So May began in Bellaria in Italy for the film festival, in a location famed for its golden sandy beaches and resplendent coast line but unfortunately the storms arrived and my outdoor performance was rapidly and very practically moved indoors. I performed my work, 52 Space, in the public theatre to a very receptive audience, especially since the performance focuses on the film L’eclisse (1962) directed by Michelangelo Antonioni, drawing on images of Rome which I have slowed down to a mesmeric pace, so that the piece becomes a dreamy moment suspended in time. I will be performing this again in London in September at Kings Place, so be certain to book a ticket for this performance on 14th September.
Then it was off to New York City for some arty, literary and musical explorations in that busy city for 48 hours, just enough time to catch Liars live, attend some gallery openings and visit Control, the epicentre of Eurorack synthesiser culture in Brooklyn. For the weekend it was a rare opportunity to have a private tour of modernist architecture in Wellfleet in Cape Cod in the most stunning location.
I arrived at MIT fresh and enthusiastic to work for another week as Visiting Artist alongside American sound artist Stephen Vitiello. Many hours were spent hovering over synths, recording and developing structures and ideas for our public performance with New York based modern ensemble Either/Or. In between we had meetings with various inspirational characters at MIT, exploring such a variety of projects as using trees as sound resonating speakers, data gloves that can detect objects by shape, 360 degree screens operated by voice commands, robots that can choose between ‘good’ and ‘bad’ and so much more.
Our live performance was recorded both on camera and multi-channel audio recording so excerpts will be online soon and at present we are in communication regarding a full release on vinyl, CD and possibly DVD of the show, so here’s hoping that this will come to fruition. Any updates will posted here and over at the Scanner Facebook page.
In June I will surprisingly manage to stay at home for almost the entire month, apart from a fleeting trip to Rio Brazil to perform at Festival Multiplicidade, returning after three years to this amazing event. I will be performing my live scores to early Alain Resnais films. With the kind permission of Resnais himself I’ve rescored Toute la mémoire du monde (1956) and Le chant du Styrène (1957), two extraordinarily inventive yet ‘commercial’ films. In addition I will be performing reworked materials related to the Garden is Full of Metal CD release, dedicated to the memory of the late English film director Derek Jarman. Chances are too that afterwards I’ll be presenting a mixtape of tunes for a more funky end to the evening.
Incidentally the reissue of my Derek Jarman related CD, The Garden is Full of Metal, was very sensitively reviewed in the latest issue of The Wire magazine, exclaiming “Rimbaud weaves sounds into a shivery, delicate climate, haunted by melancholic synth swells, thoughtful silences and fragile piano sketches...Something lingers in the air, beyond reach but still there." Order your copy here.
A major new collaborative project, Vex in Venice, will be opening in June at the Venice Architecture Biennale. Working with British architectural practice Chance de Silva the work is linked to our London project Vex, a curved concrete house being built in Stoke Newington between this summer and July 2015. The London project will also incorporate sound by myself and be ‘premiered’ in London Open House 2015.
The architecture and sound piece is installed in a dilapidated stairwell of the partially restored palazzo on one of the main streets, Strada Nuova. The work contains a storey-height ‘fragment’ of Vex London in the form of a curved profiled steel wall that interlinks with the fabric of the existing historic staircase, with a score inspired by Erik Satie’s composition Vexations (1893).
The sonic world is architectural in spirit, using the space itself to resonate with the illusory presence of an unseen occupant, and drawing the spectator into this mysterious dilapidated space. In addition the palazzo stair leads to empty and as yet unrestored rooms of the remainder of the palazzo – with sounds hinting at occupation in past or future. A special release of the commission will follow later in the year so stay tuned.
Copies of the double album by French post rock masters Oiseaux-Tempête arrived in the post this month, in amazing transparent coloured vinyl. Listen to the full release here online and then treat yourself to the full limited edition.
May and June are busy times in the studio as I work on a film score about the forgotten massacres of Romani people in Eastern Europe, reworking Handel’s work for some future Danish live shows, and preparing a big project to be launched in London in September. More on that next month, I promise.
Have a great month ahead.
::: listen :::
Liars: Mess (Warp)
Ben Frost: Aurora (Mute)
Swans: To Be Kind (Mute)
Stephen Vitiello & Taylor Deupree: Captiva (12k)
::: read :::
9 evenings reconsidered: art, theatre, and engineering 1966 (MIT)
Blake Bailey: A Tragic Honesty (Picador)
Iannis Xenakis: Composer, Architect, Visionary (Drawing Center)
Bill Drummond: The 25 Paintings (Penkiln Burn)
Godzilla, Gareth Edwards, USA/Japan
Out of the Furnace, Scott Cooper, USA
The Machine, Caradog W. James, UK
Maleficent, Robert Stromberg, USA
Vex in Venice
Venice Architecture Biennale
Strada Nuova 3659
07 June – 22 November 2014
A collaborative installation between Scanner and British architectural practice Chance de Silva, linked to their London project Vex, a curved concrete house being built in Stoke Newington between this summer and July 2015.
The work contains a storey-height ‘fragment’ of Vex London in the form of a curved profiled steel wall that interlinks with the fabric of the existing historic staircase, with a score inspired by Erik Satie’s composition Vexations (1893).
By Sukhdev Sandhu
Design Mind Unit
Sound Design Scanner
Artangel Interaction invited writer and historian Sukhdev Sandhu to write a nocturnal journal unfolding over the course of 2006. His postings will appear sequentially at this microsite specially designed by Mind Unit. Sandhu's forays see him prospecting in the London night with the people who drive its pulse, from the avian police to security guards, zookeepers and exorcists. Acclaimed artist and musician Scanner has collaborated with Sukhdev and Ian Budden of Mind Unit to compose the sound for the site. If you would like to be kept informed as each episode is posted, join artangel's mailing list by clicking here .
Bittersweet Songs for the Sleepless City
NightJam is the latest project in Artangel Interaction’s Nights of London
series of artist-led collaborations with people who have a special view on
a hidden side of the nocturnal city. Scanner invited young people at New Horizon
Youth Centre in King’s Cross to collaborate on a creative project that
expresses how the city at night looks and sounds to their ears and eyes. Through
music and voice workshops they explored the sense of freedom and fear, celebration
and solitude of the concealing darkness. Meanwhile, they captured their nights
on disposable cameras, taking images that are at times eerie, startling, contemplative
and funny. NightJam presents two elusive visual and musical journeys through
the city’s ‘quiet’ hours.
NightJam presents two music tracks, a film, photographs, that can be experienced and freely downloaded. Additionally it features remixes of NightJam by Stephen Vitiello, Hakan Lidbo, Troy Banarzi, Si-cut.db and Pete Lockett.