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Khal at Nga Taonga Sound & Vision – November 18 – December 11, 2015

November 15th, 2015 by helga


‘8 Pillars’ Score for Rachel Shearer

‘8 Pillars’ Score for Rachel Shearer


Khal at Nga Taonga Sound & Vision
18 November – 11 December 2015
300 Karangahape Rd Newton, Auckland NZ
Launch – 17 November, 6pm
– 8pm

8 Pillars – A Free Score at Viewfinder window
11 – 24 November
Auckland Central Library, 46 Lorne Street, Auckland
Khal continues to document a living score as a language used to tell a story, communicate a process, and provide instructions while remaining transient and undefined.

Presented alongside Fassonaki’s filmed reinterpretation of her score 8 Pillars will be Khal Open Book – an archival box filled with score images, text, notes, interviews, and performance stills collected from September 2014 to current and includes conversations, exchanges, and actions that took place between Fassonaki and the sixteen plus artists involved.

Angeline Chirnside, Purple Pilgrims, and Rachel Shearer – three of the original score recipients have chosen three new Auckland-based artists to perform the scores for the opening –
Tuesday November 17, 8pm:
Hermione Johnson & Zahra Killeen Chance will perform ‘Hypocrisy’
Elizabeth Mary Maw will perform ‘Hum Hum Hum Hum Hum’
Piece War/ Live Visuals by Cutss will perform ‘8 Pillars’

8 Pillars – A Free Score
Working with the idea of a score as a living force containing the power to shape and reshape what enters our senses, Helga Fassonaki reinterpreted one of her scores ‘8 Pillars’ (originally created for New Zealand artist Rachel Shearer) into a performance composition for seven women. It was filmed on Independence Day 2015 in a forested area in Oldwick, New Jersey. The women (each representing a pillar) move in a slow and deliberate motion mirroring their meditative wordless humming of the Star Spangled Banner as they form a circular shape around the forest trees. The cameraperson is also one of the pillars whose motion and view is revealed through another camera frame that remains still, documenting the process of a composition being created but never finished. The group voices fade as one voice (the missing eighth pillar) continues chanting the anthem until the song becomes unrecognizable.

Presented as a kind of paradox, the ‘8 Pillars’ composition explores two sides of freedom – personal vs political, whilst stripping content from song until the sacredness of a singular voice is revealed. A solo voice whether banned by political law or censored by our own fears is a vessel for a powerful recalcitrant freedom, one that is always vulnerable to attack no matter how ‘free’ a country is.

Performers featured in the film include: Yasi Alipour, Julia Santoli, Gabie Strong, Nazanin Daneshvar, Laura Sofia, Suki Dewey, and Helga Fassonaki (also as cameraperson)

Solo Vocals: Julia Santoli

8 PILLARS LIVE PERFORMANCE (September 26, 2015)
Julia Santoli (solo vocals) alongside Helga Fassonaki performed the next sequence of the ‘8 Pillars’ filmed composition at Disjecta in Portland, Oregon. As Santoli continues to hum a deranged Star Spangled Banner anthem, the notes are elongated and blurred into solid tones of color.

Presented as an unpublished book – an archive open to edits, renewal and dialogue. Contains notes, interviews, spoken words, score drawings, performance stills, and past exhibition iterations gathered from September 2014 to present from original score recipients:
Kali Z Fasteau (NYC, NY), Kelly Jayne Jones (London, UK), Heather Leigh (Glasgow, Scotland), Jenny Gräf (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 participating artists:
Suki Dewey (Califon, NJ), Fariba Safai (San Francisco, CA), Nazanin Daneshvar (NYC, NY), Yasi Alipour (NYC, NY), Laura Sofia (NYC, NY), Julia Santoli (NYC, NY), Stainer Black-Five (Christchurch, NZ), Mela (Christchurch, NZ), Misfit Mod (Christchurch, NZ), French Concession (Christchurch, NZ), Instant Fantasy (Christchurch, NZ), Hermione Johnson & Zahra Killeen Chance (Auckland, NZ), Liz Maw (Auckland, NZ), and Piece War (Auckland, NZ).

More about Khal

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Khal at the Audio Foundation gallery – November 5 – 28, 2015

November 3rd, 2015 by helga


5 November – 28 November 2015

Opening – 5 November, 5:30pm
Performances – 5 November, 7pm

The Audio Foundation Gallery
4 Poynton Terrace Auckland, NZ

An iteration of Khal, an ongoing project begun by Helga Fassonaki in Tabriz,
Iran in September 2014 will be exhibited at the Audio Foundation Gallery
from 5 November – 28. Fassonaki sent sixteen sculptural scores abroad for
sixteen female artists to interpret and perform publicly in response to a ban on
female solo performances in Iran. The original scores and recorded interpretations
by the participating artists will be exhibited.

