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Entries Tagged as 'Collaboration'

untune presents Social Residencies: October 6 – 28

October 6th, 2017

The slow delivery of this announcement was intended to provoke physiological anticipation for this bending shape of things to come.  As we anticipate a waking from this horror that is not Halloween but rather a reflection of a reality that we find ourselves accidentally in, we are forced to take a closer look at that photo we shot on our smart phones.  How much time passes between our first gaze onto the subject and the snap shot?  How many minutes missed as we find the perfect frame and how many more lost as we fragrance the post with half-heard conversations?  (untune invite email, 10-16-17)

untune Artist-in-Residents include Marcia Bassett (social entropy), Kathleen Kim (social slur), and Alison O’Daniel (social tone);  Similar in their mesmerizing abilities to lean deeper into human sensitivities, overlapping processes and bits of ‘real life’ integrated into poetic approaches that extend the boundaries of social involvement and collaboration.

Marcia Bassett
 (10-6 to 10-9)  
so·cial en·tro·py will be presented at untune on a future date

Kathleen Kim (10-16 to 10-22) 
so·cial slur

Kathleen Kim presented two events during her residency: 
Thursday October 19th 
LA Fog performed a rehearsal of new work with undiscovered endings.  LA Fog is an experimental music group composed of woodwinds and strings. Their music is composed by members Kelly Coats, Kathleen Kim, Giles Miller and Jonathan Silberman, and their compositions include structures for improvisation along with traditional and non-traditional scores

LA Fog

LA Fog
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Saturday October 21st 
Siblings Eric Kim and Kathleen Kim invited guests to engage in conversation while enjoying the calming and healing properties of freshly brewed Wood Betony tea and hors d’eourves. The botanical term for Wood Betony, Betonica officinalis, means ‘tonic for head.’ 

Wood Betony Tea and Conversation

Wood Betony Tea and Conversation
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Alison O’ Daniel (10-23 to 10-28)
so·cial tone will be presented at untune on a future date



Marcia Bassett is a NYC-based musician and multi-media artist. An artist whose alternately shimmeringly beatific and uncannily intense work has resonated through the underground world, Bassett is the exterminating and vivifying force defying boundaries of noise, free drone and dark psychedelia to arrive at a place of heavenly radiance and hellish intensity. Working with synthesis, processed field recordings, electric guitar, electronic experimentation and acoustic instruments, under the moniker Zaïmph, she seeks to transform, re-imagine and find new meaning within established structure. Her solo recordings appear on a number of independent USA and European record labels, as well as her own private-press label Yew Recordings. Bassett frequently collaborates and records one-to-one with musicians living in the USA and Europe; collaborators include Samara Lubelski, Bridget Hayden, Barry Weisblat, Bob Bellerue, Helga Fassonaki, Jenny Graf and Margarida Garcia. Additionally, Bassett is an active participant in ensembles that explore improvised sound and visual scores.  She has been an active member of  Andrew Lafkas’ large ensemble Alternate Models; the group presented “Two Paths with Active Shadows Under Three Moons and Surveillance,” at Experimental Intermedia and EyebeamNYC; Bassett has also contributed to “Gen Ken’s Supergroup performing at PS1 Solid Gold and Experimental Intermedia.

Recent solo and collaborative presentations of her work include “Transitory Freezing of Perpetual Motion” collaborative improvised sound performance with Jenny Graf and dancers at Here-10 Evenings Festival, Sweden;“Field Recording with Zaïmph”, BOMB magazine; “Out of Line: Narcissister” live improvised sound interaction with the performance, High Line, NYC; “Ed Atkins: Performance Capture” at the Kitchen NYC;  composition and performances of the score “One Two Sides Dirty,” part of Helga Fassonaki’s Khal project presented at galleries in the US and New Zealand; and “Ten Ways of Doing Time”, 2013, Single Channel Video, written and directed by James Fotopoulos and Laura Parnes with original soundtrack by Marcia Bassett. 

