C. Spencer Yeh was born in Taipei, Taiwan, studied film at Northwestern University in Chicago IL, repped Cincinnati OH for many years, and is now based in Brooklyn NY. He is recognized for his musical project Burning Star Core, as well as many other individual and collaborative activities with artists such as Tony Conrad, New Humans with Vito Acconci, Thurston Moore, Prurient, and Jandek. Current projects include The New Monuments (with Ben Hall and Don Dietrich), a yet-to-be-named quartet with Nate Wooley, Ryan Sawyer, and Colin Stetson, and ongoing collaborations with Okkyung Lee, Graham Lambkin, John Wiese, Chris Corsano, Lasse Marhaug, Eli Keszler, and many others. Yeh has performed at events such as SONAR, Densités, All Tomorrow’s Parties, No Fun Fest, and Frieze Arts Fair, and has also exhibited his visual and multimedia works at national and international venues including the Contemporary Arts Center in Cincinnati, ICA London, the New Museum in New York City, White Flag Projects in St. Louis, International Film Festival Rotterdam, La Casa Encendida in Madrid, and alt.gallery in Newcastle. In the video medium, Yeh has worked with artists such as Hair Police, Deerhoof, Xiu Xiu, and LoVid.
Recent and upcoming recordings include a solo CD “1975″ on Intransitive Recordings, a quartet LP with Anla Courtis, Jon Wesseltoft, and Okkyung Lee on Feeding Tube, a quartet CD with Steve Swell, Paul Flaherty, and Weasel Walter, a duo LP with Robert Piotrowicz on Bocian, a quartet LP with Nate Wooley, Paul Lytton, and Okkyung Lee on PAN, and “Transitions” his first full-length under the CS Yeh moniker on DeStijl. http://www.dronedisco.com
In their respective solo practices, Samita Sinha and Bonnie Jones create works that use language and sound experimentation to create resonant performances that reflect on tradition, technology, and identity. For Maté_series, they will collaborate on a new work incorporating text, live vocals and electronics.
Bonnie Jones is a Korean-American writer, improvising musician, and performer working primarily with electronic music and text. Born in 1977 in South Korea she was raised on a dairy farm in New Jersey, and currently resides in Baltimore, MD. Bonnie creates improvised and composed text-sound performances that explore the fluidity and function of electronic noise (field recordings, circuit bending) and text (poetry, found, spoken). She is interested in how people perceive, “read” and interact with these sounds and texts given our current technological moment. Bonnie has presented her work in the US, Europe, and Asia and collaborates frequently with writers and musicians including Ric Royer, Carla Harryman, Andy Hayleck, Joe Foster, Andrea Neumann, Chris Cogburn and Liz Tonne. She received her MFA from the Milton Avery School of the Arts at Bard College. bonniejones.wordpress.com
Samita Sinha is a composer, performance artist and singer who combines tradition with experiment to create new forms, drawing from a deep grounding in North Indian classical music, a contemporary vocabulary, folk and ritual music, and songs and texts in several languages. She has performed her solo work (Cipher) and ensemble work (Enkidu, Kaash, Marc Cary’s Focus Trio, Anatomy, Sunny Jain Collective) internationally, and has collaborated with poets (Sekou Sundiata, Fiona Templeton), musicians (Marc Cary, Sunny Jain), choreographers (Daria Fain, Liz Lerman, Jawole Willa Jo Zollar), and communities (through MAPP, and the Coleman Center) to create works that cross boundaries of genre and discipline, and expand ideas about modes of collaboration. Sinha has received awards and residencies from the Fulbright Foundation, NYSCA, Urban Artists Initiative, Queens Council on the Arts, Watermill Center, and Millay Colony. She received her MFA in Music/ Sound from Bard and studied post-colonial Literature at Yale, and currently studies Hindustani music with Shubhangi Sakhalkar.
David Moscovich writes flash fiction and performs or reads his texts both live and on the radio, fragmenting, ricocheting, and refurnishing language until it meets its own devolution. Moscovich often plays with glossolalia and collage to appropriate, self-appropriate and remix fiction. His stories and instigations have appeared in Rain Taxi, The Rumpus, Faster Times, Word Riot, Dark Sky, Broken Pencil, Anemone Sidecar, Unlikely Stories, The Collagist, ArtVoice, Buk Scene, Red Fez, No Dear, Silent Revolution, Particle, Fringe, Razorcake, Unarmed, Smokebox, Lobster Cult, others. In 2011 he became the recipient of fiscal sponsorship from The New York Foundation for the Arts (NYFA) forChessstories, an anthology of chess-themed fiction in collaboration with French graphic artist Zeami, slated for release next year. He won the Broad Set Collective’s award for flash fiction in January. He blogs for Electric Literature and lives in New York City.
