Across the two-week broadcast period Radiophrenia presents a new series of specially commissioned Live-to-Air performances –
Wednesday 15th May
Sally Golding • Kate Carr • Catalina Barroso-Luque
Friday 17th May
Félicia Atkinson • Hanna Hartman • Edinburgh Leisure
Saturday 18th May
The X-Static Tics • Alicia Matthews • Katie Shannon
this performance will be at Platform, Easterhouse
Sunday 19th May
Lucrecia Dalt • Jérôme Noetinger • Daniel Padden
Saturday 25th May
Poulomi Desai • Michelle Hannah • Kathryn Ashill
Sunday 26th May
Selected artists have been asked to respond to the unique circumstances of creating a work that is simultaneously a live performance and a radio broadcast, reflecting the fact that there will be an audience present in the theatre in addition to an unseen audience of listeners at home. All CCA events are free but ticketed. Tickets available from CCA box office. More details on the X-Static Tics performance at Platform can be found here.
Our Live-to-Air programme is supported by Creative Scotland, CCA Glasgow and Platform.
Wednesday 15th May
From 7pm, CCA Theatre Space
Sally Golding presents a live audiovisual performance using amplified lighting and light sensitive audio – exploring the function of light as both a therapeutic and triggering stimulus. Using repurposed electrical devices reaching minimal and maximal points of threshold, Golding uses performative gesture and voice to explore the narrative of perception and emotion. Discordant sonics, harsh lighting and PA shattering laboratory strobe lights alter the function of both the performance space and the radio listener’s zone, auditioning aural and visual states of light and darkness. A punk session of light collective therapy that will challenge your comfort zone.
Sally Golding is a British-Australian artist whose work considers participation and liveness in audiovisual art as a mechanism for shared experiences and dialogues within technological contexts. Golding’s audiovisual performances play upon the politics of listening and seeing – edgy and intense in nature, they unravel in the style of a ‘happening’ to incorporate aspects of the performance space to investigate the social potential of opto-sonics.
Golding has performed throughout the UK, North and Central America, Europe and Australasia including Tate Britain (UK), Serralves Museum (PT), Digital Culture Centre (MX), Centro de Arte Dos de Mayo – CAM2 (ES), Sound of Stockholm (SE), Australian Centre For the Moving Image (AU), KRAAK (BE), International Film Festival Rotterdam (NL), SONICA (SI), San Francisco Cinematheque (USA), and Contemporary Art Centre (LT). Golding’s participatory installations have been shown at the Institute of Modern Art (AU) and South London Gallery (UK). Golding is a recipient of the Oram Award 2017 (New BBC Radiophonic Workshop/PRS Foundation) for women innovating in sound and creative technologies. Golding is also the curator of the event and festival platform Unconscious Archives.
This piece explores sonic transmissions and emissions, radio, morse code, sonar, satellite, blue tooth, and wireless. From our efforts to track and transmit into our solar system using radio, to blue tooth connections across the room, this work examines the ephemeral sonic tools we use and the traces these leave as we attempt to reach each other, and place ourselves in the world, and indeed the universe. It is an ode to the fragility, dynamism and determination encapsulated in the ways we attempt to connect.
Kate Carr is a field recordist and sound artist. She has been investigating the intersections between sound, place, and emotionality both as an artist and a curator since 2010. During this time she has ventured from tiny fishing villages in northern Iceland, explored the flooded banks of the Seine in a nuclear power plant town, recorded wildlife in South Africa, and in the wetlands of southern Mexico.
Tongued Red is a live, narrative voice piece featuring a mouth and two flesh devouring tongues. Interweaving English and Spanish, this erotic monologue explores a linguistic colonisation charted on a sexual, psychological and corporeal terrain.
Performed by Marta Soriano.
Written & directed by Catalina Barroso-Luque.
Supported by Creative Scotland and the CCA (Glasgow)
Catalina Barroso-Luque is a Mexican, Glasgow based, artist interested in how text penetrates and colonises bodies – her own and those around her. Her practice spans across writing, curation, installation and voice performance. Catalina often works with practitioners in other fields, playing with how interactions infect and inflect each other. Recent projects include: Ñ (2019, MAP Glasgow); Cannibal O publication (PSS, London) and curated evening (2019, Intermedia CCA, Glasgow); soft . lipid. love solo exhibition (2018 Chalton Gallery, London). Catalina will be curating a screening on hatred and female sexuality at Pandeo ( June 2019, Mexico City) and developing new work based on research on infections and translations carried out between the Wellcome Centre for Anti-infective Diseases (Dundee) and cheLA (September 2019, Buenos Aires).
