December 11: performer, Musarc/An Assembly, LCMF 2019: On Rites & Reenchantment, @Ambika P3
December 7: chorus, Musarc Winter Konsert: The Orrery, LCMF 2019, @Ambika P3
October 25: Facilitator, community song creation, V&A Lates x Common Unity, @White Post, Hackney Wick, curated by Kandice Holmes
July 27: chorus, MUSARC, BBC Proms at … Battersea Arts Centre, works by Neil Luck
July 6: FIRST PERFORMANCE:
COUNCIL SYSTEM, for Musarc
Musarc midsummer concert
June 2: accordion in London Improvisers Orchestra, St. Mary’s Church, Stoke Newington
April 29: HAMHANDED
Milton Court Studio Theatre, Guildhall School of Music and Drama
April 24: HAMHANDED
University of York, Rymer Auditorium
March 19: FIRST PERFORMANCE:
HAMHANDED, performance with lecture, video montage, organ
with Steve Potter, Huw Hallam, Dom Cooper & Ilenia Cipollari. Direction by Ilenia Cipollari.
Royal Birmingham Conservatoire, The Lab
December 12: FIRST PERFORMANCE:
SHINE, So Long, Take My Father’s Fortune, Help, Take My Brother:
music subtracted from Arnold Schoenberg’s Drei Volksliedsätze (1948), rearranged and recomposed for choir with bonang pots, ukulele, cowbells, and signs with words (13 minutes)
MUSARC, Musarc Winter Konsert, London Contemporary Music Festival, Ambika P3
September 22: chorus, MUSARC, Lin Chi-Wei’s “Tape Music”, Goldsmiths Centre for Contemporary Art
September 8: chorus, MUSARC, BBC Radio 3 “Hear and Now” Special Edition composed by Neil Luck/ARCO/Squib box
July 5: piano and accordion for Billy Elliot, production by Orchard House School, at Polish Social and Cultural Association London
June-July: keyboards and backing vocals for Velodrome, gigs at The Victoria Dalston (July 4) & Mascara Bar Stoke Newington (June 14)
June 2: MUSARC at the London Festival of Architecture.
March 17: I am thinking of the famous bedrooms on the great farms in Brazil (“Je songe à ces fameuses chambres dans les grandes fermes du Brésil”)
6 hours. Solo site-specific performance installation.
In the Old Library of The Charterhouse in London, site of monastic study in the 14th and 15th centuries, men follow strict time disciplines. One copies out texts onto a laptop: texts about other possible worlds that really exist within our world (heterotopias) by Michel Foucault, about aesthetic political strategy by Stevphen Shukaitis, and about current university-sector strike actions.
At the same time he marks a cyclical time structure at an initially glacial pace using 4 Indonesian bonang pot gongs (pelog 1, pelog 2 with mini tambourine on top, pelog 3 upside-down, & slendro 2), ukelele, electric hair trimmer, electric fan rigged up to hit against cardboard, and child’s accordion.
Richard Hames created and followed his own time discipline at the same time: his laptop barks out orders to carry out the activities Hames does on a daily basis. But the computer has been programmed with the data of what activities actually follow other activities in Hames’s real life and is following an algorithm to ensure that it always chooses the least likely activity to follow on from the previous activity.
at the ‘Unfinished’ Event curated by Nell Catchpole and Jan Hendrickse, part of Barbican OpenFest
February 4: accordion in London Improvisers Orchestra, iKlectik, London
January: The Principles of Collision, featuring ‘the smallest event as a colorful giant puppet’, video installation at Charles Ogilvie, Ordering the Cosmos, Stowe Gallery, Stowe UK
September 4: Conference paper: ‘“Temporary Hegemonic Zones”: Conducting and Conduction in Experimental Music’. Finding Democracy in Music, University of Huddersfield.
August 6: accordion in London Improvisers Orchestra, iKlectik, London
July 23: Summertime Gamelan Showcase, Southbank Centre, London
July 13: Gamelan at the Opening of the New Indonesian Embassy, London
April 2: accordion in London Improvisers Orchestra, iKlectik, London
December 11: Gamelan Winter Chimes, Southbank Centre, London
November 26: keyboard performance of graphic score from ‘Tremors: The Musical’ by Stuart Wood. With Stuart Wood, voice. And leading group rendition, with voices, guitars and ukelele, of Phil Ochs “The War is Over”. High Fidelity Festival 2: Shipwreck, Washed up, Chisenhale Dance Space, London
July 11-13: Experimental reading-and-performing-through Deleuze & Guattari’s chapter, “The Smooth and the Striated” from Thousand Plateaus. smooth & striated: form, hARTslane gallery, New Cross Gate, London
July 8: sound design and musician, Peter Lachmann’s “Gliwice Hamlet”, translated from the Polish by Aneta Mancewicz and Bryce Lease
July 1: sound design and musician, Marie NDiaye’s “The Snakes”, translated from the French by Kélina Gotman
June 24: sound design and musician, Denise Despeyroux’s “Black Tenderness”, translated from the Spanish by Simon Breden
May 1: “Well I want it in writing, the smallest event and the secretest agency,” a music theory fiction show. Cornell University (Ithaca, NY), A.D. White House, Guerlac Room.
February 12: performance with Ollie Evans. Non-Threat Theatre Event. Ollie Evans, The ABCs of Theatre. Tottenham Chances.
January 30: International Anthony Burgess Foundation, Manchester
‘a name without a place…’ for clarinet, viola & piano, performed by Rocío Bolaños, Emma Richards, & Kate Ledger
December 14: Hackney Attic, London.
Filmphonics presents: The i=u Christmas Special.
Live scoring to four short films.
Phil Granell – violin
Will Roberts – mixed percussion
Matt Redman – guitars
George Sleightholme – clarinets
Fred Thomas – MD/Double Bass
Steve Potter – Accordion
October 30: selections from Whiggly Kinderproducts (Steve Potter, accordion and puppets; Eugene Feygelson, violin) at Pop-up Queer Arty-Farty Night (curated by Kate Evans, hosted by Sarah Jane Moon), 5th Base Gallery, London
September 13: Whiggly Kinderproducts (Steve Potter, Federico Reuben, Justin Christensen, Eugene Feygelson)
@Yinka Shonibare’s Guest Projects, London
July 14, ‘PLAY’ for 19 musicians & conductor
London Sinfonietta Academy Ensemble
LSO St Luke’s, London
May 16, ‘One-hundred Combat Troupes’ (draft), written in collaboration with Kélina Gotman, experimental music theater for 4 actor-dancers, 1 singer, and 6 musicians
Adam De La Cour, Kirstin Smith, Jüri Nael, Cara Curran, James Scott, and the London Sinfonietta
Village Underground, London
September 22, ‘that guy was such an asshole…’ for voice and piano
Julia Mintzer, voice, and Jean Beers, piano
King’s College London, England
September 15, that for 15 players
Internationale Ensemble Modern Akademie, conducted by Franck Ollu
SoWi, Innsbruck, Austria
August 18, old people in the wrong house (dancing with robots) for 15 players
Nouvel Ensemble Moderne, conducted by Lorraine Vaillancourt
Salle Françoys-Bernier, St.-Irénée, Québec