Stephanie Loveless works with sound, video, film and voice. She makes soft-speakers out of paper cups, performance prescriptions for audience-identified ailments, and sound works that attempt to channel the voices of plants, animals and musical divas. For MATÉ_series, she will be premiering Cricket, Tree, Crow, from Crittering–a series of voice-based quadrophonic works exploring creaturely embodiment.
Loveless’ sound, video and performance work has been presented in festivals, galleries, museums and artist-run centers in North America, South America, Europe and the Middle East. She has received grants from the Canada Council for the Arts, the British Columbia Arts Council and el Universidad Nacional Autonoma de Mexico; awards from Kodak, the International Festival of Cinema and Technology, and the Malcolm S. Morse Foundation; and has completed residencies at el Centro Mexicano para la Musica y las Artes Sonoras (Morelia, MX), the Coleman Center for the Arts (York, AL) and Studio XX (Montréal, QC). www.stephanieloveless.ca
Thomas Dexter is Brooklyn-based artist and performer working with light and sound. Thomas’ artwork explores the perceptual errors, exchanges, and limits that shape our finite understanding of the world around us. Often this manifests in compositional systems through which images generate sounds and sounds generate images. Action/Film is an expanded cinema performance that uses direct animation on 16mm film-leader, light-to-sound synthesis, and the destruction of the film itself. It is part of a larger body of work that explores filmmaking at the end of film – through interventions into the history and possible futures of experimental cinema.Thomas’ solo and collaborative projects have been featured at PS1, Experimental Intermedia, Roulette, The Elizabeth Foundation Project Space, the New Museum Festival of New Ideas, Art in Odd Places, Issue Project Room, Sideshow Gallery, the Mononoaware festival, Bushwick BetaSpaces, the Index Festival 2011, and most recently at the Splatterpool art space. He is also a member of the Future Archaeology collective. www.thomasdexter.com
CHiKA is a visual and an interactive artist with the international VJ background and experimental music scene. Her visual art work vary from minimalist geometric patterns to unique compositions overflowing with a variety of forms and color. Her work has been shown at The Museum of Modern Art, American Museum of Natural History, The Hammer Museum, Sun Francisco Art Institute, Geneva Centre de Art Contemporain, Matadero Madrid, Theatre Maisonneuve, Biennial in Venezuel, New York University, Cooper Union, University of Pennsylvania, The University of Wisconsin-Madison, The Issue Project Room, Galapagos Art Space, Harvest Works, Eyebeam, The Front Room Gallery, The Ise Gallery, Mutek, Mapping Festival, Decibel Festival, Blip Festival and Ingenuity Festival. www.imagima.com.
Christopher DeLaurenti makes field recordings at unusual confluences of sound, silence, performance, and everyday life. His solo albums include “Favorite Intermissions” (GD Stereo), “N30: Live at the WTO Protest” (unAmerican Archive) and “of silences intemporally sung: Luigi Nono’s Fragmente-Stille, an Diotima” (reductive). Chris has appeared on several compilations notably “physical, absent, tangible” (contour editions), “Hearing Place” (Move), and “Electroacoustic Music Volume 02″ (Elektramusic). Chris holds an MFA from Bard College and teaches electronic music, performance art, and composition sporadically at colleges and universities across the US. Much of his work is free on-line at www.delaurenti.net
Melissa Clarke is a Brooklyn, ny based interdisciplinary artist primarily creating multimedia installations using sound, video, and interactive art. She also creates participatory works and conceptual design projects. Her work addresses geography, land, the atmosphere, water, weather, and other ‘vibrant’ materials, while considering our comingled relations with these things. Her work unfolds in temporal sound and video sculptures, experiential installations, performances, single-channel generative media compositions, still images, and three-dimensional or printed designs. Clarke often works across mediums as a series unfolds, such as her recent work untitled Antarctica, which deals with seismic data and mapping, while looking toward considerations of wilderness and technology at the nexus of human experience, science, and information collection. Clarke has shown in small experimental venues and with larger institutions, including: Issue Project Room, NY; the Electronic Music Foundation, NY; and the Queens Museum, NY. Clarke has exhibited internationally including the International Biennial of Contemporary Art ULA-2010, Venezuela. Clarke received her masters from New York University’s Interactive Telecommunications Program. www.melissafclarke.com
Shimpei Takeda [b. 1982, Japan] has lived in NYC since 2002. His work explores inner landscapes as he visualizes something invisible or barely seen by employing photographic methods such as the ultra-close up, long-exposure, or photogram techniques. In 2004, Takeda began video collaborations with composers and sound artists for installations and sound/video performances. In these collaborations he began developing his physical processes with light, as he exposed raw materials such as water, ice, dust, or salt, using the time-based medium of video performance. Recently Takeda’s explorations have shifted into the darkroom, where his physical process appears directly and permanently in still images, as he uses photo-sensitive materials and a current emphasis on cameraless photographic techniques to capture otherwise unseen interactions of materials and light. www.shimpeitakeda.com