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Chris Cogburn, Land of Marigold, Scant Intone, Anju Singh, Holzkopf, Joda Clement, Ross Birdwise, Orcana and also featuring in the front space DJ JV_DUB
SUNDAY Jan 27th 2013 2-4PM
Workshop with Chris Cogburn
The workshop focuses on developing an individual’s perceptual agency through the sequencing of exercises utilizing various faculties of perception (sight, listening, cognition, kinesthesia).
VIVO is located in the homelands of the xʷməθkʷəy̓əm (Musqueam) Sḵwx̱wú7mesh (Squamish), and səl̓ílwətaɬ (Tsleil-Waututh) peoples in a warehouse space at 2625 Kaslo Street south of East Broadway at the end of E 10th. Transit line 9 stops at Kaslo Street on Broadway. From the bus stop, the path is paved, curbless, and on a slight decline. The closest skytrain station is Renfrew Station, which is three blocks south-east of VIVO and has an elevator. From there, the path is paved, curbless, and on a slight incline. There is parking available at VIVO, including wheelchair access parking. There is a bike rack at the entrance. The front entrance leads indoors to a set of 7 stairs to the lobby.
A wheelchair ramp is located at the west side of the main entrance. The ramp has two runs: the first run is 20 feet long, and the second run is 26 feet. The ramp is 60 inches wide. The slope is 1:12. The ramp itself is concrete and has handrails on both sides. There is an outward swinging door (34 inch width) at the top of the ramp leading to a vestibule. A second outward swinging door (33 inch width) opens into the exhibition space. Buzzers and intercoms are located at both doors to notify staff during regular office hours or events to unlock the doors. Once unlocked, visitors can use automatic operators to open the doors.
There are two all-gender washrooms. One has a stall and is not wheelchair accessible. The other is a single room with a urinal and is wheelchair accessible: the door is 33 inches wide and inward swinging, without automation. The toilet has 11 inch clearance on the left side and a handrail.
To reach the bathrooms from the studio, exit through the double doors and proceed straight through the lobby and down the hall . Turn left, and the two bathrooms will be on your right side. The closest one has a stall and is not wheelchair accessible. The far bathroom is accessible.
Chris Cogburn is an active performer, curator and organizer based in Austin, Texas. In performance, Cogburn approaches the physical nature of his chosen instrument with attention to the drum’s subtle and overlooked timbres/ textures and an interest in its ability to resonate and transform. Primarily working in the field of improvised music, Cogburn has collaborated with many of the premiere international artists in contemporary music, including: Pauline Oliveros, Joe McPhee, John Butcher, Lê Quan Ninh, Tetuzi Akiyama, Joelle Leandre, and avant-rock outsider Jandek (his first appearance in the US). Beginning in the summer of 2003, Cogburn has hosted and curated an annual festival of improvised music, the No Idea Festival.
Land of Marigold is the mysterious convergence of two of Montreal’s weirdest and busiest improvisers, Josh Zubot and Ellwood Epps. Originating in rural Saskatchewan and Toronto respectively, the two have played together in Nicolas Caloia’s Ratchet Orchestra, Mecha Fixes Clocks, Matana Roberts’ Coin Coin, Sam Shalabi’s Land of Kush, and with Marshall Allen, John Butcher and Myra Melford. They are also two of the founders of the weekly Mardi Spaghetti series, a mainstay in Montreal’s improvised music scene which will soon celebrate its 5th birthday.
“The driest and subtlest wine of noise music… Sound planes that might be cousin territory somewhere between Iannis Xenakis and Christian Fennesz, where a fascinating breed of ‘cute-noise’ fairies hum entranced buzzing and bubbling tunes, rendering most delicately their harsh and granular environment.” -BricoLodge, Canada
Recently relocated from Toronto, Joda Clément has been performing and composing experimental music in Canada for over 10 years, developing a unique repertoire of methods for working creatively with sound. His work utilizes analog and acoustic instruments, microphones, found objects and noises recorded from natural and urban environments, investigating hidden properties of sound, space and recording techniques that transcend a distinction between audio and source.
Ross Birdwise is an artist and musician originally from Ottawa. His artistic practice includes electronic music, vocal music, curation, non-idiomatic improvisation, performance art, photography and video. He has performed at the Mutek Festival in Montreal, with Anthony Braxton in Vancouver (Sonic Genome – The Roundhouse) and has shown visual art in a variety of contexts including Gallery 101 (Ottawa) and Vancouver New Music (Theatre for the Ears – Scotiabank Dance Centre). He obtained a BFA from Ottawa University in 2005 and an MAA from the Emily Carr University of Art + Design in 2008. He has trouble separating his hobbies from his creative practices.
Orcana is a Vancouver based project by Zelda Yake and K.L. Rattray. These artists have been collaborating since 2011, regularly experimenting and creating improvised noise and soundscapes. Orcana’s work comes from the creative exploration of electroacoustic sampling and the rudimentary manipulation of electric and acoustic instruments, centered around the aging and limited technology of the Casio SK-1.