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SUMMARY:Flux Factory Open Studios
DESCRIPTION:Flux Factory404A Colonels Row\, Governors IslandOpen Studios: Saturday\, November 2\, 1 – 5 PM \n\n\n\nJoin us on November 2 for Flux Factory’s Open Studios on Governors Island. Our last event this season on Flux Island\, we’ll be closing out our fourth year celebrating our beloved resident community. Explore the work of 9 artists\, our season-end exhibition and Island Luminaria Two. \n\n\n\nPERFORMANCES \n\n\n\n1-3 PM: Lera Lerner invites you to a participatory performance with the Non-Clairvoyant Tarot Deck3 PM: Daria Orlova and will owen will be performing a sound composition with a collaboratively created sculpture. The sculpture itself is meant to perform on its own and collaborate with Daria and will. \n\n\n\nPARTICIPATING ARTISTS \n\n\n\nItala Aguilera is a visual artist born and raised in Mexico City\, based in New York City where she works as a teacher at the Textile Arts Center and as a costume designer. Through her artistic practice she imagines an alternative reality in which the objects that surround us aren’t made for profit\, but instead are compelling and reveal the complexity of human emotions. \n\n\n\nYasmeen Abdallah is an interdisciplinary artist\, working across intersections of sculpture\, textiles\, painting\, and social engagement. Drawing from the personal and the political through elements of memory\, empowerment\, trauma\, resilience\, and persistence\, her work takes shape in various capacities from minimal gestures to maximal installations. This work is inspired by contemporary culture\, history\, space\, place and personhood. She is interested in the stories told\, and secrets kept by imprints and objects that speak to our contemporary culture. \n\n\n\n502 Bad Gateway is the artist duo of Alexander Baumann and Robert Ruth\, whose collaborative artistic disciplines include motion capture performance\, oil painting\, 3D game development\, sculpture\, vintage tech restoration\, building audio synthesizers\, animation\, and filmmaking. Their practice focuses on integrating their artistic methods with deprecated technologies from many different eras\, drawing on the history of usage to underline the intent of the work. With a foot in the world of experimental film and live performance\, and the other in fine art and installation\, 502 Bad Gateway desires to break the traditionally static\, immutable nature of gallery work\, by incorporating the real-time responsiveness of interactive live performance. \n\n\n\nZack Handler is a Brooklyn-based multimedia artist interested in representing worlds that feel at once utopic and neptunian. In creating spaces that reflect boundless fantasy and somber interiority\, Zack is possessed by the idea that emphasizing imaginal spaces can reawaken narratives for alternative futures.  \n\n\n\nLera Lerner (b. 1988\, Leningrad) is an artist\, curator\, and mediator based in Paris. Through participatory projects\, she investigates the paradoxical nature of expectations\, the energy of side effects\, the ethics of lying\, suppressed desires\, distracting maneuvers\, and the possibilities of interspecific and cross-disciplinary communication. \n\n\n\nJodie Lyn-Kee-Chow is a Jamaican-American interdisciplinary artist living and working in NYC.  Her work often explores site-specificity through performance and installation art while investigating colonial histories pertaining to her Afro-Caribbean\, Asian\, and European heritage. Lyn-Kee-Chow’s work has been shown internationally. \n\n\n\nAmelia Marzec is an American artist engaging with communications infrastructure to inform a speculative future. Their current project\, Itinerant Signal Institute\, examines the effect of local emissions on global climate change\, and an ethnography to denote the changing of seasons. \n\n\n\nSally Beauti TwinWhy is the sky blue water wet? These are things that Sally Beauti Twin\, the world’s most vacuous artist\, hasn’t considered yet…but plans to do so soon. Artists make the dreams that make the future. In the future Sally wants  some dreams. Like bubbles\, her art levitates viewers to empyrean realms. Like other trans artists she paints with a love of nature and tonalist fantasy.  \n\n\n\nDaria Orlova is an trancedisciplinary artist from Murmansk. At the beginning of her artistic activity\, Daria built total utopian installations\, placing her works and the viewer there as direct participants in the interaction process (“Cafe of Dancing Lights”\, Winzavod\, Moscow; “Shimmering Letters. Agency of Memory”\, Future3\, Kiel). Now her practice pays more attention to situativeness\, invisible choreography and mistakes. Total installations have become routes. The artist tries to fix the movement of thoughts\, bodies and their agents by drawing with her eyes closed\, moving away from an open dialogue with the artistic process\, turning off one of the senses. Errors that neither a person nor a technique can exclude from their work are guides and assistants in recognizing images. Daria is also engaged in sound\, listening\, research of acoustic environments\, for communication with non-human agents. Archives field recordings and collages them\, turning them into a special kind of sound documentation. Composes sound plays and operas\, plays noise and drone on modular synthesizers. \n\n\n\nWILL OWEN\, originally from western North Carolina\, US\, is an artist\, composer\, and curator currently based in Philadelphia\, PA. Will graduated in 2022 with a Master of Fine Arts from UPenn and received the Sprintz Prize and Toby Devan Lewis Fellowship award. Will is currently a Master’s level Thesis Advisor at NYU’s Integrated Design and Media program. Will’s work is about urgent state changes: physical\, emotional\, political\, and environmental. Often working with historical and site specificity\, Will works with many mediums to convey conceptual ideas\, but returns most often to three: Sound\, Sculpture\, and Food. 
