[rohrpost] t-u-b-e newsletter: Werkschau Lou Mallozzi, 7. bis 11. Nov. 02

[Christoph Hoefig <christoph.hoefig@muenchen.de>]

Werkschau: Lou Mallozzi
Radiophone Arbeiten
(Wiederholung)

______________________________________________________________________________

t-u-b-e
galerie für radiophone kunst, installationen und audioperformances

www.t-u-b-e.de

im EINSTEIN Kulturzentrum
Einsteinstr. 42, 81667 München
______________________________________________________________________________
 

Donnerstag, 7. bis Montag 11. November, jeweils  20.30 Uhr
 

Teil I: 7., 9. und 11. November 2002

Aquapolis (1997)
8-Kanal-Installation, 28.55 Min

Things in their place (2002)
Stereo, 19.13 Min

Building from Scratch (1990)
Stereo, 15.10 Min
 
 

Teil II: 8. und 10. November

Pass (2000)
Stereo, 19.16 Min

Dizzy, not numb (1995)
Stereo, 23.30 Min

Drifters (1996)
Stereo, 32.24 Min
 
 

Dizzy, not numb (1995)

Dizzy,not numb is an audio art work that explores the sensorial body. Utilizing four original fictional texts on breath, heat, bulk, and scent, several other linguistic layers, or interpretive shells, were constructed by asking several people to converse or improvise on the given themes. The sounds of the body in motion, in space, and in repose interact with these polysemous texts, making a corporeal language where the physicality of utterance is as important as the development of meaning.

Written, directed, and produced by Lou Mallozzi

Narrators: Katy Roderick, Mark Booth, Paula Froehle, Kevin Henry
Conversation: Terri Kapsalis, John Corbett, Dawn Mallozzi
Archaeological improvisation: Shanna Linn
Telephony: Lillian Lennox, Gregory Whitehead
Eighty violins: Terri Kapsalis, Dan Scanlan
Bodies in motion: Goat Island Performance Group (Karen Christopher, Matthew Goulish, Lin Hixson, Greg McCain, Tim McCain)
Last words: Meenakshi Dash, Bill Talsma
Vocalizations: Lou Mallozzi

Recorded and mixed by Lou Mallozzi at Experimental Sound Studio, Chicago
 
 

Aquapolis (1997)

Aquapolis is a four-part architectonic audio art work, a work rooted in language in which imaginary and real acoustic spaces interact, contradict, and transform each other and the stories they contain. lt was originally produced as an audio cinema work for a surround-sound theater in Bonn. I subsequently produced a stereo version for broadcast and CD listening and an 8-channel version for installation. The spine of Aquapolis is a text in which a female narrator describes her walk through the history of an imaginary city built on the water, based loosely on the city of Venice, a city that is aquatic, enigmatic, and labyrinthian. I originally wrote the text for the piece in English, then had it translated into German and Venetian Italian. This multi-lingual weave is edited and manipulated in various ways, and combined with aquatic sounds, body sounds, the sounds of physical labor, and the sounds of various locations. These sounds, primarily acousmatic, corporeal, or referential in nature, expand the malleability of location, absence, and meaning inherent in the acousticized text.

Written, directed, and produced by Lou Mallozzi.
Narrators: Marta Tonnegutti, Petra Klusmeyer, Carrie Biolo, Marcel Baaijens, Margarete Zander, Heinz Weber.
Location recordings, unearthed sources, and electronic manipulations: Lou Mallozzi
German translation: Dr. Manfred Heid.
Venetian Italian translation: Marta Tonnegutti.
Recorded and mixed by Lou Mallozzi at Experimental Sound Studio, Chicago
Engineering assistance: Robbie Hunsinger.
 
