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01/06/2017 - 02/06/2017

electric spectra:

a night of post-apocalyptic and otherworldly video and performance by 0rphan Drift, Bankrupsea, Nicola Woodham and GROK, and DJ set by Cascade Erase.


Thursday 1st June, 7.00 – 9.30pm

ASC Gallery, Taplow House, Thurlow St, London SE17 2DG

Part of the exhibition domain of sensible knowledge

curated by Cynthia Cruz and Stephanie Moran.


ASC and Cruz & Moran are delighted to announce electric spectra, featuring screenings of A Wilderness Of Elsewheres by 0rphan Drift (2009) and music video The Great Attractor by GROK, performances Poo-tee-weet? by Bankrupsea, and Teravocal (2017) by Nicola Woodham, followed by a DJ set from Cascade Erase.


The works performed and screened reenter traumatic pasts and projected futures via technological and ritual processes. They share a ‘sonorous materiality’ of aural and visual sensibility that resonates with the aesthetics of the exhibited paintings.



0rphan Drift, still from ‘A Wilderness of Elsewheres’


In 0rphan Drift(0D)’s A Wilderness of Elsewheres, “dark abstract video spaces flow into bright photographic landscapes, populated and de-populated by collages of architecture and fashion… neo-romantic and science fictional blending of first and third world materiality. In relating the contemporary screen, with its multiplicity of function as window, mirror and portal to the notion of the black mirror as a predictive device, we felt this physiological wilderness extending to include real world places and global consciousness.

“A Wilderness of Elsewheres describes miscegenation between human production and geologic time, primitive and contemporary technology… The tundra, iceflows, burns, flotsam and jetsam convey elegiac sublime tone – proliferating landscapes of aftermath – still and unyielding. The audio carries with it the persistent sense of an event. At once immersive and deconstructive, the work is collision, co-habitation, evolutionary fever-dream. For us, to dream the future, to channel the predictive obsidian mirror, science fiction and technology become tools, such as magic once was, for transformation.”




GROK, still from ‘The Great Attractor’


While 0D channel old and new technological process, GROK’s lo fi videos and soundscapes are inspired by retro futurist sci-fi and manipulated into being with iPhone apps, film editing software and synthesisers, collaging science fiction films and found footage with experimental soundscapes. The Great Attractor recontextualises nostalgic fears of nuclear war via filters and edits against an anxious, jittery soundscape, creating apprehensive glitched familiarity and the contemporary sense of history repeating, differently. There is a dialogue between the past trying to portray the future and the future trying to recapture the past, which contrasts with Bankrupsea’s audio aesthetics of event post-trauma.




Bankrupsea, ‘Feedback Drum’


Bankrupsea (Robin Bale) will present an improvised vocal and musical performance, utilising a self-made variation of a vernacular percussion/string instrument which has been called in various places at various times a stumpf fiddle, devil’s stick, bumbass, humstrum. The piece is titled Poo-tee-weet? In homage to Kurt Vonnegut’s novel Slaughterhouse Five, in which this interrogative onomatopoeia is used as a refrain. It transcribes bird song; a non-semantic response to the aftermath of a massacre.




Nicola Woodham, ‘Ectoglitch’


In Nicola Woodham’s new performance Teravocal (2017), chance generation of sounds animate the inanimate sound making instruments. They speak. Automatic processes are channels for voices from other realms. As is noise, electronic-energetic overspill made sonic. The spirit world entwined with the thumps and bumps of signal overflowing and being resisted. They create portals for new forms of animation, for vocal others that cannot but be imagined and formed as they mouth words back, distorted and heard from a random direction. This zone, like dreams, imagination, fiction, memory are all ontologically equal to, if not more present than, mechanised-monitored time. These speaking, electronic mouths are sentient, to be listened to, have rights.


Domain of Sensible Knowledge is showing at ASC Gallery from May 10th –  June 6th. Cruz & Moran curated the exhibition Myth Material at The Old Waterworks, Southend, last summer. This exhibition continues their research into painterly and performative process and the construction of meaning.



