SFCA [isaw+subtropics] in collaboration with ArtCenter/South Florida
Subtropics XXIV Marathon
SAT JUL 22, 2017 | 5PM – ’till it ends
924 Lincoln Road, 201
Miami Beach, FL 33139
Subtropics is proud to present the 24th edition of its now classic Subtropics Marathon, a full-day concert designed to feature the rich diversity of new music from Miami based artists. This year’s Marathon will also feature short performances by guest artists from Spain and New York.
Víctor Aguado Machuca (Spain), Miguel Álvarez-Fernández (Spain),
Robert Blatt (MIA), Edward Bobb (MIA), Federico Bonacossa (MIA), Richard Brookens (FLL), John Henry Dale (MIA), Dan Dickinson (MIA), Frank Falestra (MIA), Ferrer-Molina (Spain), Richard Garet (NYC), Jorge Gomez Abrante (MIA), Barbara Help (USA, Spain), Stuart King (MIA), José Ignacio Hernández Sánchez (MIA), Randy Nutt (MIA), Emi Minami (MIA), Julio Roloff (MIA), and Kerry Ware (MIA).
Note: works will be presented in no particular order
Víctor Aguado Machuca
Looping lyrics (long vowels) (2017) | 10’
Víctor Aguado Machuca (b. 1989 Madrid) is an architect specialized in restoration and history of art, visual and sound artist, curator and manager of AMEE (Spanish Association for Electroacoustic Music and Sound Art) and associate curator for Finnish Institute of Madrid.
Voyelles (2004) | 10’
Miguel Álvarez-Fernández (b. Madrid in 1979) is a sound artist, researcher and curator. After his studies in Composition at the Conservatory of El Escorial (followed by courses in Darmstadt, Kürten and Berlin), he completed a PhD in Musicology. Currently works as a freelance artist and curator, teaches at the Universidad Europea de Madrid, and hosts the weekly broadcast Ars Sonora at Spanish National Radio
untitled (2017) | 10’
In search of a new way of being together (sounding, one way or another)
A Double-Feature of Expanded Cinema |10’
Blue Movie (color, sound, 1986)
a films 16mm “film” in which the projector provides its own content-with slight intervention by the filmmaker-and its own soundtrack
All My Sorrows Could Swim (color, silent, 1996)
a hand-made, cameraless 16mm film with live score. premiered in 2016 at the Rewind/Fast Forward Film and Video Festival
De Profundis for bass clarinet and live electronics | 10’
De Profundis is one of a series of pieces for solo instrument and live electronics I have been composing for the last few years. Most works share a similar approach to formal structure and certain types of effects but differ greatly in other ways. In De Profundis all the musical material was generated by transcribing spontaneous vocal improvisations using the computer or simply by ear. The effects used are a combination of granular synthesis, loops, delays, pitch-shifting, and ring modulation.
Lust of Eyes, Lust of Body, and Pride of Life (2017) | 9’
Olivier Messiaen’s Third Mode of Limited Transposition will be explored in this multi-instrumental improvised solo piece. Three woodwinds; Bass Clarinet, Bansuri, and Soprano Saxophone will blend electronically in the moment to create a 9 minute piece, having 3 movements of 3 minutes each
John Henry Dale
Ajedrecista Algebraica (2017) | 10’
the “Ajedrecista Algebraica”(Algebraic Chess Player) project is an algorithmic and semi-improvisational composition and performance which attempts to answer the question “What do chess games sound like?” by translating algebraic chess notation into music
Impeachment (2017) | 10’
This piece for double bass uses improvisation and recorded audio to explore the proactive interruption of powerful systems. It is not a substitute for participation in the democratic process
Waves to Wax (2017) | 10’
Capturing a set of random radio waves and recording them live into a 1939 lathe cutter and then playing the etching in the polycarbonate disc back
Vibrato (2009) | 8’
Ferrer-Molina is a sound artist, musicologist, conductor and critic, with degrees in guitar, piano, conducting, music education, musicology and composition at the conservatories of Valencia and Madrid (Spain). From 2014, he is the president of the AMEE (Spanish Association for Electroacoustic Music and Sound Art) and curator of the Punto de Encuentro International Festival of Sound Art and Electroacoustic Music.
Live / UNTITLED (2017) | 10’
Richard Garet’s approach to working with sound live focuses on connecting directly the audience with listening and the physicality of audio in space and acoustics. Garet deals with material and processes that interact and activate sonic material such as electromagnetic waves, treated tape and audio cassettes, cracked media, sonification of light and data, information noise, and computer processing. Garet’s preparations to working live with sound evolve from studio practice and these developments establish the artist’s material and set of possibilities to work and interact with in front of an audience.
Jorge Gomez Abrante
Cycling (2017) | 10’
A piece for video, skateboard and ukulele
with Randy Nutt
Synesthesia (2017) | 10’
Composition for Electroaccoustic Trumpet and Six Strings
Electric Wind (2004-2017) | 10’
Barbara Held, flute
The shape of the piece is a result of the interaction of the flute and the electronics, while the flute elicits a specific response from the electronics, the absence of a response in some cases is what creates the beauty of the form.
José Ignacio Hernández Sánchez
Broken English (2017) | 7’
A four-channel computer music piece. José’s latest musical interests include composing by combining and juxtaposing different types of musical expression, such as disparate styles (electronic, contemporary, popular) and sound materials (signaling sounds, noises, recordings of other musics) within the same work.
with Stuart King
Greedy as Fuck (2017) | 10’
Sound on sound bass, voice and electroacoustic cornet (MerzPix), chaos and wisdom
Drumming in the Electromagnetic Field | 10’
Our constant use of electronic devices generates a dense, chaotic field of electromagnetic noise. This noise has become ubiquitous, but it normally remains completely imperceptible to us. This performance will work with this electromagnetic noise, capturing it with hand-made induction devices which act as a counterpoint to the mass-produced electronics. Revealing an invisible and silent dimension of our environment, we will play back electromagnetic field recordings from various public spaces in Miami, as well as inducing and amplifying fields inside the Audiotheque in real time. These sounds of electromagnetism will be in dialog with acoustic percussion, moving layers and patterns of sound through the Audiotheque’s 4-channel system
Transparent Noises (2016) | 7′
Solo Tape Music, Pink Noise Etude
682-3133 Buffalo, Minnesota (1977) | 6’40”
Barbara Held, flute
Kerry Ware | 10’
Improvisation using live electricity and effects boxes
Subtropics XXIV is possible with support from City of Miami Beach’s Cultural Affairs Program and Cultural Arts Council; with additional support from Miami-Dade County, Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners; and sponsored in part by the State of Florida, Department of State, Division of Cultural Affairs and the Florida Council on Arts and Culture; and by the Blank Family Foundation. SFCA [isaw+subtropics.org] would also like to acknowledge the ongoing support of Sennheiser, leaders in superior sound technology. Acción Cultural Española (AC/E) supports Subtropics XXIV through the Program for the Internationalization of Spanish Culture (PICE).