No Longer Showing.
The Kitchen presents two evenings of compositions by Tristan Perich, including a number of premieres. Inspired by the aesthetic simplicity of math, physics and code, Perich's compositions have been described by The Wire magazine as "an austere meeting of electronic and organic." 1-Bit Music, his 2004 release, was the first album ever released as a microchip, programmed to synthesize his electronic composition live.
March 17 – 18, 8pm
Tickets $20 for single evenings or $30 for both evenings.
Friday, March 17: DUO X88, ACME, and DITHER
The world premiere of Perich's first work for two pianos is performed by Vicky Chow and Saskia Lankhoorn's DUO X88. Developed after Surface Image—Perich's first project with Vicky Chow, which placed her at the piano among a sea of forty speakers—this new untitled piece explores the focused intensity of two grand pianos playing alongside two, raw, 22-inch speaker drivers. ACME also returns to the Kitchen to play Perich's work for amplified chamber ensemble pitted against pulsing textures of 1-bit noise, bringing techniques from Noise Patterns (first seen at The Kitchen) into a new configuration. DITHER opens the evening by performing Perich's epic Interference Logic, for four electric guitars and 16-channel 1-bit electronics.
Saturday, March 18: Sō Percussion, JACK Quartet, & Mariel Roberts
Sō Percussion and JACK Quartet premiere a major revision of Perich's Sequential, for string quartet and percussion quartet. The work employs his 1-bit electronics to superimpose a rhythmic gating system on eight players, transforming their bowed instruments into a precise, angular tapestry of timbre. Mariel Roberts opens the concert with Perich's Formations for solo cello and 1-bit electronics, which New Sounds called "driving, hypnotic, and exhilarating."
To purchase tickets to a single evening program, click here.
To purchase tickets for both evenings at the discounted rate of $30, click here.
"Tristan Perich: Five Works" is organized by Tim Griffin and Matthew Lyons as part of The Kitchen L.A.B.: Position.
Tristan Perich's award-winning work coupling 1-bit electronics with traditional forms in both music (Active Field and Observations) and visual art (Machine Drawings and Microtonal Wall) has been presented around the world, from Sónar in Barcelona, Spain, and Ars Electronica in Linz, Austria, to the Museum of Modern Art and bitforms gallery in New York. He received a 2011 New York Foundation for the Arts Fellowship; and in 2009, Austria’s Prix Ars Electronica awarded him the Award of Distinction for his composition Active Field (for ten violins and ten-channel 1-bit music).
Tristan Perich: Five Works is made possible with support from Mila and Tom Tuttle, the VIA Art Fund, and National Endowment for the Arts; endowment support from Mary Flagler Cary Charitable Trust; annual grants from The Amphion Foundation, Inc., The Aaron Copland Fund for Music, Lambent Foundation, Howard Gilman Foundation, and The Fan Fox and Leslie R. Samuels Foundation; and in part by public funds from New York City Department of Cultural Affairs in partnership with the City Council and New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.
Apr 06 2021
2021-22 CURATORIAL FELLOWSHIP Application Deadline: May 15th, 2021 Eight-month annual fellowship running September through May POSITION DESCRIPTION: This eight-month fellowship at one of New York’s foremost non-profit interdisciplinary arts spaces provides the opportunity to wor...Read On
Mar 19 2021
NOTE: This statement was updated on March 23, 2021 to correct previously misstated and newly announced names in light of updated information from the press. The Kitchen stands in solidarity with the Asian American Pacific Islander community experiencing continued racial and gendered violence. Th...Read On
Dec 22 2020
Dear Friends, Over the years, I’ve drawn inspiration time and again from something The Kitchen’s co-founder, artist Steina Vasulka, once told me about how this singular organization emerged during the 1970s. “It wasn’t by plan,” she said. “At least not at the start. Instead, it came to be sim...Read On