Kathleen Kim is an experimental musician and composer who creates solo work as well as collaborative work with LA Fog and SheKhan. She has performed in joint projects in museums, galleries and venues, nationally and internationally. She co-founded Human Resources Gallery with her brother Eric Kim along with Giles Miller, Dawn Kasper and Devin McNulty. Kathleen is also a full-time professor of law at Loyola Law School and a nationally-recognized scholar of critical theory perspectives on immigration and human trafficking. She is co-author of the first casebook on human trafficking. From 2013-2016 she served as a Los Angeles Police Commissioner and was a gubernatorial appointee to the first statewide California Anti-Trafficking Task Force. In 2014, Los Angeles Magazine named her one of Los Angeles’ ten most inspiring women. In 2016, The National Jurist selected her as one of twenty law professor “Leaders in Diversity.” She was a recipient of the Judge Takasugi Public Interest Fellowship, Skadden Fellowship and Immigrants’ Rights Teaching Fellowship at Stanford Law School.

Combining film, performance, sculpture, and installation, Alison O’Daniel structures her work as a call-and-response between mediums. Cinema, performance, sound-dampening textiles, sculptures, mobiles and large-scale installations foreground the deaf and hard of hearing experience through process, collaboration, and material. Her collaborations with composers and musicians often highlight the loss or re-creation of information as it passes through various channels, building a visual, aural, and haptic vocabulary as a means to tell stories inspired by events that are both historic and quotidian. O’Daniel’s current project, The Tuba Thieves, made in the wake of tuba robberies from Los Angeles schools, elliptically connects the story of a Deaf drummer to the students, band directors, and school communities who must reconcile with missing sound following the thefts. First-hand accounts and real life details from collaborations with students, musicians, composers, and actors are continuously altering the narrative, which is filmed in segments over time, eventually forming a feature length film. O’Daniel has presented solo exhibitions at Art In General, New York; Samuel Freeman Gallery, Los Angeles; Centre d’Art Contemporain Passerelle, Brest, France and performances at the Hammer Museum, Knockdown Center, and Art Los Angeles Contemporary.  Writing on O’Daniel’s work has appeared in The New York Times, Artforum, Los Angeles Times, and ArtReview. O’Daniel has received grants from the Rema Hort Mann Foundation; Center for Cultural Innovation; Art Matters; Franklin Furnace Fund; and California Community Foundation. She received a BFA in Fibers and Material Studies from the Cleveland Institute of Art, a Post-graduate Diploma of Fine Art from Goldsmiths College, University of London, and a MFA in Studio Art from UC Irvine, CA. During her residency at Untune, O’Daniel will begin a collaborative piece with a friend and her 3 year old son addressing issues of accessibility in closed captioning.

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untune presents Social Relations – September 1 – 22, 2017

August 30th, 2017

so·cial re·la·tions 
any relationship or interaction between two or more living organisms.
September 1 – 22, 2017
“…there was nothing in the moon, in its geometrical dimensions,there was nothing in its chemistry, there was nothing in its electromagnetics, that in any way said it was going to attract the earth. There was nothing in the earth that said the same. It was not until you saw the interbehavior being manifested in free space that you realized there was something going on between”
– R. Buckminster Fuller (“Everything I know”, 1975) 

How do we begin?  By just living and learning to live with each other.  Creating and interacting in the same space.  Shitting down the same hole and eating from the same plates.  Through the remains and artifacts left here and there, from the dog hair and shifting air streams, from the creaks and cracks of ignored door screeches, from the stinky compost pile, we feel the space and dial in the presence of each other, of our neighbors, of the insects, of the night passers, and of the shouting headlines cancelled out by melting guitar tones and poetic chorus lines.   Only through the overlapping space between, only by the presence of one in the presence of others we come to understand ourselves and the attraction and retraction between.   Social Relations is a living process between artist inhabiters and co-inhabiters of untune.  For now we’ll remain anonymous.  