Marta Soriano is a multidisciplinary artist based in Edinburgh. She has a Diploma in Physical Theatre Practice from Summerhall (Edinburgh) and has recently performed at the Glasgow Championships 2018 and Talbot Rice Gallery (Edinburgh). Marta has a background in Classical music as professional flutist performing at different Spanish orchestras/ensembles and combining this with a career in pedagogy. She also studied different music styles, focusing on in Latin Music, at the World Music department of CODARTS conservatory of music in Rotterdam. In that period she developed her singing and improvisational skills joining different music bands & circus projects. She has a wide training in dance and theatre though workshops and collaborations in different artistic projects
Friday 17th May
From 7pm, CCA Theatre Space
Waking Up in Arcosanti
Waking Up in Arcosanti is a new sound piece for voice, electronics and keyboards by Félicia Atkinson inspired by short stay in Arcosanti, Arizona, in 2017, the utopian city created by architect Paolo Soleri.
Parisian-born artist Félicia Atkinson’s multifaceted work embraces improvisation, science-fiction, composition, chance, noise, abstraction and poetry. Her sound palette draws from the history of electronics, musique concrète, field recordings and improvisation through the use of synthesizers, guitar and piano, abstract distortions, text-sound and infra bass.
Félicia’s recent album ‘Hand in Hand’ has generated a great deal of curiosity, excitement and intrigue, with Fact Magazine writing that Atkinson takes “the dying bleat of obsolete technology, the crack and stutter of her own voice, the atonal clatter of intuitively-played instruments – and sculpts them into flawless vignettes that lodge themselves deep in the psyche. Like the dystopian science fiction it references, Hand in Hand is bewitching, intense, meditative and at times, deeply unsettling.”
She also runs the experimental music label Shelter Press with Bartolomé Sanson.
Félicia Atkinson has played in international festivals such as GRM’s Presence Electronique (Paris, FR), Rewire Festival (Den Hague, NL), Novas Frequencias (Rio De Janeiro, BZ), Sound Of Stockholm (Stockholm, SE), Borderline Festival (Athens, NL). She also performed in many art venues including Lisa Cooley Gallery (New York, USA), Palais de Tokyo (Paris, FR), Kunsthal Charlottenbord (Copenhagen, DK).
Lost Lines & Crush
LOST LINES – solo for amplified objects.
CRUSH – commissioned by Sveriges Radio 2018
Hanna Hartman is a Swedish composer, sound artist and performer living in Berlin. She studied literature and Theater history at the Universities of Uppsala and Stockholm, radio and interactive art at Dramatiska Institutet and electroacoustic music at EMS (Elektronmusikstudion) in Stockholm. Since the early 1990s she has composed works for radio, electroacoustic music, ensembles, sound installations and given numerous performances all over the world. Her many awards and grants includes the Karl-Sczuka-Preis, the Phonurgia Nova Prize, a Villa Aurora grant and the Rosenberg Prize. During 2007 and 2008 she was Composer-in-Residence at the Swedish Radio. Hanna Hartman is a member of the German Academy of the Arts since 2017.
Her work has been presented in numerous concerts and festivals. Such as Darmstädter Ferienkurse , Ultima Oslo Contemporary Music Festival , Huddersfield Contemporary Music Festival , el nicho aural, Mexico City, Akousma, Montreal, London Contemporary Music Festival, Eclat Festival, Stuttgart and Cut & Splice Festival, Manchester.
In preparation for this Radiophrenia commissioned performance entitled So Ambitious, Edinburgh Leisure have utilised Edinburgh University’s sound isolation booth as they attempt to transform a hyper-commercial pop song with over 2 billion YouTube views to it’s name.
Edinburgh Leisure is the partnership of Farquhar and Fraser.
Keith Farquhar is an established visual artist whose work has been exhibited internationally. He is also the former vocalist of The Male Nurse, sister band to Country Teasers, best known for their two Peel sessions of 1997 & 98.
