Sunday, October 10, 2021
7pm CT
Streaming on Twitch
FREE, $5+ suggested donation (100% goes to the artists)
Vox Effusis Vol. 4 continues the presentation of multi-generational, multi-identifying, multi-meaningful mouthings by artists exploring the depths and heights of vocal/linguistic experimentation. Perhaps language is not a virus (sorry, Mr. Burroughs) but is instead the host, and we are joyful and sorrowful invaders making temporary homes within its nest.
Lou Mallozzi is an interdisciplinary artist, educator, and cultural organizer in Chicago with an ongoing interest in language and its discontents. He is Associate Professor in the Sound Department of the School of the Art Institute of Chicago, and Director Emeritus of Experimental Sound Studio, which he co-founded in 1986.
ARTIST LINEUP:
Paige Naylor
Nathanael Lee Jones
Shelley Hirsch
ARTIST BIOS:
Shelley Hirsch is a critically acclaimed vocal artist, composer, writer, andperformer whose mostly solo compositions, staged multimedia works, improvisations, radio plays, sound and visual installations and collaborations have been produced and presented in concert halls, clubs, at festivals, theaters, museums, galleries and on radio, film and television on five continents. She can be heard on over eighty recordings. Hirsch has received numerous awards in both music and multidisciplinary fields including a DAAD residency grant in Berlin, a Creative Capital Grant, the John Simon Memorial Guggenheim Fellowship, a Foundation for Contemporary Arts Grants to Artists Award, and many more.
In Between Language is a site specific assemblage of pieces performed for The Hudson Eye Festival at The Second Ward Foundation where I was in residence for two weeks in August 2021. This one-time performance for a limited live audience was filmed by James Autery and is dedicated to Walter Sudol, the director of the Second Ward who would pop into my work space with playful enthusiasm giving me free reign to use anything I wanted in the building which was formerly a public high school in Hudson, NY. Words and music by Shelley Hirsch, with additional music by Michael Schumacher. Thanks to the great staff and curators at The Hudson Eye Festival, sound engineer Eric Margan and from Second Ward, Sean Carillo, James, Bobby and Steve Johnson.
Nathanael Jones is a Canadian writer and artist born in Montreal and currently based in Chicago, USA. He holds a BFA in Interdisciplinary Fine Arts from NSCAD University and an MFA in Writing from SAIC. He has exhibited and performed in Canada, the USA, and the UK, and has published work online and in print with Funny Looking Dog Quarterly, Aurochs, Ghost Proposal, DREGINALD, and Infinity's Kitchen.
Argumentative Music draws on mundane, everyday sounds and instances of spoken language in order to explore the materiality of recorded sound and speech. It is concerned with exposing the malleability of language in its various forms—as speech, text, and digital code—and revels in the musical potential of controlled accidents. A portion of an ongoing series of multilingual sound poems, which are themselves reenactments of my own spontaneous outbursts, comprises the main text. This is complimented by the real-time manipulation of a short audio sample from my TAP project, which used a custom Pure Data patch to make random audio recordings through my laptop's internal microphone.
Paige Naylor is a Chicago-based artist and educator working within the realms of sound, performance, video, and writing. She is an MFA candidate in the Sound Department at the School of the Art Institute of Chicago specializing in voice and electronics. Paige is currently interested in self-regulating systems, participatory performance, social intervention, installation, real-time song de/reconstruction, auditory illusions, movement & text scores, aesthetics of joy, death, ephemerality, loss, and facilitations of healing. She holds a certificate in Deep Listening from Rensselaer Polytechnic Institute and is composer-performer & co-producer of the experimental pop opera The Near Misses.
How can a voice create space instead of filling it? What is it to build a room, a perimeter of emotions, a sonic architecture with the intangible? Naylor seeks to construct a temporary dwelling made up of hers and found voices to allow the listener to inhabit the space in the middle, embellishing the corners.