Sun Made

Sun Made
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Begun on August 1st  
Soft opening on September 1st, 7-11pm 
Closing party on the 22nd, 7-11pm

During the three weeks following the Social Relations opening, the living process between artist inhabiters and co-inhabiters of untune has continued to further melt, shape, form, and interact with the energies of the sun and moon, within the layers of atmosphere, and between the concrete pathway and carob tree – sometimes heavy, sometimes light reflective, sometimes bent out of shape, sometimes confused, sometimes aligned with nature’s rhythms, sometimes nature needs space, sometimes floating in delirium, sometimes desiring darkness, sometimes filled with tears and laughter, sometimes only anger, and sometimes we just loose ourselves for endless hours in the hypnotizing patterns left on the ceiling by broken mirrors – this is all of us learning to live with the challenges of the planet learning to live with all of us and the raging bull.    

Please join us this Friday September 22nd, 7-10pm, for the closing event of Social Relations featuring specially crafted first-time collaborations between Hardcore Tina & Syko Friend and Shekhan & yek koo

Hardcore Tina & Syko Friend are inspired by Diane Wakoski, Calamity Jane’s diaries and day to day reflections on how to be soft in a tough world.  

Shekhan & yek koo will be combining  beat driven interlocking harmonies of flute, violin, vocals, mandocaster, and electronics of SheKhan with the vocal and tap-infused spacial modifications of yek koo  

Sun Made Moon

Sun Made Moon
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Social Relations Press Release PDF


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One Song Two Sides Bold Breathing – MISSING

August 31st, 2016

a living score – a language used to tell a story, communicate a process, and provide instructions while remaining transient and undefined


lost_score1  lost_score2
one_song_two_sides_sketch1  one_song_two_sides_bold1

went forever missing to an unknown admirer thief,  to a fourth interpreter, to the sea of lost mail, to the piccolo player in the clouds, to albert ayler, to its original recipient matana roberts, to the bureau of sacrificial arts,  to the ministry for desired art, or to the museum of lost art.  somewhere it is resting in peace.

August 2016

Here’s the story:
I sent 15 of the 16 scores back to the recipients I initially created them for, after their final appearance of Khal at Audio Foundation Gallery in Auckland, New Zealand, to locations around the globe.  The recipient of the above score, Matana Roberts, was in the process of shifting homes and said to keep her score.  After meeting this amazing underground dancer (literally underground) from Tehran, Iran at the opening of Khal at Nga Taonga Sound & Vision in Auckland (random and thrilling!), I knew this project wouldn’t end when I got back to the US.  I asked the dancer, Maryam Baghe Irani, if she would interpret one of the Khal scores into a solo dance piece.  She said yes.  The exchange occurred in November 2015.  The score (originally made for Matana), was finally on its way to Auckland on July 18, 2016.  My movements are slow.  She was to interpret it into a dance, send me a video recording of the performance, and I would then compose music to accompany it.   While more ideas were being exchanged, on August 10th 2016, I had the misfortune of receiving the package I had sent Maryam ripped and re-taped in a plastic bag, with a lovely note from USPS letting me know that they care and another letter stating that they found this empty parcel in the mail and believe that the contents were separated during handling.  It made it as far as LAX transit from Highland Park, Los Angeles.   This score survived Iranian customs and postal service, the Persian Gulf, the Caspian Sea, the North Atlantic Ocean, Brooklyn to Los Angeles, the Pacific Ocean, the Coral Sea, the Tasman Sea, but then lost highway from Highland Park to LAX before even leaving the city.

Despite the score’s physical disappearance, Maryam will still be interpreting the visual score (from images I sent her) into a dance sequence and I will still compose the music.
one song two sides bold breathing will forever remain a living score.

bundled score getting ready to be shipped to New Zealand
july 2016





Dear Postal Customer:

We sincerely regret the damage to your mail during handling by the Postal Service.  We hope this incident did not inconvenience you. We realize that your mail is important to you and that you have every right to expect it to be delivered in good condition.

