Archive for May, 2008

6.30PM central court
in association with Adam Cullen: Let’s get lost

Amanda Stewart writer, performance poet, vocalist and sound artist is joined by Jim Denley, one of Australia’s foremost improvisers of new music. Amanda Stewart’s powerful and energetic performances range from more contemplative poems written for the page to those incorporating tape, abstraction and extended vocal techniques. Amanda Stewart and Jim Denley first started working together in the late 1980’s. This was an exhilarating time for both of them - Jim was interested in what his music instinct could learn from language and Amanda what her language instinct could learn from music. Their excitement came from the creation of, for them, new types of song - symbiotic words and music. They would go on to expand the scale in the group Machine for Making Sense which started in 1989. They have continued to do duos for the last 20years.

7.30PM Centenary Auditorium
n association with the Amanda Stewart and Jim Denley performance
Machine for Making Sense by Stephen Jones
The group Machine for Making Sense have been producing exploratory music and interdisciplinary work in Sydney and around the world since 1989. The group includes: Jim Denley (flutes, saxaphone and voice), Chris Mann (voice and text), Rik Rue (samples and tape), Amanda Stewart (voice and text), Stevie Wishart (violin, live electronics, hurdy-gurdy and voice).

art.afterhours every Wednesday 5 to 9pm

The Art Gallery of New South Wales

Art Gallery Road, The Domain, Sydney NSW 2000
Telephone 02 9225 1744 or Toll Free 1800 679 278 Website >

Strings Tradition
(The Weekend Planet: Sunday 18 May 2008)
Strings Tradition is a beautiful, unforced meeting of two continents and three classical/erudite musical traditions. Its three co-leaders are from musical families/dynasties. Kora player Mamadou Diabate (who recently delighted WOMADelaide audiences) is a Mande musician, from Mali. Ustad Shujaat Khan is a Hindustani (North Indian) classical virtuoso. He has a lovely singing voice, but is most especially a master of the sitar. Violinist Vidwan Lalgudi G.J.R. Khrishnan’s background is in Carnatic (South Indian) classical music.

Uri Caine

(The Daily Planet: Monday 19 May 2008)
Uri Caine’s CD, The Classical Variations, is a collection of 20 of the Philadelphia-born pianist’s edgy jazz interpretations of Mahler, Beethoven, Schumann, Mozart and Wagner, including 10 previously unreleased takes on Bach.

Adama Coulibaly
(The Daily Planet: Tuesday 20 May 2008)
Baba is a powerful, hypnotic recording of Malian musician Adama Coulibaly, who plays the donso ngoni, the hunter’s harp, and sings with all acoustic accompaniment.

Otis Taylor

(The Daily Planet: Wednesday 21 May 2008)
On his CD, Recapturing the Banjo, maverick bluesman Otis Taylor and a crew of fellow African-American musicians remind us that the instrument associated with bluegrass today had its origins in West Africa.


(The Daily Planet: Thursday 22 May 2008)
With his CD Disko Partizani, DJ Shantel has moved beyond producing electronica to producing a mostly acoustic CD featuring great Balkan musicians, trumpeter Marko Markovic, clarinettist Filip Simeonov and accordionist Francois Castiello.


A biennial, global festival of art on the edge that takes place in San Jose, CA, 01SJ is North America’s newest and largest festival of digital arts showcasing ground-breaking installations, interactive performances, and new cinema. 01SJ is about vibrant audio and visual participatory experiences – experiences that will entertain you, spark your imagination, perhaps challenge you and, at the very least, make you consider how the contemporary world is evolving.
Dates: June 4 - 8 2008

Black Canyon and Earth Field, 2008

David Haines and Joyce Hinterding
Video projection, graphite, paper, speakers
01SJ Biennial: Superlight, San Jose Museum of Art, May 10 - August 31, 2008

A video and sculptural installation, which is concerned with energy forces in the world at large. David Haines and Joyce Hinterding present a vivid cinematic sequence of a failed oil mining ghost town in the Australian outback coupled with the ghostly audio of the electromagnetic soundscape from the artist’s field recordings. The artists also present some of the unusual sculptures they have made for detecting and listening to the normally unheard world of the electromagnetic in the museum in real time. The installation is part esoteric laboratory for ghost-busting and part metaphorical commentary on the speed of our modernity.