Four of the original score recipients will be performing Fassonaki’s scores live
on 5 November:

Kathleen Kim – performing ‘Punk Standards’

Angeline Chirnside – performing ‘Hypocrisy’

Purple Pilgrims – performing ‘Hum, Hum, Hum, Hum, Hum’

Rachel Shearer with Beth Ducklingmonster – performing ‘8 Pillars’



CELESTIAL at the Audacious Festival of Sonic Arts, 24 – 26 October

October 21st, 2015 by helga


Celestial presented at the Audacious Festival stems from my project Khal, currently exhibited at The Auricle Gallery of Sonic Arts till October 31, 2015.

When asked to present a sound piece for the Audacious Festival, which began as way consider the vacant lots in Christchurch’s central city as fading gaps in the collective memory of those who know the city, the idea of vacancy as something empty but open came to mind.  Thinking about a time when Iran was apparently encouraging its pop singers and female vocalists to perform in concert halls, clubs, and cabarets – all of which were forced to shut down following the 1979 revolution, I began to consider the relationship between physical and cultural vacancy.  Vacant is the culture’s soul that once occupied those spaces like a building swept away – both leaving only traces and echoes of stories remembered.  But while a space physical or cultural is still vacant, there is an open gap of imagined possibilities.  Past stories and new dreams.

I’ve reinterpreted the score ‘Celestial’ – one of the 16 Khal scores originally sent from Iran to artists (outside Iran) to perform publicly, into a sound installation which will occupy the corner of Manchester and Armagh street – a vacant lot since Christchurch’s 2011 earthquake.

The sound is comprised of twelve solo vocal recordings from female artists in Iran singing the well known Iranian song, Morq-e sahar (translated as Dawn Bird) sung by many renown singers including the iconic Qamar-al-Moluk Vaziri, who was the first Persian female vocalist to sing without the obligatory veil in 1924. Her performance of ‘Dawn Bird’ left a lasting impression on future generations of female vocalists. Most people in Iran know the song by heart. The first stanza is lyrical, and the second refers to more social and political issues.

The collected solo recordings (each recorded privately in Iran) have been layered one on top of each, forming an orchestra or group vocals (that will be broadcast publicly). The physical vacancy of one city will be filled by remnants of the cultural vacancy of another.

The ‘Celestial’ score was made out of what was once a plastic table cloth found in Tabriz.  The tablecloth was cut into squares following the floral design.  The stack of squares is fluid, unbound, and unattached allowing for open interpretation.  On October 24th, starting at 10am at the vacant lot on 281 Manchester Street, the square pieces will be sewn back together reforming its past sequence as the sound of ghostly non-choir, out of sync voices vibrate out of a single mono speaker and mix into the vast sounds of nearby construction projects.

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Khal at The Auricle Sonic Arts Gallery – October 8 – 30, 2015

October 17th, 2015 by helga


Khal – A project by Helga Fassonaki
8 October – 31 October 2015
Opening – 8 October
Performances – 9 October

The Auricle Sonic Arts Gallery
35 New Regent St Christchurch New Zealand 8011

An iteration of Khal, an ongoing project begun by Helga Fassonaki in Tabriz, Iran will be exhibited at The Auricle Sonic Arts Gallery from 8 October – 31. Fassonaki sent sixteen sculptural scores abroad for sixteen female artists to interpret and perform publicly in response to a ban on female solo performances in Iran. The original scores and recorded interpretations by the participating artists will be exhibited.

Five local artists will be performing Fassonaki’s scores live on 9 October:
Stainer Black-Five (Jo Burzynska) – performing ‘One Two Sides Dirty’
Mela (Helen Greenfield) – performing ‘Remove’
Misfit Mod (Sarah Kelleher) – performing ‘Hair Porn’
French Concession (Ella) – performing ‘Heavy Light’
Instant Fantasy (Gemma Syme) – performing ‘One Song Two Sides Bold Breathing’


KHAL AT GLASSHOUSE, March 11, 2015

KHAL AT LACA, March 20, 2015


UPCOMING September – December 2015

August 25th, 2015 by helga


5 – 28 – Khal @ The Audio Foundation Gallery  in Auckland, New Zealand
opening reception: November 5 – Angeline Chirnside, Rachel Shearer + Beth Ducklingmonster, Purple Pilgrims, and Kathleen Kim will be performing Khal scores

14Artist Talk @ The Audio Foundation Gallery, 2pm in Auckland, New Zealand

11 – 24 – 8 Pillars – A Free Score at the Viewfinder window, Auckland Central Library, 46 Lorne Street, Auckland (showing continuously 24/7).

