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Part of an ongoing series of "postcard" pieces, Postcards: Manitou Ave. was conceived during my two-month stay on Manitou Avenue, situated in Lincoln Heights, Los Angeles, CA. The piece is dedicated to Jeff Cain, Christopher O'Leary and Michael Kontopoulos.





Postcards / Manitou Ave. premiered on March 26, 2015 in the concert 'Up to Upstate' at Gallery MC in New York. A collaboration of Circuit Bridges and Buffalo State University presenting new electronic music, the concert marked the first birthday of Circuit Bridges. More info and concert program


Other performances:

11-27 March 2015
Presented as part of the Audiograft Festival Jukebox 2015, Sonic Art Research Unit, Oxford Brookes University.
Solo exhibition and series of events at Point Centre for Contemporary Art

Duration: 31 October - 29 November 2014
Opening: Friday, 31 October 2014, 7:00pm



'Experiencing this work involves a process of being oriented and of disorienting. Where is the horizon? Can its existence be stipulated in relation tao some sort of centre? To this latter question, 'The blind ear' seems to allow us to answer both yes and no. In navigating this space, one may possibly pulled, by the ear, towards a centre - the 'sweet spot' that is the Holy Grail of audiophiles. Here, standing (or sitting) still allows one to be constituted as disembodied acoustic subject. This quasi-Oedipal gesture can be thought of as 'blinding' one's bodily ear. More importantly, however, there are also other trajectories to be followed in the spaces of this work, ones that resist various pulls towards centres or subjectifications.' - Andreas Vrahimis

click here for full text (pdf)



PRESS RELEASE:

Point Centre for Contemporary Art presents a sound installation by the composer, sound artist and sound designer Yiannis Christofides; a multichannel sonic environment that explores a sense of place through listening, ritual and the condition of darkness.

Yiannis Christofides (b. 1985, Nicosia) is a composer, sound artist and sound designer. Much of his work investigates our experience of place through the use of field recordings as principal material. His particular interest in field recording is in relation to the contextual aspects of sound and the intersensory experience that it affords. Thus it often extends beyond the auditory in order to take into consideration the interdependencies and interactions between different sensory faculties, the multitude of subjective interpretations, memories and personal narratives associated with a particular soundfield and its social and political context. Among others, his work has been presented at many occasions and institutions in Europe and the US (the Internationales Klangkunstfest Berlin 2014 (DE), the wulf., Los Angeles (US), Circuit Bridges | Gallery MC, New York (US), Metamatic: The Art Foundation, Athens (GR), The Ethnological Museum, Nicosia (CY) etc).


Related Events |Program:
Saturday, 8 November 2014, 7:30pm | En route: Concert
Wednesday, 12 November 2014, 7:00-8:30pm | The Listening Group: session A
Friday, 21 November 2014, 8:00pm | Electric Soundscapes: Concert
Saturday, 22 November 2014 | Soundwalk
Wednesday, 26 November 2014, 7:00-8:30pm | The Listening Group: session Β
Friday, 31 October - Saturday, 29 November 2014 | The Sound Library

En Route: A Concert of Recent Works
Yiannis Christofides will present a short concert of works, recently composed and presented at the wulf. in Los Angeles.

The Listening Group |Sessions A+B
The term ‘listening group’ is used here by analogy with the term ‘reading group’. What a reading group commonly does is to read and discuss a book together. Analogously, the purpose of the listening group is to listen together and talk about what we listen to. The first two meetings, taking place at Point, will focus on contemporary music and electroacoustic composition and will introduce some basic ideas in contemporary composition and theory. The first session will be introduced by Dr. Andreas Vrahimis who will briefly discuss the connection between philosophical discussions in the 20th century phenomenological tradition and the concept of acousmatic listening. The introduction will be followed by a presentation by Yiannis Christofides of a work by Bernard Parmegiani that explores acousmatic listening. The second session will involve a discussion, by Christofides and Vrahimis, of the work of the Wandelweiser Group in relation to conceptions of silence in music.

Electric Soundscapes
A concert of works for electroacoustic media by members of the Hellenic Electroacoustic Music Composers Association (HELMCA) curated by Dr. Katerina Tzedaki.

