Interval / Habitat
Artists: Byron Westbrook with invited guest performers
Curator: Chiara Giovando
November 19, 2015 – November 22, 2015
Byron Westbrook’s Interval/Habitat approaches the gallery as a dramatic stage. Inviting guest performers and the audience to activate this stage, it plays looping sequences of light and sound to impose a time-based narrative over all activity within the space. Here the conditions of the gallery become a collaborator with audience and performers alike.
Thursday, November 19, 7 – 10pm
Concrete/Concert, a night of text and movement exploring the possibility of concrete poetry beyond the page. The performers will use spoken word to shape the interstitial space of the gallery. Presented in three acts; solo performance with Stacey Tran, followed by Sidony O’Neal and Ed Sharp (aka Future Death Agency), then Ayako Kataoka Blasser with collaborator Luke Gutgsell.
Friday, November 20, 7 – 10pm
Ensembles, looks at collective acts with a large movement group led by Linda Austin, withAllie Hankins, Tracy Broyles, Emily Stone, Noelle Stiles, Tahni Holt, Nancy Ellis,Chelsea Petrakis, Danielle Ross, Lucy Yim, followed by string trio with Justin Smith, Amie Kuttruff and Patti King. Ensembles will conclude with a solo expression by poet Rob Gray as counter point.
Saturday, November 21, 7 – 10pm
Inside Interval/Habitat, continues the experiment of Interval/Habitat with a moment of reflection. An open conversation with curator Chiara Giovando and artist Byron Westbrook about the project will start off the evening, followed by voice and movement with Takahiro Yamamoto, duo Lucy Yim and Allie Hankins, and a special presentation by Jesse Mejia.
Sunday, November 22, 7 – 10pm
Quiet Light, an evening of sonic explorations of the installation Interval/Habitat, including dancer and choreographer Linda Austin; Gabi Villaseñor and Michael Bunsen; improvisation quartet with Evan Spacht, David Haverkampf, Eric Gibbons & Branic Howard, on trombone, percussion, bass, and resonant metallic objects.
About the installation
Byron Westbrook’s Interval/Habitat considers the filmic “cut” as an increasingly present element in our psychological lexicon and explores its potential to influence our perception and internal narratives. Using an array of 17 theatrical lighting fixtures and multi-channel sound, it presents a sequence of dynamic shifts, or “scenes” reminiscent of filmic transitions in an empty gallery space. The piece approaches light and sound as physical, structural material to facilitate a changing awareness of self, body, space, and presence of others, defining social boundaries by limiting what visitors can see or hear, and dynamically shifting their focus between navigating internal psychological space and external physical space.
Interval/Habitat approaches the space as a dramatic stage. Inviting several local guest performers and the audience to activate this stage, it plays looping sequences of light and sound to create “scenes” and filmic “cuts” to impose a time-based narrative form over all activity within the space. The piece approaches light and sound as physical, structural material to facilitate a changing awareness of self, body, space, and presence of others, defining social boundaries by limiting what visitors can see or hear, and dynamically shifting their focus between navigating internal psychological space and external physical space.
Interval/Habitat will be installed for four days at Disjecta with an accompanying series of performances, each of which offers focused examples of what may emerge from the imposition of Interval/Habitat’s dramatic structure on physical interaction, perception and communication.
Part of the 2015/16 CIR program Sound is Matter, with Curator Chiara Giovando
This project is made possible with funds from the Media Arts Assistance Fund, a grant program of the New York State Council on the Arts, Electronic Media and Film, with the support of Governor Andrew Cuomo and the New York State Legislature; administered by Wave Farm.
ABOUT THE ARTIST
Byron Westbrook is a Brooklyn-based artist and composer born in 1977 in Baton Rouge Louisiana. He has a previous history as a studied guitar player, performing and touring for many years in rock bands until relocating from Austin to NYC in 2003. In 2005, he met composer/filmmaker Phill Niblock and began working as technical director for Niblock’s Experimental Intermedia Foundation, where he helped to present works of Rafael Toral, Pauline Oliveros, Stephen Vitiello, CM Von Hausswolff and many others. In 2006, after a month spent touring in Rhys Chatham’s short-lived metal band Essentialist, he emerged as a performer of immersive multi-channel/speaker electronics with video under the moniker Corridors, taking cues from compositional approaches of the aforementioned artists. He toured extensively in the US and EU for the following four years, co-billing with a veritable who’s who of experimental music (Oren Ambarchi, Eliane Radigue, Keith Whitman, Tony Conrad, Jon Mueller, Duane Pitre, Alessandro Bosetti), and released a cd on Sedimental Records in 2010.
At this time he had also been developing sound installations, working in residence at NYC’s Diapason Gallery and HotelPupik in Austria. After completing an MFA at Bard College, where he studied with Marina Rosenfeld, Marcus Schmickler, Laetitia Sonami, and David Behrman, he participated in group exhibitions at ICA London; Les Instants Chavires Gallery Space, Paris; Dependent Art Fair; Site95; Reverse; BRIC in NYC; LOOP Festival Barcelona; and RADAR Festival, Bogota. Residencies include the Civitella Ranieri Foundation; Clocktower Gallery, New York; and Wassaic. In 2013 Westbrook presented a large-scale sound and light installation at Human Resources in Los Angeles. October 2015 sees the release of Precipice LP record on Root Strata, his first release under his given name. In November 2015, courtesy of a generous award by NYSCA, he is showing Interval/Habitat at Disjecta. In late 2016 he will be in residence at the Akademie Schloss Solitude in Stuttgart, Germany.
ABOUT THE CURATOR
Chiara Giovando is a Los Angeles-based curator and artist. She received a BFA from the San Francisco Art Institute and a MFA from California Institute of the Arts. Giovando has a diverse portfolio; she curated Sound Structures in San Francisco, a series that recreated indeterminacy scores ranging from early Japanese Fluxus works to Steve Reich’s Pendulum Music. This spring she curated In Search of an Author at the Unge Kunstneres Samfund in Oslo, Norway. Other recent projects include The Third Ear, an exhibition of new sound art curated as part of the Fellows of Contemporary Art Curators Lab Award, and Thousand Points of Light, a site-works and residency program founded by Giovando in Joshua Tree, CA. Prior to accepting the Curator-in-Residence position at Disjecta, Giovando was Co-Director and Curator at Human Resources L.A. for two years. In 2013 she was invited to arrange a score for the Calder Quartet at the Barbican in London based on Christian Wolff’s work Edges 1969. In 2012 she was awarded a research fellowship with German collector and curator René Block that culminated in Hammer Without a Master: Henning Christiansen’s Archive, an exhibition that included fourteen artists and composers as well as archival material.
ABOUT THE PROGRAM
The Curator-in-Residence program provides an opportunity for emerging local and national curatorial talent to develop and expand the scope of their practice through a one-year residency. During their season, curators engage with a broad range of artists to create a series of exhibitions in Disjecta’s dynamic 3,500-square-foot space. Past Curators-in-Residence include Rachel Adams (2014-15), Summer Guthery (2013-14), Josephine Zarkovich (2012-13), and Jenene Nagy (2011-12). More information can be found here.
Disjecta’s Curator-in-Residence program is funded in part by the Andy Warhol Foundation for the Visual Arts and the Meyer Memorial Trust.
Free public reception:
Thursday, November 19, 7pm
Thurs / Fri / Sat / Sun
Noon to 5pm
Thurs / Fri / Sat / Sun