Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.


Year : 2008
Location : Germany
Worktype : Sound Installation
Materials : appropriated sculpture, digital recording, mp3 player, male to female conversation (failed)

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Year: 2008
Location: Germany
Worktype: Light and Sound Installation
Materials: 12 P.C. speakers, 2 P.C micro sub-bass channels, plastic, water, kaospad, diodes.







Year : 2008
Location : Germany
Worktype : Sound Installation
Materials: stereo digital recording, microphones, grand piano, playback system.

Base Gesture

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Mid-Cycle

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

End Cycle

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.






















Obstruction Placed: Position 1: (Distant from Art) (exterior)

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Obstruction Placed: Position 2: (Approaching the Kunstlerhaus) (exterior)

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Obstruction Placed: Position 3: (Inside the “Waterbugs” installation) (interior)

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Obstruction Placed: Position 4: (Kunstlerhaus Downstrairs Hallway: In-between the “Waterbugs”, “Skype Glitch.voices (remodelled)” and “Dissolving Ghost Piano” installations) (interior)

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Obstruction Placed: Position 5: (Kunstlerhaus Stairwell: Ground/First Floor: “Waterbugs” and “Dissolving Ghost Piano” installations audible) (interior)

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Obstruction Placed: Position 6: (Kunstlerhaus First Floor) (interior)

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Obstruction Placed: Position 7: (Kunstlerhaus Second Floor Stairwell – leading to open door to “Cat’s Cradle”) (liminal)

Obstruction Placed: Position 8: (Having Crossed the Border) (exterior)

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Obstruction Placed: Position 9: Overlooking (Higher Up in the Wooded Hillside Listening Down and Around (exterior)

Materials: white cotton thread, interior, exterior and liminal space, 7 kitchen knives, 7 electric guitar strings, white spray paint,

Of the works created during the residency, ‘Cat’s Cradle’ is perhaps the most complex piece, and the hardest to describe, both in terms of process and in its final form. There are several strands of thought running through this piece, and is the most conceptual and non-sound related work I have created to date. The initial concept for the piece was a direct result of my being detained at the hands of the British Transport Police when leaving King’s Cross Eurostar. I was thinking of a way of evoking an idea of a journey, and a means of expressing obstacles placed in the way of the traveller. This idea came from the concrete experience, but took on a different meaning as I explored the KHSB.




Year : 2008
Location : Bad Ems, Germany
Worktype : Sculpture.
Materials: industrial glue, solar cell, sugar, instant coffee, canvas, string, antique book excepts, steel sieve, cake tin, black spray paint, harmonica parts, mp3 player.



Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Year: 2007
Location: Bargehouse Gallery, Oxo Tower, South Bank, London,England
Worktype: Puppet Performance / Immersive Environment
Materials: trumpet, loops, electric guitar, puppets, lights, candles, bare feet, voice, chocolate, oranges, slide projection, multichannel audio.
Info: with Barbara Fuchs

Work Details
A sound composition created for a multi-channel performance/installation which took place over three weeks in the Bargehouse Gallery. Visitors were asked to remove their shoes, and led into a darkened environment by candle light. The single female performer guided visitors through a multisensory immersive environment.

Initial Proposal
A micro-theatrical performance / installation that combines elements of puppetry, sound art, theatre and music. The artists create an intimate environment stimulating the audiences’ senses of smell, taste, touch, sound and sight. Leading the attention of the spectator towards small details. Talking suitcases, taste tests, feeling between your toes,

Taking a small audience through an experience and back to its beginning. The fragmented story conjures dreamlike images and situations that enthrall and the audience is magically drawn into the scene.

The piece deals with the themes of refinding childhood, and asking basic questions, inspiring the imagination of the audience. Taking them through a close, intimate, almost personal experience. Coming close, leading the audience around not just by touch, but also sound, smell and taste. A gentle path where they can focus on small things, and perhaps refind a long-forgotten part of themselves.

Being small in a big world. Being safe. Being able to be like a child, just to look and feel and letting experiences occur close to you, not having to act from your own account, just letting things happen.The small details and magical things.

The audience feels their bodies, their ears, their skin, all of their senses again. The piece aims to draw attention to all of their senses. To challenge their imaginations, they are given something to taste and they imagine something, they can smell something and imagine something. It makes them go inward somehow. Finding your senses again. A safe, womb-space. Warm and quiet and dark.

Very personal experience, everyone in the audience will have a personal experience. Leaving the performance with something in their mouth, each one different. A taste with a lable attached to it – and orange with ‘what does this sound like’. Noise and heat and power, an force and fire, the sun, heat again, running, fighting, shouting, strength. (B.Fuchs)

Performance time: 20min show. Audience of 2- 10.