Soundwalk
Soundwalk in the city of Nicosia led by Dr. Katerina Tzedaki and Yiannis Christofides. A sound walk is defined as “(…) a form of active participation in the soundscape. Though the variations are many, the essence of the soundwalk is to encourage the participant to listen discriminatively, and moreover, to make critical judgments about the sounds heard and their contribution to the balance or imbalance of the sonic environment. (…)." [Source: http://www.sfu.ca/sonic-studio/handbook/Soundwalk.html].

The Sound Library
A collection of books, online texts and media exploring sound, listening, experimental and contemporary music, selected by Yiannis Christofides, will be available for study during the extent of the exhibition.

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Educational Programme
Educational workshops for elementary school children developed and executed by Yiannis Christofides, Dr. Chrystalleni Loizides and Dr. Evi Tselika. The workshops focussed on sound, listening, acoustic ecology and experimental sound-making in the context of the city of Nicosia and its cultural and religious diversities. The programme was developed as part of the project 'Promoting Anti-Discrimination through Arts Education for the Local Community Point Centre for Contemporary Art-Eleneio Elementary School'.

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Andreas Vrahimis BA(Hons) (Nottingham), MA(London), PhD (London) teaches Philosophy at the University of Cyprus. His first book, titled Encounters between Analytic and Continental Philosophy (Palgrave Macmillan, 2013), challenges the standard depiction of twentieth century philosophy as divided into two camps, analytic and continental. His research interests include phenomenology, the history of analytic philosophy, and metaphilosophy.

Katerina Tzedaki studied music, electroacoustic music and computer music. She holds a PhD in electroacoustic music composition from De Montfort University. She was the coordinator of the Computer Music Lab of the Program of Psychoacoustics of the Aristotle University of Thessaloniki (IPSA) for seven consecutive years. She currently teaches at the Department of Music Technology and Acoustics of the Technological Educational Institute of Crete. She is interested in soundscape composition, live electroacoustic music and spirituality. She is a founding member and current president of the Hellenic Electroacoustic Composers Association and a founding member of the Hellenic Society for Acoustic Ecology.

Hellenic Electroacoustic Music Composers Association (HELMCA) is a non-profit organization which brings together composers and sound artists who engage in a creative use of music technology and with their work explore and produce a wide spectrum of musical approaches and forms of sonic art. Its main aim is to strengthen collaboration and solidarity among its members and to promote their work in Greece and abroad. For this reason, its work focuses on communicating and exchanging information as well as organizing festivals, concerts, installations, conferences, seminars and workshops. Since June 2006 HELMCA is the National Federation member of the CIME (Confédération Internationale de Musique Electroacoustique).


Opening Hours:
Tuesday to Friday: 11:00 -18:00
Saturday: 11:00-15:00
*the exhibition can also be viewed by appointment outside opening hours


'Place is the generatrix for the collection, as well as the recollection, of all that occurs in the lives of sentient beings, and even for the trajectories of inanimate things. Its power consists in gathering these lives and things, each with its own space and time, into one arena of common engagement.' - Edward S. Casey




All the recordings used in the piece were made in Nicosia, Cyprus during the spring and summer of 2012.
Premiered on July 1, 2014 at the wulf. in Los Angeles, CA.


Other performances:

Sat, 8 November 2014
En Route: A concert of recent works
Point Centre for Contemporary Art, Megaro Hadjisavva, Evagorou 2, Nicosia, CY



Piano: Andrew Young
Premiered and recorded live on July 1, 2014 at the wulf.(1026 S Santa Fe Ave, Los Angeles, CA 90021)



Photos: Geena Duran


"Yiannis Christofides manages to once again bring life to the ancient room. The sound places the audience member in a state of inquiry and anticipation" - Margarita Paraskevaidou, Reference to the Hostess, Phileleftheros, Sunday, August 19, 2012





