Ende Tymes, the increasingly extensive “festival of noise and abstract liberation,” successfully returned for its fifth incarnation last week.
The late composer Robert Ashley (1930–2014) produced some of the most difficult music of the 20th century — and now also of the 21st.
Hidden away in Ridgewood, Queens, is a private loft that holds an acoustic gem from the mid 20th century: a vintage — and totally functional — Klipschorn three-piece speaker system.
The open structure of Sound Event resulted in a casual atmosphere, where one could sit in on a performance, or station, without feeling pressured to stay through its entire duration.
The Guggenheim Museum was filled with noise on Monday evening during
“PAAAAAAroooooooooooole in Libertà Futuriste (Futurist Wwwwwwoooooords-in-Freedom),” an eccentric program that breathed new life into an extensive survey of Futurist art that’s been on view since February.
The 2014 Whitney Biennial came to a close this past weekend, ending with a performance by esteemed artist and musician Pauline Oliveros. The performance resonated with one of the more striking, if overlooked, curatorial themes of the show: sound in the museum.
The fourth annual Ende Tymes festival summoned a deluge of harsh noise, heavy drones, and electronic improvisation upon Brooklyn this past weekend.
I wasn’t quite sure what to expect upon entering the fourth floor galleries at the Museum of Modern Art for a collaborative performance, “illlummminnnatttionnnssss!!!!!!!” (2014), by old-guard experimentalists Simone Forti and Charlemagne Palestine. The pair had not performed together in over four decades.
Experimental musician Charlemagne Palestine performed last Thursday at Plymouth Church, presenting a vibrant evening of deep organ drones.
Robert Ashley, experimental musician and composer, has died at the age of 83, according to the artist’s website. Ashley has long been a force of inspiration in the experimental music community, where he is recognized as a pioneer of electronic and improvised music. Ashley is also included in the 2014 Whitney Biennial, which will present three of his operas in April.
The pervasive, even immersive, nature of sound is the subject of an unassuming exhibition by Tim Bruniges, whose megalithic installation, MIRRORS, is on view at Brooklyn’s Signal gallery.