ART + MUSIC
KyCAD invites a select group of eight regionally, nationally and internationally acclaimed artists to create site-specific, time-based works that build upon, interpret, or reimagine classic orchestral works.
Responding to G.F. HANDEL: “Alla Hornpipe” from Water Music
In-Between the Real and the Ideal—A choreography for “Alla Hornpipe” from Water Music is formed by the choreography of repeated gestures. The reflections create a partnership between image and music while expressing the nature of performance as choreographed movement of pose-to-pose gestures, or the conductor’s breaths drawn at certain lengths and depths between intervals of time. The work explores the connection between the real and the ideal, image and sound, object and subject, shadow and projection, such as a thing reflected on the surface of water.
Mariam Eqbal (b.1977) is a Pakistani-American artist working with drawing, installation, performance, animation, video andsound. Eqbal’s work has been screened and exhibited across the United States and internationally, including, Great Britain, Columbia, the Netherlands, India, and Canada, as well as, in the Museum of Contemporary Art, Bogota, Columbia (2017), Taubman Museum of Art, Roanoke, Virginia (2017), and at the Virginia Museum of Fine Arts, Richmond, Virginia (2015). Eqbal is a part-time faculty in the Department of Arts and Humanities at the University of Richmond, in Richmond Virginia, and an Affiliate Graduate Faculty for the School of the Arts at Virginia Commonwealth University where she also teaches animation in the Department of Kinetic Imaging.
Responding to ROBERT SCHUMANN: Symphony No. 3 (“Rhenish”), Mvt. 4
In Untitled #198 (Persistent A), digital imaging sensors capture the light reflected off the musicians as they perform. The light waves are then converted to their equivalent audible audio frequency in three distinct streams—from the red, blue, and green light—each with its own range and pitch. It is believed by some that Schumann suffered from meningioma, a brain tumor that can cause auditory hallucinations.
The newly interpreted Rhenish imagines what Schumann might have heard with the potential for harmony and discord. Initial coding by Chris Yamane and Benjamin Lichtner. Code manipulations updates, and expansions by Josh Azzarella.
Josh Azzarella (b. 1978, Ohio) creates videos and photographs that explore the power of context in the authorship of memory, often utilizing seminal moments in pop culture and news media to create accessible confrontations with historiography. By illuminating the individual encounter with communal experiences, Azzarella evaluates the perception of realness – which can ultimately be rooted in both the fantastic as much as the pragmatic. Azzarella was the recipient of the 2006 Emerging Artist Award and related solo exhibition from The Aldrich Contemporary Art Museum (CT). He has previously shown at the California Museum of Photography (CA), University Art Museum, Long Beach (CA), Vancouver Art Gallery (Canada), Kavi Gupta Gallery (IL), Academie der Kunste (Berlin), Sean Kelly Gallery (NY), Catharine Clark Gallery (CA), Mississippi State University (MS), the Santa Barbara Museum of Art (CA) and DCKT Gallery (NY). His work is included in the permanent collection of the San Francisco Museum of Modern Art (CA), the Los Angeles County Museum of Art (CA), the Pennsylvania Academy of the Fine Arts (PA), the Museum of Fine Arts Houston (TX), the San Diego Museum of Modern Art (CA), the Margulies Collection (FL), Western Bridge (WA) and JP Morgan Chase (NY).
Responding to IGOR STRAVINSKY: “Infernal Dance” from The Firebird
This work is a visual narrative in both video and book formats, illustrating the timeless and widely interpreted Firebird story. Honoring the tradition of each interpretation of the story being unique, it includes a diverse array of characters with altered roles. In traditional versions of this take, a prince saves thirteen princesses and falls in love with one of them. In this interpretation, a princess saves thirteen regal people and falls in love with a princess.
Jace Stovall is a visual artist who is living and working in Louisville, Kentucky. Their work focuses on asexuality, identity, and intimacy, and how all of these things play into our everyday lives and interactions. Jace had their Senior Thesis work – a video and fabric installation titled “a spACE” – displayed in the Kentucky College of Art + Design’s 849 Great Space in 2018, had two different series of work displayed in the Senate: Do you feel me? Exhibition at ARTxFM in 2017, and has shown work at Louisville’s Speed Cinema in 2016 and 2017. Jace graduated with a BFA in Studio Art with an emphasis in Illustration in 2018.
Responding to MAURICE RAVEL: “The Fairy Garden” from Mother Goose
Ravel’s “The Fairy Garden” from the Mother Goose Suite represents the moment in Sleeping Beauty when the princess awakens after her slumber. In Children Without a Voice, a refugee child becomes entrapped in a deep sleep, diagnosed with a disease known in Sweden as Resignation Syndrome. These children fall into an unresponsive physical state for months or years when their families are denied asylum and face deportation. They emerge from their sleeping illness only when they find that their families are safe and have gained permanent residence.
Ron Schildknecht is an independent filmmaker, screenwriter, and instructor working in his hometown of Louisville, Kentucky. Working in both dramatic and documentary form, his films – The Legend of the Pope Lick Monster, My Porcelain Past, Borderlines, Heavens Above and Muggs & Toast – have received awards at numerous film festivals across the country. Ron recently presented his multi-channel film exhibition, Fragments of a German American Mind, at the 849 Gallery at Kentucky College of Art & Design at Spalding University. He is a two-time recipient of the Al Smith Fellowship in Media Arts from the Kentucky Arts Council and received his MFA in Writing from Spalding University in 2012.
