A showcase of sound art and performance, from graduate students at SAIC.
The fifth and most conceptually broad iteration of Ten x Ten, ‘Ten x Ten 2017: Dual Practices’ brings together 10 notable Chicago artists who have robust practices in both visual art and music. By considering questions about boundaries and location, Ten x Ten 2017 will investigate Chicago neighborhood identities, urban change, and comfort in space and place.
Five artist pairs have been collaborating over several months to each create a two-part work that includes a song or audio piece and an 18” x 18” screen print. The results of these partnerships will be released with a concert and gallery exhibition at Experimental Sound Studio on Saturday, September 9th.The artists will perform excerpts from their collaborations and display their prints as well as other work.
ESS is excited to present installations by Hong Kong multimedia artists Cheng Lee and Vvzela Kook at Mana Contemporary this June-July. The exhibition opens on June 27th.
Join us on Saturday, December 17 for a presentation of the work this year's artists completed during their residencies. The 2016 Artist Residency Program is made possible thanks once again to a generous grant from the National Endowment for the Arts Art Works Program.
You've never dined like this before! At this unique dinner, we're putting mics on every place setting to create a cacophonous, immersive sound and dining experience. Join us for an evening of eating loudly.
This event will raise funds towards ESS's 2017 programming in Audible Gallery.
Catering by The Rice Table
In 2006, Joan and Mildred met at a party and through friendship and an evolving series of conversations and activities––movement-based performance, video and audio field recordings, historical research, photography and writing––generated something like a collaboration that looks something like a palindrome with Mildred's train as the central mode of conveyance for wide-ranging ideas about narrative, place, nomenclature, travel, race and class, and freight. Coming in from the North––a performance in two parts and one installation––presents a portion of that collaboration.
A composite of sound recordings from inside and outside the Cook County Jail, as well as a video pan of the 25’ jail wall examine the blurry line between the inside and outside of the largest single-site jail in the country. Situated within a working class immigrant neighborhood in Chicago and the artists’ native community, Gaspar has been recording the social behaviors and informal architectures surrounding a place of incarceration to make visible the politics of location. In this piece, she juxtaposes the acoustics of the interior life of detention alongside a local summer carnival that takes place outside the jail wall every year. The artist negotiates the psychological experience of of the carceral state and the effects of mass incarceration. It includes an excerpt from a series of personal conversations and interviews with Adolfo Davis by his collaborator, Elyse Blennerhassett. Convicted at the age of fourteen, Davis is currently serving a mandatory life sentence.
Fourth Horizon is a meditation on living in a city with water as a constant eastern horizon. Inspired by a theater stage constructed over water and an early commercial radio broadcast of a telepathy experiment, the exhibition explores the relation between the built and natural environments—and the spaces for imagination, connection, and alienation in daily urban life. Fourth Horizon incorporates sculpture, video, text, and sound into a process-based installation that meets Chicago at the shore of Lake Michigan.
Composed by Chicago artist Olivia Block and commissioned by Experimental Sound Studio, Sonambient Pavilion is a multi-channel sound installation that envelopes listeners at the pasture-like lawn of Millennium Park's Pritzker Pavilion. Sounds from two "sonambient" sound sculptures by Harry Bertoia (1915–1978) in the Aon Plaza on Randolph Street are amplified and electronically manipulated, then spatialized into the array of 50 loudspeakers above the Pavilion's lawn, creating a shifting, shimmering sonic architecture superimposed on the Pavilion's visual architecture.
This is no ordinary haunted house. Inside SLEEPER, guests will be challenged to confront and befriend their own deepest fears, interact with otherworldly beings, and determine their own destiny. Descend into dreamstate and emerge transformed. Enjoy live musical performances, costumes, candy, games, and more. All ages welcome.
SEXING SOUND includes performances, installations, and panel discussions that present and examine the manifestations, contestations, and provocations of gender in contemporary music and sound art. These cultural fields are often presented as neutral or neuter, having often escaped the gender-inflected interrogation that has informed other art forms, such as media arts and photography, in Europe and the US during the past three decades.
The Sound Design Project is an arts integration program that explores a specific medium: sound. Chicago Arts Partnerships in Education collaborated with sound artist Lou Mallozzi, SAIC professor and Founder of Experimental Sound Studio, to implement this three-year investigation into the intersection of experimental sound arts and music pedagogy, and their impact on academic learning.
In this exhibition, Jonny Farrow and Milad Mozari explore their shared interest in sound as a means of communication and political force while considering audible soft powers. They meditate on two vehicles of transmission; the former the speaker itself and the latter the sound which is being transmitted. Both work intimately in dialogue with their respective regional culture; Mozari currently resides in Chicago and Farrow in Adu Dhabi.
ESS has assembled an all-star crew of improvisers to play in the Maze of the You Are Here Festival. Players include: Tim Kinsella, Matt Lux, Alex Inglizian, Adam Vida, Ben LaMar Gay, Will Faber, LeRoy Bach, Ben Boye
The multi-channel installation frombergMIX is based on a very subjective interpretation of John Cage’s Fontana Mix (1958). Instead of manually evaluating the 20-page score, Roigk has developed a 16-channel software patch which utilizes the idea of the aleatoric composition to create an ongoing soundscape with his own artistic vocabulary.