18 – 11 December – Khal @ Nga Taonga Sound & Vision in Auckland, New Zealand
opening reception (6pm): November 17 with Khal performances (8pm) by Hermione Johnson & Zahra Killeen Chance,  Liz Maw, and Song by Piece War (Tina Pihema)/ Live Visuals by Cutss

26 – yek koo @ The Audio Foundation with Rachel Shearer and Thistle Group (Claire Mahoney)

29yek koo, Adam Willetts, and TBA @ The Auricle in Christchurch, New Zealand


8 – 31 – Khal @ The Auricle Sonic Arts Gallery in Christchurch, New Zealand
Opening reception: October 8
Performance evening: October 9 – Stainer Black-Five, Mela, Misfit Mod, French Concession, and Gemma Syme will be performing Khal scores

23 – 26Audacious Festival in Christchurch, New Zealand – public sound installation – an interpretation of the Khal score ‘Celestial’
23Kathleen Kim will be performing my score ‘ Punk Standards’ for the opening night of the Audacious Festival @ The Auricle, 7pm

25 – Artist talk – Celestial and the living score workshop, part of Audacious Festival symposium, 2:30pm

30Kathleen Kim, yek koo, and EYE @ Purple Rain Retro Bar & Cafe, Dunedin, NZ


9 – Subsonic Emissions @ The Torus Porta with RawmeanOnewayness (Erie, PA),
yek kooJulia SantoliPas Musique and Live video during the performances by Jim Tuite.
9pm @ 113 Stockholm St, Storefront 1A, Brooklyn, NY 11221

20 – Poetry Festival @ Widow Jane Mine Cave – yek koo + Julia Santoli (duet performance) 
1pm – 4pm @ 668 Route 213, Rosendale, New York 12472 – $5

26 – 1 November  – “8 Pillars”, Book of Scores exhibition & event @ Disjecta
26 An iteration of  “8 Pillars – A Free Score”  will be performed by Julia Santoli + Helga Fassonaki during the opening reception. 
8371 N Interstate Avenue Portland, OR 97217

8 Pillars – A Free Score at the View Finder Window  11 – 24 November, 2015  8pillars_viewfinder

AUDACIOUS FESTIVAL OF SONIC ARTS, Christchurch, New Zealand – October 23 – 26



The artist talk is part of a Sunday Symposium held on 25 October 2015, part of the Audacious Festival:
More details on Facebook Event:


Five local artists will be performing my scores live at The Auricle on 9 October:
Stainer Black-Five (Jo Burzynska) – performing ‘One Two Sides Dirty’
Mela (Helen Greenfield) – performing ‘Remove’
Misfit Mod (Sarah Kelleher) – performing ‘Hair Porn’
French Concession (Ella) – performing ‘Heavy Light’
Instant Fantasy (Gemma Syme) – performing ‘One Song Two Sides Bold Breathing’

Khal at The Auricle opens October 8th. Reception: 6 – 8 pmKhal at The Auricle opens October 8th. Reception: 6 - 8 pm

The Book of Scores at Disjecta


Unpublished Interview with Jennifer Lucy Allen of the Wire

August 25th, 2015 by helga

Jennifer Lucy Allen of the Wire asked me the following questions about my project Khal on March 30, 2015.  As far as I know it was never published.  I thought I would share the Q&A as my responses offer insight  into the project’s early landscape.

Jennifer Lucy Allen:  Can you tell me a bit about the residency – who runs it, and how/why you applied?

Helga Fassonaki: It was not a residency.  I resided in an artist’s studio for a month, but maybe I confused people by saying that cause many folks have asked me how I got a residency in Iran.   My uncle is an abstract expressionist painter and sculptor from Tabriz, Iran who now lives and works out of a studio in Shomal, which is along the Caspian Sea.  Because of him I was able to have access to this studio in Tabriz, a city in Northern Iran, part of the East Azerbaijan region. 

JLA: Can you describe the location? (Paint a picture, if possible?)