Site-specific sound piece composed for "Odas," the main reception room of the house of the dragoman Hadjigeorgakis Kornesios (1750 - 1809) in Nicosia. Commissioned by research and curatorial team Re Aphrodite (Chrystalleni Loizidou and Evanthia Tselika) and the Nicosia Municipal Arts Centre (NiMAC), as part of the exhibition [At Maroudia's] (Ethnological Museum – House of Hadjigeorgakis Kornesios, July 4-December 30, 2012, Nicosia, Cyprus). The exhibition/intervention formed part of the contemporary art program TERRA MEDITERRANEA / IN CRISIS, organized by the Nicosia Municipal Arts Centre and the Pierides Foundation under the auspices of the Cyprus Presidency of the Council of the EU. Read more

Concerned with the untold histories of women, or 'herstories,' "At Maroudias" consisted of a series of subtle, often minimal interventions to the permanent exhibition of the museum, each assigned to a different artist, in an attempt to re-tell the history of the Dragoman Hadjigeorgakis Kornesios and his house from an often inexistent in the official historical record female perspective. The title of the piece refers to a certain type of room in Ottoman era upper-class houses, in this case the main reception room of the House of the Hadjigeorgakis Kornesios, where the museum is housed. The room is the only one in the 1793 building that has been restored to be suggestive of Ottoman luxury. A lavishly decorated space, it combines stylistic elements from across the board: previously a colonial-style living room, then renovated to an Ottoman aesthetic using contemporary materials, is now a strictly controlled museum space, only to be looked at. Mirroring the room's history, through which these stylistic ruptures were produced, the audio piece is based on an improvisation, or "taqsim," performed by Andreas Vrahimis on the kabak kemane, a stringed bowed folk instrument with a body made of vegetable marrow, which was purchased at a nearby souvenir shop in Nothern Nicosia. Furthermore, the piece incorporates field recordings that document my interaction with found sounds at the site, such as the crackling sounds of the wooden staircases and old doors, and gestural events derived from moving large blocks of stones that were once part of the outer walls of the house. All other recordings were made in the village of Lefkara. The piece follows the loose structure of a dream and is "in tune" with the Adhan, the Islamic call to prayer, one of the most distinct sounds of the old city of Nicosia.


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The “Oda” is the main reception room of the Dragoman’s home, and the only one restored to be suggestive of Ottoman luxury. It is a lavishly decorated space, designed to demonstrate to the guests the elite status of its owner. It combines stylistic elements from across the board: previously a colonial-style living room, then renovated to an Ottoman aesthetic using contemporary materials, and now a strictly controlled museum space, only to be looked at. As the site of formal meetings, conversations, but also leisure activities, and called the “Aspastikon” (the place of kissing one’s guests in greeting), the room must have functioned as an oddly intimate space. Yiannis Christofides’ two-channel audio installation, composed for this room, considers these contradictions. “The large widows that surround the room bring the outside – the light, the air and the sounds of the city – inside. The low positioning of the windows and the raised floor of the room afford privileged views of the courtyard and the rest of the house, rendering the room a unique surveillance point.” Christofides’ intervention takes advantage of the sensual and engaging qualities of sound, to provide an experience of the space that is powerfully transformative.
- Re Aphrodite, [at Maroudia's], Terra Mediterranea / In Crisis, exhibition catalogue, NiMAC, 2012, p. 140.



View of the house from the courtyard, as seen on the evening of the opening of [at Maroudia's] exhibition


"Odas" was included in the collection "Sonic Arts 6.0 Cyprus," showcasing selected artists of the sound art and electronic music scene of Cyprus and its diaspora, including work by Microseq, Yannis Kyriakides and Andy Moor, Christos Kyriakoullis, Marcus Papageorgiou and others. Curated by Antonis Antoniou, the collection was released in December, 2012 by Pantheon Cultural Association.


Also presented at:

Tue, 1 July 2014
Yiannis Christofides presents...
the wulf., 1026 S Santa Fe Ave, Los Angeles, CA

Fri, 8 November 2013
Symposium on Acoustic Ecology 2013, Royal Dockyard Church in Kent (UK).
Organized by The School of Music and Fine Art, University of Kent, and endorsed by the World Forum for Acoustic Ecology (WFAE). For concert program and information about the symposium click here.