughout various Museum spaces such as the Lichtenstein Theater, lobby, terrace, benches, meadow, event lawn, and parking lot. Audience members are invited to explore and meander through these spaces as the performance unfolds, interacting in new ways with the Museum grounds and Herzog & de Meuron-designed building.
Sound artists/musicians will create immersive and random audio, using a variety of instruments including synthesizers, bagpipes, and violin, as well as vocals. Visualists will create multi-layered visuals by projecting and manipulating a wide range of media including analog video mixers, and video programs such as Jitter, VDMX, modul8, film, slides, Magic Lantern, and Synkie. OptoSonic @ the Parrish is presented in collaboration with New York City based Harvestworks, a not-for-profit organization founded by artists in 1977 that supports the creation and presentation of work using new and evolving technologies.
“I am excited to bring OptoSonic Tea’s sensory extravaganza out East to the Parrish,” said Corinne Erni, Senior Curator of ArtsReach and Special Projects. “It is a collective experience of wonder that will allow visitors to interact with one other and the artists, and to literally see the Parrish in a new light.”
The roster of visual artists features Benton C Bainbridge, Bradley Eros, Andy Guhl, Kit Fitzgerald, Asi Föcker, CHiKA, Chris Jordan (cj), Katherine Liberovskaya, LoVid (Kyle Lapidus and Tali Hinkis), and Ursula Scherrer.
Participating sound artists are Marcia Bassett, Ranjit Bhatnagar, Shelley Hirsch, Laura Ortman, Emma Souharce, Michael J. Schumacher, Keiko Uenishi, and Shane Weeks.
OptoSonic Tea @ the Parrish is a continuation of a concept that the collective conceived for its 10th anniversary celebration at Pioneer Works in 2017—an evening of live visuals with live sound performance. In 2019, Scherrer and Liberovskaya worked with Swiss artist Flo Kaufmann to organize OptoSonic Swiss, a night of live visuals with live sound performance in a Capuchin monastery as part of Kulturnacht Solothurn in Switzerland.
The event at the Parrish is part of the Museum’s 2019 Platform project by the New York City-based artist collective OptoSonic Tea, founded in 2006 by Liberovskaya and Scherrer to explore the interaction of live visuals and live audio. OptoSonic Echoes is a multi-channel continuous sound installation positioned at the exterior of the Museum’s north entrance that was conceived by Liberovskaya and Scherrer, and composer Michael J. Schumacher who acted as the producer. Visitors to the Museum from now until October 31, 2019 may sit on the outdoor benches to hear recordings of artists as they discussed their work and created sounds for the OptoSonic Tea performances. Curated by Erni, the installation continues the Museum’s commitment to Platform—the Parrish’s open-ended invitation to a single artist or artist collective to consider the entire Museum as a potential site for works that transcend disciplinary boundaries, encouraging new ways to experience art, architecture, landscape, and community.
ABOUT THE ARTISTS PERFORMING OPTOSONIC TEA@ THE PARRISH
Benton C Bainbridge creates single channel video, interactive artworks, immersive installations, and live visual performances with custom digital, analog, and optical systems of his own design. He created visuals for two Beastie Boys world tours and recently exhibited Picturing You, an interactive media installation at Frieze Art Fair, New York. www.bentoncbainbridge.com.
Bradley Eros is an artist, experimental filmmaker, writer, poet, photographer, mediamystic, and maverick curator working in sound collage, expanded cinema, and performance. He creates ephemeral spaces and long-lasting venues, from micro-cinemas and storefronts to galleries and museums. Eros has collaborated with Aline Mare (Erotic Psyche), Jeanne Liotta (Mediamystics), the Alchemical Theatre, Circle X, and kinoSonik. https://microscopegallery.com/bradley-eros-art.
Kit Fitzgerald creates gestural works that suggest vibrant moving canvases. Working with the Fairlight Computer Video Instrument (CVI), she generates and orchestrates imagery in real time, creating vivid compositions of color, form, light, time, and sound. Since 1985, Fitzgerald has applied her improvisational “video painting” to live music/video performances with musicians including Peter Gordon, Ryuichi Sakamoto and Max Roach. www.eai.org/artists/kit-fitzgerald/biography.
