Institute of Contemporary Art Boston by Diller Scofidio + Renfro. Photograph by Nic Lehoux.

Architecture and film scholar Edward Dimendberg discusses his Graham-funded book Diller Scofidio + Renfro: Architecture after Images (University of Chicago Press, 2013), the first full-length critical chronological monograph on the work of the New York-based architecture studio known for its integration of visual art, multimedia, and performance into its buildings and urban projects.  Book signing and reception to follow the presentation.

Edward Dimendberg is professor of film and media studies, visual studies, and European languages and studies at the University of California, Irvine and the principal of Dimendberg Consulting LLC.  He is the author of Film Noir and the Spaces of Modernity (2004), also supported by the Graham Foundation,  and the co-editor of The Weimar Republic Sourcebook (1994).

On March 30, Berlin-based composer and sound installation artist Valerio Tricoli offers a special program for Lampo to mark the 100th anniversary of Luigi Russolo's Futurist manifesto, The Art of Noises (March, 1913). Russolo’s manifesto introduced the idea of noise-sound into musical discourse, creating the conditions for radical advancements in sonic art and informing movements in musique concrète, electronic music, and the practices of American experimental composers such as John Cage. In the essay, Russolo lays the foundation for a new music based on what he calls ‘Futurist noise-sound,’ claiming that all sounds of life—whether natural or derived from man-made devices or machines—should be incorporated into music. He also strongly encourages the development and design of new instruments capable of producing new kinds of noises suitable to the mise en être of the expanded acoustic imagination of the composer. Russolo himself, some months after the publication of the manifesto, would present his own Intonarumori (Noise-tuners).

This Lampo program will be divided in two parts: first, An Homage to Luigi Russolo, a live electro-acoustic improvisation for electronic devices, self-built instruments, found sounds, and voice, to be followed by La Solidità Della Nebbia, a multi-channel diffusion of the tape composition.

Valerio Tricoli (b. 1977, Palermo, Italy) is a Berlin-based composer, improviser, producer, sound installation artist, sound engineer, and curator bridging musique concrète and conceptual forms of sound with a radical interest in how reality, virtuality, and memory relate to each other during the acoustic event. He mostly uses analogue electronic devices including reel-to-reel tape recorders, synthesizers, microphones, light effects, and ultrasonic speakers. However, the structure of the setup is ever-changing,  seeking multiple relations between the performers, the device, and the space in which the event takes place. Tricoli is one of the founders of 3/4HadBeenEliminated and the Bowindo label / collective. In 2012, he presented a new interpretation of the seminal 1952 John Cage electro-acoustic tape piece Williams Mix with Werner Dafeldecker, which premiered at Maerz Musik, Berlin. He is currently working on two compositions for piano and electronic sounds (with Anthony Pateras) and on a concrete music cycle inspired by the Book of Qohelet. Tricoli made his U.S. debut at Lampo in March 2008, when he performed Take Thy Horoscope and Walk, a multi-sensorial set of live concrete music in quad sound with strobe lights.

Thomas Demand, Beyer #34, 2011, Pigment Print, 41.9” x 63.0”© Thomas Demand, VG Bild-Kunst, Bonn / DACS, New York. Courtesy Esther Schipper, Berlin / Matthew Marks Gallery, New York / Sprüth Magers Berlin London.

Please join us to celebrate the opening of Model Studies: Thomas Demand with Fernand Léger, Francis Bruguière, Thomas Scheibitz, and the VKhUTEMAS School. The exhibition will open with remarks from Thomas Demand and Graham Foundation director Sarah Herda followed by a reception.

6PM Opening remarks with Thomas Demand and Sarah Herda
6-8PM Opening Reception

For more information on the exhibition, Model Studies, click here.

Photo: Oto Gillen.

Establishing a plant-animal-people trilogy with the Edible Estates (est. 2005) series of front yard food gardens and the Animal Estates (est. 2008) initiatives for urban wildlife architecture, Domestic Integrities (est. 2012) turns its attention inward to local patterns and rituals of interior domestic landscapes and the way we use what we resourcefully find around us to artfully make ourselves at home. “Domestic Integrity Fields” are charged sites—on crocheted rugs of discarded textiles—to  test, perform, and present how we want to live. One rug in each continent gradually expands as it travels from city to city. In the United States, the series began during fall 2012 at the Museum of Modern Art and the new Broad Museum of Art at Michigan State University, followed by The Hammer Museum of Art in spring 2013, the deCordova Museum in the summer, and at the Walker Art Center in the fall. In Europe the project is taking place at Pollinaria in Abruzzo, Italy in 2012-2013.