URL:https://www.fluxfactory.org/event/flux-factory-open-studios/
CATEGORIES:Homepage Events,Welcome to Flux Island Events
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SUMMARY:Artificial Inhabitants: Arbrasson Workshop
DESCRIPTION:Workshop Registration: GiveLivelyTickets: $250*Need-based and sliding-scale tickets available \n\n\n\nIn this workshop\, Daniel Fishkin will provide a short history lesson and demonstration of the Arbrasson\, a unique rubbed wooden idiophone from France. Workshop participants will also learn the fundamentals of building their own arbrassons using simple handtools such as a Ryoba saw and a Kanna. \n\n\n\nFriction idiophones are distinct in the history of musical inventions. Unlike string instruments\, which are popular everywhere from past to present\, friction idiophones are uncommon\, but are always remarkable in their sonic character. The Livika is one such curious case. Hailing from New Ireland\, the Livika is a carved log consisting of three “tongues” that is rubbed by moistened palms moistened to produce a piercing\, loud cry. Its name refers to birdcalls\, and it was played at Malagan funeral ceremonies. Curator Eric Kjellgren writes\, the Livika is “both a first of its type and a revolutionary design”  Unlike the jaw harp\, which is found all around the world\, the Livika is singular to Melanesia—there are no other world instruments like it. Yet it is considered “extinguished” by the field: there are no practicing indigenous players\, and only about 50 known instruments exist in museums around the world.    \n\n\n\nThe Livika was recently reincarnated: José Le Piez\, a sculptor based in France\, created the “arbrasson” in 1992—carving notches into polished logs\, he crafts wild polyphonic sculptures that resonate when rubbed. Le Piez discovered the concept accidentally—he did not know the Livika. Yet his instruments extend the Livika\, featuring more notes\, and wider tonal range. In Summer 2023\, Fishkin met Le Piez in his studio in Bordeaux\, where they began an international partnership as instrument builders\, sharing designs and keeping the future of the Arbrasson burning bright. \n\n\n\nWorkshop Leader Bio \n\n\n\nDaniel Fishkin’s ears are ringing. He has performed as a soloist on modular synthesizer with the American Symphony Orchestra\, developed sound installations in abandoned church sanctuaries\, and played innumerable basement punk shows. Daniel’s lifework investigating the aesthetics of hearing damage has received international press; as an ally in the search for a cure\, he has been awarded the title of “tinnitus ambassador” by the Deutsche Tinnitus-Stiftung. He is the only luthier that studied with Hans Reichel\, the inventor of the daxophone\, a thin hardwood strip played with a bow which sounds somewhere between a badger and a cello. Daniel’s instruments have traveled the world\, and are played by musicians in Canada\, USA\, Norway\, Germany\, France\, Japan\, Denmark\, Kazakhstan\, and Australia. In 2015\, Daniel formed The Daxophone Consort\, the USA’s only ensemble dedicated to realizing new compositions and performances with this instrument. In 2016\, Daniel was awarded a Project Grant from the Pew Center for Arts & Heritage to stage his lifework Composing the Tinnitus Suites on a large scale. In 2022\, Daniel was awarded the P.I.G. prize from the Art Foundation of Danish designer Henrik Vibskov. Daniel received his MA in Music Composition from Wesleyan University and studied privately with composer Maryanne Amacher and with multi-instrumentalist Mark Stewart. He has taught seminars on instrument design and electronic music at Bard College and the Cooper Union. He is currently a PhD Candidate in Composition and Computer Music at the University of Virginia.
URL:https://www.fluxfactory.org/event/artificial-inhabitants-arbrasson-workshop/
CATEGORIES:Homepage Events
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