Avantwhatever Monthly – June 2016
Entry $10 | 7pm for a 7:30pm start
Sally Ann McIntyre was born in Hobart, and currently resides in Dunedin. Her creative practice is highly responsive to place, and includes sound art, the creative use of radio, and the the use of field recordings, as well as a concurrent practice in poetry and associated forms of writing.
A major platform for her artistic output since 2006 has been a hand-made narrowcast radio station named radio cegeste, a nomadic performance and recording project which broadcasts within a small radius to any locality on the frequency 104.5FM. Lo-fi, site-specific technological interventions into the soundscapes of various places and ecologies are often conceived as exploratory inter-species collaborations, for which she acts as curator and operator, destabilising the notion of one-to-many broadcast, and associated forms of control and authorship within the medium. Soundscapes recorded on site are layered back into the environment with historic field recordings on 78rpm and other media, problematising the immediacy of listening, and asking questions about its historicisation.
radio cegeste has released material on the labels winds measure, Consumer Waste, and/Oar, Idealstate, Flaming Pines, and Gruenrekorder. Sally’s sound work also includes ongoing research into the materiality of recorded silence, the history of birdsong transcription, and the hauntology of extinction as a trace within sound archives, including the use of pre-electrical sonic inscription and playback mechanisms, such as gramophones, phonographic wax cylinders and music boxes, to bring extinct birdsong back to audibility. Projects have been exhibited in galleries and project spaces in Australia, New Zealand, the UK and the U.S.
Her critical practice spans radio documentary, critical writing, and curatorial and organisational work. She has written for Flash Art International, Art Asia Pacific, and other print media, and since 2009 has been involved as an Australasian curator for the international Radia network, which is a curatorial platform for peer-to-peer experimental radio art, commissioning many new works from sound and radio artists in the region. Her interests include environmental history, post-humanism, the history of museums, ethno-ornithology, island ecologies, avian electomagnetic navigation, obsolete technologies, the poetics of erasure and the trace, the possiblity of locality within the globalised, and the cultural and historical situatedness of listening.
Curently based: Dunedin, New Zealand
Engaged in the language and techniques of cinema, Sabina makes works that exist at the intersection of film, performance and installation. She also directs music videos, and collaborates regularly with musicians in audio-visual shows and expanded cinema works.
She often works within live performance and site-specific situations, using both analogue and digital technology, the body, voice and sound as ways to express an alternative form of ‘cinematic’ viewing, blurring the lines between live and prerecorded. Through acts of transformation and the presence of ‘invisible’ formations- such as memory and its different manifestations in the physical, biological, material and mythological realms- Sabina creates multi-layered works that live in a continuous state of flux.
The synthesis between still and moving, actual and virtual, documentary and fiction, form the basis of her research into memory, perception, identity, and concepts of the sublime.
Recent productions/commissions/exhibitions: Chamber Made Opera, Meat Market, (Melbourne), 2016; Sydney Contemporary, curated by ACMI- Ulanda Blair and Jess Bram, (Sydney), 2015; La Maison Folie, Mons European Capital of Culture festival, (Belgium), 2015; BIFEM (Bendigo), 2014; Australian Art Orchestra, MOFO (Hobart), 2014; Punctum (Castlemaine), 2012; NES artist residency (Iceland), 2013; C3 Contemporary art space, (Melbourne), 2012; JARF festival and residency, (Indonesia) 2012
Recent support: Arts Victoria Grant; JUMP mentorship Grant, Australia Council for the Arts; In-Habit Grant, Punctum; Toyota Spirit Highly Commended Award; Japan Foundation Sydney Grant.
Sabina holds a Masters in Creative Media (Film &TV) from RMIT University.
Sabina is also an active member of the Artist Film Workshop based in Melbourne.
Carmen Chan is a musician and artist. She takes a holistic approach to music and its presentation, and is excited by articulating ideas within their given contexts. Her creative project ‘Do You See What I Hear?’ (2006-) has invited interpreters ranging from professional musicians to non-musicians to become engaged. The project has been featured at Festival of Slow Music, Tilde New Music Festival, Shepparton Art Museum, the International Alliance of Women’s Music blog, the Art Gallery of Ballarat, Surrey Hills Music Festival, and with the Hong Kong New Music Ensemble. Carmen was also invited to present her work at the Notations21 European tour and symposium in Utrecht, the Netherlands in 2012. Her composition ‘No Clouds’ was included in the Melbourne Now exhibition at the National Gallery of Victoria.
With a range of skills from percussion, piano, cello, found objects, improvisation, interpretation, graphic notation to composition, Carmen is a technically accomplished musician with a developed awareness of the role of Western Classical music in society. She has been recipient of several grants and scholarships from organisations and institutions including the Ian Potter Foundation, the University of Melbourne, and the Rotary Club of Melbourne. As educator, she has taught at Monash University, Scotch College and Presbyterian Ladies’ College in Melbourne, in composition programmes for students and children in Sweden, worked with school children at the Port Fairy Spring Music Festival, and also recorded with the Amplified Elephants at the Footscray Community Arts Centre. Carmen also successfully brought Cry Baby Concert to Rushworth in rural Victoria during 2009.
Carmen is also involved in Melbourne’s experimental music scene. Since 2014 she has performed regularly with Ren Walters’ THIS ensemble and has appeared at CURRENT events, Make It Up Club, SeenSound: Visual/Music Screenings, Conduit Arts, GAIP, AvantWhatever, Musikunst, Quiet Noise and Antechamber series. In 2015 she was involved in Adam Simmons’ 100:25:1 project, and she created a new artwork+performance at Town Hall Gallery. She has been on the committee of Conduit Arts Initiative from late 2014 until its recent closure.