▪️ New York-based artist Eli Keszler is at the apex of his career. This year alone he’s had a three-month-long solo exhibition (“Blue Skies” at Fuse Arts, Bradford, UK), performed internationally in a duo with Laurel Halo, collaborated with noted Hungarian author Krasznahorkai László, taught experimental composition and performance at Camp in the Pyrenees mountains, composed music for Turner Prize–winning visual artist Prouvost Laure, and most recently embarked on a world tour with Oneohtrix Point Never.
Keszler’s installations, music and visual work have appeared at Lincoln Center, MIT List Visual Arts Center, The Kitchen, South London Gallery, Barbican-St. Lukes, Walker Art Museum and Greater New York at MoMA PS1.
He has released solo records for Empty Editions, ESP-Disk‘, PAN and Stadium on Shelter Press in October of 2018. As a composer Keszler has received commissions from the Icelandic Symphony Orchestra, ICE Ensemble, Brooklyn String Orchestra and So Percussion. Keszler is a graduate of the New England Conservatory of Music and was a 2016 New York Foundations for the Arts fellow.
Keszler is often mistaken for an electronic musician, but in fact his sounds are raw and natural, produced by hand live in-situ. His performance with the drumset and acoustic percussion are central to his work. He produces almost impossible textures through self-realized methodologies: cascading melodies, a shadow of voices, and a unique pointillistic materiality. Although playing with the intensity of digitally-created music, his communications are done live with no processing. These haptics are what give “Stadium” its depth and its warmth. In a recent interview for Dazed, collaborator Oneohtrix Point Never comments, “I’ve always described his playing as bacterial. He’s able to parallax into very small, very acute, very specific relationships between percussive textures. It’s beyond just being a drummer—he’s a world-building percussionist.”
In the masterclass before the show Eli will explain his approach to playing, work and creative process.
19.00 / ELI KESZLER – MASTERCLASS
20.15 / VERONIKA SVOBODOVÁ presents ROR-BU
21.00 / ELI KESZLER
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Prístup Veroniky Svobodovej k práci so zvukom neomylne prezrádza jej blízkosť k divadlu a scénografii. Dôležitý nie je len zvuk, ale aj akcia, ktorá ho vytvára na jej miniatúrnej scéne, dráma, ktorá sa dáva do pohybu za pomoci primitívnych strojčekov medzi zrnkami piesku, bridlicovými doskami, hrdzavými klincami a inými animovanými aktérmi. Uvádzaný projekt „Ror-bu“ tvorí mikrosvet nazbieraného materiálu a terénnych nahrávok z rezidencie v severnom Nórsku na ostrove Senja.
(Ror-bu je označenie pre tradičný typ nórského rybárskeho domu, alebo priestor určený na skladovanie neužitočných predmetov).
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Projekt podporil z verejných zdrojov Fond na podporu umenia.