An audio-visual redestructive performance by 7000dirhams (J Milo Taylor and Joel Cahen)

Year: 2007
Location: Greece
Worktype: Intermedia Performance
Materials: Super 8 projectors, slide projector, gasmasks, burning film, digital processing, text to speech, found records, cassettes, modified found slides.
Info: Destroy Athens Biennial

7000DH – Fukdapolis – Opening Theme (2007)

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

7000DH – Fukdapolis – Second Theme (2007)

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Overview

The performance focuses on the regenerative aspect of destruction, understood as a process of mutation rather than a form of obliteration. It identifies cultural kitsch as a destructive element within a dematerializing process that creates a noise pool nurturing new patterns of identity and cultural production.

For this performance 7000dirhams has collated a small archive of this kitschified detritus in the form of archetypal melodies, folk and popular music, touristic memorabilia, live radio feeds, to create a rich sludge of source material.

The materials themselves (Super 8mm, souvenir slides and audio recordings), are cut into, burnt, degraded, looped and spliced with a savagery comparable to that embodied by their impoverished representations of a dynamic and living reality.

As such, the work attempts to address the gulf between the image of Athens as presented to the outside world, with that of the everyday, as experienced by Athenians themselves. It therefore presents an environment of plowed structures and splintered forms of Greek culture as filtered by the eyes and ears of two hapless fools from London.

[vimeogallery]

[vimeogallery]

1st Athens Biennial – ‘Destroy Athens’. Public Opening: September 10, 2007. Technopolis, Gazi

Exhibition & Live entrance: 10 euros. 9pm.
Destroy Athens – Live is a reflection on processes of music & sound production within a visual arts ‘Biennial’ setting. Resisting the notion of ‘art-bands’, Destroy Athens – Live aims instead to describe a phenomenon: that of practitioners operating within different genres (media artists, musicians, film-makes, writers, designers, comic book & soft-toy makers, circuit benders etc) engaging in collaborations, collectives & media experiments that have diverse musical outputs.

From experimental politicised avant-pop commentary, to hip-hop jazz electronica improvisations, to real-time deconstruction & amplification of media, these acts all maintain a commitment to immediacy & non-virtuosity.
The Live part of the public opening engages the Biennial’s theme & purpose (‘Destroy Athens’), by treating Athens as a signal source to be sampled, tweaked with, looped, filtered, commented on and jammed along to. Through the use of on-site found & recorded sound & image, real-time local radio broadcasting interventions, and sonic-surgical media operations, the performers offer a response to context as they find it. Such a grounding for free & open improvisation is a platform for testing their own ignorance of so many aspects of the signal source – cultural, linguistic, historical, while drawing parallels with their own experiences as inhabitants of London, a multi-branded city.

[vimeogallery]

[vimeogallery]

Artists: Antifamily, Infinite Livez vs DJ Tendraw, 7000 Dirhams
Curator: Chloe Vaitsou



Occasional Solo Outings | Solo Expanded Guitar | Acoustic | Electric | Electronic |

| Heroes | Antiheros | Zeros |
john fahey, robert johnson, christian fennesz, godspeed you black emporer, animal collective, ry cooder , woody guthrie, leadbelly, richard thompson, nick drake, skip spence, 6 organs of admittance, sunburned hand of the man, boris, sunn o)), pauline oliveros, hidegarde westekamp, halim el dabh, nas al ghiwane, yellow swans, lee ranaldo, glenn branca, django reinhardt, scott joplin, sir richard bishop, james blackshaw, bert jansch, tom rush, karen dalton, explosions in the sky, lemchaheb, jil jilala, low, modest mouse, blind lemon jefferson, mississippi john hurt, buster keaton, brothers quay, david lynch, jan svankmier, lumiere brothers, henry miller, ben okri, marquis de sade

Some Past Gigs

August 8th 2007 @ Songbird, Visions Bar, Dalston

August 18th 2007 @ Plac.Art.X, Regensburg, Germany

February 22nd 2008 @ Scaledown, Soho, London

I had arrived a day early for the Art of Immersive Soundscapes Forum. 8 hours by Greyhound from Winnipeg airport across flat rolling endless prairie. The Empire Hotel. The cheapest place in town. Next door to the liquor store. The room was $25 a night. It hadn’t been changed in 25 years. Everything run down, and battered. A Friday night. Alone in the prairies. I locked myself into my room. I scanned the FM radio frequency to search for company.















Tula Centre for Contemporary Art, Russia April 2007
Moscow Book Arts Fair June 2007