T Fraser is one half of the duo ******** (newly released on Domino Records’ imprint Weird World), a collaboration also known as [Fraser, Ormston], which featured at Counterflows 2019 and includes artist Ailie Ormston.
Since 2016, Edinburgh Leisure have recorded two albums, Die Gefahr im Jazz (due on May 17th) and Contemporary Art In Digital Culture. Recorded mostly on iPhone 5s, Die Gefahr im Jazz merges the avant-instrumentation of staple guns and ripped masking tape with Apple-hack sounds to create what the duo playfully describe as ‘a harmonious cacophony of mammal and machine processes’. Contemporary Art in Digital Culture sees their sound become more mechanistic as gym and university timetables as well as non-verbal vocal scores by Meredith Monk are fed through text-to-speech software in eccentric data-sonification experiments.
Edinburgh Leisure have performed live in various venues, from an infamous show in an Edinburgh Tenement stairwell to galleries and club spaces including Cabinet Gallery, London, Talbot Rice, Edinburgh and High Art, Paris. A solo exhibition of their visual art was held at Celine Gallery, Glasgow in 2018.
“There is a certain aesthetic ambience that Edinburgh Leisure taps into and adapts to its own ends – A carefully honed brand of realism. The group takes its name from a trust operating sport and fitness facilities in Edinburgh. Adopting the banal in-house graphics of this organisation and others like it, Edinburgh Leisure holds up a mirror to the semiotic landscape of contemporary Scottish life.” Neil Clements
Saturday 18th May
From 3pm, Platform, Easterhouse
The X-Static Tics
DAY OF THE GREAT TIT
A radioplay by the X-Static Tics (Henk Bakker and Lukas Simonis)
The story is set in the year 2222. Dead Henk, a living corpse brought to life from a previous century (he died in 2121) is forced to be interviewed about his attempt to stabilize the world by introducing people to art. Was it due to his efforts that there are no more wars in 2222, that everyone has made peace? There are no more conflicts. Weapon manufacturers only make space ships. part of humanity is migrating to other solar systems although that is not really necessary; the earth is clean, pollution has been banned. The curiosity about dead Henk is great because with the disappearance of traumatic and conflict situations all forms of art are wiped out. Only the music has survived this genocide on the uncomfortable; after all, you must have something to listen to.
Ruminations On Some Things
Alicia Matthews will debut a new live sound piece.
Alicia Matthews is a Glasgow based artist and musician. Alicia has a background in sculpture and performance having studied both at the Glasgow School of Art and the Royal College of Art and has recently completed a MSc in Sound Design at Glasgow University. Her confrontational works have been performed to audiences around the UK and internationally at galleries in Lublin (Poland), Guangzhou (China), New York and at the Venice Biennale. The erratic and often jarring output of her solo musical endeavour, SUE ZUKI, has been aptly dubbed “Rhythm and Gloom”. These experimental soundscapes and loose, scathing lyrical narratives were brought to the Tate Modern in 2017 where they were performed as part of the NTS Tate Late series. In 2018 Alicia scored, and performed in, Liquid Sky – a new piece of visual theatre exploring the interface between sonic art and aerial circus, within a laser light scenography. Alicia hosts a monthly show on London’s NTS Radio under her SUE ZUKI moniker where she curates an uncompromising mix of industrial, no wave, spoken word, techno and metal alongside samples from popular media. Other projects include bands LAPS (DFA Recs, MIC Recs) and Organs of Love (Optimo Music).
But I can’t quite remember feeling real
Katie Shannon will present a reworked talk, syncopated by audio and moving image works, on connections between time, abandon, bathing, kinship and music cultures, culminating in a collaborative live edit of ‘The Last Song’ with artist and musician Alicia Matthews.
A time carved out via elongated adolescence.
Time spent with friends.
Living other’d lifestyles.
Hacking reality through a lexicon of image, experience, sounds and time lost in music.
Time had in the in-betweens.
Of loving images.
The in-betweens of parties.
People filtering off into different rooms.
Pausing a spectral idea of Future.
