What are artistic methodologies in an age of accelerating technological and ecological changes? How do software and distribution platforms affect making? And thanks to and in spite of all this, how does an artistic process develop and establish allegiances? “Layered Time”’s focus is on music — the first art form that fully liquified in the face of computation and connectivity, functioning as a precursor for what would subsequently happen to visual art, design, and architecture. The main questions are about process, oscillating between and uniting intimacy and publicness, as well as about time, its nature, and experience.
Metahaven’s Vinca Kruk and Daniel van der Velden encounter two of the most interesting composers and musicians working today: Kara-Lis Coverdale and Galya Bisengalieva. Coverdale, originally a classical pianist and church organist, and Bisengalieva, a classical violinist, seem both drawn to contemporary composing, performing, and thinking about their work in ways that show deep links of continuity, compassion and solidarity through time, space, and cultures.
“Layered Time,” introduced by Metahaven within the context of Strelka’s The New Normal program (where both Daniel van der Velnded and Vinca Kruk are core Faculty), will consist of extended conversations with Bisengalieva and Coverdale on their process and method, as well as of live performances by both musicians/composers.
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.
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. Coverdale released her solo debut, Aftertouches in 2015 and in 2017 released Grafts, that studies a fundamental characteristic of electronic music within the artist’s own practice: the spitting of sound. 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.
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.
The evening will begin at 8 pm with 2 consecutive conversations and will transition into back-to-back live performances by Galya Bisengalieva and Kara-Lis Coverdale.
The lectures will be held in English, with simultaneous translation into Russian.
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