“Layered Time” will begin at 8 pm with an extended conversation curated by Metahaven’s Vinca Kruk and Daniel van der Velden with two of the most interesting composers and musicians working today Kara-Lis Coverdale and Galya Bisengalieva about contemporary composing and artistic methodologies in an age of accelerating technological and ecological changes.
The evening will transition to consecutive live solo performances by Galya Bisengalieva and Kara-Lis Coverdale.
Galya Bisengalieva is an award-winning Kazakh/British violinist making her own work as a soloist, improviser and collaborator with artists and composers of varied genres. Galya leads the London Contemporary Orchestra and her violin solos and improvisations can be heard on Lynne Ramsay's Cannes Film Festival Winner 'You Were Never Really Here' (2017), Elizabeth Chomko's film 'What They Had' (2018), Laure de Clermont-Tonnerre's drama 'The Mustang' (2019) and Alma Har'el's Sundance Film Festival Nominee 'Honey Boy’ (2019). Galya has toured key solos for live productions of Phantom Thread, Under the Skin, The Piano and There Will Be Blood and has collaborated with composers Steve Reich, Laurie Spiegel, Suzanne Ciani, Terry Riley, Pauline Oliveros and many others. In 2018 Galya founded NOMAD Music Productions Label and made her debut release ‘EP ONE’ featuring new works for solo violin and electronics.
In the video to Bisengalieva’s spellbinding single “Tulpar” (2018), we see only horses’ skin textures. The Quietus writes that “clattering hooves are plucked on metallic wound strings and appear through a vision of opaque bowed drones. Bisengalieva awakes the wild pegasus with asymmetric bass while the winged horse spirals and dances. The track flits between myth and the present, between the formalities of a violin and the frenzied pegasus on a mountaintop.”
Kara-Lis Coverdale is a Canadian composer, musician and artist based in Montreal, Quebec. Coverdale is known equally for her piano, organ, and keyboard work as she is for her experimental electronic projects; often her work integrates the two, blurring the lines between electronic and acoustic music. She is also known for her collaborations with artists like LXV, Tim Hecker, is part of the artist collective and label ACTE. Kara-Lis has presented work at festivals like Unsound, Atonal, RBMA, InaGRM, Mutek, and via institutions like the Barbican, Tate, AGO, and Elbphilharmonie, and has recently been artist in residence at EMS Stockholm, GRM Paris, Oboro Montreal, and IAC Malmö.
Coverdale’s beguiling album “Grafts” (2017), which “exists somewhere between computer music and the understated acoustic melancholy of Erik Satie,” immerses listeners in a transformative sequence of motives between exhilaration and intimacy around harpsichord and piano. “Opening up rather than illustrating as it cycles, it ambivalently taps into internal space,” as Pitchfork notes, describing the haunting lyricality of Coverdale’s approach.
“Layered Time” is an event curated by Metahaven — an Amsterdam-based collective working between art, design and film. Metahaven’s groundbreaking film works are much influenced by the collective’s collaborations with musicians. Beginning with music videos for the early work of Holly Herndon, Metahaven have since collaborated with the likes of Kuedo, Laurel Halo, Mhamad Safa, M.E.S.H., and Kara-Lis Coverdale. In their extended essay Digital Tarkovsky (Strelka Press, 2018), Metahaven have argued around nascent and not-so-nascent temporal regimes of planetary-scale computation, and the slowness and viscosity that characterizes their everyday experience.
"Layered Time" is part of a larger series of The New Normal public events at Strelka marking the end of the three-year research program and think-tank. Curated by program faculty, this series will investigate some of the core themes of the program, defining the new contemporary condition we call “the new normal”.
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