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a year agoamandaplusjames
Brood 19 is a live sound performance that combines noise, Buddhist liturgical singing, and field recordings to create a shifting sonic landscape that questions and complicates the polarities of clarity and chaos. Glenn and evan utilize no input mixing, deconstructed Shomyo singing, and extended techniques to build feedback, distortion, and tonal decay.
a year agoamandaplusjames
Note from the curator: Glenn Potter Takata and evan ray suzuki's performances feel as if Kazuo Ohno and Pina Bausch had a baby and then gave it to Chloe Sevigny to raise... inside a mosh pit. In considering the theme of composure, which connects this year's festival artists, it feels particularly fitting to include Glenn and evan. The cool, calm and collectedness with which the two of them approach their art feels like intentional camouflage. Their collaborations are born out of a post-Internment America, critiquing prickly-at-best Trans-Racial body dynamics between the East and West. There's also an implied exploration of masculinity and a healthy dose of pop culture. Glenn and evan are the kind of artists that make me less afraid of working with other men. The work is cool, and their vibe is impeccable. They are what happens when "bro-ing out" is merely code for "think critically about the world around us and approach our creative research with nuance and lighthearted rigor." The coolness in Glenn and evans body of work feels, in part, a tribute to their creative predecessors, Kazuo Ohno and Tatsumi Hijikata, two fathers of Butoh dance who also understood the awesome power of strategic composure. Ohno and Hijikata masked their dark critiques of war, gender, racism, and body horror with hyperstylized aesthetics and the protective groovy umbrella of 1960s avant-garde. For them, "Coolness" was a mask. For Glenn and evan, it’s an alter ego. -Brendan Drake
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