Wed 20.11.19

All Connected revisited: Nicolas Collins (US) - Max Eilbacher (US) - Floris Vanhoof (B)

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Triple bill with three leading experimental composers/artists

All Connected was a concert series curated by Floris Vanhoof (2013 – 2015) in the AB Salon, with and about artists who play with the language of ‘voltage control’.

To celebrate the AB’s 40th anniversary, we have asked Floris to again curate an evening and this time include himself in the line-up too.

Berlin-resident New Yorker Nicolas Collins (°1954) is one of the pioneers in the use of microcomputers in live performances and he is known for the sounds he creates with homemade electronic circuits, radios, ‘found sounds’ and modified instruments. He studied under Alvin Lucier, was ‘visiting artistic director’ at STEIM (Amsterdam) in the’90s, is the curator of performance art and art installations for the likes of MoMA PS1, Clocktower, The Kitchen, Roulette, Studio PASS, … He is chief editor of the  Leonardo Music Journal (MIT), professor in the Department of Sound at the School of the Art Institute in Chicago, and wrote ‘Handmade Electronic Music –The Art of Hardware Hacking’ (Routledge),  which was and is an inspiration for many young (electronica-)artists.

The work of Max Eilbacher from Baltimore, Maryland, is based on the European traditions of electro-acoustic and musique concrète compositions and the intuitive American underground. Aside from many solo releases on labels like Spectrum Spools, Fogged Records, Anomia & NNA Tapes, he also regularly works with other artists (Matmos, Horse lords, Needle Gun, Duncan Moore, Ren Schofield, …).

Visual artist, curator, inventor, filmmaker, composer, … Floris Vanhoof can turn his hand to anything. You could admire his excellent Polyhedra exhibition earlier this year (at the KASK in Ghent, among other locations) and this fall his work will be a part of an expo in the ING Art Center.
His latest album/photobook The Fluid Computer was released last spring on the KRAAK label, with 2 ‘side-long pieces’ built from field recordings, analogue electronic sounds and tape manipulations. It is complemented by a 30cm x 30cm book containing a selection of 24 enlarged double-exposure slides. With this work, Vanhoof confirms his status as one of the most promising Belgian artists of recent years. 

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