Katie Shannon is a Glaswegian artist, her practice moves between events, sound, image, print, sculpture and video. Much of her recent work centre around alliances and collective experiences that form on dancefloors; kinships that are often disconnected from reproduction or normative family structures, articulating both the joy and melancholy of a ‘stretched out adolescence’.
In 2018 she was awarded residencies at CCA Creative Lab Glasgow and Hospitalfield Arts Arbroath. Recent performances and exhibitions include a commissioned soundscape and collaborative gig for Zoe William’s Ruffles, Artmontecarlo, Monaco, 2019; Last song for a waterbaby, solo exhibition at Collective Gallery, Edinburgh, 2019; The Last Song, performance, CCA, Glasgow, 2018; performance with Kübler- Ross at CCA reopening event, Glasgow, 2018; Neo-Pagan-Bitch-Witch!, (group show) Evelyn Yard, London, 2016 and solo exhibition Chockablock at Voidoid Gallery, Glasgow, 2016. In 2017 Shannon was part of Three Works, Orlandozine. Shannon collectively runs the record label Domestic Exile, a Goth club called So Low and late-night curated event Daisies, in collaboration with artist France-Lise McGurn. In conjunction with her art practice she works with all female identifying welding group Slaghammers.
Upcoming projects include work for group show Hopelessly Devoted The Garment Factory Glasgow, solo installation CLIMAX club wear for babes at the Loftus Hall Berlin, A Pitched Down Higher State of Consciousness performance with Cucina Povera at The 343 Belfast, a performance with Kubler-Ross at Supernormal festival, Oxford and a Daisies event at Tate Britain.
Sunday 19th May
From 7pm, CCA Theatre Space
Lucrecia Dalt is a Colombian born musician, sound artist and radio producer now based in Berlin. Her records encompass the dual worlds of intelligent avant-garde and contemporary electronic music, drawing in influences from her academic background as a civil engineer as well as musics and philosophies from across the world. She has collaborated with musical kindred spirit Julia Holter and worked on podcasts for radio MACBA, Barcelona, on sound design installations and performative pieces for institutions such as Reina Sofia Museum and the Maisterravalbuena gallery of Madrid, in collaboration with visual artist Regina de Miguel.
Erase my head
30 minutes = 1 800 seconds
by 15inch/sec = 684 meters
one loop of 570cm = 15 seconds = 2,85 meters
record / loop / layers / process / erase / hiss
“In my live work, I want to always remember that sound is only a vibration of the air. I try to build some kind of sound environment or sound architecture with different strategies”.
Jérôme Noetinger discovered experimental music under the influence of the Déficit Des Années Antérieures in Caen and studied electroacoustic music under the direction of Xavier Garcia from 1986 -1988 at COREAM in Fontaine. He was a member of 102 rue d’Alembert, programming coordinator of exhibitions, concerts and experimental cinema from 1989 -1998. From 1987 to 2018, he was director of Metamkine, non-profit organisation dedicated to the distribution of improvised and electroacoustic music, which operates with an on-line mail order catalogue. He was also member of editorial committee of quarterly journal of contemporary sound, poetry and performance, Revue & Corrigée since 1987.
He is a composer (musique concrete in the studio) and improviser working with electroacoustic devices such as: the reel to reel tape recorder Revox B77 and magnetic tape, analogue synthesisers, mixing desks, speakers, microphones, various electronic household objects and home-made electronica. Active in the international music network since 1987, he is performing both solo and in ensembles, and collaborating often, and touring extensively internationally working with music, dance, films and painting.
Known Plates is performed using tape machines, reed organs, toy pianos, live and recorded voice, bass clarinet and percussion to create a shifting improvisation.
The instruments and objects are placed around the space, and the performer moves between them, following his own physical score within the music.
Daniel Padden is a musician and composer living in Edinburgh. He mostly creates work for theatre, screen and live performance. He is the founder member of The One Ensemble, and a member of Volcano The Bear.
Saturday 25th May
From 7pm, CCA Theatre Space
“cOMe what May-hum” – it’s our time to dream again.
