the second season of the `co-incidence festival` took place from January 19—28, 2018, mainly located at Washington Street Art Center. throughout the week, performances called 'Sound Bridges' took place in Union Square as part of the Somerville Arts Council's ArtsUnion program. as with the prior year, the overarching goal of the festival was to bring together experimental composer/performers/artists to focus on collaboration, critical discussion, workshopping, and performance - this time with more of a focus on exploring the local area.
the daily routine was shifted from rehearsals towards expeditions, events, and meetings decided upon by the group. the only pre-planned things temporally were one hour Sound Bridges performances in Union Square, which ranged from 4 PM to 10 PM. the content of these performances was developed by different artists who attended the festival, with Joachim's addition of a short period of focused group listening at the end of each performance. given the unusual and changing concert times, the freedom during the day encouraged participants to get to know one another outside of the daily meeting space.
guest artist, Joachim Eckl, was a large inspiration for the direction of this year's festival: primarily focused on how the groups sociality could exist and move through states of bridging, swarming, and into social sculpture, all explored through experimental sonic situations. he not only helped come up with the idea for the daily concerts, but also encouraged more spontaneous activities, for example, leading the group on a tour of the Museum of Fine Arts Boston's Egyptian Art exhibit.
Amy Golden is a composer, vocalist, sound artist, and sculptor from Springdale, Arkansas living and working in Los Angeles, California. She creates works for instruments, voice, and objects, as well as sound and sculptural installations and performance art with a special focus on the relationship between sound and object, texture, magical realism, translation across mediums, collections, and the female experience.
Bees swarm to produce new colonies. Sound swarms to produce new attentions.
Annelyse Gelman makes things with text and sound. Her poems have appeared in The New Yorker, the PEN Poetry Series, The Awl, Indiana Review, and elsewhere, and she is the author of the collection Everyone I Love Is a Stranger to Someone (2014), a finalist for the Believer Poetry Award. She was poet-in-residence at UCSD’s Brain Observatory in 2012, the Lavinia Winter Fellow at New Pacific Studio in 2013, and a 2016 Fulbright grantee in Berlin for her work at the intersection of poetry, film, and music. She’s interested in intimacy, tactility, language-as-technology, and memory pathology, and is currently a Michener Fellow in Austin, TX.
Caleb Chase is a 22 year old interdisciplinary artist living in Boston who recently graduated from Studio for Interrelated Media at MassArt. He makes music for recordings and performances in bands, alone, and scores for other performers. Additionally, he makes sound work that exists outside the scope of traditional sonic experiences, often combining an auditory element with other traditional art media such as, paintings, installations, or sculptures. Through this he hopes to examine the structures that surround music and how it exists in relationship to technology, culture and ideology beyond its existence as a vibration on the ear drum.
From Sea Cliff New York, studying studio art/music at Bard College.
Has been working towards ways of asserting art as a deep socially productive container and sound as a medium for communication. Working towards a collaborative practice that involves interactive sculpture, testimonies, and new contexts for listening. Having performed for years in Brooklyn and around the eastern half of the U.S. work has become informed by d.i.y. art and activist communities and ways of making spaces for participation. Various projects with radio transmission, tape loops, analog video, and body-as-circuit situations have led to sounding buckets, and electromagnetic fields as a new variable architecture for simultaneous listening and movement.
Kirsten Carey is a guitarist, composer, and performer living in Detroit, MI. Carey's work seeks to unite ideas across genres and disciplines, as seen in her much-lauded Ulysses Project, a performative song cycle about James Joyce's Ulysses praised as "ten tracks of avant-garde eclecticism perfectly in the mood of the novel" (Alterego Magazine). She also leads Throwaway, an art punk duo dominated by a strange woman in a paper bag mask, with all the "aerodynamic-rock-grit flavors of the likes of Primus or Deerhoof" (Current Magazine). Carey was asked by Elliott Sharp to contribute her piece "Sasquatch / Happening" to Clean Feed Record's I Never Meta Guitar III in 2015. She has been featured on the blog Prepared Guitar and shared the stage with the likes of Elliott Sharp, Weasel Walter, Andrew Bishop, and Thollem McDonas.
Born in Buffalo in 1961, Michael Pisaro is a composer and guitarist, a member of the Wandelweiser Composers Ensemble and founder and director of the Experimental Music Workshop, Calarts. His work is frequently performed in the U.S. and in Europe, in music festivals and in many smaller venues. It has been selected twice by the ISCM jury for performance at World Music Days festivals (Copenhagen,1996; Manchester, 1998) and has also been part of festivals in Hong Kong (ICMC, 1998), Vienna (Wien Modern,1997), Aspen (1991), London (Cutting Edge, 2007), Glasgow (INSTAL 2009), Huddersfield (2009), Chicago (New Music Chicago, 1990, 1991) and elsewhere. He has had extended composer residencies in Germany (Künstlerhof Schreyahn, Dortmund University), Switzerland (Forumclaque/Baden), Israel (Miskenot Sha'ananmim), Greece (EarTalk) and in the U.S. (Birch Creek Music Festival, Wisconsin). Concert length portraits of his music have been given in Munich, Jerusalem, Los Angeles, Vienna, Merano (Italy), Brussels, New York, Curitiba (Brazil), Amsterdam, London, Tokyo, Austin, Berlin, Chicago, Düsseldorf, Zürich, Cologne, Aarau (Switzerland), and elsewhere. He is a Foundation for Contemporary Arts, 2005 and 2006 Grant Recipient. Most of his music of the last several years is published by Edition Wandelweiser (Germany).
Ryoko Akama is a sound artist/composer/performer, who approaches listening situations that magnify silence, time and space and offer quiet temporal/spatial experiences. Her sound works employ small and fragile objects such as paper balloons and glass bottles, creating tiny occurrences that embody ‘almost nothing’ aesthetics. She composes text events and performs a diversity of alternative scores in collaboration with international artists. She runs melange edition label, amespace and co-edits mumei publishing.