Although every effort is made to prevent damage to the mail, occasionally this will occur because of the great volume handled and the rapid processing methods which must be employed to assure the most expeditious distribution possible.

We hope you understand. We assure you that we are constantly striving to improve our processing methods in order that even a rare occurrence may be eliminated.

Please accept our apologies.


Your Postmaster



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ProjectLocate – LocateIran – launched Feb 5, 2016

February 5th, 2016

‘Khal Excerpts,’ recently included at The Audio Foundation Gallery in Auckland, NZ is currently part of an online exhibition called LocateIran – a 2 month exhibition of artists, writers, curators and cultural producers from and related to Iran.

Check out:

Khal Excerpts
Khal Projects 

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Khal at Nga Taonga Sound and Vision

December 31st, 2015

November 17 – December 11, 2015
Nga Taonga Sound and Vision 
Auckland, New Zealand 

'8 Pillars - A Free Score' performed by Julia Santoli and Helga Fassonaki at Disjecta in Portland, Oregon. Photo by Paula Booker

'8 Pillars - A Free Score' performed by Julia Santoli and Helga Fassonaki at Disjecta in Portland, Oregon. Photo by Paula Booker
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KHAL AT GLASSHOUSE, March 11, 2015

KHAL AT LACA, March 20 – April 9, 2015

KHAL AT THE AURICLE, October 8 – 30, 2015




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Khal at the Viewfinder

December 31st, 2015

November 11 – 24, 2015
Viewfinder window
Auckland Central Library, New Zealand

'8 Pillars - A Free Score' at Viewfinder

'8 Pillars - A Free Score' at Viewfinder
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KHAL AT GLASSHOUSE, March 11, 2015

KHAL AT LACA, March 20 – April 9, 2015

KHAL AT THE AURICLE, October 8 – 30, 2015




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December 25th, 2015

November 5 – 28, 2015
Auckland, New Zealand

Khal Scores exhibited at Audio Foundation

Khal Scores exhibited at Audio Foundation
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KHAL AT GLASSHOUSE, March 11, 2015

KHAL AT LACA, March 20 – April 9, 2015

KHAL AT THE AURICLE, October 8 – 30, 2015



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December 21st, 2015

October 8 – 30, 2015
Christchurch, New Zealand

'Remove' score

'Remove' score
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KHAL AT GLASSHOUSE, March 11, 2015

KHAL AT LACA, March 20, 2015

KHAL AT THE AURICLE, October 8, 2015


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

November 15th, 2015

‘8 Pillars’ Score for Rachel Shearer

‘8 Pillars’ Score for Rachel Shearer


8 Pillars – A Free Score at Viewfinder window
November 11 – 24
Auckland Central Library, 46 Lorne Street, Auckland

Khal at Nga Taonga Sound & Vision

November 18 – December 11
300 Karangahape Rd Newton, Auckland NZ
Launch – November 17, 6pm
– 8pm

Nga Taonga Blog 

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’

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

Watch 8 Pillars – A Free Score 

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


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


Celestial presented at the Audacious Festival stems from my project Khal, 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 a 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 (to 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 were sewn back together reforming its past sequence as the sound of ghostly non-choir, out-of-sync voices vibrated out of a single mono speaker mixing into the vast sounds of nearby construction projects.

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June 2nd, 2015

March 20, 2015 – April 9, 2015

'8 Pillars' score at LACA

'8 Pillars' score at LACA
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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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Walk Through of Khal at LACA – Thursday April 9

April 9th, 2015




Walk Through of Khal at LACA – Monday April 6

April 3rd, 2015


Photos taken by Jens Jonason, 2015


Khal At LACA – March 20 – April 9, 2015

March 29th, 2015

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

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 


Matana Roberts performs One Song Two Sides Bold Breathing –

January 17th, 2015

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


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 original recipients of Fassonaki’s scores include 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 thus far include 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).


