Mar 2012

16.12.2009 PRE-OPENING GRIMMUSEUM
WHISTLE, MINOTAURE! 0
sepiaDREAM curated by Francesco Cavaliere and Marcel Türkowsky
Artist: Michael Northham


Set1-sepia Michael Northam@ GRIMMUSEUM by GRIMMUSEUM

Set2-ancedote Michael Northam by GRIMMUSEUM

Michael Northam is one of a growing number of composers working around the turn of the millennium whose interests lie in organically developing, environmental pieces, centered on location recordings or installations, and interweaving them with threads of drones which is the back bone of sacred music in many cultures of the world. He has collaborated with many similar artists, such as Hitoshi Kojo, Francisco López, Seth Nehil, Ora (Darren Tate and Colin Potter), and John Grzinich to name a few—during over 15 years of travel taking him to live and work in nearly 50 locations in 25 different countries.

Northam hesitates to call himself a musician as such, but rather a careful listener and painstaking studio craftsman, whose work can range from combining hundreds of layers of material into a complex drone, or finding the particular moments in field recordings for his intricate and detailed compositions. With influences ranging from meteorological processes and the complex folding of protein molecules to the deep spiritual traditions of the world, he tends away from a music that calls attention to itself, and toward an open dialogue with deep consciousness and greater mysteries—this process has left a string of over twenty publications from four continents and continuous performances, installations and other projects around the world. His most recent work since relocating to Berlin has taken to exploring improvisation with traditional instruments thereby forging a bridge between the worlds of acousmatic fixed composition and immediate music.

sepiaDREAM - is a work grown from a progressive interest in 'intuitive' tuning systems based on simple instruments and interior resonaces. The work is at once an installation and a sound action - which will be presented in conjunction on the evening of the 16th.
The installation uses the pre-existing room frequencies evoked by a specially installed system of speakers in the ceiling of various rooms of the GRIMMUSEUM as sourced from an American folk instrument, the Appalachian dulcimer, with a magnetic field generator applied to it's wires.
Other recordings, such as the first fall of snow from a forest in rural New England and broad strokes of tones produced from Japanese bamboo flute work together to create a 'motore immobile' that conjures up an oneiric spirit-movement throughout the space.
Live sound improvisation using analogous sound sources will take place additionally, in repeated cycles, throughout the evening.


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