FAULT LINES - PACK Compilation Album

Graphic Design by Sarah Faith Gottesdiener

Graphic Design by Sarah Faith Gottesdiener

ALBUM RELEASE / PERFORMANCE / INSTALLATION

Sunday    /    September 29th    /    7 pm

Human Resources, LA

FREE

Performance and video installation “SYMPATHETIC RELEASE” by Barnett Cohen & Jules Gimbrone with select performance by contributors to FAULT LINES

FAULT LINES is a compilation LP, book and digital download. 

This project started as a desire to cultivate a space where sound becomes a physical presence. By locating artists inside a geological feature of the earth, FAULT LINES encouraged composers to create time-based work that resembles the extreme temporal scales of tectonic plates. Whether these plates appear deeply still or silent, at any moment they can send waves of massive movement and disruption. This buildup of potential energy or stress within a fault line is stored until the strain is released, causing rupture. This latent energy is analogous to the medium of recorded sound, specifically the vinyl LP that holds kinetic energy in its rotation. Although each composer worked independently from Jen Hutton’s text, the pieces are connected by their experimentation in timbre, a textural feature that helps to objectify sounds, and gives differentiation regardless of pitch or loudness. A focus on the physicality of sound textures, and the spaces that these sounds inhabit, appear to dictate the artists’ compositional choices. Often sound is considered an abstract, liminal, and/or transitory medium given meaning through its narrative thrust -- where it takes the listener through a linear, time-based journey. FAULT LINES, however, is an attempt to give sound a physical body, a body where time bends, is held, expands, and is again made solid.  

– Jules Gimbrone, Curator

Postcard with digital download - 

Photo by Bridget Batch – The image is called Glow, San Andreas. It is part of an evolving series called Glow that features interventions performed for long camera exposures in locations marked by geologic instability. In this image, I am performing a 20 minute dance – while holding a light – over the San Andreas fault, near Desert Hot Springs, CA. The line I create traces the fault but also evokes earthquake lights, a strange and not entirely scientifically proven phenomenon of eerie glowing lights occurring during certain earthquakes.

Rock is a timepiece of the extrapresent, the long now. Its tick is fixed. A piezoelectric pulse ripples along its internal lattices. Time is compressed in rock’s strata of accrued sediment, in its record of heave and push, in the gravity of its dead weight. Its temporality is outside of “this room” and “this five minutes.” It is a reliable mnemonic of all tenses. As a cool dark thing in your hand, a rock gives time a texture.

For all its apparent stillness, rock is aroused along fault lines: breaks, ruptures, discontinuities, defects. These errors express the earth as a symptomatic body assembled from mutated parts. Each part—more specifically, each tectonic plate—has a behavior of movement independent of all the others, even as they seek equilibrium. From the Greek, orogenic belts (oros = “mountain” + genesis = “creation, origin”) are swaths of deformed rock between plates. In these areas the terrain is pushed from side to side until it lumps in the middle. On a part of each plate’s opposite edge, a rift is constantly being re-mortared with magma. The body scars, the body heals.

Also from the Greek, erogenous zones (eros = ”love”) are areas on the body vulnerable to touch. To press your fingertips on any of these areas—neck, lips, genitals—elicits a specific somatic response. Likewise, a practitioner of craniosacral therapy presses their fingertips along the sutures of the skull, adjusting the flow of cerebrospinal fluid underneath. And those practitioners who press their fingertips on the apparatuses of musical instruments—keys, valves, strings—tell me what they do is too a necessary form of release. Or therapy.

Faults are not vectors drawn on the foundation of the earth, but jogs in the terrain, land buckled and thrown. They are deep cuts shaped by tension. They don’t disappear. In my own body, I seek relief as the practitioners do. I rub my fingers on my temples to assuage the throb of a migraine. I press my hands on my body to negate an absence. Stress animates those errant cracks and folds: dip, strike-slip, torque and twist. I isolate my faults; I am constantly reassembling myself. When my right knee buckles, my left hip adapts. When my neck strains, my shoulders slump. Each part of my body adjusts, each part settles into a new shape. At night I grind my teeth, a habit I suspect will continue in some other form after I’ve ground my jaws down to their gums.

