Phill Niblock

Known equally as a composer of large­scale performances and an experimental turntablist working with hand­crafted dub plates, Marina Rosenfeld explores the hybridization between the domains of visual art and music. Rosenfeld has created chamber and choral works, including the performances Teenage Lontano, Cannons, and roygbiv&b; a series of acclaimed "orchestras" for floor­bound electric guitars and other quasi­sculptural scenarios; works notated in video, including WHITE LINES and My red, red blood; and since 2008, a series of installation/performance works, often mounted in monumental spaces, such as the Park Avenue Armory in New York and Western Australia's Midland Railway Workshops, deploying complexes of unamplified live performers and custom loudspeaker installations.

Tristan Shepherd is a composer, improviser, and turntablist. His work includes installation pieces for multichannel audio, appearances as an improviser in group ensembles and compositions for solo turntable. Using a combination of modified records and custom dubplates as source material, his compositions consist of a sonic counterpoint and bricolage that hinge on the decontextualization and reanimation of the musical gestures 'frozen' on the records. Shepherd has curated Incidental Music, an exhibition of site specific installations and performances at the Fragmental Museum's project space: a 4 story, 50,000 sq. ft. former zipper factory. Tristan has performed at Roulette Intermedium, Harvestworks, The Emily Harvey Foundation, MoMA PS1, and the Whitney Museum of American Art.

AUDITORIUM is an extended evening of site-specific electronic and electroacoustic performances organized by artists/curators Lea Bertucci and Tristan Shepherd. The focal point for this event is a custom 10-channel sound system installed throughout the 50,000 square feet of Knockdown Center. This system will act as the point of departure for multichannel works by innovative sound-based artists Nate Wooley, Sabisha Friedberg, Marina Rosenfeld, Woody Sullender, Phill Niblock, and Katherine Liberovskaya. Bertucci and Shepherd commission new works from the composers, instrumentalists and audio artists to develop works uniquely suited to the site.

Lea Bertucci is an interdisciplinary artist, composer and improviser who works with installation, sound, and video. As an instrumentalist, she focuses on the bass clarinet in an electro-acoustic context. The timbre of the bass clarinet is amplified and abstracted by the creative use of microphone feedback. This is an essential part of the extended technique, as the body of the instrument becomes a resonant chamber and the pitch of the feedback is controlled with key work. Tape collage contributes structural and textural elements. Lea has been an artist-in-residence at The Wave Farm, Smack Mellon, LMCC, and The Queens Museum of Art. She was awarded a Young Composers' commission from Roulette in 2012. Her debut solo LP, Resonance Shapes was released in 2013 on the Obsolete Units label. She has performed solo and collaborative works at venues such as Issue Project Room, The Kitchen, Anthology Film Archives, Artists' Television Access in San Francisco, St. Marks Ontological-Hysteric Theater, The Wave Farm, Galapagos Artspace, Roulette, The Queens Museum of Art and the High Zero Festival.

Hailing from Johannesburg, Sabisha Friedberg's composition, performance and installation work draws on the phenomenological and phantasmagorical, exploring perceptual delineation of space through sound, and low-end experiential thresholds. She has performed and presented installations widely in Western and Eastern Europe, Russia, Japan, and the US, and recently received commissions through residencies at ISSUE Project Room, EMPAC, and The Clocktower Gallery. In 2013 she presented the solo exhibition Levitation at Audio Visual Arts. In 2014 she was included in MoMA/ PS1's first record There will Never be Silence. The Hant Variance, recorded with Peter Edwards has been released in 2015 as a double-vinyl on ISSUE Project Room's new label Distributed Objects. Friedberg received her MFA from Bard College following undergraduate studies at San Francisco Art Institute.

One of the most interesting young trumpet players performing today, Nate Wooley sits down with host Elliot Stapleton and plays a selection of recent recordings and discusses his evolving approach to playing his instrument. Wooley has developed a signature style of playing that includes a variety of extended techniques as well as experimenting with microphone placement in both live and studio settings. He is now a staple of an international new music scene, performing with a variety of musicians that include John Zorn, Paul Lytton, Joe Morris, Wolf Eyes, David Grubbs, C. Spencer Yeh, Harris Eisenstadt, Taylor Ho Bynum and Peter Evans. Hear what a day in the life of Nate Wooley might look like, and listen to a collection of recordings that highlight Wooley's drone compositions, pieces for jazz ensembles, and an improvised duet with Joe Morris. (54 minutes)

Woody Sullender is an artist who examines the social construction of the music performance space and how it reinforces specific rituals and modernist ideologies of listening. By minor interventions and reconfigurations in existing spaces, not only can these habits be ruptured but larger notions of social relations can be explored. Sullender has performed at venues such as the Kitchen, Issue Project Room, the River to River Festival, Sculpture Center, and Les Instants Chavirés. He has held artist residencies at art technology hubs STEIM, Harvestworks, and Brown University’s MEME program. He has worked in collaboration with electronic composers Pauline Oliveros and Maryanne Amacher, among others. Sullender teaches new media at institutions in the New York area and co-edits the music/sound publication Ear | Wave | Event (with Bill Dietz). For his Auditorium residency, Sullender's project Furniture Music consists of multiple arrangements of cardboard origami forms outfitted with audio transducers. These formations imply different social spaces such as a living room, a café, a sculptural exhibition, playing on notions of interior/exterior. The project explores, highlights, and confuses differences in public vs. domestic modes of reception.

Katherine Liberovskaya is a video/media artist based in Montreal and New York. Her work dynamically combines sound, images, and objects in an exploration of their collective potential. With the collaboration of varying composers and sound artists she creates improvisatory "music" for the eyes. Liberovskaya has been involved in experimental video installations and performances since the 1980's. Frequent collaborators include Phill Niblock, Al Margolis/If, Bwana, Zanana, Kristin Norderval, Hitoshi Kojo, David Watson, David First and o.blaat (Keiko Uenishi). Recent projects have involved: Leslie Ross, Shelley Hirsch, Chantal Dumas, Richard Garet, Dorit Chrysler, Emilie Mouchous, Erin Sexton, Corinne Rene, and Philippe Lauzier. Concurrently she curates and organizes the Screen Compositions evenings at Experimental Intermedia and the OptoSonic Tea series at Diapason, NYC. For her Auditorium residency, she collaborates with Phill Niblock to create a video installation.

Jake Nussbaum hosts composers and event organizers including Lea Bertucci, Tristan Shepherd, Marina Rosenfeld, and Sabisha Friedberg, to discuss AUDITORIUM, an epic evening of immersive music and sound at Knockdown Center in Maspeth, Queens. Topics include how to compose for a 50,000 sq. foot space and how to prepare yourself for a day of continuous sound.