Things that should not be picked up in the first place: two
Tuesday, October 6, 2015
7:30 PM / $10
High Concept Labs Studio A
2233 S Throop St, 4th Floor, Chicago IL
Existing somewhere between sound and comedic art, Sponsored Artist Becky Grajeda’s Things that should not be picked up in the first place: two is the second in series of performances during which a panel of Chicago-based artists and non-artists improvise a conversation embedded in a live mix of sound art and/or music. Grajeda and fellow panelists discuss topics ranging from the banal to the socially relevant, together devising, deconstructing, and perfecting absurd concepts and contexts. The live mixed sound art/music will disrupt and inform the panelists’ conversation, each taking turns at the periphery of the soundscape.
The performance will last between 1 hour and 15 minutes and 1 hour and 30 minutes.
Becky Grajeda [Moderator]
Nicholas Davis, sound and performance artist, member of Meekling Press [Sound Artist/Panelist]
Tegan Brace, visual artist in drawing, print-media, object-making and installation [Artist Panelist]
Exal Iraheta, writer, performer, and creator of film, sketch comedy, and comedic poetry [Artist Panelist]
High Concept Labs Studio A is located on the 4th floor of Mana Contemporary Chicago. Enter the building through the glass doors on the east side of the building; ample and free parking is available. For wheelchair accessibility, please email email@example.com or call (312) 850-0555 to make arrangements.
Becky Grajeda is a sound artist and designer based in Chicago, Illinois. She primarily creates works of sound assemblage, multi-channel sound installation and performance. These frequently include field recordings of the sounds of machinations and moving bodies and/or involve abstracting vocal inflection, intonation, and intended meaning in speech. In her works involving speech, she calls attention to the multiplicity of meanings, interpretations, and translations of a text, and how those can change when a text is spoken and depending on the speaker of a text. In her recent performance works, she examines the voice as a conveyor of a person’s physical, emotional, lingual, and geographical histories. She has exhibited and performed her sound work in Chicago, Los Angeles, the UK, Finland, and in the Czech Republic. In 2014 she received a grant from the City of Chicago’s Department of Cultural Affairs and Special Events to document three of her performative sound works.