Date(s) - May 03, 2019
8:00 pm - 11:00 pm
Our May 2019 Frequency Fridays show features experimental experimental sacred music and new media art duo ARIADNE (NYC), composer/electroacoustic improviser Katherine Young (CLE), Leyya Mona Tawil’s performance art project Lime Rickey International, and free jazz trio Haas/Razzaq/Weldon (CMH). Accompanying the trio on visuals is Columbus-based video artist Christine Guillot Ryan. Date: Friday, May 3rd 2019. Location: 13 E. Tulane Rd. 43202. Admission: $10 for one, $15 for two. Doors open 8pm. All ages, BYOB. Our Frequency Fridays 2018-2019 season is supported by grants from the Greater Columbus Arts Council, the Ohio Arts Council, and the Columbus Foundation.
About the artists:
ARIADNE is an experimental sacred music and new media art duo whose work explores the intersection of mysticism, dream analysis and the failure of digital systems through a synthesis of music performance, digital and interactive art, poetry and dramatic experience. With a focus on interspersing the ritualism of ancient spirituality and the secular iconography of the postmodern, ARIADNE flawlessly bridge the two worlds through their intricate musical compositions, striking digital visuals, and captivating live performances. ARIADNE is comprised of Christine Papania (voice, electronics) and Benjamin Forest (electronics).
The curious timbres, expressive noises, and kinetic structures of Katherine Young‘s electroacoustic music explore the dramatic physicality of sound, shifting interpersonal dynamics, and associations with the familiar and the strange. The LAPhil’s Green Umbrella series, Chicago Symphony Orchestra’s MusicNOW, Ensemble Dal Niente, Third Coast Percussion, Spektral Quartet, Weston Olencki, Nico Couck / Internationales Musikinstitut Darmstadt, Fonema Consort, and others have commissioned her music. She is excited about coming-soon (and soon-to-be recent) projects with Lucy Dehgrae for Resonant Bodies Festival, WasteLAnd and RAGE, Distractfold Ensemble’s Linda Jankowska, Callithumpian Ensemble, and Yarn/Wire. She is releasing new music this year with Michael Foster & Michael Zerang, Wet Ink, and Amy Cimini (as Architeuthis Walks on Land). As a bassoonist and improviser, she amplifies her instrument and employs a flexible electronics setup. Her debut solo album garnered praise in The Wire (“Bassoon colossus”) and Downbeat (“seriously bold leaps for the bassoon”). Collaboration is central to her practice, and she performs regularly as a soloist, in ad hoc improvised groups, and with her long-standing ensembles Pretty Monsters, Architeuthis Walks on Land, and Till by Turning.
Lime Rickey International is the superconsciousness of Leyya Mona Tawil, an artist working with dance, sound and performance practices. Tawil is a Syrian, Palestinian, American engaged in the world as such. Her articulation of Arab Experimentalism embeds political sub-narratives and cultural confusions into the performance fabric. Tawil has a 23-year record of choreographies and performance scores that have been presented throughout the US, Europe and the Arab world. Lime Rickey International receives support from the Abrons Arts Center through the Abrons AIRspace Residency Program, the East Bay Fund for Artists at the East Bay Community Foundation, Saari Residence/KONE Foundation and DANCE ELIXIR’s ArabAMP.
Christine Guillot Ryan is fascinated by how people create their own worlds. Challenging assumptions of an objective reality, she uses mixed media and video collage to explore the construction process of perception. She creates complex non-linear narratives to communicate the fullness of human experience. Her work explores identity, desire and inequity within our contemporary context. What do we want, and who are we, really? She is interested in the amalgamation of who we think we are, how we decide what is real and important, and our yearning to connect and engage with our worlds. Her process begins with a question to explore, a concept to communicate, or a feeling to express. She dissects cultural influences, beliefs and bias, playing nostalgia against cultural critique. She uses collage techniques – cutting, tearing, masking, juxtaposition and synthesis – with filters of distortion to reveal meaning and underlying interconnections. Recognizable elements surface, then submerge in abstraction, suggesting the fluid interplay of thought, sensation, emotion, and memory.