I do not know for how long I might lie here, drawing a line from one sensation to the next. Close to where I live, parts of the terrain jostle toward equilibrium. For the most part it’s quiet. In this lonely town, I’m one of many waiting—listening—for the “big one.” It is difficult to say when it will occur. Or if we’ll hear a thing. Along the main branch of the San Andreas fault, one tectonic plate scrapes by the other only as fast as your fingernails grow. Yet many expect the size of its release will not be relative. A pressure is building, slowly. Between those two planes, stalemate rises to petits mals shuddering along the suture. Their waveforms peak under your ears, a hushed, violent music escalating to climax.     - Jen Hutton

JULES GIMBRONE - BLUBBER HUMM

Composed and Directed by Jules Gimbrone Performed live Sunday, May 5th, 2013, CalARTS Performed by Nora Beckman Jules Gimbrone Aimee Goguen Arturo Molinar Elliot Montague Ashley Romano Director of Photography Mary Rasmussen Cinematography by Johanna Breiding Heisue Chung Gustavo Gómez-Brechtel Mary Rasmussen Edited by Jules Gimbrone and Sam Icklow

Text below by Jen Hutton

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Jules Gimbrone's BLUBBER HUMM is a space of potential resonance and resistance. Through a series of states, bodies and objects sound or are silenced, balance or fall, appear clear and contained or broken and distorted. Power is placed, positioned and sublimated through tenuous exchange.

Performed Sunday, May 5th, 2013, CalARTS // Performed by Nora Beckman, Jules Gimbrone, Aimee Goguen, Arturo Molinar, Elliot Montague, and Ashley Romano//Director of Photography Mary Rasmussen//Cinematography by Johanna Breiding, Heisue Chung, Gustavo Gómez-Brechtel, Mary Rasmussen//Video edited by Jules Gimbrone and Sam Icklow

JEN ROSENBLIT & JULES GIMBRONE - PASTOR PASTURE

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JEN ROSENBLIT & JULES GIMBRONEPASTOR PASTURE Recorded live at ISSUE PROJECT ROOM, May 11th, 2012. Emerging Artist Commission

One  for the dream structure With in or with out home

Two for the eyes The blind reprieveWe do not see so  we don’t know

Three for figments Each a ghost pair Mirror mirror mirror mirror

Four, We do not die

Five, in the dark Left with the other Hold me together Hold me together Hold me together Won’t you hold me together?

Choreography ~ Jen Rosenblit

Music ~ Jules Gimbrone

Performed ~ Jules Gimbrone (music), Reenat Pinchas (cello), Addys Gonzalez (dance) and Jen Rosenblit (dance)

Vocal Track ~ Jules Gimbrone, Becca Kauffman, Geoff Rice and Geo Wyeth

Lighting design ~ E Jenetopulos

INTERVIEW

Pastor Pasture is a revolving expanse of glory and shame. Through research into aural and visceral structures, this work harnesses the performers in all its queerness–as soft, ecstatic, plural, unknown and full of desire. A nonsensical nature is established when sound occurs, when it registers as music and when the moving body chooses to relate or not. Logic emerges from the inside, there are no external cues for understanding.

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A classic duet between dancer and cellist gets modified, blended, disturbed and tormented as the composer and choreographer enter to complicate and mediate the preciousness they created. Within the intricacy of this duet lies the solo body, three and four all in and out of relation with one another. Composition for solo cello is divested of its singularity through vocal interventions, sound spatialization, and the piercing calm of a resonating sound sculpture. With lighting design by E Jenetopulos, internal terrorisms reclaim power and images of blindfolded bodies charge the space with our knowledge of hostage situations. We are full under an empty sky.

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Pastor Pasture is a creation between the visual and compositional thoughts of Jules Gimbrone and the choreographic desires of Jen Rosenblit. Developed in residence over the past four months with cellist, Reenat Pinchas, and dancer, Addys Gonzalez, this is the first showing of a larger conceptual investigation. Considering all of our performative bodies, the nature of an audience, and the meeting place of the aural with the visual as well as visceral is where we developed much of this work. We looked into varying language structures, and how to address the different needs of our specific mediums. Arrangement, compositional relationships and tone have all been active locations between the placement of the sound and the moving body or still image. The notion of performance as going beyond a space of music and dance is where we seek to place this work. This piece is concerned with the nature of relationships in the most unknown sense of the word.

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JULES GIMBRONE - WREST VIDEOS

Jules Gimbrone’s album WREST, is also a collection of videos.  Ten different New York based artists created videos for each of the WREST songs. These videos showcase diverse interpretations by artists who work in a variety of mediums. Each of these videos were also made into a poster which is included in the LP.

