Steve Beresford and Mandhira de Saram at Burley Fisher Books (BOTH AND exhibition)

This too.

News, reviews, features and comment from the London jazz scene and beyond

Steve Beresford and Mandhira de Saram at BOTH AND exhibition, Burley Fisher Books, 24 November 2019. Report and drawings by Geoff Winston

As part of our BOTH AND exhibition, and serendipitously coinciding with the final day of the London Jazz Festival, Calum Storrie and I (Geoff Winston) invited two of the most accomplished improvising musicians around, Steve Beresford and Mandhira de Saram, to perform an afternoon set in the gallery.

Steve Beresford and Mandhira de Saram. Drawing by Geoffrey Winston. © 2019. All Rights Reserved

As a free, ticketed event this had ‘sold out’ and the packed house experienced a gently challenging dialogue with Beresford on an array of electronic and analogue devices creating a mischievously quirky, ambient soundscape, the sonics of the industrial transformer punctuated by shrill whistles and more, to which de Saram responded by nudging the boundaries of violin technique with mesmerising flair. Spells of curiously…

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BOTH AND: Geoff Winston and Calum Storrie at Burley Fisher Books (to 24 Nov; now extended to Christmas)

This from Geoff Winston on londonjazznews.com….

News, reviews, features and comment from the London jazz scene and beyond

Geoff Winston is co-exhibitor with Calum Storrie at Burley Fisher Books in Dalston. The exhibition is called BOTH AND and runs until 24 November 2019 (now extended to Christmas). Sebastian Scotney asked him a few questions:

LondonJazz News: For people who don’t know you, tell us about your work, Geoff…

Geoff Winston: The art works I make, and are currently being shown in a two-person exhibition in Dalston, encompass editioned prints, three-dimensional assemblages and sculpture, and drawings. The three-dimensional work and prints are very much to do with what I call ‘the poetry of the quotidien’, finding form and delight in the everyday, often the discarded and rejected. They are informed by an underlying sculptural and painterly sensibility which goes back to formative years, when art, design and music turned up on my doorstep!

Some of the series of prints utilise and subtly transform photographic elements which are often visual…

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IN CON with 14

IN CON with(14)https://neilferguson.wordpress.com/

Neil Ferguson and Calum Storrie

 

WAITING FOR GODOT

 

Friday 7th June     6.00 – 8.30pm

AND

Saturday 8th June 6.00 – 8.30pm 

 

Redacting texts,…applying thinglyness to “things”

…organizing meaninglessness in “things”?

 

Ferguson and Storrie have redacted a variety of publications from Beckett plays and short stories to free gallery handout sheets, cookbooks and detective novels.

…TING FOR DOT is an interactive event where the audience will be asked to apply their own redacting systems to TING FOR DOT texts.

 

Tools and text to redact will be supplied.

 

 

Description of a town in Italy. Around 1986.

 

Spaces strung out along a line

 

A series of disjointed arcades

 

Arcades that shift

 

A small room opening off the street

 

Accretions of space

 

A garden

 

The square off the street

 

The square as crossroads

 

A marker in the square

 

Accidental effect: one pillar of the arcade blocks the vista

 

Inside the palace:

Two globes (celestial and terrestrial) and the vestigial library

Fortified against the world but also containing it

2 at once

2 places at once

being in 2 places at once

 

Singles sleeves

I bought a couple of singles today…they turned out to be almost unplayable but they were in battered, though really good, record company generic sleeves. I know these were designed to be seen with labels visible in the centre…but the sleeves often become detached from the 45s that are supposed to be in them and so I thought it might be interesting to look at these overlooked objects in isolation. I wish the first CBS sleeve had contained a Thelonius Monk record and I am pretty sure I don’t own anything on the Rocket label. Here are 18 pulled out randomly…

A Visit to Thomas Carlyle’s House.

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The attic windows of Carlyle’s house in 1857.

Last week I visited Thomas Carlyle’s house for the first time in 30 years. Here is an extract from my post ‘DUST/SILENCE/TIME’ where I briefly discuss Carlyle’s writing room.

EIGHT

Although he raged against the noise of the city, I wondered if Thomas Carlyle also wanted to deny time in his sound-proofed rooms at the top of his house in Cheyne Walk in Chelsea. He had a room built within another room to exclude street noises and the sound of the piano from the adjacent house. But, though apparently sealed from the outdoor world, the wind whistled across the skylight and the sound of the next-door neighbour’s macaw still found its way into his space. Maybe in order to create silence sealing a room is not enough (as Cage noted in his visit to the anechoic chamber). And, as Warhol’s solution [silence without duration] is impractical if not impossible – is easier said than done – it is necessary to impose the active ingredient of time in the form of dust.

On Thursday afternoon, the doors of the room were left open so sound drifted up the staircase and in through the attic window. The space created by building an inner skin to the room was being used as storage. An information text here explained that Carlyle was trying to insulate himself from the noise of the nearby Cremorne Pleasure Gardens as well as street noise. In the entry for Cremorne Gardens the London Encyclopaedia reports: ‘In 1855, during a pageant re-enacting the storming of a fort at Sebastopol, the stage collapsed beneath 500 bayonet-carrying soldiers’. Balloon flights were regular occurrences at the gardens and at least one ended in disaster when the Montgolfier Fire Balloon drifted and collided with the spire of a church in Sydney Street. The disused Lots Road Power Station now occupies the site of the pleasure gardens.

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My recording made in the ‘sound-proof’ room is only quiet. I missed the passing helicopters.