Natalia Beylis

ZVUKEE No. 1 Friday 8th February

Natalia Beylis Tu- Wit Tu-Woo: Transmissions of collected noises made by birds real and imagined

An immersive performance where sound stations of bird song layer together with a live mix of field recordings of wing flutter, landing and taking off noises, walking, scratching & general feathered creature related rustlings and goings-on.


Negra Branca explored an inner world of melodic landscapes, choral pop drones and dream-like states, using a variety of instrumentation, drowsy beats, vocal loops, home recorded samples and atmospherics.

Negra Branca is Marlene Ribeiro, a core member of the psychedelic group, GNOD, where she is responsible for many of the more melodic and tonal dream landscapes. In terms of her solo work she also stands out due to her tendency for producing sombre pop harmonies and deep bass lines, travelling between the swinging of an early Tricky, coral pop and the depth of favela rhythms, all coated with a sticky varnish of sweet and sour chili sauce. Her first solo record was a cassette released in 2013 by Gnod’s Tesla Tapes. The excellent critical reception led to comparisons with artists such as Grouper or Inga Copeland.


https://negrabranca.bandcamp.com/

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ZVUKEE No. 2 Friday 8th March

Theodore Konkouris and Mark Garry

“I am sorry that we made you bleed” Locality and Apprenticeship Among Mande Hunters

A presentation by Theodore Konkouris about field recordings which he captured as part of his doctoral field research in Bamako, Mali. Konkouris recorded Solomane ‘Djikoroni Solo’ Konate, a master Hunter and musician and his apprentices performing ceremonial works from their repertoire in a mango orchard behind Solo’s compound.

Theodore L. Konkouris is a postdoctoral researcher, writer and musician specialising in the Mande cultures and societies of West Africa. He received his PhD from Queen’s University Belfast where he has been teaching anthropology and ethnomusicology since 2011. His doctoral thesis was titled ‘Heroes, Gunpowder, Cassettes & Tape Recorders: Production, Distribution and Transmission of Hunters’ Musical Tradition in Mali, West Africa’. He also holds a MA in Ethnomusicology (2003) from The School of Oriental and African Studies, University of London. His dissertation title was ‘Things Unspoken, From Local to Global: Youssou N’Dour and Musical Change in West Africa’ Theodore has been conducting research in Mali, Guinea and Ivory Coast since 2003. His research interests include Mande Hunters' Music; African Music; Avant-Garde; Free Improvisation; Popular Culture; Hunting; Sorcery and Witchcraft; Existential Anthropology; Fieldwork & Ethnography.

Theodore has been actively involved in musical life for over three decades. He has recorded and performed extensively with his own music ensembles: The Scraps, Noise Promotion Company, Erasitechnes Erastes (Amateur Lovers), Nanoi (Dwarves); along with prominent musicians such as Chris Eckman and Carla Torgerson (of The Walkabouts), Peter Brötzmann, Peter Kowald, Sakis Papadimitriou, Floros Floridis and many others. He has also performed with electronic/experimental music ensembles such as Dream-O-Matic, in Greece and abroad.

Although his early musical background is ‘Rock’, broadly defined, his later engagement was more informed by Avant-Garde (he studied with Karlheinz Stockhausen), and the underground scene in the UK and the USA (Hardcore, No-Wave, early Industrial, Electronic, Rock In Opposition, Outsider Music and Free Improvisation). He has been composing songs and music for his own projects and have been producing other musicians’ records: Noise Promotion Company, Erasitechnes Erastes, Nanoi and a compilation of contemporary African music for the ‘Africa Remix’ international exhibition (Dusseldorf - London - Paris - New York - Tokyo).

Theodore has also been involved as a presenter and producer in radio shows both in state and private radio stations in Greece. At Queen’s University Belfast, he was involved in the music ensembles in Ethnomusicology, took part of the Nada Multicultural Choir, and in jazz/experimental groups with students and colleagues.