HF: To me the studio felt like a shrine located in an older part the city, close to an ancient mosque, bazaar, bathhouse, and the museum of Azerbaijan.  The studio is three floors – the main floor where I worked was more of a creative thinking hub – a kitchen, lounge area with couch and a single bed for guests, and a rectangle dining table where we’d gather for long lunch exchanges.  I worked in one of the side rooms on this floor.   The middle floor was covered in paints and stacks upon stacks of paintings and books.  The bottom floor was the sculpting studio that was covered in plaster, cement, pottery and had a giant firing kiln. Half the space was filled with huge sculptures and both finished and unfinished projects.    There was a tower air shaft that connected the floors and filled with plants.  One of my studio mates who I really bonded with would work downstairs and sing while working.  With the air shaft windows open, her raw uninhibited voice would resonate upstairs to where I worked.   Listening to her voice while I made the scores greatly influenced my process and brought incredible attention to the lone female voice, more so because its banned from public exposure in Iran. 

JLA: How extensive was your knowledge of the restrictions on performing before you started the residency?

HF: I was very aware of the laws before going to Iran.  The laws were created post 1978, after the revolution, making it difficult for both men and women to perform music other than classical and traditional, especially anything coined ‘western’.  And most specifically the law that bans women from singing solo for mixed men/women audiences.


Before I left I knew I wouldn’t be able to perform in Iran publicly, though curious about the ability to do so secretly. But still assuming I wouldn’t, I had an idea for this project to not only draw attention to the issue but also as a way to activate a global response that embraces and acknowledges the freedom of artistic expression.   I invited 16 female artists to participate before I left – all 16 accepted to receive a score in a non-standard notation that they would perform publicly in leu of my ability to do so.

 JLA: How did you present the work at the residency?

HF: I presented no work while in Iran.  I shared my process and the completion of my scores with my studio mates who were supportive and interested in the idea.

I spent my time in the studio scouting for materials (found) and creating the sculptural scores, each one was personalized for the artist I was sending it to.  My own political, emotional, and social experience while in Tabriz, seeped heavily in the making of the scores as well.  My greatest research and window into artist’s struggles came from the artists that I shared the studio with.  So I spent a lot of my time conversing with them.  One of them helped me in the process of shipping the scores from Iran to the 16 addresses outside the country.  This was a huge unexpected mission in itself.  All art must past through the Ministry of Culture and Islamic Guidance’s council of art and possibly await months for approval or rejection before it can even reach customs.  To avoid this, my studio peer suggested I go through the normal international postal route and avoid saying I’m an artist.  I had to take the 16 objects to the post office unpackaged so they can examine before they approve packaging. I told them they were hand-crafted gifts I made for friends overseas.  They thought I was nuts and maybe took pity on me which helped a bit.  It was a crazy process nevertheless.

JLA: What have you taken away from it, as an individual and an artist?

HF: From my time in Tabriz, I learned about the significance and strength of an art community that really supports one another – its power in overcoming the pressures of society and unjust laws.  And that feminism is not about what women can’t do…its about supporting what women do and women supporting other women.   

So far I’ve had many exchanges with the participating artists and been learning a lot – this conversation is ongoing as the project moves forward.  One thing I noticed in working with these artists is that often its our own fear of public expression that inhibits us rather than backward laws.
I’ve been introducing new artists to reinterpret the scores.  One of the new added artists, Suki Dewey did a free-style spoken word interpretation of all the scores live at the Glasshouse show in Brooklyn, NY. Through our exchanges she spoke about the inhibition artists in the US have in performing publicly in the streets as activists, speaking out – being radical, political.  She asked, ‘Are we really free?’.
As I’ve been exploring this issue and the art climate in Iran, its also made me question my own strengths and abilities as an artist in a western landscape.  I’ve been developing an even deeper emotional and physical connection with voice and its channeling capabilities.

JLA: How does this project relate to your other work? 

HF: Most of my projects move through different phases – changing, evolving, and developing along the way. Nothing feels permanent or finished.  Often I bring in other artists/musicians to respond, collaborate, or interact creating another dimension or layer to the work.  This project is similar where I laid out the initial concept and then offered it outside myself to be interpreted, reflected, acted, performed, altered, expanded and exchanged, in effect creating an on going dialogue and a community outside myself. What happens in transit is what interests me most.   All my work tends to be an experiment where the outcome is unknown.  I don’t really see the point in doing something I know the outcome of.   On the other hand, its not always a clean finish.

JLA: Has anyone’s response surprised you?

HF: Artists sent me audio/video documentation of their public performances which is currently [WAS] showing at Los Angeles Contemporary Archives.  I wasn’t necessarily surprised, but very touched by the active and conceptual thought that went into each artist’s different interpretations.  Many who don’t normally sing, used their voice and I think it challenged and pushed some artists out of their comfort zones. 



