UNCONSCIOUS ARCHIVES #21
DAN HAYHURST + GRAHAM DUNNING
THURSDAY 19TH JANUARY 2017
18-22 Ashwin St, Dalston, London E8 3DL
On UK shores for the first time, visual and sound artist Ross Manning is an illustrious figure in the Australian art world whose background in improvised music and noise has led him to create kinetic sound sculptures which function as automaton prose. In an exciting new collaboration the meeting of London based sound stalwarts Dan Hayhurst (Sculpture) and Graham Dunning promises an onslaught of deteriorated beats and hissing analogue machines. Expanded cinema and sound artist Sally Golding presents shifting hallucinogenic sonified light fields, and UK electronic music producer Spatial fills in the cracks providing noisy and dancey DJ delights.
ROSS MANNING | Brisbane, Australia
Ross Manning is a visual artist and musician who stages spatial interventions using everyday objects: fluorescent tubes, ceiling fans, household twine, brown wrapping paper, analogue overhead projectors and detritus from discontinued data projectors. Manning started creating kinetic sculptures specifically for their sonic potential, into which environmental influences were often incorporated. From soundwaves to light waves, Manning has an uncanny ability to foreground the hidden beauty in audiovisual technology, an exploration helped by the practical experiences of his previous job as a gallery installer and repair technician. Manning has a long dialogue with sound art in the Australian scene operating under projects such as 4 Layers Of Nine, and in Brisbane noise duo Faber Castell (with Alan Nguyen), and more recently with Sky Needle (with Joel Stern, Alex Cuffe and Sarah Byrne) – a conceptual rock band performing primitive hypnotic music played on built instruments. Utilising broken electronics, hand made instruments and electro-magnetic recordings, Manning slices open sound and light spectrums to reveal both frenzied and sublime textures. Ross Manning’s recent album Interlacing is released on Australian label Room40.
“Manning’s work threatens to lift the veil from the fetishised consumer electronics on which we are dependent, subtly repositioning the technologies that operate as the unseen ‘given’ in our daily lives. In place of the corporate software-hardware standards that are now so normative as to be effectively coercive, we are presented with a quiet unworking – an alternative emotion of objects. What is highlighted, throughout Manning’s work, is the ongoing, unresolved question about the dynamics of power between technology and contemporary life.” – Danni Zuvela (Milani Gallery exhibition catalogue, 2012)
“Ross Manning is one of Australia’s best kept secrets.” – Room40 (2015)
DAN HAYHURST | UK + GRAHAM DUNNING | UK
Collaborating for the first time Dan Hayhurst (Sculpture) and Graham Dunning perform sonic kinetics in a duo of distorted beats mixed through an impasto of hissing audible detritus.
Electronic music producer Dan Hayhurst is most recognisable for his signature sonic contribution as the duo Sculpture (with visual artist and animator Reuben Sutherland) – manipulating physical and digital media into energetic amalgams, inspired by a continuum of exploratory practice in music and abstract visual art as spurred on by their own idiosyncratic vision. Sculpture’s DIY aesthetic encompassing auto-production, pop music, noise, comic strips, abstract film and animation, collage and polymorphic techno is indicative of Hayhurst’s suite of eccentric audible techno-pop-noise tracks. Hayhurst’s excellent 2016 solo LP Critter Party (LTR Records) was a semi-autonomous machine music take on a guitar album, assimilating elements of technological psychedelia, noise, media collage and shape shifting electronics. A beast-let-loose tour de force of tape loops, lo-fi electronics, and digital sequences smattered across a battered reel to reel tape recorder, CDJ deck, walkman, sampler and FX units. Hayhurst’s musical abilities often sees him balanced on the edge of control – the resulting polymedia overload raw, exciting, and the process visible to the audience is experimental and joyous.
As Sculpture, Hayhurst has released both vinyl and special edition picture discs on labels including Phinery, Digital Death Records, Digitalis, Hasenbart Records, Dekorder, Kaleidoscope, and Software. In January 2014, the duo’s self-released animated 7″ single, Plastic Infinite, became an instant cult artifact.