In 2012, Haeg received a Graham Foundation grant for Edible Estate #12: Budapest, Hungary, produced with Blood Mountain Foundation. More about the project here.

On February 19, Haeg will speak on Architecture is Activism…FOOD!, a panel discussion hosted by the Chicago Architecture Foundation and supported by a grant from the Graham Foundation. More about the project here.

Fritz Haeg's work has included edible gardens, public dances, educational environments, animal architecture, domestic gatherings, urban parades, temporary encampments, documentary videos, publications, exhibitions, websites, and occasionally buildings for people. Recent projects include Sundown Schoolhouse,  an itinerant educational program; Edible Estates, an international series of domestic edible landscapes; and Animal Estates, a housing initiative for native animals in cities around the world which debuted at the 2008 Whitney Biennial. Haeg is a 2010-2011 Rome Prize Fellow and has taught in architecture, design, and fine art programs at Princeton University, Cal Arts, Art Center College of Design, Parsons School of Design, and the University of Southern California. Haeg has produced projects and exhibited work at MoMA; Tate Modern; the Hayward Gallery; the Liverpool Biennial; the Whitney Museum of American Art; SFMoMA; SALT Beyoglu, Istanbul; Casco, Utrecht; Stroom, Den Haag; Arup Phase 2, London; Blood Mountain Foundation, Budapest; The Indianapolis Museum of Art; Mass MoCA; The Institute of Contemporary Art, Philadelphia; among others. Recent books include The Sundown Salon Unfolding Archive (Evil Twin Publications, 2009), Edible Estates: Attack on the Front Lawn (Metropolis Books, 2nd ed., 2010), and Roma Mangia Roma (Nero, expected Spring 2013).

Related Links
Edible Estate #12
http://grahamfoundation.org/grantees/4831-edible-estate-12-budapest-hungary

Lampo and the Graham Foundation are very pleased to welcome Choi Joonyong and Hong Chulki, two leading figures from the emerging experimental music community in Seoul. In their Chicago debut, they will perform together and alone, combining their individual interests in noise and improvised music: Choi's mobile performance, where he pushes an amplifier in and around the audience as though a noise vendor and Hong's pursuit of continuity between acoustic and amplified noise, using turntables with and without cartridge pickups.

Choi Joonyong (b. 1977) started Astronoise with Hong Chulki in 1997, and has been playing noise/experimental/improvised music since. Primarily using playback devices such as CD-player, MP3-player, tape player, VCR, or loud-speaker, Choi works with sounds from the mechanisms, exposing the innate qualities of the players themselves. He has released many albums, including five solo albums made with the malfunction of a CD-player. He is interested in control and failure of playing through improvisation and composition. Choi's label, Balloon & Needle, has released experimental music from Korea since 2000. His latest release, Danthrax features his unique approach to dance music.

Hong Chulki (b. 1976) is a noise/improvising musician from Seoul, South Korea, known for his cartridge-less turntable, and as the founding member of Astronoise, Korea's first live noise act (with Choi Joonyong). He has been focusing on free improvisation since the early 2000s, collaborating with musicians including Ryu Hankil, Jin Sangtae, Joe Foster, Kevin Parks, Otomo Yoshihide, Sachiko M, Jason Kahn, Takahiro Kawaguchi, Nick Hoffman, Robbie Avenaim and Zbigniew Karkowski. Festival appearances include All Ears, Against, Kitakyushu Biennale and NETMAGE 10, and he has been a musician in residence at Cafe Oto and STEIM. Hong has composed pieces for several Korean experimental/independent films, especially, Goksa (Kim Gok/Kim Sun). He also has been a long-time collaborator in the audio-visual performance project called Expanded Celluloid Extended Phonograph with the Korean film artist Lee Hangjun, who works in 16mm multi-projection performance. Hong's recordings both in solo and collaborative format have been released on his own label, Balloon & Needle, co-founded and co-run with Choi, and by Manual, Celadon, Pilgrim Talk, Hanson Records and Audition Records.

This performance is presented in partnership with Lampo. Founded in 1997, Lampo is a non-profit organization for experimental music, sound art and intermedia projects. Visit www.lampo.org.

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