GAIL PRIEST – «Sounding the future»
Residence project Bandits-Mages October 2014 – January 2015
Originally trained in performance, a large part of her practice has involved creating soundtracks for theatre, dance and video. She began making and performing experimental electronica and electroacoustic music in 2003 and has since played festivals and events in Australia and Europe.
Currently she is concentrating on developing gallery-based concepts. She has contributed sound designs to installation works by Australian artists that have been exhibited nationally and internationally including Ars Electronica, Linz. Exhibitions of her own installations have been shown at Artspace, Sydney and Tokyo Wonder Site, Japan. Her recorded output has featured on international compilations and she has five solo recordings released through Endgame Records, Flaming Pines and her own Metal Bitch Recordings. She also writes about sound and media art and edited the book Experimental Music: audio explorations in Australia (UNSW Press, 2009). As a curator she has produced festivals, concerts, exhibitions and screening programs for Performance Space, Artspace, Museum of Contemporary Art and Transmediale.
For the last five years, the association Bandits-Mages has made concrete sense of this mysterious acronym given to an adventure which, under various shapes and names, started twenty years ago on the initiative of Peter Zorn (of the German media and arts body Werkleitz Gesellschaft, e.V., Halle, in Saxe Anhalt).
On an almost daily basis, the European Media Art Network (EMAN) affords us cooperation and support from eleven international bodies, along with their many associated teams and professionals, both at long range and directly in Mexico, Australia, Canada, Germany, the Netherlands, the UK and of course France. It also allows us to feature in the festivals and their catalogues, such as “move forward – new mexican european media art”, in 2012 and “move on – new media art from Australia, Canada and Europe ” in october 2015, organised by Werkleitz, and the “Festival Transitio MX 5” in 2013, organised by the Centro Multimedia del Centro Nacional de las Artes in Mexico. And of course it enables us to invite artists and arts bodies to our own, now annual festival, the Rencontres Bandits-Mages.
The primary aim of this international association is to organise artists’ residencies and to make available the means for production. To this end, EMARE, which stands for European Media Artists in Residence Exchange, has supported and accompanied some forty artists over the last five years… and more than 160 over twenty years. Originally, EMAN#EMARE set up and organised the sharing and funding of residencies within Europe. Since 2012, the exchange programme has broadened to include schemes in other countries: Mexico in 2012-2013 and now, for the 2014-2015 season, Canada and Australia. Since the call went out in November 2013, more than 400 applications from European, Australian and Canadian artists have been scrutinised by a joint jury which sat in February 2014, in Australia.
La raison d’être première de ce réseau est l’organisation de résidences d’artistes, assorties de la mise à disposition de moyens de productions. EMARE signifie en effet « Résidences croisées pour artistes multimédia européens » (« European Media Artists in Residence Exchange »). Une quarantaine d’artistes ont été soutenus et accompagnés durant les cinq dernières années (et plus de 160 depuis vingt ans). À ses origines, EMAN#EMARE organisait la mutualisation des lieux et moyens de résidence au niveau européen. Depuis 2012, cette mutualisation concerne également des structures au sein de « pays tiers » : le Mexique en 2012-2013 puis, pour la période en cours (2014-2015), le Canada et l’Australie. L’appel à candidatures lancé en novembre 2013 a permis au jury réuni en Australie en février 2014, d’étudier plus de quatre cents candidatures d’artistes.
Gail Priest has been performing live electroacoustic music since 2003. Her compositions exist in a liminal zone between song and soundscape. Her main source material is the voice, sometimes multiply manipulated and unrecognisable, other times in the forefront, borrowing from ethereal pop-folk traditions. She is interested in exploring the timbre of the voice when filtered and effected—finding the point when it loses its ‘grain.’ She is similarly interested in the transformation of field recordings into new rhythmic and melodic material. It’s a continuing exploration of the relationship between the machinic and organic, the figurative and the abstract.
In the frame of EMAN#EMARE (with the support of European Union) and, in association with La Box et the Post-diploma « arts and sound creations » (ensa Bourges).
Sounding the Future (insonifier – sonder le futur) brings together the worlds of speculative fiction and audio art. It seeks to predict what the art of future will sound like. The work takes the form of a creative fiction proposing a number of future scenarios. Elements within this will branch off to non-fiction writing, underscoring these speculations within a critical framework. Critical and creative text will also be illustrated, or rather sonified, by artworks exemplifying the proposed concepts and ideas.
Venue : Concert Friday 14 at La Soupe aux Choux from 6:00pm to 8:00pm