What Time is Art? workshop for CAMP

On 24th and 26th August 2020, I will run a two-part online workshop as part of the PITCH programme of events for CAMP (Contemporary Art Membership Plymouth) .

What Time is Art? is an investigation of time in (y)our art practice. Over two 2-hour sessions we will discuss ideas of time in relation to art practice(s). The sessions will address how a story of making is told, how telling it locates it in time, and how the told story endures or is lost.

Booking is via the CAMP website.

Tomorrow’s Transmissions performance with RIO

I will be part of the live performance radio broadcast by Radio Ironie Orchestra on Soundart Radio on Sunday July 5th at 1800hrs UK time. This event is one of the Tomorrow’s Transmissions commissions that Soundart awarded this summer using COVID19 Emergency Funds from Arts Council England.

Knotenpunkt Transmission //  isolated junction – transmission

RIO presents a live-on-air networked performance where fragmented texts serve as junctions in a sonic journey, calling for connections over distance and questioning modes of isolation by listening in and sounding in together. “Knotenpunkt transmission” is a testbed on how to transform distance into something fruitful, and while we never may be able to overcome all the distances and borders that separate us, we can envision paths, ways and crossing points where we meet and exchange.

The Radio Ironie Orchestra

The Radio Ironie Orchestra was founded in 2019 as  radio-phile orchestra structure, a collective of musicians and sound artists from several countries playing together over distance using open-source streaming tools like Jitsi, and combining acoustic, electro-acoustic and electronic sound within the medium of internet and radio. Its name is program – an ironic allusion to the tradition of the “radio symphony orchestras”, realizing the spirit of collective music-making and on-air music distribution with the tools and aesthetics of our present times. The open structure of RIO allows for frequent collaboration with guests from all over the world.

review of new publication by Patrick Dubost

I have a review up on Stride Magazine blog, of Patrick Dubost’s new publication Manifesto for a Modern Theatre In 49 Interchangeable And Optional Articles. Published by Knives, Forks and Spoons Press, the work is translated from the French by Eleanor Margolies, and includes photocollage illustrations by Sylvie Villaume.

In much of Dubost’s wider practice he performs with musicians, where his vocal improvisation operates among and with other instruments in live sound events. These events are a mode of theatre, at work with language, sound, and meaning, with what can be heard, and what might be understood. The 49 articles in this Manifesto might be read as a guide or annotation for those performances. And as a prompt to performances by other readers.

You can read the review HERE.

working with Rosanna Irvine in Glasgow

From 21st September I will spend 2 weeks in Glasgow working with Rosanna Irvine on developing new work. We have time and space to work on extending the performance piece Material+Transition which we presented as part of Breath Pieces, at Tramway in June last year.

Material+Transition works with the material possibilities of sound prior to the emergence of language using a compositional structure that involves deep listening, progressive, embedded transitions and ‘melding’ of sounds – so displacing the individual voice. We will take this approach to develop compositional methods for working also with gesture and towards language, to create ‘some variations’ that seek always to exceed the dualism of two: the binary of you and me.

Through the second week we will be at The Workroom in Tramway, and we plan to share some of the outcomes of our working on Friday 4th October at 6.00pm.

essay in new issue of Hyperrhiz: New Media Cultures

An essay of mine contextualising my performance ‘his voice’ has just been published online in the latest issue of the journal Hyperrhiz: New Media Cultures. Edited by Anne Karhio and Álvaro Seiça, the issue gathers proceedings of the Other Codes / Cóid Eile conference held at NUI Galway in the Summer of 2017.

From the Abstract:

Taking a route through voice and utterance and audience, by way of the body, this essay offers a contextualisation of Mark Leahy’s performance work “his voice” (2015). Following a brief overview of theorisations of “voice” and of “utterance”, the essay draws on discussions across linguistics, music and technology. Into this is folded a consideration of the processes and concerns at work within Leahy’s performance practice. […] In “his voice” the material spoken in the performance is a transposition of a sequence of tweets, harvested live from Twitter. This splitting or splicing of utterance, body and voice, is discussed, and the essay considers how it raises questions for understanding relations of the digital and utterance.

The essay can be read online at:

http://hyperrhiz.io/hyperrhiz20/interfaces/1-leahy-contextualising-his-voice.html