“Like hayhurst’s Sculpture productions, Critter Party is tuneful, fizzing and popping with hooks but also entirely untuneful and unpop in the way that it forgets itself, and forgets to built and repeat. Instead its melodic ideas run, trickle, eddy and form torrents” – Sam Davies (The Wire, September 2016, issue 391)
Graham Dunning works with sound, processes and found objects visually drawing upon dirt, dust and decay, evoking notions of memory, collecting and archiving. Dunning’s work sonically remixes cultural off-cuts, often utilising the unwarranted noise inherent in vinyl and cassette playback. A self-taught artist and musician, his work explores sound as texture, timbre and tactility, drawing on bedroom production, tinkering and recycling found objects. Recently Dunning’s performance project Mechanical Techno – a teetering stack of collaged vinyl interspersed with physical interventions and extended phonograph needles – has drawn accolades from sound art and music festival scenes.
“Over the past seven years, Graham Dunning has been steadily redefining the record deck as instrument. In an age that sees club DJs rely increasingly on USB and sophisticated mixing software, Dunning’s practice is rooted firmly in the material heft of platter, cartridge and vinyl disc” – Robert Barry (The Wire, July 2016, issue 389)
SALLY GOLDING | Brisbane, Australia/London
Sally Golding is a multimedia artist combining film projection, lighting and sonic composition to create expanded cinema performances and participatory installations. Golding’s audiovisual performance work focuses on the experience of the audience, pushing the boundaries of visual and auditory perception through the breakdown of the cinematic system into flicker, waveforms and colour fields; while her installations have harnessed the presence of the audience themselves by incorporating their reflected image into projections within immersive spaces.
Known internationally for her expanded cinema performances, Golding’s live sets are edgy and intense, driven by a minimalist approach to horror aesthetics leading her to explore science and superstition, philosophy and pulp. Her sonic work revolves around a custom system of printing complex optical sound compositions onto 16mm film, and performing with light sensitive audio devices and amplified lighting. Cacophonic in form and content, Golding’s performances transcend chaos and enter a hypnotic zone, while her installation work evokes acts of self-perceiving leading to meditative and transgressive states.
Through the curatorial outlets of Unconscious Archives (London) and OtherFilm (Australia), Golding presents live audiovisual and sound art performance as a means of examining: ‘liveness’; the synaesthetic concerns of audiovisual art; and the contemporary role of the audience.
“The British born, London based Australian artist has created dozens of installations and performances in recent years, stradling lines between expanded cinema and sound art. She ceremonially piles dizzying sensations onto audiences, from the trembling light of multiple projectors to the serrated noise pulsations of the scores”. – Tristan Bath (The Wire, June 2016, issue 388)
“…[Golding’s] performances resemble a nineteenth century séance, careering between elegance and precarious awkwardness as noisy awe-inspiring spectacle.” – Steven Ball (Senses of Cinema, 2016)
SPATIAL (DJ SET) | London, UK
London electronic music producer and low-end provocateur Spatial (aka Matt Spendlove) weaves together a mix of dubbed-out techno and rave experiments, alongside fanciful noise in his dj sets which offer both creative musings and dancey moments. In his own live sets and recordings Spatial approaches low frequency vibrations with a minimalist’s scalpel, carving out space for snare grooves and tech house glitches. First emerging in 2008 as part of the UK’s nebulous post-dubstep brew, Spatial has a long history of making music that’s difficult to classify. Subverting established genre formulas and standard drum patterns, his dancefloor experiments pull from dubstep, garage, techno and vintage rave, ultimately sounding like none of them. The most adventurous Spatial creations have always surfaced via his own Infrasonics label, including the four-part 10” series that kicked off his career in 2008, and Emergence, his more recent triptych of nuanced EPs. Spatial has released on labels including Ultramajic, Well Rounded, WNCL and Niche N Bump. Spatial has created radio and live mixes for Red Bull Music Academy, Solid Steel, Secret 13, FACT Mag and Unsound.
“Matt Spendlove’s forward-thinking bass mutations have been mangling our brains since way back in 2008, and now he returns with the third part of his excellent Emergence series of EPs.” – FACT Mag (2016)