9-15 Wyckoff Ave (L) to Halsey (M) to Myrtle/Wyckoff
Sat June 27
yek koo + Gabie Strong + Crazed (NY)
Spotty Dog Books and Ale
Broadcast live via Wavefarm/WGXC
440 Warren Street
Hudson, NY 12534
Wed July 1
yek koo, Gabie Strong, + local TBD
319 NORTH 11TH STREET
PHILADELPHIA PA 19107
Thurs July 2
yek koo, Gabie Strong, Julia Santoli, Bob Bellerue
915 WYCKOFF AVE.
Mon July 6
yek koo, Gabie Strong, Todd Anderson, Pretengineer
138 South St,
Boston, MA 02130
Tues July 7
yek koo, Gabie Strong, Jake Meginsky, and Matt Krefting
Jon Doe Jr. Record Store
269 Main St. Greenfield, MA
Wed July 8
yek koo, Gabie Strong, + local TBD
Albany Sonic Arts Collective
Upstate Artists Guild
247 Lark St. Albany, NY
March 20, 2015
7:30 – 10pm – opening reception
Los Angeles Contemporary Archive (LACA)
2245 E Washington Blvd
Los Angeles, CA 90021
An iteration of Fassonaki’s project Khal will be exhibited at Los Angeles Contemporary Archives (LACA) from March 20 to April 9th where the original 16 scores and recorded interpretations by the participating artists will be exhibited.
Special guest artist Fariba Safai will open the event on March 20th with a vocal interpretation of one of the scores entitled ‘Celestial’
246 Union Avenue, Brooklyn, NY 11211
Glasshouse will be presenting the first iteration of Fassonaki’s project Khal on March 11th at 8pm. Sketched animation of visual scores will be accompanied by performing artist and environmental activist Suki Dewey’s spoken word interpretations.
In September 2014 Helga Fassonaki resided in an artist studio in Tabriz, Iran for a month. As a visual and performing artist, what she was able to share in public was restricted. Furthermore, as a female performing artist, the use of her voice in public performance was restricted.
Due to the establishment of the Islamic Republic of Iran in 1979, Ayatollah Khomeini ‘condemned all forms of music, other than classical and traditional Persian music’ as influenced by western culture, and therefore corruptive and forbidden. Khomeini also forbade women from singing solo in public because of ‘the seductive quality of the female voice’.
Since performing as she chose was illegal in Iran, Fassonaki sent compositions in the form of sculptural scores created during her residency in Tabriz to sixteen female artists and musicians living in the US, the United Kingdom, Denmark and New Zealand. The concept being that the scores be interpreted and performed publicly by these artists in lieu of Fassonaki’s ability to do so.
Different iterations of Khal will be presented at galleries in the US and New Zealand as a traveling exhibition in 2015/2016 where the scores and their interpretations by the participating artists will be displayed, heard, and reinterpreted – pushing the idea of a ‘living score’ as an archive open to edits, renewal and dialogue. As the series unfolds from one event to another, Fassonaki seeks to create a composition of voices and actions. Like the idea of Khal, (a derogatory term in Farsi for Iranian Pop music that was sent to Iran by Iranian US immigrants in the form of homemade mixed tapes so that Iranian residents could listen to their country’s own pop stars). Through these simple actions, the hope is that the reverberation of freedom of expression can echo back across the globe and via the clandestine channels of the world wide web find it’s way back to the country in which the scores had their origin.
The participating artists who received and are performing Fassonaki’s scores include Kali Z Fasteau (NYC, NY), Kelly Jayne Jones (London, UK), Heather Leigh (Glasgow, Scotland), Jenny Gra?f (Copenhagen, Denmark), Zaïmph (Brooklyn, NY), Chiara Giovando (Los Angeles, CA), Shana Palmer (Baltimore, MD), Purple Pilgrims (North Island, NZ), Rachael Melanson (London, UK), Christina Carter (Austin, Texas), Gabie Strong (Los Angeles, CA), Ashley Paul (London, UK), Angeline Chirnside (Auckland, NZ), Matana Roberts (NYC, NY), Rachel Shearer with Beth Ducklingmonster (Auckland, NZ), and Kathleen Kim (Los Angeles, CA).