Asi Föcker experiments with light, air, space and sound, using the medium of installation, object performance, music and photography. Her artistic starting points are everyday objects and materials that intersect with observations of daily life; reflection, color schemes, textures and movement. She has performed at festivals and cultural institutions all over Europe. http://asifoecker.net/
Andy Guhl (Visual and Sound Artist) began his career in 1972 in improvisational free jazz with Norbert Möslang. In 1983 they started “cracking daily electronics,” manipulating everyday objects to produce sounds. In the 1990s they expanded into visual representation of acoustic phenomena, including the Sound Shifting installation at the Venice Biennial in 2001. Since 2002, Guhl has created installations using audio-visual feedback in analogue electronic systems which he calls “The Instrument.”http://andy.guhl.net.
CHiKA (Chika Iijima)’s installations are inspired by minimalistic geometric beauty, Japanese philosophy, Zen, sound, and complicated mechanisms that interact with the public. She draws from her experiences working with experimental sound composers, 8-bit musicians, and club DJs, experimenting with improvisational communication with audiences in real time. Iijima’s work has been shown at numerous international festivals and museums. https://imagima.com.
Chris Jordan (cj) explores light, movement, and time through technology. Common elements include explorations into memory, photography, film, interactivity, and projections. By examining the political and social implications of technology through diverse media, his work challenges the viewer to redefine perceptions of audience and performer. Jordan’s installations have appeared in museums and galleries worldwide, including MoMA, The New Museum, and The Whitney. He co-curated the interactive Figment Sculpture Park on Governors Island in 2012 and 2013. http://www.seej.net.
Katherine Liberovskaya has been working predominantly in experimental video since the late 1980s. Over three decades, she produced many single-channel videos, video installation works, and video performances which have been presented at myriad artistic venues and events around the world. https://vimeo.com/128331111,https://www.facebook.com/liberovskaya.
Interested in how technology affects the evolution of human culture, LoVid (Kyle Lapidus and Tali Hinkis) explores the invisible or intangible aspects of contemporary society—such as communication systems and biological signals—through their interdisciplinary work. Their performances, participatory public art, handmade technologies, textiles, prints, App-art, experimental video, and immersive installations have appeared at Museum of the Moving Image, The Kitchen, and The New Museum, and they participated in residencies with STEIM (Netherlands), Harvestworks, Eyebeam, Smack Mellon, and Cue Art Foundation. www.lovid.org.
Ursula Scherrer‘s work and collaborations with composers, choreographers, stage directors, light artists, and poets have been shown in festivals, galleries and museums internationally. Originally trained as a dancer, Scherrer shifted her focus to choreography and expanded to photography, video, text, mixed media, and performance art. www.ursulascherrer.com/
Marcia Bassett is a prominent figure in the U.S. underground noise scene. Using handmade electronic instruments, prepared guitars, digital and analog synthesizers, manipulated vocals, and field recordings, she recently released the album Rhizomatic Gaze as Zaïmph. Bassett first made an impact with the Philadelphia outfit Un in the 1990s before releasing music with the New York experimental drone group Double Leopards, Hototogisu and Tom Carter as Zaika, as well as her collaborations with Samara Lubelski and Margarida Garcia. http://zaimph.org/bio/
Ranjit Bhatnagar works in music, installation, and text, with a particular interest in algorithmic techniques and improvisation. He worked with Ad Hoc Art Collective to build a large-scale musical installation in Denmark, and with New Orleans Airlift to build tiny musical houses. He has performed with Lea Bertucci, Thessia Machado, and Margaret Leng Tan, and published Encomials: Sonnets from Pentametron—a book of algorithmic poetry. Bhatnagar’s heaviest work is Stone Song, a 7,500 pound outdoor sound sculpture; his longest is The Tapestry of the Search for Terrestrial Intelligence at 44 yards. https://moonmilk.com/
Vocal artist, performer, composer, storyteller, interdisciplinary artist Shelley Hirsch has been pushing boundaries with her unique art, drawing on life experiences, memory, and vivid imagination for decades. Her compositions, staged multimedia works, improvisations, radio plays, installations and collaborations have been produced and presented in concert halls, clubs, festivals, theaters, museums, galleries and on radio, film and television on five continents/ www.shelleyhirsch.com/shelley.