Cardioid // is a meditation on the life and archived work of Malachi Ritscher by Jennifer Gutowski and Fred Lonberg-Holm. The installation consists of an array of ceramic simulacra of Ritschers's favorite microphone suspended in and defining the space by outlining the polar pattern of that microphone, and an audio component drawn randomly from files taken from the Malachi Ritscher Collection in the Creative Audio Archive, and organized according to numeric data significant to Ritscher's life.
Malachi Ritscher was first presented as Public Collectors' contribution to the 2014 Whitney Biennial at the Whitney Museum of American Art. In addition to numerous never before exhibited materials drawn from the Ritscher collection at Creative Audio Archive, Malachi Ritscher included objects borrowed from close friends and others associated with the late documentarian and activist. Objects include Ritscher's DAT recorder, a sign made to quiet people standing near his recording equipment during concerts, recordings, ephemera connected to concerts he documented, and unpublished photos taken by Ritscher. The Chicago iteration of Malachi Ritscher will include additional materials from the Creative Audio Archive, and will be accompanied by copies of a free essay booklet that was first produced for the Whitney Biennial.
Since 1999, the ESS Artist Residency Program has facilitated the creation of 51 new works involving the exploration of sound. Audio art, experimental music, installation, cinema, performing arts, and radio art have all been represented in the roster of former ARP recipients. We are proud to present the work of our current resident artists in a showcase event featuring live performances, a film screening and a gallery installation.
The Future Force Geo Speculators (Carole Frances Lung, Ellen Rothenberg, Christine Tarkowski) are a feminist collective recreating the future factory through the fabrication of collaborative textiles, architectural objects, and performative wearable goods.
A sonic component of the exhibition will be contributed by Sally Timms, a musician best known for her long involvement with the mekons.
divinitusssanimalusssacréusssorganusss, Charlemagne Palestine's exhibition at Experimental Sound Studio's Audible Gallery, is the first such exhibit of the artist's installation work in the United States. The work's components are hundreds of stuffed animals (a recurring trope in both Palestine's live performances and visual artwork) and an assemblage of droning keyboards.
Ethan Rose’s Reflection matches a series of electro-mechanical bells with a set of distinct, corresponding speakers. Each speaker plays back a reversed recording of a bell, and at the exact moment that the recording ends, the actual bell strikes.
Laughter and Tears was a surround-sound installation that used the Pritzker Pavilion's state-of-the-art sound system in a unique way, creating a fluid, highly evocative sonic architecture within the Pavilion's lattice-covered lawn. Starting with recordings of laughter from a variety of sources, including improvising vocalists, anonymous audiences, and ordinary citizens, Chicago composers Olivia Block and Joseph Mills employed numerous electronic and acoustic techniques to transform and structure these sounds into a coherent musical form that explored laughter in all its range and nuance, from the comic to the devious. Sound artist Lou Mallozzi will worked with the composers to shape this composition into a surround-sound format intended as an immersive installation environment, a sonic architecture superimposed onto the material architecture of the Pavilion. Laughter and Tears was commissioned and presented by Experimental Sound Studio, and ran continuously November 4 and 5, 2011, from 10AM to 10PM. It was a follow-up to ESS’s enormously successful Train Time, which was presented at the Pavilion in fall of 2009. The piece was presented in partnership with the Chicago Office of Tourism and Culture and is scheduled to coincide with the Sound Art Theories Symposium organized by the Sound Department of the School of the Art Institute of Chicago.
Evolving from the artists’ shared fascination with the Aurora Borealis and the anecdotal reports of audible sounds associated with them, hover explores the ephemeral intersection of light and sound that the Northern Lights create. Peters’ multichannel sound installation reconfigures natural and man-made sounds that refer to the vivid sonic metaphors found in various accounts of auroral sound. Wallers’ visual component employs hundreds of strands of monofilament and copper wire to create the illusion of striated or parallel beams of light that appear and disappear, depending on the position of the viewer and the natural conditions of the shifting light illuminating the space.
Using fabric as a connective device and social metaphor for this exhibit, Kristin Mariani examines the edges of internal cuts in cloth, areas intentionally perforated, and ruptures that occur as a function of wear and use as opportunities to create connections socially and materially. Frock Talk is a bring-your-own-content event, drawing from ruptures, connections, and binding processes where all forms of media and expression are welcome.
Brian Harnetty, sound installation based on the Sun Ra/El Saturn Collection in the Creative Audio Archive at ESS; Audible Gallery at ESS.
Experience an auditory and visual exhibit created by Amundsen High School students. See seven lockers showcase events from a high schooler's day and hear recorded sounds around the room.
Burns’ uncanny installations take advantage of inaccessible locations, such as locked closets, to tease the listener and call attention to our innate curiosity and desire for inclusion
A stunning sound portrait incorporating the clank of wheels over rail ties, the hiss of boilers, the roar of diesels, the call of train whistles, the whoosh of tomorrow’s super-fast trains–a rhythmic reminder that today’s downtown lakefront park was once a huge rail yard extending to the water’s edge.
Commissioned by and co-presented with the 2008 Chicago Humanities Festival.
A walk-in installation by Mark Booth that seeks to provide a physical and psychological contemporary exploration of the Baroque painting "Still Life with Game Fowl."