Fragmental Museum Show in New York

Parkins,Marsh,Edwards (Photo credit: andynew)

From Fragmental Museum:

Fragmental Museum’s Sound Series kicks-off with a day of site-specific installations and performances curated by Composer/turntablist Tristan Shepherd. A group of interdisciplinary artists whose work converges around sound will distribute five pieces across the four floors of the building, investigating on the mutual inflection of interior and occupant, leaving affective traces on the horizontal architecture of the vacant warehouse.

Saturday, june 16th, 2012
2pm – 10pm
Reception and refreshments 6pm
Performances 6pm – 9pm

58’30”, Digital Video, 5.1 surround

by Richard Garet

Electrochroma is an audiovisual work that emerged from the treatment of light, generated images and sound, and translations of image to sound. This work was created utilizing 16mm celluloid, various extended techniques and digital processes to manipulate both audio and moving image. The work’s imagery ranges from dark to light monochromatic spheres, shifting tonality and intensity from mild to high saturation, including flickering and pulsating rhythms, afterimage, and sensory overloads. The sound composition was arranged for 5.1-surround resulting in tones, overtones, profound bass echoing, modulated frequencies, textures, static noises, and electronic sounds moving through space. The 58’30” audiovisual work will play on the hour throughout the day.

Richard Garet interweaves various media including moving image, sound, multimedia performance, and photography. In work ranging from modified environments to site specific installations to audiovisual screening works, Garet constructs intimate spaces and immersive situations that draw attention to the processes of perception and cognition, and which activate sensorial, physical, psychological phenomena that reflect on the nature and experience of time.


by Bethany Ides – with Erin Yerby, Netta Yerushalmy & Ed Bear

Performances from Netta Yerushalmy from 7 to 9 pm and Bethany Ides from 6 to 8 pm

This performance fosters an immersion into spirit mediumship as a phenomenon both distinctly feminine and radically interior. Sound, video, sculpture and performance works comprise a charged set of preparations for channeling, transmitting, housing, processing, delineating, gesticulating &/or transforming the ecstatic impulse.

Bethany Ides works with conditions (text, presence, prescience, instability, irrevocability, implicature, dis-use) and this work manifests as performance, installation, publication, video, sound and/or curation having been presented at The Brooklyn Museum, Recess Gallery, PS122 and in galleries across the Pacific Northwest. Her 2010 multimedia opera, Children Get Stuck Places Underground, premiered at Half/Dozen Gallery in Portland, OR, and a new opera entitled Transient’s Theme is currently in progress, enacted on-site and in increments. Ides teaches art theory & history, literature and the cultural study of sacred texts at SVA.

Erin Yerby is a doctoral candidate in Cultural Anthropology at Columbia University whose study engages affective territories and sensory inscapes mediated in and through intensive states of the body, particularly 19thcentury conceptions of “hysteria” and contemporary spiritualist communities.

Netta Yerushalmy is a dancer and choreographer, performing widely both in New York and internationally. She is the recipient of a 2012 Guggenheim Fellowship, a 2010 Fellowship in Choreography from the New York Foundation of the Arts, and a 2010-2012 Six Points Fellowship. She has been an Artist-In-Residence at the Tribeca Performing Arts Center since 2010, and was an LMCC’s Swing Space resident in 2011.

Ed Bear is a musician and engineer whose work with robotics, sound, video, transmission and collective improvisation investigates the questionable calibration of perception. He is a free103point9 AIRtime fellow, recipient of Roulette’s Emerging Composer Commission and currently in residence at an LMCC Swing Space.


by Andrea Parkins

Austell 1: An Irrational Partner (How Decisions Are Made)
circa 30 minutes; misc. loudspeakers; and live-processed electro-acoustic instruments; 5.1 surround

Austell 2: Faulty (Broken Orbit)
13’42’’; 5:1 surround

Andrea Parkins will present a work in two parts – a response to the Austell Place building’s evocative acoustics, as well as its sonically dynamic location adjacent to the lines and yards of the LIRR, MTA and Amtrak. Austell 1: An Irrational Partner (How Decisions Are Made) layers a slowly shifting field of live- generated feedbacks, glissandi and drones into the building’s expansive and highly reverberant third floor space. Augmented by unpredictable acoustic entries funneled through an open window, as well as Parkins’ performative interventions on her live-processed electric accordion, the work moves from density and stillness to sudden moments of gap and rift, disappearance and misfiring. Austell 2: Faulty (Broken Orbit), is a more intimate work, an exploration of mic’ed surfaces, and amplified quotidian objects — collected, invented, imagined or implied — as they are set into motion and slowly come to stasis. The composition is structured via elaborate, precarious systems in the manner of Rube Goldberg’s circuitous machines, inspiration for Parkins’ customized sound-processing instrument as well as her sonic architecture: emphasizing idiosyncrasy, awkwardness, and the threat of things falling apart. First presented by Diapason gallery in NYC as a site- based 10- channel work and later re-imagined as a stereophonic recording for Important Records, Faulty (Broken Orbit) has been reconfigured for 5.1 surround for the building at Austell Place.

Andrea Parkins is a sound/installation artist, composer and electroacoustic performer known for her uniquely gestural, textural approach on her electronically-processed accordion and customized live sound processing. As an audio artist, Parkins is primarily engaged with interactive electronics as both material and process, and as a means of making sense and disrupting it. Her works are concerned with the discovery and articulation of metaphors for slippage and tension between object, gesture and meaning that occur through the passage of time. As an installation artist, composer and performer, she builds and layers systems and structures that point to these shifting states.

for speakers and (sometimes) large ensemble. c. 30 minutes

by Tristan Shepherd

Using a 5.1 sound system and an array of consumer-grade speakers, Tristan will create a new composition which investigates the co-extension of musical and architectural volume. Activating the unique acoustics of the building though loudspeaker placement and shifting dynamics, the piece will be a play of intimacy and distance, at times saturating the room, at times emanating from one lone speaker. While the ear can resolve the difference between two pitches with a great degree of precision, volume {acoustic and spatial} remains relational, a matter of position and proximity. A sense of scale is mostly sensation.

Later in the evening the installation will be augmented by a scored piece for brass and woodwind ensemble.

Tristan Shepherd is a composer, improviser and turntablist from Dearborn, MI currently based in Brooklyn, NY. His work includes installation pieces for multichannel audio, appearances as an improviser in group ensembles and compositions for solo turntable. Using a combination of modified records and custom dubplates as source material, his compositions consist of a sonic counterpoint and bricolage that hinge on the decontextualization and reanimation of the musical gestures ‘frozen’ on the records.

Tristan has performed at Roulette Intermedium, Harvestworks, The Emily Harvey Foundation, MoMA PS1, and the Whitney Museum of American Art.


by Doron Sadja

Using motorized swinging speakers, multichannel sound, and high intensity smoke and light projections, Sadja transforms this expansive industrial space into an architectural and alchemical sonic ecosystem.

Doron Sadja is a multimedia artist working primarily with multichannel spacialized sound – combining pristine electronics with lush romantic synthesizers, extreme frequencies, dense noise, and computer-enhanced acoustic instruments to create post-human, hyper- emotive sonic architecture. Doron has published music on 12k, ATAK, and Shinkoyo records, and has performed/shown video and installation work at Miami MOCA, D’amelio Terras Gallery, Cleveland Museum of Art, Issue Project Room, and Roulette amongst others. Sadja co-founded Shinkoyo Records and the West Nile experimental performance space in Brooklyn (RIP), and has curated various new music/sound festivals around NYC. Doron’s newest album, RESIDUALS, came out May 8th on Shinkoyo Records.