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 


Crystalline Morphologies sound+vision on KCHUNG TV

July 23rd, 2014

“This is an experiment in sonic feedback set against visual dissonance. Features videos and camera work by John Pearson, with sounds by Ted Byrnes, Aisling Cormack, Helga Fassonaki, Matthew Hebert, Greg Lenczycki, Jorge Martin, RJ Russell, Andrew Scott, Jared Stanley, Gabie Strong. Live video production by Jens Jonason, Luke Fischbeck and Margie Schnibbe”
Saturday July 26 2-14
12:30 – 1:30 pm PDT
UCLA Hammer MuseumAdmission to the Made in L.A. exhibition is free. Parking is $3.Live sound and video performance for KCHUNG TV
2014 Made in L.A. exhibition @ UCLA Hammer Museum
Broadcast live on 

KCHUNG TV – Episode 8 – July 26, 2014 from KCHUNG TV on Vimeo.

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June 7th, 2014

Cours de Poetique 



Metal Rouge – Three for Malachi Ritscher CD exhibited at Whitney Biennial 2014

March 24th, 2014

Whitney Biennial 2014 – March 7 – May 25, 2014
Metal Rouge’s ‘Three For Malachi Ritscher’ album appears at the Whitney Biennial as part of Public Collectors’ show about Ritscher’s life, work and death.  We also contributed some words to Marc Fisher’s essay that accompanies the exhibition.

Public Collectors @ 2014 Whitney Biennial

Whitney Biennial 2014

Booklet published for the Exhibit can be read online:

Selected Press Links:

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Metal Rouge UK/Euro Tour Targets – Oct 5 – Oct 25

December 6th, 2013

Volcanic Tongue 10/5/13
1 Target

Cafe Oto - 10/6/13
2 Targets

Kraak - 10/7/13
3 Targets

Ecuyes - 10/10/13
5 targets

Odyssée - 10/11/13
6 Targets

La Cantine de Belleville - 10/12/13
7 Targets

Velvet Club - 10/13/13
8 Targets

Spazio Targa - 10/15/13
9 Targets

Hybrida - 10/16/13
10 Targets

mo.e Thelemanngasse 4/1 - 10/18/13
12 Targets

Walpodenakademie - 10/20/13
13 Targets

The Student - 10/22/13
15 Targets

Roodkapje - 10/23/13
16 Targets

Servants Jazz Quarters - 10/24/13
17 Targets

The New Bradford Playhouse - 10/25/13
18 Targets


How gun control is losing, badly (in charts) by Niraj Chokshi in The Washington Post

Inside the Power of the NRA by Robert Draper

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DUETS – Performance Excerpts, 6-22-13

September 4th, 2013

DUETS took play on June 22, 2013 at The Fields in Bedminster, New Jersey.
The duos included:
yek koo + Zaimph
Tom Carter + Tom Surgal
Ashley Paul + Greg Kelley
and DJ/video unit: tren::azul

Hosted by EMM
Curated by Helga Fassonaki

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DUETS / 6 – 22 – 13

June 7th, 2013


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yek koo + Caitlin Mitchell – live @ Human Resources gallery 9-21-12

September 25th, 2012

Documentation (excerpt) of live performance collaboration between yek koo and Caitlin Mitchell. The actual performance was 15 minutes long and featured a radical symbiotic relationship between drum and guitar sounds as the drumming vibrations were picked up by the guitar and further layered and distorted, building up till the projected video showing white noise/light for 12 minutes suddenly became a fire with a burning photo of Mitt Romney.