About the artists


0rphan Drift is a collaborative media artist that emerged in London, 1994.  The video performances, installations and eponymous cyberpunk novel 0(rphan)d(rift>) addressed the future through the science -fictional,  nascent technologies and related shifts in perception and matter-energy. Addressing the future as it speaks to us in this moment, 0D is now considering current narratives around climate change, bio-capital and related migratory patterns. We continue to work with moving images and ancient predictive technologies (here, the obsidian mirror) to create non-linear narratives and installations using complex, liminal and baroque aesthetics that proposes a tactile and fluid materiality. 0D work has been performed and exhibited for over two decades in galleries, museums, night clubs and conferences internationally, most notably the Cabinet Gallery, Tate Modern and IMT Gallery, London; MOMA, San Francisco and CAC Vilnius. 0D was recently included in Matter Fictions, Berardo Museum, Lisbon and had a solo show of new work, Unruly City at Dold Projects, St. Georgen, Germany. Central to current production are Maggie Mer Roberts and Ranu Mukherjee.

A Wilderness of Elsewheres takes its name from Robert Smithson’s 1971 essay A Cinematic Atopia and was commissioned for Obsidiana, In Times Of Uncertainty at Galeria AFA, Santiago.


Bankrupsea (Robin Bale) is a London-based poet/performer and sound artist. He makes improvised performances utilising verbal and non-verbal vocalisation and musical equipment. He also makes recordings that experiment with aural space and what he calls “dub aesthetics”, the creative deployment of studio technology to create sonic landscapes that reflect the fragmented space of urban and exurban environments.


Nicola Woodham uses glossolalia, electronic music processes to distort her voice and singing in live and recorded performance. She sees this as a form of shapeshifting, where vocal others are called into being. Frenetic, eerie, and anxious sounding, the figments that evolve aid her in acts of disruption. The non-human-verbal is a way for her to project a sense of voices to come or in a process of becoming. She has made recent contributions to Sound Gender Feminism Activism 2016, a CRiSAP event, at London College of Communication; Sound Acts festival in Athens and SALT. Magazine in collaboration with Erinyes collective. Coming up in 2017, she is launching a limited edition of tracks and images from her multi-channel audio, video and performance installation The Last Testament of Camera 26, writing a text for ZenoPress and performing as part of House of Hysteria – Dec0rative D0rmit0ries f0r Sleep W0rkers, Xero, Kline & Coma, London. She is based in London and recently graduated from MFA Fine Art, Goldsmiths. nicolawoodham.comhttps://sou


GROK is an ongoing collaboration between artist Cynthia Cruz and musician Simon Howlett from thenoisebeforewesleep. They make Lo Fi videos and soundscapes inspired by retro futurist SciFi. The videos are collages of science fiction films and found footage manipulated with iPhone apps and film editing software. The videos form their own narrative due to the editing of the film excerpts. Their experimental soundscapes are created with iphone apps and synthesisers, which accompany the short videos. They have an instagram page with short vignettes created solely with iPhone apps which are integrated into the full videos. GROK had a video at Focal Point Gallery for BigScreen Southend in 2017. They are also due to release their second album at the end of 2017.


Simon Howlett started indie band Little Room in London (2009-2012), is now

solo project thenoisebeforewesleep.  Self-titled debut album thenoisebeforewesleep was released in 2014. The album takes elements of Shoegaze and electronica combined with Howlett’s song writing, which has a pop sensibility. Some of his musical influences are Joy Division, Sonic Youth and My Bloody Valentine. An avid fan of Drum and Bass, Howlett has also recently started mixing autonomic music, which is a style of Drum and Bass, infused with soundscape and ambient music. Thenoisebeforewesleep was reviewed by music Blog as one of the top 5 underground albums of the week. Cascade Erase is Simon Howlett’s DJ persona.




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