Radiophrenia presents: David Grubbs, Luke Fowler & Brunhild Ferrari + Cerpintxt & Ruben Sonnoli
Entry Requirements: Over 18s only
Radiophrenia presents:
J'ai pensé sans paroles & Errant Ear - Two new works by David Grubbs, Luke Fowler & Brunhild Ferrari +
أَسيرًا في مَصانعُ الحُلمُ Refugees of the Symbolic Network By Cerpintxt & Ruben Sonnoli
Brunhild Ferrari / Luke Fowler / David Grubbs
Two films by Luke Fowler: N’Importe Quoi (for Brunhild) (2023, 9min.) N’Importe Quoi (Extérieur-Jour) (2024, 11min.)
Errant Ear - World premiere of work from radio art and field recording composition pioneer Brunhild Ferrari
J'ai pensé sans paroles - Duo performance by Luke Fowler and David Grubbs with sound material provided by Brunhild Ferrari.
Luke Fowler is an artist, filmmaker, and musician based in Glasgow. Fowler creates poetic portraits with 16mm and archival material. His most recent series N’importe Quoi focuses on the life and work of Brunhild Ferrari, whilst previous subjects include radical psychiatrist R.D. Laing, Marxist-historian E.P. Thompson, Scottish filmmaker Margaret Tait, and Fowler’s mother, the sociologist Bridget Fowler. He is represented by The Modern Institute and Gisela Capitain Galleries and is a core member of the groups Rude Pravo, Lied Music, and AMOR. David Grubbs is a musician and writer based in Brooklyn. He was a founding member of the groups Gastr del Sol, Bastro, and Squirrel Bait, and has performed with the Red Krayola, Will Oldham, Tony Conrad, Pauline Oliveros, Loren Connors, Susan Howe, and many others. His books include Good Night the Pleasure Was Ours, The Voice in the Headphones, Now that the Audience is Assembled, and Records Ruin the Landscape: John Cage, the Sixties, and Sound Recording (all published by Duke University Press). Grubbs is a 2024-25 Berlin Prize recipient from the American Academy in Berlin as well as Distinguished Professor of Music at Brooklyn College and The Graduate Center, CUNY.
Brunhild Ferrari: “Like most of my fellow human beings, I was born, I grew up, I attended schools, I passed exams, I failed, I loved, I worked hard sometimes, I enjoyed life; I continue. I worked with Pierre Schaeffer in the ORTF research department on the relationship between sound and image. Of German origin, I have had an activity as an interpreter and translator. Following Luc Ferrari's advice in matters of life, music, and composition, and working with him over the course of our 40 years together, I made my own Hörspiele and radio plays broadcast on France Culture, in the United States, and the main German radio stations. Since Luc left us in 2005, I have taken care of the preservation of his vast archives; founded the "Association Presque Rien - Friends of Luc Ferrari"; initiated and organized the biennial competition PRESQUE RIEN Prize by providing artists with original sound material from Luc's sound recordings; and edited a book of his writings and documents (Musiques dans les spasmes, published by les Presses du Réel, France) as well as one more book in English together with Catherine Marcangeli (Luc Ferrari: Complete Works, published by Ecstatic Peace library). I composed music; I continue.”
Cerpintxt & Ruben Sonnoli
Refugees of the Symbolic Network / أَسيرًا في مَصانعُ الحُلمُ
Refugees of the Symbolic Network / أَسيرًا في مَصانعُ الحُلمُ is a hauntology series of Palestinian resistance and funeral music spatialized in the convolution reverb of the King's Chamber of the Giza Pyramid. Mainly deconstructing the work of the Izz al-Din Manasirah & Sargon Boulus. Some research suggests that the Great Pyramid could have functioned as a kind of geo-vibrational resonant amplifier on account of its construction of granite, a resonant quartzbearing rock which appears to have been tuned to precise frequencies. On a site visit to the King’s and Queen’s chambers of the Giza pyramid, the impulse response of the chambers was acquired. This impulse response is then mapped onto convolution sound effects, transposing the performance within the spectral footprint of the chambers. The live performance involves reading selected excerpts in a compositional speech system; multi-layering of utterances and organums over several cycles, until a new language or syllabic melody is unearthed. The prime resonant frequencies of the chambers continue to sculpt the compositional material, by accentuating the words’ phonetic motifs as the piece unravels. The idea is using speech as an instrument whose tonal or dynamical structure arises solely from the weight of the words, and how they interweave to reveal harmonic ciphers embedded in the fabric of the language and contexts which created it. This process is an inquiry into the ritualistic nature of submission to utterance as a spiritual force. It seeks to precipitate a funerary sonic practice; a type of chant to mourn and resist in the same breath. To perpetuate the writers’ voices not by merely echoing them; but by roaming their caverns of dialectical systems, as a form of resistance to oppressive and colonialist forces. To paint a tapestry of voices of the forsaken, refugees of the symbolic network, the countless “lives buried in the belly of the whale that is called history”. Cerpintxt is an electroacoustic progress report concerned with generating an invented language of a particular strain of softness through phonetic entropy and augmented instrumentation. Working with cut-ups and dialectical chaos magick to decimate the parasitic structures of language and linear constructs of temporality. Blending ritual with precision in an exhaustive process of lingual erosion into protoconversation, to reveal the tenuous links between sound and the fluid interconnectivity of meaning. Her sound's textural counterparts include wind instruments, broken turntablism, tape recorders, granular and modular synthesis. Some of her projects include a quasi improvisational synaesthetic musical game system, , ethnic heritage projects documenting music of East Sinai and site-specific works in the pharaonic temples and the mountains of the Sinai Peninsula, amongst many more. She curates 'Boundary Condition’ investigating the parallelization between darkjazz, hauntology, and music concrete as nostalgia-centric sonic practices, previously hosting Esperanza Spalding, Shabaka Hutchings, Machinefabriek, Carlos Casas and more. She is a resident on Radio Alhara, Radio syg.ma and Mutant Radio.
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