Presented by Liquid Architecture and the Monash University Museum of Art | MUMA
The future is hard to see from here, but perhaps we can hear it coming.
Parisian-born Félicia Atkinson is a visual artist, an experimental musician and the co-publisher of the independent imprint Shelter Press/curatorial platform Argument with Bartolomé Sanson. Her work deals with the topics of improvisation, fiction, instant composition, noise, abstraction and poetry. Her music is composed of concrete music, asmr voices, electronics, field recordings, improvisation with guitar and piano, abstract distortions and infra bass.
At Sound Spaces, Félicia will present a new work for voice, electronics and found sounds called Vermillion which responds to the exhibition Future Eaters by drawing on J. G Ballard’s collection of essays Vermillion Sands (1971). Rooted in her experiences of deserts this live set will be escapist, textual and at times concrete.
Félicia’s recent album Hand in Hand has generated a great deal of curiosity, excitement and intrigue, with Fact Magazine writing “the dying bleat of obsolete technology, the crack and stutter of her own voice, the atonal clatter of intuitively-played instruments – and sculpts them into flawless vignettes that lodge themselves deep in the psyche. Like the dystopian science fiction it references, Hand in Hand is bewitching, intense, meditative and at times, deeply unsettling.”
In an attempt to preference the aural over the visual in our dreaming, Gail has been speculating as to what art in the future will sound like. The result is a body of ficto-critical material that explores the Future Human — the integration of technology and biology resulting in trans- and post-human conditions; and the Future City — the exploitation of the sonic potentials of the new cities we imagine. For this performance, Gail will create a live mash-down of her sonic speculations offering a fractured forecast of the future of listening.
Gail Priest is a sound artist based in Katoomba (NSW) making experimental audio that explores the interaction of the figurative and the abstract, the machinic and the organic, the spoken and the ineffable. Recently she has been attempting to find a mode that brings together both her practice as a sound maker and as sound writer. This has manifested in the three year project Sounding the Future (2014-2017), and continues with her investigations into a poetic language of listening explored in her upcoming commission for Experimenta Make Sense (October 2017). Originally trained in theatre she has worked as a sound designer/composer for dance and theatre works, exhibits audio installations and releases experimental music in multiple formats. She is also a curator and writes extensively about sound and media arts, in particular for RealTime magazine, and was the editor of Experimental Music: audio explorations in Australia through UNSW Press (2009).
Sound Spaces is a performance series of experimental and improvised music organised by Francis E. Parker for Monash University Museum of Art. The series runs in parallel with MUMA’s exhibition program with occasional direct dialogues with particular exhibition projects.major supporters