Additional artists include Suki Dewey (Oldwick, NJ) and Fariba Safai (San Francisco, CA).
EXHIBITION & EVENT DATES:
September 26, 2015 (opening) – Disjecta (Book of Scores curated by Chiara Giovando) in Portland, Oregon
October 8 – 31, 2015 – The Auricle Sonic Arts Gallery in Christchurch, New Zealand
November 5 – November 28, 2015 – Audio Foundation Gallery in Auckland, New Zealand
developed for radio only – explores the relationship between body, microphone and air movement. investigates a sound concept without exposure to the ‘missing element’ – the physical contact between audience and performer.
Thursday April 2 – KCHUNG (Los Angeles, CA) – Crystalline Morphologies w/ DJ Gabie Strong, 7 – 9pm PST
Sunday October 26 – WSPN (Saratoga Springs, NY) – The King Loser’s Cut Out Bin w/ DJ Phil Donnelly – 10 – 12am
Saturday October 25 – WAVE FARM WGXC (Acra, NY) – Saturday Night Special – 8pm
Monday October 13 – KDVS (Davis, CA) – Live in Studio A with DJ Christine Richers (will air Oct 18 @ 10pm)
Sunday October 12 - KALX (Berkeley, CA) – The Berkestir – 12 – 3pm
Saturday October 11 – KCHUNG (Los Angeles, CA) – Crystalline Morphologies w/ DJ Gabie Strong, 1 – 3pm
September 1 - WXYC (Chapel Hill, NC) – 4pm
Helga Fassonaki, Oaxaca 2014
‘…one does not speak in a shell, one listens’ – (Patti Smith from poem ‘Conch’)
This project was inspired by Akio Suzuki’s ‘Listening Point’ project, Oto-Date, which I had the opportunity to experience under Suzuki and Aki Onda’s instruction during Field Studies 2014 in London. A group of us were given maps and told to find one or more ‘listening spots’ that we later shared with the group. No recorders, no instruments – our tools were our eyes and ears. Our ears like shells brought us closer to an audible landscape. Holy Conch was realized with a similar intention – through the minimal act of listening allow the senses and mind to peel wide open. Holy Conch was specifically realized while doing a residency in Oaxaca, Mexico. Upon arrival to Mexico, I was quickly roused by the many different sights and sounds coming from every direction – It was sensory overload times 100. I couldn’t focus on my intended project. Instead I wanted to be out of my studio and fully immersed in the cityscape.
After giving into the vibrant distractions, I decided to use churches as my listening spaces to somewhat escape the loudness – from bands to rockets to dance classes to kids shouting to drum circles to the iconic gas truck that drives with a jingle much like an ice cream truck to a man yelling ‘aqua’ every hour everyday, etc. In contrast, I thought churches could act as spaces for inner-reflection – a solo dwelling place ideal for listening. I located 18 churches in the Central Oaxaca area and for the remaining duration of my residency I visited a few a day. Using each of these resonating chambers in essence as my work studio, I sat or stood underneath the dome ceilings or walked around the canals for as long as I felt like being there. I often returned to the same church but never quite had the same experience twice. These churches were never actually without sound. With their doors open and much noise bleeding through, the churches were like the holy filters of society. Sounds reflected, echoed, resonated, and transformed – yet there was silence in the form of stillness as separation from the outside world itself acted like a filter. But with the sound of church bells came a subtle reminder of the hierarchical shape present within – a cone shaped golden spiral one can both listen through and hide within.
With a map and my notes, I invite visitors to have their own listening experience of Holy Conch, Oaxaca.
Holy Conch post live performance & listening environment
June 30th, 2014
I created a listening environment in which I improvised live with segments of recordings I made in the different Churches – a byproduct to share with an intimate audience. What fascinated me with the churches in Oaxaca was the underlying Pagan beliefs that were practiced before the Spanish arrived bringing over the Catholic religion (around 1521). Many Catholic churches were built right over Pagan shrines or sacred places. The chosen spots revealed the Pagans’ close relationship with nature and land.
In my alter creation I included raw materials symbolic of a kind of Pagan ritual integrated with a Baroque gold backdrop, an essence of my sensory experiences during holy conch. The creation of this new listening environment appeared to have meditative effects on the audience.