Blast Phemy! #4 – “Under Glass” A Mid-week Music/Media Mashup!
NewTown, Los Angeles Filmforum & Cinefamily Present:
Blast Phemy! #4 – “Under Glass”
A Mid-week Music/Media Mashup!
At Cinefamily • 611 N. Fairfax Avenue, Los Angeles
Featuring Carl Stone, sound, and Carole Kim, media installation
With guest Paul Outlaw
Tickets $13 general; $9 for Cinefamily, Filmforum, and NewTown members.
Advance purchase recommended, available at:
Our fourth show in the ongoing Blast Phemy! series features two masters in their respective media combining for a radical new experience. Musician/composer Carl Stone and media artist Carole Kim join forces for the first time in an evening of experimental sound and image. Plugging into both their interfaces will be the multi-faceted performer Paul Outlaw. These pioneers transcend the post-everything with an astute celebration of hybridity.
Carl Stone squeezes and strokes the visceral spontaneity and excitement of a mad-genius rock star from his otherwise innocent Mac Laptop. Carole Kim coalesces the sensitivity of improvisational performance with digital technology, exploring the quicksilver architecture of her layered video projections. These two pioneers transcend the posteverything, ultra-cool insularity of today with a brazenly emotional yet intellectually astute celebration of individuality. The works of Ms Kim and Mr. Stone have graced every known continent, and then some. This is a one-time show, an alchemical experiment not to be missed.
About The Artists
Carl Stone is an American composer, primarily working in the field of live electronic music. His works have been performed in the United States, Canada, Europe, Asia, Australia, South America, and the Near East. Stone studied composition at the California Institute of the Arts with Morton Subotnick and James Tenney and has composed electro-acoustic music almost exclusively since 1972. In addition to his composition and performance schedule, he is a faculty member in the Department of Information Media, School of Information Science and Technology at Chukyo University in Japan. Stone utilizes a laptop computer as his primary instrument and his works often feature very slowly developing manipulations of samples of acoustic music, speech, or other sounds. Because of this, as well as his preference for tonal melodic and harmonic materials similar to those used in popular musics, Stone's work has been associated with the movement known as minimalism.
Prior to his settling on the laptop, in the 1980s, he created a number of electronic and collage works utilizing various electronic equipment as well as turntables. Prominent works from this period include Dong Il Jang (1982) and Shibucho (1984), both of which subjected a wide variety of appropriated musical materials (e.g. Okinawan folk song, European Renaissance music, 1960s Motown, etc.) to fragmentation and looping. In this way his work paralleled innovations being made in the early days of rap and hip hop (e.g. Grandmaster Flash, of whose work he was unaware at the time). It was during this period that he began naming many of his works after his favorite restaurants (often Asian ones).
Stone has collaborated frequently with Asian performers, including traditional instrumentalists such as Min Xiao-Fen (pipa), Yumiko Tanaka (shamisen), Kazue Sawai (koto), Michiko Akao (ryuteki), and those working with modern instruments, such as Otomo Yoshihide (turntables, guitar), Kazuhisa Uchihashi (guitar, daxophone), Yuji Takahashi (computer, piano), and vocalists such as Reisu Saki and Haco. He has also collaborated on an album with Hirohito Ihara's Radicalfashion and recently with Alfred Harth who partly lives in Korea. Beginning in the early years of the 21st century, Stone began to compose more frequently for acoustic instruments and ensembles, completing a new work for the San Francisco Bay Area-based American Baroque. Stone served as president of the American Music Center from 1992 to 1995, and was director of Meet the Composer/California from 1981 to 1997. He also served as music director of KPFK-FM in Los Angeles from 1978 to 1981.
Carole Kim is an interdisciplinary artist with a focus on live video performance and performance-based video installation. Digital/new media technologies interface with the sensitivity of the improvisational live performer. The installations explore the illusory architecture of layered video projection in space. The use of live-feed cameras introduces the human form into this layered landscape, mediating the body while preserving the dynamic edge of the live performer. The performance/installations are multi-sensory immersive environments that often explore a de-centralized viewing space. Kim seeks a generative hybrid of disciplines that collapses boundaries and supports an integrated reciprocal exchange between sound, image, movement, space.
