Sarah Hennies is a composer concerned with a variety of musical, sociopolitical, and psychological issues including queer & trans identity, psychoacoustics, and the social and neurological conditions underlying creative thought. Her ground breaking audio-visual work Contralto (2017) explores transfeminine identity through the elements of “voice feminization” therapy, featuring a cast of transgender women accompanied by a dense and varied musical score for string quartet and three percussionists. She is the recipient of a 2024 United States Artists Fellowship, a 2019 Foundation for Contemporary Arts Grants to Artists Award, and a participant in the 2024 Whitney Biennial. More
-
Kunci Study Forum & Collective
Kunci Study Forum & Collective has since 2016 initiated School of Improper Education, a long-term collective learning process that works by exploring the historical remnants of various practices of study, in order to carve out an alternative form of collective and community based pedagogy. The school sustains “the alternative” by continuously questioning its reasons for existing and asking how we exist together, where we learn various vernacular vocabularies for studying together.
Members contributing to the score: Panca Lintang Dyah Paramitha (she/they) is a Philosophy student and artist rooted in Jakarta’s suburban life, exploring discourses on women and violence through writing, research, and performance-making. Riyadhus Shalihin (he/him) is an artist who operates an affective Marxism within the research of labor and landscape, with recent works at Atelier Automatique, Bochum, Hellerau, Dresden, Ufer Studios, Affect and Colonialism, Berlin, Owlspot Theater, Tokyo. Samuel Bonardo (dia/they) is an artist—a wanderer of aesthetics in mundane moments and imperfections, shaped by the life of Javanese urban landscapes. More -
Ximena Alarcón
Ximena Alarcón-Díaz is a sound artist-researcher interested in listening and sounding our sonic migrations. She composes immersive listening collective experiences and creates Interfaces for Relational Listening, expanding people’s sense of place and telepresence for the emergence of aural territories of memory and emotion. Mentored by Pauline Oliveros, she is a Deep Listening® certified tutor at the Center for Deep Listening (RPI), and works as Coordinator of Postgraduate Degrees at the Faculty of Arts of the Universidad de Antioquia. Through postdoctoral awards she created Sounding Underground; the telematic improvisations Networked Migrations; and the embodied telematic system INTIMAL. More
-
Romy Rüegger
Romy Rüegger was an artist and writer, friend of animals, plants and the extraterrestrial, rhythms and sounds of intersectional feminist languages and movements of confronting, unlearning and creating. In their work and writings language is being engaged as touch and encounters, as much as imaginations that document politics of memories, of unsettled lives and deaths. Shy published several monographs, including an artist record. Heir writings, scores, scripts, poetry and experimental prose has been published, translated, staged, collected and performed internationally, under shape shifting names.
-
Cannach MacBride
Cannach MacBride is an artist. They make things with writing, sound, performance, installation, and video. Their focus is on the relations – and regimes of power – embedded within different listening practices and the ontological understandings of sound, time, and environment that various listening practices carry with them. They are doing a PhD, based at CRiSAP, UAL, and co-editing with Taraneh Fazeli «Sick Time, Sleepy Time, Crip Time: For Access-Centered Practice».
-
Bint Mbareh
Bint Mbareh is a sound artist with a focus on how listening and sounding (often in a cyclical feedback-laden way) can help erase borders between the past and the present, between our bodies and between geographies. She is interested in undermining the Israeli settler colony through her research into Palestinian sound and worship practices. Her work has been shown at the Tate Modern, The Lincoln Centre, Unsound Festival, the Sharjah Biennial and the Royal College of Art among others. More
-
Kunstraum Walcheturm Zürich
Diffraction Works – Score workings
An all-day joint performance workshop
With new scores by: Ximena Alarcón, Sarah Hennies, Tomoko Hojo, Kunci Study Forum & Collective, Cannach MacBride, Bint Mbareh, Elaine Mitchener, Matana Roberts, Romy Rüegger, Ginger Brooks Takahashi
Workshop facilitation: Kay Zhang, Vivian Wang, Jules Sturm&Angelo Custodio, Franziska Koch, Irene Revell, Aio Frei
OOR Saloon has invited a series of artists/composers/musicians to develop new text scores that will be collaboratively activated, read, discussed and performed by the participants/audience at this day-long workshop-performance-event that is open to all (no prior skills or experience needed). The scores will also be published in a special riso-printed “score-working-zine” given to everyone attending.
The event focuses on cosmologies of non-separability, attentive and situated listening, joint improvisation, reading and discussion. The format thinks itself diffractive with and through the scores as relational propositions for embodied political negotiations, as temporally non-linear possibilities of gathering otherwise.
How to hold attention collectively for a tiny moment in space-time?
A score as a momentary scaffold, as a starting point for a temporary commitment to move into shared practice. Never an agreement, not separable from pain nor discomfort, insecurity nor misunderstanding, but an invitation – the score as an agreed-upon shared experience.
We intend to generate a space in which the score can allow us to find shared attention, focus and be mindful about the power these motions hold. Shared focus can bring relaxation to the nervous system, fosters forms of trust and connection. In a time when fewer and fewer futures are being cared for, a score holds tiny sparks of manyfold, diffractive possible futures, uncertainty as much inherent as is its intention of communality.
Our shared interests in the political aesthetics of the text score include artists working with text/instruction/scores in areas that span queer-feminist and decolonial listening, disability justice and expanded forms of practice that might be termed ‘score-thinking’. These seem to have a distinct resonance with historical works: specifically, Irene’s research has focused on speculative feminist histories of the performance score, in particular text instruction works developed by Pauline Oliveros in the early 1970s, amidst a constellation of her friends and peers including the score magazine project Womens Work (1975-8) co-edited by Alison Knowles and Annea Lockwood. As well as the practical reading, negotiation and performance of the new works, we will also foreground these discussions about the form(s) of the score, and its histories.
The day will be divided into four sessions, each facilitated by different artists where the different scores will be read, discussed and performed together. You do not need to have any prior experience or skills (musical or otherwise) to join the workshop but we do ask that you commit, as much as possible, to attending the whole day. Each attendee will receive their own copy of the riso-printed “score working zine” for use during the day and to keep. Any other relevant materials will be provided. There will also be a light lunch, and late-afternoon snacks, as well as refreshments throughout the day.
MORE ABOUT THE ARTISTS
Curated & organized by: Franziska Koch, Irene Revell, Aio Frei
Organized by: OOR Saloon & FriendsThe event will be held in english language. Whisper translation can be provided.
The venue is wheelchair accessible.
The space provides possibilities to lie down and rest.
The day includes a light lunch, snacks and refreshments.Please register here (number of tickets, and name(s)): info@oor-rec.ch
15.-/30.-/50.- (Payment at venue.)Please do contact us if you have specific access requirements, or any questions about the day: info@oor-rec.ch