Videos by, in order, : Lauryn SiegelLydia OkrentEm Rooney,  Nica Ross &Savannah Knoop, AK BurnsElizabeth Orr &Emma Hedditch, Mariana ValenciaElliot Montague Jules Gimbrone, and niv Acosta

To download the album, or to buy a record, please go to julesgimbrone.bandcamp.com/












GEO WYETH - HAUNTS

HAUNTS A NEW MUSIC PERFORMANCE PROJECT by Geo Wyeth featuring performers karel van beekom, sam miller, tanisha thompson, and niv acosta additional collaboration with elizabeth orr, mariana valencia, and barbara samuels 19th century American gynecologist James Marion Sims, famous for perfecting his procedures on enslaved African women, encounters his biracial transgender great-great-great grandchild in a collapsed and imagined dream space.  Based on Wyeth’s own family lineage, HAUNTS retraces a contradictory history of violence and ironic inheritance through an incantation of dreams and embodied recollection. Using his body as a point of converging histories, Wyeth’s HAUNTS is an anxious meditation on the urgency of memory.  Developed through the support of the Jerome Foundation Travel and Research Grant, Ars Nova Residency 2009, and the San Francisco Performance Art Institute.   The Club at La MaMa 74A E 4th Street NY, NY 10003 Tickets $15/$10 Students and Seniors Tickets purchased here: http://lamama.org/the-club/haunts/

HAUNTS

A NEW MUSIC PERFORMANCE PROJECT by Geo Wyeth

featuring performers karel van beekom, sam miller, tanisha thompson, and niv acosta

additional collaboration with elizabeth orr, mariana valencia, and barbara samuels

19th century American gynecologist James Marion Sims, famous for perfecting his procedures on enslaved African women, encounters his biracial transgender great-great-great grandchild in a collapsed and imagined dream space.  Based on Wyeth’s own family lineage, HAUNTS retraces a contradictory history of violence and ironic inheritance through an incantation of dreams and embodied recollection. Using his body as a point of converging histories, Wyeth’s HAUNTS is an anxious meditation on the urgency of memory. 

Developed through the support of the Jerome Foundation Travel and Research Grant, Ars Nova Residency 2009, and the San Francisco Performance Art Institute.  

The Club at La MaMa

74A E 4th Street NY, NY 10003

Tickets $15/$10 Students and Seniors

Tickets purchased here: http://lamama.org/the-club/haunts/

PACK PROJECTS: LISTENING VIDEO PARTY & RECORD(S) RELEASE, MAY 25th

PACK PROJECTS PRESENTS A RELEASE, LISTENING, and VIEWING OF

GEO WYETH’S            ALIEN TAPES

JULES GIMBRONE’S         WREST

VIDEO & VISUAL COLLABORATIVE WORK BY:

niv Acosta

A.K. Burns

Jules Gimbrone

Elliot Montague

Lydia Okrent

Elizabeth Orr

Elizabeth Orr & Emma Hedditch

Em Rooney

Nica Ross & Savannah Knoop

Tuesday Smillie

Lauryn Siegel

Mariana Valencia

Eric Veit

Geo Wyeth

FRIDAY  ::   MAY 25th  ::  9 pm (with a dance party after)  ::  THE SPECTRUM

59 Montrose Avenue btw Leonard St and Lorimer St

G to Broadway

JM to Lorimer

L to Montrose

 ”ALIEN TAPES is kind of a meditation on the relationship of proximity between the body, the room, and the sound.” says Geo Wyeth, “Half of it was recorded on tape with a lot of live mixing and outboard effects.  Half of it was recorded by digital means and features heavy production.  Leading up to its release, I have been holding curated listening events in tandem as ways of bringing people together — the album functions as a drawing together of embodied experiences, and I hope it is approached in this way.”

WREST is a collision; a dueling violent negotiation of form, theme, and texture. Starting in May of 2010, WREST was a performance project, a locus for intermedia exploration and is now an album of music. Over the last two years composer and intermedia artist, Jules Gimbrone, has cultivated a place for collaboration and cross-medium exchange with filmmakers, dancers, and artists. Centering around Gimbrone’s 7-piece electroacoustic ensemble, WREST depicts moments of imperative change housed within the queer body.  Gimbrone’s ensemble creates a symphonic landscape through a dramatic mash of polyrhythm, grand melodic gestures, abrasive sound textures, and primordial vocalizations to be explored through a variety of vantages.