July 2nd, 2015 by helga


Yek koo
Gabie Strong
Julia Santoli
Bob Bellerue

Doors: 8PM
9-15 Wyckoff Ave (L) to Halsey (M) to Myrtle/Wyckoff

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Gabie Strong (LA) and Yek Koo (NYC) – NE Summer Shows 2015

June 26th, 2015 by helga



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
AUX/Vox Populi

Thurs July 2
yek koo, Gabie Strong, Julia Santoli, Bob Bellerue
Trans Pecos

Mon July 6
yek koo, Gabie Strong, Todd Anderson, Pretengineer
Deep Thoughts
138 South St,
Jamaica Plain
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




June 2nd, 2015 by helga

March 20, 2015 – April 9, 2015

'8 Pillars' score at LACA

'8 Pillars' score at LACA
Picture 1 of 32

Photos taken by Jens Jonason and Helga Fassonaki, 2015


KHAL AT GLASSHOUSE, March 11, 2015

KHAL AT LACA, March 20, 2015


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May 16th, 2015 by helga

THURSDAY MAY 21, 8:30p

9-15 Wyckoff Ave,
Ridgewood, New York 11385

FB event


yek koo live performance at KCHUNG RADIO – April 2, 2014

April 17th, 2015 by helga

Crystalline Morphologies
yek koo begins at 21:00.

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Walk Through of Khal at LACA – Thursday April 9

April 9th, 2015 by helga




Walk Through of Khal at LACA – Monday April 6

April 3rd, 2015 by helga


Photos taken by Jens Jonason, 2015


Khal At LACA – March 20 – April 9, 2015

March 29th, 2015 by helga

Khal_LACA2 Khal_LACA1Khal_LACA3 Khal_LACA4
Friday, March 20, 2015 – April 9, 2015

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’

Three artists will be performing Fassonaki’s scores live:
Kathleen Kim – performing ‘Punk Standards’
Gabie Strong – performing ‘Armour’
Shana Palmer – performing ‘Reveal Closed’.

Description of Khal project 


Khal at Glasshouse on March 11, 2015

February 23rd, 2015 by helga

Khal – A project by Helga Fassonaki
Wednesday March 11, 2015 – 8pm

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.

Three artists will be performing Fassonaki’s scores live:
Zaïmph – performing ‘One Two Sides Dirty’
Kathleen Kim – performing ‘Punk Standards’
Kali Z. Fasteau – performing ‘5 Pillars’

Description of Khal project 


Sonic Postcard – Holy Conch – Airing February 14 on AFM

January 29th, 2015 by helga

Rachael Melanson, producer of Sonic Postcards  presents sounds from my Holy Conch on AFM, the radio station at Audio Foundation (Auckland, New Zealand).  Also included is an interview where I chat about my project Khal.
Airing on 1-14-15, 4pm NZST


More on Holy Conch


Matana Roberts performs One Song Two Sides Bold Breathing –

January 17th, 2015 by helga

A score created by Helga Fassonaki part of Khal project

sketch of ‘One Song Two Sides Bold Breathing’
Original Score made with felt and wire

Performed on January 14, 2015 by Matana Roberts:

KHAL Project



October 28th, 2014 by helga


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 Graf (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).


March 11, 2015Glasshouse in Brooklyn, New York, 8PM
live performances by Kali Z. Fastaeu (NYC), Kathleen Kim (LA), and Marcia Bassett (NYC)

March 20 – April 9, 2015LACA (Los Angeles Contemporary Archives)
live performances by Gabie Strong (LA), Kathleen Kim (LA), and Shana Palmer (MD)

September 26, 2015 (opening) – Disjecta (Book of Scores curated by Chiara Giovando) in Portland, Oregon

October 8 – 30, 2015  – The Auricle Sonic Arts Gallery in Christchurch, New Zealand
live performances by local artists on October 9:  Stainer Black-Five (Jo Burzynska), Mela (Helen Greenfield), Misfit Mod (Sarah Kelleher), French Concession (Ella), and Instant Fantasy (Gemma Syme) – 7pm.

October 23 – 27, 2015 – Audacious Festival, Christchurch, NZ – A public installation of the Score ‘Celestial’

October 25, 2015 – Artist Talk, Audacious Festival

November 5 –  28, 2015Audio Foundation Gallery in Auckland, New Zealand

November 14, 2015 – Artist Talk at Audio Foundation Gallery

November 18 – December 31, 2015 – Nga Taonga Sound & Vision in Auckland, New Zealand 


on missing a beat

September 7th, 2014 by helga






August 13th, 2014 by helga

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


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