A live art improvised performance – a tone poem – a desire for new dreams for our futures. Embracing, electrical hums – the bane of audio engineers, the mystical OM, maniacal brexit debates and the puns on May, Glasgow’s “La Belle Electra and the notorious Dr. Walford Bodie, The Electric Wizard of the North”, India’s Jagadish Chandra Bose and his radio experiments in the 1800s, shock jocks, radio phone ins, psychoacoustic illusions, hearing voices, embodied radio noise, and forensic knowing…Bring your mobile phones – you will be part of the performance…
Poulomi Desai is a Leverhulme Research Fellow and runs the Usurp Art space in London. She is self-taught and has been involved in performance, curatorial projects, live art, sound and photography installations interrogating the politics of identity, listening and perception inspired by her activist background and DIY post punk for over 30 years. She creates performances / compositions with modified sitars, electronics and VLF radio – solo, duos and ensembles. Installation exhibitions include, The Queens Museum, The Serpentine Gallery, Photographers Gallery, The Science Museum, The Oxford Gallery India, Futuresonic and Souzouzukan 9001 Japan. Commissions and performances include, Sonic Acts, Complicite, LCMF, Sound and Music, Fort Process, Clandestino, Colour Out of Space. Her work has been published in six books and she co-founded the youngest black/asian performance company in the UK – HAC in 1981, the first South Asian LGBTTQ campaigning club – Shakti in 1988, and the first HIV/AIDS charity in India – NAZ/NFI in 1991.
Delving deep into the soundscapes and disembodied voice of a dystopian singer. WILDE CODE presents a live vocal performance of Hannah’s continuing interest in the ‘dark matter of pop’. An approach to uncover and revel in the Hauntological gaps and detritus of pop culture. Through sampling, automation and digital manipulation this musical guise aims to explore a queer Cosmic Pessimism in the non corporeal world of broadcasting. Referencing sonic and lyrical components sampled from Dusty Springfield, hospital waiting rooms, post club experiences and UVB-76 military transmissions.
Michelle Hannah is a Glasgow based artist, performer and the creative director of ROST.
Principal Boy (Lost Youth)
Ft. Pester and Rossi
Principal Boy (Lost Youth) is a performance that laments the passing of Ashill’s youth, and the demise of the Principal Boy in pantomime.
The long-standing tradition of the Principal Boy in pantomime begun as a way to navigate strict laws in early theatre prohibiting the use of child actors and female performers. As a result women took up the role of the male protagonist in a ‘Breeches Role’. This was a rare opportunity for an actress in the 20th century to bare their legs. Although less common in the modern day panto, women still regularly take centre stage to play Peter Pan. Thigh slapping is a classic trope of the Principal Boy, the physical and sexual act of emphasising your speech or emotion through whacking your thigh.
Ashill’s work marries the imagery of pantomime, the principal boy and peter pan as a way of reclaiming space and reconnecting with her youth. She hopes to be one of the Lost Boys.
“My thigh slapping days are over…”
Sunday 26th May
From 7pm, CCA Theatre Space
The story of the X-Ray Audio Project and Soviet Bone Music culture in images, film and sounds from the era.
X-RAY AUDIO is a project by The Bureau of Lost Culture’s Stephen Coates and Paul Heartfield.
It tells the story of the underground community of bootleggers and music lovers who defied the censor in cold war era Soviet Union to make their own records of forbidden Western Jazz, Rock ’n’ Roll and banned Russian music.
It is now an online archive, a book, an award-winning documentary and an internationally touring exhibition with live events.
For Radiophrenia there will be a live presentation about the X-ray record phenomena followed by a demonstration and three short performances by Glasgow artists that will be lathe cut directly on to X-rays for instant playback.
The Bureau of Lost Culture are dedicated to recollecting counter-cultural stories through film, installations and broadcasts.
By evoking the spirit of the forgotten underground they ai to inspire with a sense of risk and provocation.
Stephen Coates, is a composer, writer and music producer. He came across the subject of the X-Ray recordings when travelling to Russia to perform as The Real Tuesday Weld. A graduate of the Royal College of Art, he is particularly interested in the interaction between music and culture. He has been researching the story of the X-Ray culture in Russia as part of a series of projects on Soviet musical history.
Paul Heartfield is one of London’s most experienced and respected portraitists. He has worked extensively in the music industry, photographing many international bands and musicians over the last decade.
He is the regular portrait and archive photographer for the Houses of Commons and Lords in Westminster and has photographed most of the senior British politicians of the last few years.