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Dawn Kasper w/ Lady Noise @ Whitney Biennial 2012

June 3rd, 2012

Lady Noise performing w/ Dawn Kasper, Whitney Biennial ’12

Dawn Kasper Performance at Whitney Biennial 2012

More photos of this performance found HERE
Dawn’s installation and the Lady Noise collaboration is discussed in ARTFORUM

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The Source / a Secret Restaurant

April 3rd, 2011

The Source, a secret restaurant at the Free Church of Public Fiction, opened it’s doors for Dinner on Friday March 25th and for Brunch on Sunday March 27th.

The Source draws from Los Angeles’s lineage of cults, rituals and ceremonies surrounding food, and takes it’s name from Hollywood’s own Source Restaurant (founded by The Source Family cult and Father Yod in 1969.)

Friday March 25th – THE END (the last)
Dinner at 6:30 and 9pm

Sunday March 27th – THE NEW BEGINNING (resurrection)
Brunch at 11am and 1pm

Meals were crafted and manifested by Sophia Dixon, Helga Fassonaki, Lauren Mackler, Lisa Nguyen and Jennifer June Strawn. With guest alchemist Andrew Scott.

Cult music mixes gathered and created by Helga Fassonaki.

The Source was set within Davida Nemeroff / Two By Two: The Church Of The Animals with work by Jennifer Boysen; Alika Cooper; Lauren Mackler; Davida Nemeroff; Mark A. Rodriguez; Eric J. Palgon; Wintergarden Ltd.

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A Rainbow Coloured Repast – Zine

February 20th, 2011

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EPMoA Visitor Center

January 1st, 2011

LACE is proud to present Elysian Park Museum of Art (EPMoA) running 13 October – 19 December 2010 as a part of its PUBLIC INTEREST initiative. A constantly evolving association of artists and curators involved with EPMoA have created site-specific performances, installations, and actions that consider the fractured geography of the park — its unmapped trails, picnic areas, a stadium, a police academy, highway onramps, radio towers, squatter communities, and parking lots — with the goal of creating a cohesive investigation into the contemporary function of a museum, a park, and public spaces in general.

Since October 2009, the EPMoA has existed as a curatorial workshop, initiated through Telic Arts Exchange’s Public School Project, and as a public forum encouraging participation from a diverse and unaffiliated section of the park-using community. Through a series of monthly meetings in the park, participants have worked together to address issues of how to implement creative actions within the parameters of public fair use of Elysian Park, as well as raise questions about the relevance and significance of this project within the overlapping contexts of art history, local politics, and public engagement.

The LACE galleries have been transformed into the park visitor’s center complete with artifacts, benches, and foliage. The installation documents and recreates past and current EPMoA actions inside the park. Representatives of both the curatorial workshop and the park-using community will take part in the selection and presentation of documentation (sound recordings, photography, video, illustration, re-enactment, written description, etc.)

Additional performances and site-specific interventions allowed by fair use of the park are scheduled to occur inside Elysian Park during the course of the exhibition. Public events at LACE include performances, a class in museum studies and a guest speaker series to discuss the role of a museum, the ecology of the park, and more.

Participants include (but not limited to): Beau Sievers, Gabie Strong, Amy Howden-Chapman, Luke Fischbeck, Sara Rara, Lauren Mackler, Fiona Connor, Akina Cox, Helga Fassonaki, Cindy Rehm, Paul Pescador, and Pod Blotz

To learn more, visit the Elysian Park website at

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December 24th, 2010


The hunt for Spirulent Green began at the tree dotted picnic area adjacent to the Grace E. Simons Lodge in Elysian Park at 1:00 PM, December 5th.
Lisa Tucker and Ron Chiarello invited participants to join them in gathering Spirulent Green (aka Spirulina).  Ron had a ‘scope to see the algae collected and a display of how to grow the green superfood.
A lunch of Spirulina pasta with prawns, fresh local greens, bittersweet chocolate Spirulina brownies, and lemon/limeade with fresh Spirulinaas was served as Ron led a discussion and investigation on the possibilities of a food that can feed the world. Spirulina is a complete protein source, containing all 18 amino acids. It has the highest protein concentration of any food known.

Read about FOOD project


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