The Field Recordings:

1. Donsonkoni Classics (1h:33min:23sec) is a set of songs that form the core repertoire of hunter’s music. Every master hunters’ musician must know how, when and where to perform them along with his music ensemble, comprised mainly by his apprentices.


2. Donsonkoni Death Songs (1h:04m:31sec) is a set of songs that form the post-funerary repertoire of hunter’s music. Not all master hunters’ musicians know them; those who do, perform them along with their music ensembles, comprised mainly by their apprentices, or on their own.


Both sets of songs were performed by master hunters’ musician Solomane ‘Djikoroni Solo’ Konate (lead singer and hunter’s harp player) and his apprentices:
Lansine Kone - donsonkoni (hunter’s harp) and vocals Adama Diakite - karinyan (iron scraper) Namani Konate - karinyan (iron scraper) Brulaye Sidibe - kutsuba (shakers)

Both sets were recorded live in two different days during my doctoral field research in 2010. The performance site was a mango orchard behind Solo’s compound in the Daramanbougou neighbourhood of Bamako, capital of Mali. The performance was staged specifically for the recording and was attended by local men, women and children.

http://qub.academia.edu/TheodoreKonkouris


Mark Garry 'Drift Project' and 'Songs of the Soil': screening of films and presentation

Over the past number of years Mark Garry has made a number of Artworks and Performances that look at the relationship between landscape and song, or more specifically their inter-reliance and how each element has come to be instrumentalised and understood from a range of sonic, social, cultural, associative and nostalgic perspectives.

Research-driven and multifaceted, Mark Garry’s practice is concerned with the cultural, physiological, associative and perceptive characteristics that shape our understanding of the world and the subjectivity inherent in our negotiation of defined space. Garry integrates diverse media, apparatus and exhibition making strategies, often combined in a singular exhibition situation to form installations. These delicately considered, site-specific installations are measured and quiet, requiring meticulous systems of construction. They combine physical, visual, sensory and empathetic analogues, creating arrangements of elements that intersect the space and form relationships between a given room and each other. Although there are formal and aesthetic commonalities, each exhibition opportunity responds to a new set of conceptual criteria. This approach enables situations that are at once empathetic and spectacular, foregrounding the poetic over the didactic.

Recent solo exhibitions include An Afterwards, Luan Gallery, Athlone (2017); A New Quiet, Royal Hibernian Academy (2015); Lafayette Projects, Marseille; City Gallery, Charleston, South Carolina; The Model, Sligo (all 2014); ENart Taichung, Taiwan (2013); Cave, Detroit (2011); MiMA, Middlesbrough; Dublin City Gallery The Hugh Lane (both 2009) and Douglas Hyde Gallery (2006). Recent group exhibitions include Hennessy Art Fund, Irish Museum of Modern Art, Dublin; Dada Post, Berlin (both 2017); A Certain Kind of Light, Towner Art Gallery, Eastbourne (2017); Some thing as a line, Highlanes Gallery, Drogheda (2016); Paper for the Sky, INTERSTATE PROJECTS, Brooklyn; Exiles, The LAB, Dublin; Island, Galleria Civica di Modena, Modena (2013); All Humans Do, White Box, New York and The Model, Sligo (2012); Unrealised Potential, VOID, Derry; De l’émergence du Phénix, curated by Caroline Hancock, Centre Culturel Irlandais, Paris (both 2011); Reverse Pedagogy, The Model, Sligo; The Hugh Lane (both 2009) andExquisite Corpse, Irish Museum of Modern Art (2008).

http://www.kerlingallery.com/artists/mark-garry


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ZVUKEE No. 3 Friday 12th April

Kelly Jayne Jones Multiple Dimension Initiate: Part 2'

'Multiple Dimension Initiate: Part 2' is a performance by Kelly Jayne Jones of amplified rocks, communing, connecting with multifaceted layers of the cosmos. Kelly Jayne Jones is a Manchester based artist who is making work that combines performance art, installation, sound and electro-acoustic music.