A particular love for live improvisational new music has fostered many sound/image collaborations with musician/composers including Nels Cline, GE Stinson, Jesse Gilbert, Mark Dresser, Vinny Golia, Wadada Leo Smith, Hahn Rowe, Steve Roden, Sara Schoenbeck, Harris Eisenstadt, Joe Berardi, Jessica Catron, Leticia Castaneda, Albert Ortega, Ellen Burr, Catherine Lamb, Yorgos Adamis, Motoko Honda, Gilbert Nouno, Joelle Leandre, Carla Bozulich, Alex Cline, Scott Amendola. Wadada Leo Smith, Mark Trayle, Karen Elaine Bakunin, Nick Didkovsky, Daphna Naphtali, and Pheroan Aklaff. She has collaborated with the following dancer/choreographers: Oguri, Roxanne Steinberg, Michael Sakamoto, Shuriu Lo, Grisha Coleman, Stephanie Nugent, Jesske Hume, Liz Hoefner, Hassan Christopher, Christine Pichini and Maya Gingery. A lineup of visual artists and filmmakers has contributed to past projects including: Astra Price, Maile Colbert, Mirabelle Ang, Rebecca Baron, Beth Bird, Eve Luckring, Adele Horne, Christine Marie, Bo Sul Kim, Ann Kaneko, Lisa Tchakmakian, Pablo Molina, and Alex Lorge.
She has exhibited and performed widely in the US and abroad. Recent venues include the Museum of Modern Art, New York, Museum of Contemporary Art-Los Angeles, REDCAT/Disney Hall, the Getty Center, Springwave Festival/LIG Performing Arts Hall (Seoul, Korea), Decibel Festival/Seattle, Trampoline: Platform for New Media Art (Nottingham, England), the Stanford Jazz Festival, Issue Project Room and Engine 27 (New York), Arizona State University-Arts, Media and Engineering Department (Tempe, AZ), the Knitting Factory (LA), ArtSonje Center (Seoul, Korea) plus numerous festivals and performance series. Last summer she was in residence at Montalvo Arts Center, Saratoga and a Master Artist-in-Residence at the Atlantic Center for the Arts, FL. Much more at http://www.carolekim.com/
Paul Outlaw is a Los Angeles based writer-performer whose interdisciplinary solo and ensemble work blends movement, theater and music. A recipient of a 2008 Durfee Foundation ARC Grant for Berserker (named Best Male Dramatic Solo Performance at the San Francisco Fringe Festival), he has performed throughout North America and Europe. On the screen he played the title role in Pepe Danquart’s Schwarzfahrer (Black Rider), winner of the Academy Award for Best Live Action Short Film in 1994. Excerpts from Outlaw’s latest solo work, The Late Late Show, have been presented in Winter/Spring 2010 at Highways Performance Space in Santa Monica, CA. He was recently seen as the singing narrator of Tov, the new dance theater work by Rosanna Gamson/World Wide, which premiered in Los Angeles at REDCAT in March 2010.
NewTown strives to make people aware that contemporary art forms are innovative, accessible, enjoyable and important parts of society's fabric. NewTown often defines itself as “a laboratory for innovative presentational formats.” The goals of these formats are to bring new audiences to today’s cutting-edge art, while providing artists with new and challenges contexts in which to make new art. NewTown has brought new art works and new art forms to an estimated 171,000 people, many of whom had never encountered "experimental" art, with many of the events free and in public spaces; been a leading advocate for small, grassroots arts organizations; and maintained minimal administrative costs, so over 85% of all memberships, grants and ticket sales go directly to artists and event production.
About Los Angeles Filmforum
Filmforum was incorporated in 1975 to promote a greater understanding of film as an art form and the filmmaker as an artist by providing a forum for independently produced, experimental films, which have little opportunity of reaching the general public through normal channels of commercial distribution. Presenting approximately 45 screenings annually, Filmforum is currently the only venue in Southern California dedicated exclusively to the ongoing, non-commercial exhibition of independent, experimental, and progressive cinema. www.lafilmforum.org
The Cinefamily is an organization of movie lovers devoted to finding and presenting interesting and unusual programs of exceptional, distinctive, weird and wonderful films. The Cinefamily’s goal is to foster a spirit of community and a sense of discovery, while reinvigorating the movie-going experience. Like campfires, sporting events and church services, we believe that movies work best as social experiences. They are more meaningful, funnier and scarier when shared with others. Our home is the Silent Movie Theatre, one of Hollywood’s most beloved and beautiful cultural landmarks. There, The Cinefamily will provide a destination spot for Los Angelenos and others to rediscover the pleasures of cinema.
Built in 1942 by John and Dorothy Hampton, The Silent Movie Theatre ran for decades as the only fully functioning silent movie theatre in the country. It has been fully restored to its original, vintage 1940s art deco design, along with a brand new screen and sound system, to help a new generation enjoy the pleasures of cinema in a beautiful theater.