Jenn Grossman/Stuart Jackson/ Amanda Gutiérrez

August 8, 2018 @ 7:00 pm – 10:00 pm
High Concept Labs at Mana Contemporary Chicago
2233 S Throop St
Chicago, IL 60608
$10 Suggested Donation

HCL is pleased to present an evening of sound and music curated by Artistic Advisory Council member, Amanda Gutiérrez. 

Amanda Gutiérrez, in collaboration of Jenn Grossman and Stuart Jackson

The performance explores the multiple possibilities of the soundwalk and Rhythmanalysis, given by Henri Lefebvre as musical tools of cultural spatial code analysis, in the awareness of the urban changes and their cultural/acoustic content. The sound and video soundwalk will be send via streaming to Jenn Grossman and Stuart Jackson, who will improvise with the binaural sounds at the gallery. The sound and video will feature the live soundwalk of the spaces surrounding the gallery location, performing and interacting with social situations given along the 15 min journey, such as the configuration of the public and private space. The performance approaches the walk as a semantic instrument that embodies and traces the subjectivity of the Flâneuse, in relationship of the sonic ethnographic experience.

Stuart Jackson
Duet for Cymbal (1960/1964) by John Cage (1912-1992)

Duet for Cymbal is one of the alternative pieces that can be realized from the score for Cartridge Music. Instead of using phonograph cartridges to amplify small sounds (although phonograph cartridges can still be used), a contact mic is affixed to a cymbal which functions as the “cartridge” through which other objects may be amplified. The score consists of a series of transparencies with clocks, dotted lines, dots, blobs, and circles, which are used to obtain time brackets and performance actions. Through radical alterations of amplitude, tone control, and the use of tape loops, multiple fluctuations collide with the various actions (cymbal and auxiliary) to produce unanticipated sound events, making this a truly indeterminate work.

Jenn Grossman
Glimpse: Sketches in Sound & Light

Glimpse: Sketches in Sound & Light is an audiovisual performance – a series of video works accompanied by a live soundscape – that explore our ability/inability to capture what is ephemeral, to sustain or extend a moment or mood, a shape or texture, a pure subliminal feeling. The end result is a visceral, affective gesture blurring the lines between video and found light, composed and found sound, perception and vision, the mundane and the transcendent, a chance viewing and choreographed cinema.

light as rhythm, sound as time

a faint flicker, an ephemeral flame

a pulsing iris, the mind’s eye


a shadow, a shape,

a being, a glimpse,

something lost, something found


a presence, a future’s past

appearing, recurring

void, vision

revealing, disappearing, retracting

in space

Artist Bios

  Amanda Gutiérrez (b. 1978, Mexico City) explores the experience of home, belonging, and cultural identity by bringing into focus details of everyday practices whose ordinary status makes it particularly hard for us to notice their key role in defining who we are. Trained and graduated initially as a stage designer from The National School of Theater, Gutiérrez uses a range of media such as sound art and performance art to investigate how these conditions of everyday life set the stage for our experiences and in doing so shape our individual and collective identities. Approaching these questions from immigrants’ perspectives continues to be of special interest to Gutiérrez, who completed her MFA in Media and Performance Studies at the School of the Art Institute of Chicago and is currently elaborating the academic dimension of her work as a Ph.D. student at the University of Girona, Spain. Gutiérrez has held numerous art residencies in FACT Liverpool in the UK, ZKM in Germany, TAV in Taiwan, Bolit Art Center in Spain, and her work has been exhibited internationally in venues such as The Liverpool Biennale in 2012, and currently at Harvestworks in NYC. A recipient of a grant from the National System of Art Creators, in Mexico.

Jenn Grossman is a sound and experiential media artist based in Brooklyn. She thinks about sound psycho-spatially, treating our sensorial realities as portals into the surreal, subconscious, and otherworldly, often re-framing ephemera by displacing it into a new environment, sounding it through objects, or creating immersive experiences that expand perception. This has taken the form of installations, compositions, sound sculpture, ambient soundscape, spatial sound works, public interventions, and sound/movement collaborations with dancers and filmmakers. She has installed works, performed, and presented papers at various festivals and conferences such as the Governor’s Island Art Fair, Platforms II at MoMA PS1 Printshop, the She Resonates Series at Pioneer Works, the New York Transit Museum’s PLATFORM series, Reverse Gallery, Open Source Gallery, for the Megapolis Audio Festival, the Mixed Signals: Surround series at Future Space, CT::SWaM, the Quadrophonic series, Standing Waves at Knockdown Center, the Deep Listening Conference’s Cistern Dream Session, 60×60 Surround Sound at Harvestworks, NYU’s Precarious Sounds//Sounding Sanctuary Conference and the Sounds, Images & Data Conference, Brown’s OPENSIGNAL Festival, Lancaster University’s Women in Sound/Women on Sound Symposium, the University of Amsterdam’s Sound Signatures Conference, University of Toronto’s FOOT Festival, the Ende Tymes Festival, the Megapolis Audio Festival, and in unconventional public spaces.

Stuart Jackson is a percussionist and uilleann piper from Virginia, now based in Queens, NY. An active performer of traditional and contemporary music, he is devoted to an in depth engagement with musical work primarily from the 20th century. The graphic scores of John Cage, Karlheinz Stockhausen, and others are not only perceived as artifacts from recent music history, but radical blueprints that provide practical means for discovering new sound worlds.

Since 2015, he has been an artist in residence every July and August at the West Street Schoolhouse in Aaronsburg, PA. While there he has presented percussion and electronic music concerts in unique venues such as defunct ballrooms and barns. Recent performances include engagements with the Soho Rep Theatre, the Wordless Music Orchestra at the King’s Theatre in Brooklyn, a solo performance at Wesleyan University, and a concert at Trinity Episcopal Church in Staunton, VA.

In addition to using the uilleann pipes as a sound source in realizations of contemporary music, he has also studied the traditional music of pipers Seamus Ennis, Tommy Reck, Leo Rowsome, Patsy Touhey, and others. He currently is a traditional music instructor at the Irish Arts Center in Manhattan.