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Janet Biggs

Diamanda Galás_Solos

Vocalist, composer and pianist, Diamanda Galás has earned international acclaim for her highly original and politically charged performance works. Notable among these are Plague Mass, Defixiones: Orders from the Dead, Vena Cava, Insekta, Schrei X, and The Refugee. Galás has presented the work of living and dead poets who were imprisoned, exiled or assassinated from/by their own countries, and poets who lived in fear for their lives for real or perceived political/moral dissidence: Cesar Vallejo, Ali Ahmad Said Asbar, Cesare Pavese, Constantine Cavafy, Miguel Huezo Mixco, Jose-Maria Cuéllar, Pier Paolo Pasolini, and many others.

After years of lending her music to the films of directors such as Francis Ford Coppola, Oliver Stone, Wes Craven, Clive Barker, Derek Jarman, Hideo Nakata, Mercedes Moncada, and others, Galás collaborated in 2011 with Italian filmmaker Davide Pepe to create the experimental film work, Schrei 27. The film, an unrelenting portrait of a body suffering torture in a medical facility, has gone on to be presented in museums, festivals, and cinemas worldwide.

Currently, Galás is composing a concert-length performance work for voice, electronics, multitracked distorted vocals, piano and organ, based upon three poems by the German Expressionist post Georg Heym. The first movement Das Fieberspital, based upon the Heym poem of the same name, was premiered as a work-in-progress at Adam Walsh's Dark Mofo in Tasmania.

At the end of July, Galás will release De-formation, Piano Variations on motifs from Das Fieberspital. This 21' 19" solo piano work was recorded and mixed by the artist Daniel Neumann for Galás’s label, Intravenal Sound Operations, in September 2019.

Rena Anakwe _Solos

Marina Rosenfeld / Ben Vida_Solos

Lea Bertucci_Solos

For her SO⅃​ O, Bertucci will premiere new compositions with wind organ, saxophone, wooden flute and tapes.

Mendi and Keith Obadike_Solos

Leila Bordreuil_Solos

C. Lavender_Solos

Victoria Keddie_Solos

Victoria Keddie's work explores the cacophony of media ecologies that we operate within, both as an intimate and planetary exchange.  The technologies built for transmission come from universal principles of electromagnetic energies. In relatively recent history, these tools for transmission within an unregulated sphere of communication systems, have altered our ways of seeing, being, and communicating in the world. The overwhelming level of radiation and energy reaching to, and passing through our bodies place us in a new phase in the Anthropocene. No longer are we participating at will, rather, we are engrossed in a system that merges the animate with the inanimate in a congealed machinic exchange between the signal and the receiver.  Keddie's focus is to expose the particular gestures of the body in tandem with tools of broadcast and transmission and to decipher the patterns that have become an operative language with the machines she works with.

Abigail Levine: Fat Chance, Hermes

Bend low.

Count by handfuls, the numbers

and the (crushing) force.

Fast ahead and slow return.

Fill the room with sound,

as it empties of light.

Luke Stewart: UNity ELements

Musician Luke Stewart will premier a new piece for in his series of Works for Upright Bass and Amplifier. Utilizing movement, the amplifier and cabinet become part of the instrument. A dance ensues as the sound generated is manipulated into specific tones and frequencies. Building upon numerous recent live performances, the piece showcases the electro-acoustic possibilities in a new composition. Electronics inspired by the focused approach to feedback manipulation. In both elements, the acoustic and the electric, there is the exhibition of the One Sound. Tapping into the energy of the OM, universal frequency. Unity Elements.

Daniel Neumann: Soundcheck

Daniel Neumann opens SO⅃OS, the new performance series at Fridman Gallery, with a performance titled Soundcheck, which simultaneously functions as the actual check for the series. Neumann’s art is influenced by his technical profession as a sound engineer. With this opening performance he is inverting his technical role – being the engineer for the series – into an explicit part of his artistic practice.

For Soundcheck Neumann activates the whole apparatus: playback devices, multiple microphones, spatial amplification, cameras, the gallery space itself, recording, time layers, solitude and online liveness. The limitations of this SO⅃O are actualized as generative potentialities, the engineer::performer taking on the empty gallery one-on-one.

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FRIDMAN GALLERY  169 Bowery NYC 10002  / +1 646 345 9831  /