Kelly Jayne Jones is a Manchester based artist who is making work that combines performance art, installation, sound and electro-acoustic music. Her work is largely based upon the electroacoustic composition tradition with the use of graphic scores, instructions, actions, movement, installation-performance, and audience participation/interaction.

She is interested in creating a multi-sensory experience, of sight, sound, smells, space, interaction, communication and exchange. Her recent work has been based upon the themes of the unconscious and asking how can art have the potential to be a supportive environment to explore visceral emotion, psychological awareness and performance as a site for transformation; interpersonally and communally.

KJJ has collaborations with Hannah Ellul (White Death), Greta Buitkute (Clout then Grappling) and Andie Brown from These feathers have plumes and Jon Collin. She was one half of the group part wild horses mane on both sides, which disbanded in 2016. She has performed across Europe in various DIY venues and has been commissioned for works with various projects at dOCUMENTA13, Tate Modern, ICA London and CCA Glasgow, Trieze Gallery Paris, Borealis Festival & Kunsthalle Bergen Norway, Tectonics contemporary music festival, Hangar Bicocca gallery Milan and the Huddersfield contemporary music festival (hcmf//) and Sheffield Site Gallery. She recently took part in a performance with Claudia Molitor and Tullis Rennie at hcmf// 2018.

https://www.kellyjaynejones.org/



Trish Morgan The Miracle of the One Thing

The Miracle of the One Thing is a work of ecological sound art. Concerned with ideas of alienation from nature, this work used hydrophones to record the underwater sounds of the river Shannon over a calendar year. The aim of the work is to present to an audience an experience of the river that is usually not available to listeners. In this way the work intends to offer a contribution towards overcoming alienation from nature.


Trish Morgan is an assistant professor in multimedia at Dublin City University. She is also an associate member of the National Institute for Regional and Spatial Analysis (NIRSA) at Maynooth University.

Trish is a media studies scholar who has had the benefit of an interdisciplinary perspective from geography. Her central research interest is in the communication and representation of environmental issues through theory and practice-based approaches. Her research output ranges from ecological sound art, photography, Scopus Q1 journal publication, and government agency report contribution.

Trish has recently been awarded funding to investigate how cultural practices can communicate environmental issues in novel ways. In 2017, she completed a PI role on an Environmental Protection Agency (EPA) funded research project. This project, titled Going Green Digitally? Environmental Crisis, Consumption Patterns and the Evolving Role of Media centred on the media and cultural industries and their role in fostering discourse and behaviour change around consumption practices and ecological sustainability.
www.trishmorgan.ie


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ZVUKEE No. 4 Friday 24th May

Eimear Reidy Groundless


Groundless is a set of three pieces for solo cello, pre-recorded cello and sounds from Cork City. The work reflects on the fundamental groundlessness of being human and how we encounter that in our daily existence.

Eimear Reidy started playing the cello at the tender age of 6. Since then she has completed a BMus and an MMus in Birmingham Conservatiore and Utrecht Conseravatorium.

Eimear has performed throughout Europe as a classical cellist and has recorded for RTE Lyric FM. She has performed with ensembles such as The Irish Baroque Orchestra, The RTE Concert Orchestra and Capella Cracoviensis. With her ensemble The Hibernian Muse she recorded an album of 18th century music for RTE Lyric FM. Since returning to Ireland in 2015 Eimear has been very involved with the flourishing sound art and improvisation scene in Ireland and has performed with The Quiet Club, Strange Attractor, Woven Skull and Laura Hyland.

In 2018 Eimear wrote and performed the music for the Gaitkrash’s production of “Killing Stella” which was performed in The Everyman Theatre in Cork. Eimear was a recipient on the 2018 Arts Council Music Project Award for composition of a site responsive piece for cello and sounds from Heir Island which she composed with her colleague, sound artist Robert Curgenven. This was performed as part of The Skibbereen Arts Festival and at Sirius Arts Centre in Cobh.