Laura Ortman (White Mountain Apache) produces solo albums, live performances, and film/art soundtracks and frequently collaborates in film, music, art, dance, multi-media, activism and poetry with artists including Nanobah Becker, Martin Bisi, Raven Chacon, Martha Colburn Tony Conrad, Michelle Latimer, Okkyung Lee, Caroline Monnet, and Jock Soto. Ortman plays violin, Apache violin, piano, electric guitar, keyboards, pedal steel guitar, sings through a megaphone, and makes field recordings. Her work is included in the 2019 Whitney Biennial. https://thedustdiveflash.bandcamp.com.
Composer/producer Michael J. Schumacher has worked with a range of instruments and musical forms including symphony, song cycle, and solo piano in the minimalist/avant-garde, rock, and ambient styles. Schumacher specializes in computer generated sound and processing of acoustic instruments such as prepared electric guitar, piano, and computer. www.michaeljschumacher.com
Sound artist Emma Souharce explores the effect of frequencies on the brain, subconscious emotions, and the perception of time with the goal to reach Hypnagogia, or the transitional state between wakefulness and sleep, when some of the most creative ideas occur. In 2015, she co-founded the experimental band Biblioteq Mdulair with Daniel Maszkowicz. She collaborates with the collective La Reliure, who organizes the annual DAF festival. In 2019, Souharce co-coordinated the BIG–Interstellar Art Spaces Biennale of Geneva. https://emmasouharce.com.
Keiko Uenishi (o.blaat)’s work is informed by experiments in restructuring and analyzing our relationship with sounds in sociological, cultural, and psychological environments. Uenishi performed and presented works at MoMA P.S. 1, Dia Beacon, Lincoln Center, Park Avenue Armory, Eyebeam, among others. In 2010, she was invited to create interpretations of Christian Marclay’s objects score “Sixty-Four Bells and a Bow” for his exhibition Festival at the Whitney Museum. In 2009, Uenishi created an ongoing, collaborative project, BroadwayDreams on local businesses and sidewalks, utilizing web 2.0. http://soundleak.org/bio
Shane Weeks is an artist, singer, and dancer. At age 16, he founded the Shinnecock Pow Wow stand, a business that incorporates tribal artists’ work. A distinguished member of the Shinnecock community and government, Weeks’s mission is to bridge the gap between his community, the local community, and communities abroad. He is the founder of Indigenous International, an organization that documents the cultural diversity of indigenous communities across the globe. https://indigenousinternational.com/
Intermedia artist Katherine Liberovskaya and video/performance artist Ursula Scherrer conceived OptoSonic Tea as a series of salon-style meetings that explore various forms of live visuals and their interaction with live audio, followed by an informal discussion about the artists’ practices over a cup of green tea. The events took place at the Diapason Gallery in New York until it closed in 2011, at which time Liberovskaya and Scherrer began organizing evenings at venues in Manhattan, Brooklyn, and Long Island including Silent Barn, FotoFono, Experimental Intermedia, The Living Gallery Outpost, and Pioneer Works; and in Europe with OptoSonic Tea On the Road.
Platform: OptoSonic Tea @ the Parrish is made possible, in part, by the generous support of the Swiss Arts Council Pro Helvetia and mediaThe foundation inc., and Sandy and Stephen Perlbinder.
Parrish Art Museum
Inspired by the natural setting and artistic life of Long Island’s East End, the Parrish Art Museum illuminates the creative process and how art and artists transform our experiences and understanding of the world and how we live in it. The Museum fosters connections among individuals, art, and artists through care and interpretation of the collection, presentation of exhibitions, publications, educational initiatives, programs, and artists-in-residence. The Parrish is a center for cultural engagement, an inspiration and destination for the region, the nation, and the world.
Parrish Art Museum construction photographs © Jeff Heatley.