 

Pass (2000)

Pass is an audio art work intended for radio broadcast or CD listening. Although it incorporates recorded voices from various sources, it is not based on language (as is much of my work), but explores a narrativity founded on extended moments and representations of physical proximity. One of the original bases for the piece was the concentration on "the moment after" -- for example, the moment immediately following the last note of an opera, or immediately following the closing of a door. In other words, that moment when the dust starts to settle -- an event is ending and an aftermath is beginning. I use some recordings or renderings of such moments in the piece, but it was never my intention to illustrate these moments; they were a starting point from which to build something, and thus Pass incorporates other material as well -- physical sounds, in particular non-verbal voices or breaths that can be unstable, aggressive, or reserved; electronicahy manipulated recordings that yield textures and pure tones, most of them very quiet; fragments of pre-recorded singing or utterances; sonic detritus, such as noise, radio interference, hiss, and dropout; and representations of spaces. Pass is a dialogue among these sonic elements, structured in a linear, episodic way. The structure is hinged together by the expanded moments (or moments after), which is why long sections of the piece are very quiet, or slowly decrease in volume, with subtle articulations in these emptying spaces, then sudden dramatic jumps in volume at the next event. lt is as if a moment of typically brief decay or pause is drawn out to an unnatural length, so that the "ending" of an event is longer and more emphatic than the event itself.

Produced by Lou Mallozzi
Mouths; Jaap Blonk, Mats Gustafsson, Lou Mallozzi
Recorded and mixed by Lou Mallozzi at Experimental Sound Studio, Chicago
 
 

Things in their place (2002)

Things in their place is an audio work about listening through the veil of memory. Location recordings in real time are juxtaposed with texts that have an instructional, interpretive, or ruminating sense to them. Language is also used to accumulate absent objects that in turn "pile up" inside the otherwise calm acoustic spaces.

Produced by Lou Mallozzi
Location recordings made in Venice and Bellagio, Italy
Written, recorded, and produced at the Electronic Music Studio of the Rockefeller Foundation´s Bellagio Study and Conference Center, June 2002.
Mixed and mastered at Experimental Sound Studio, Chicago, August 2002.
Location recordings, narration, production, mix and mastering by Lou Mallozzi.
 
 

Der Eintritt zu den Veranstaltungen in der t-u-b-e ist frei.

________________________________________________________________________

Impressum

t-u-b-e
galerie für radiophone kunst, installationen und audio-performances

Internet: www.t-u-b-e.de

EINSTEIN Kulturzentrum, Einsteinstr. 42, 81667 München

MVV: Max-Weber-Platz, U-Bahn und Tram
 

Ein Projekt der

Landeshauptstadt München
Kulturreferat
 

Projektleitung:
Christoph Schwarz, e-mail: christoph.schwarz@muenchen.de
Christoph Höfig, e-mail: christoph.hoefig@muenchen.de

Kontakt:
Landeshauptstadt München � Kulturreferat
Fachgebiet Medien, Film, Literatur
Burgstr. 4, 80331 München
Tel: ++49 (0)89 2332 69 91
Fax: ++49 (0)89 2332 15 63

Presse:
Anja Fanslau
Tel: 089 417 68 913
Fax: 089 419 29 492

Kuration:
Ulrich Müller, Jörg Stelkens
Kontakt: büro </stelkens>, Tel: 089 / 76 75 58 04, Fax: 089 / 74 74 78 59
e-mail: info@stelkens.de

_________________________________________________________________________

Hinweis zum Versand des t-u-b-e newsletter

Liebe Interessentin,
lieber Interessent,

mit dem t-u-b-e newsletter möchten wir Sie auf das aktuelle Programm aufmerksam machen. Wir freuen uns auch über jede Rückmeldung, Anregung und Kritik und wir bitten Sie, uns Ihre Meinung mitzuteilen.

Ihre Anschrift wird als Blind Copy in unseren Verteiler eingefügt. Damit schützen wir Ihre e-mail-Adresse, denn kein anderer Empfänger kann diese Informationen einsehen.

Sollten Sie unsere Informationen nicht benötigen, senden Sie uns bitte eine kurze Nachricht an christoph.hoefig@muenchen.de . Wir werden dann sofort Ihre Anschrift aus dem Verteiler nehmen.

Mit freundlichen Grüßen

Christoph Höfig