Ron has taught at the University of Louisville, Bluegrass Community & Technical College, Louisville Visual Art Association, Governor’s School for the Arts, Speed Art Museum and the Moving Image Academy. He is currently an Assistant Professor of Digital Media at Spalding University, where he also teaches screenwriting for Spalding’s BFA in Creative Writing program and film production for the MFA in Writing program.
Responding to BELA BARTÓK: Music for Strings. Percussion & Celesta, Mvt. 4
Bela Matrix is an installation designed to reflect on the notion that music is a geometric system that magically moves our emotions, expressing the inexpressible. The scrim (tulle material) features a projection based on color, light, geometry and audio-reactive systems that allow the audience to visually experience the Louisville Orchestra inside a Matrix. The musicians will blend with the Matrix, intersecting both worlds into one dimension.
Ricardo Mondragon is a Mexican artist and music composer born and raised in Mexico City (1984). Ricardo graduated with a Post-Baccalaureate of Arts in Music Composition at Columbia College Chicago. Topics of his work include harmonic content, frequency information, waveform generation, color and light. When waves are traveling they create beautiful patterns that resonate to a new form of sensorial experience and materialize the subject matter. Ricardo currently resides in Chicago, Illinois where he runs two studios where installations, prints, silkscreen paintings and sculpture fabrication are realized.
Responding to CHARLES IVES: “The Housatonic at Stockbridge” from Three Places in New England
This installation is representative of the process, spirit, and stratified metaphors found in “Housatonic at Stockbridge.” While Ives’s composition is a sonic collage of disparate elements, this installation is a reverse-engineered companion collage. Each individual element of the collage is available for listening as its own microcosm on the album Housatonic Reflections. The entire installation has been recorded and is being performed live on vintage analog tape.
Charles Rivera is a sound artist, composer, and musician. He studied at The New School in New York City and has performed with Godspeed You Black Emperor, David Wax Museum, Orchestra Enigmatic, Pleasure Boys and more; he currently leads the groups MINEcONTROL and Stook. Charles has performed at SXSW, World Cafe at NPR, Gasparilla Music Festival, and KMAC among others. His compositions and arrangements have been featured at Bernhiem Forest as part of SONICBernheim, the Speed Art Museum, Dreamland, Parsons School of Design, and The People’s Garden in Brooklyn. He lives and teaches in Louisville, Kentucky.
Taria Camerino ((SATURDAY ONLY))
Responding to MODEST MUSSORGSKY: Night on Bald Mountain
Capturing the essence of music and translating it into taste is challenging, as there are many layers to communicate. This piece is musically quite intense. In creating a flavor profile, it is important that I do not lose the listener. By making the sound the foundation for taste then pulling other flavors in, I invite you into this new way of hearing. Using our taste perception, we expand upon what we know of music. This postcard is likable, to be explored while listening. Each flavor will unfold both individually and in harmony.
Quite literally food is my life. Going hungry for most of my childhood impacted and confounded my already complex relationship with food. I am a Gustatory Synesthete, A Chef, Pastry Chef, Chocolatier, Herbalist, Plant-Based Chef, and Confectioner. I have studied all aspects of ingredients in varied regions of the world, to better know myself. My experience of taste and flavor, how the vibration of each and everything around me translates into a meal, or a drink, or just a cut bowl of fresh strawberries can be difficult at times. Using this challenging gift, I have traveled down the expected path of being a Chef, while using this synesthesia to create art. Flavor Profiling bands at The Atlanta Contemporary, or creating a lollipop that tastes like the first stanza of Beethoven’s 1812 Overture at the International Symposium of Nerogastronomy. I have trained under Chefs in France and Italy, Wagashi Makers and Bakers in Japan and Vietnam, Chocolatiers, Efficiency experts, and Intuitive Teachers. I have cooked at the James Beard House, in the TATE Modern, and for National Celebrities.
Responding to MODEST MUSSORGSKY: Pictures at an Exhibition
Mussorgsky developed Pictures at an Exhibition after seeing a collection of paintings. I want to replicate the idea of “cultural plurality” by paying attention to the many different cultural expressions available in Louisville (and beyond) I have invited artists, musicians, cultural workers, witches, gardeners, and many others to respond to exactly the same piece of music that you are experiencing today, at exactly the same time, played for their own specific audiences.
Anthony Schrag was born in Zimbabwe and grew up in the Middle East, UK, and Canada and is currently based in Scotland. He is a practicing artist and researcher who has worked nationally and internationally in residencies in Iceland, USA, Canada, Pakistan, Finland, The Netherlands, and South Africa, among others. He works in a participatory manner, and central to his practice is a discussion about the place of art in a social context. His practice-based Ph.D. – completed in 2016 – explored the relationship between artists, institutions and the public, looking specifically at a productive nature of conflict within institutionally supported participatory/public art projects. He doesn’t do many exhibitions because he is conflicted about ‘objects’ and is afraid of the permanence they suggest. Rather, he develops ephemeral events that respond to specific situations. He has been the recipient of numerous awards including The Hope Scot Trust, Creative Scotland, British Council, the Dewar Arts Award, the 2011 Standpoint Futures: Public residency award and a Henry Moore Artist Fellowship. In 2015, he walked 2638 km from the north of Scotland to the Venice Biennale to explore the place of participatory artworks within the public realm.
Follow this link to see a list of those who will be performing “Pictures at an Exhibition” to their own audiences at the exact same time as the Louisville Orchestra is performing it live at Whitney Hall.
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