Join us April 9th for Soundwave NEXT: Rite of Spring II
SAT APRIL 9
9:00PM – 2:00AM
Rite of Spring II
The final act of a 3 part performance series by amorphous mutant collective i8i.
With support from Cel Genesis, Rose Cherami, Fiera Ferari, Baby Blue and projections by Billie0cean.
In collaboration with our friends at Gray Area, Soundwave is thrilled to present Rite of Spring II. Through sound, sculpture, and live actions, the intentionally enigmatic collective i8i brings together a global network of collaborators to create genre-bending experiences that conjure an eerily expansive canon of conspiracy and cybernetic spirituality. Fusing landscapes, both virtual and real, with avant-garde sound and mythological imaginaries, i8i weaves a narrative that simultaneously evokes ancient primitivism and A.I dystopia.
21+
Sliding Scale Tickets $5-30 ($15 suggested)
See video preview below.
Join us March 17th for Soundwave NEXT: Past & Future Forms II
THUR MARCH 17
7:00PM
Past and Future Forms II
One Night Only: March 17
In collaboration with our friends at Gray Area, Soundwave is thrilled to present Past and Future Forms II, featuring works by Sholeh Asgary, Dena A Al-Adeeb, and Leyya Mona Tawil.
The “Epic of Gilgamesh” provides a departure point in a series of embodied performances that excavate the elusive body across time and space, through noise, sound, and video.
“Past and Future Forms” is a container for collaborative projects initiated in 2020, which have since taken flight into myriad directions. Reflecting the non-static body within the context of self-defined notions of time as shaped by the geography of foreign policy, crude oil, and water, “Past and Future Forms” uses the Epic of Gilgamesh as a departure point in a series of performances that excavate the elusive body across time and space.
“At the Edge of the Sea” is a transdisciplinary collaboration between artist-scholar Dena A. Al-Adeeb and interdisciplinary sound artist Sholeh Asgary. In “At the Edge of the Sea,” Al-Adeeb and Asgary use the Epic of Gilgamesh as a departure point in conducting oral research through a series of community events, resulting in an ongoing project that incorporates performance, multimedia video, and sound as mediums to excavate the elusive body across time and space.
“The Gates” is a new sound performance work by Leyya Mona Tawil. Tawil uses voice, effects, microphones, light, and raw materials to simultaneously build and obscure a sound and movement scene in real time.
Join us September 14th for Soundwave NEXT: a new program to explore the future of sound.
Soundwave NEXT is a partnership between two veteran San Francisco arts organizations, Soundwave and Gray Area, that invites curators, artists, producers, collectives, and other parties to propose new performance-based productions with a foundation in sound. NEXT explores the future of sound as a theme and ask “What’s next?” for the medium as it relates to our collective social, cultural, technological and/or political experience. Productions are presented at Gray Area Theater in San Francisco.
$15 | ADVANCE TICKETS ($10-30 Sliding Scale)
TUE SEP 14
8:00PM
Gray Area Grand Theater in San Francisco, CA
No one will be turned away for lack of funds. Please fill out this form to request access.
To Hear the Earth Before the End of the World (Act I-iii ; Earth and Sky)
To Hear the Earth Before the End of the World (Act I-iii ; Earth and Sky) is a 60min sound journey by LaMont Hamilton featuring improvised movement by artist brontë velez.
The title is an alternate phrasing on poet Ed Roberson’s book To See the Earth Before the End of the World. Over the past years, artist LaMont Hamilton has been collecting biodata — field and electromagnetic recordings — from around the world to gain “a ground zero understanding of our changing Earth.” Hearing glaciers cracking, smelling forest fires, the mechanical cacophony of land being razed — all felt on a cellular level.
“Music is the healing force of the universe.” Healing is the future of sound. Conversely, sound has also been used as a method of warfare, of manipulation, destruction. Thus the lines have been drawn. To echo Anthony Braxton, “a re-examination of our experience in this realm” is now in order. Understanding this is to understand our smallness in the equation, our finitude. Reckoning with that smallness is a necessary preparation for the voyage this work hopes to achieve.
ABOUT THE ARTISTS
LaMont Hamilton
LaMont Hamilton (b. 1982) is an interdisciplinary artist based in New York. Hamilton has been the recipient of several fellowships and awards including the Jerome Hill Artist Fellowship, MacDowell Colony (MF ’15), Smithsonian Artist Research Fellowship, Artadia Award, ArtMatters Grant and more. His residencies include Skowhegan, Camargo Foundation in Cassis France among others.
brontë velez
brontë’s work and rest is guided by the call that “black wellness is the antithesis to state violence” (Mark Anthony Johnson). as a black-latinx transdisciplinary artist, designer, trickster, and wakeworker, their eco-social art praxis lives at the intersections of black feminist placemaking & prophetic communiy traditions, environmental justice, and death doulaship.
Zachary James Watkins
Zachary James Watkins studied composition with Janice Giteck, Jarrad Powell, Robin Holcomb and Jovino Santos Neto at Cornish College. In 2006, Zachary received an MFA in Electronic Music and Recording Media from Mills College where he studied with Chris Brown, Fred Frith, Alvin Curran and Pauline Oliveros. Zachary has received commissions from Cornish College of The Arts, The Microscores Project, the Beam Foundation, sfsound, The Living Earth Show, Kronos Quartet and the Seattle Chamber Players among others. His 2006 composition Suite for String Quartet was awarded the Paul Merritt Henry Prize for Composition and has subsequently been performed at the Labs 25th Anniversary Celebration, the Labor Sonor Series at Kule in Berlin Germany and in Seattle Wa, as part of the 2nd Annual Town Hall New Music Marathon featuring violist Eyvind Kang. Zachary has performed in numerous festivals across the United States, Mexico and Europe. Zachary releases music on the labels Sige, Cassauna, Confront (UK), The Tapeworm and Touch (UK). Novembre Magazine (DE), ITCH (ZA), Walrus Press and the New York Miniature Ensemble have published his writings and scores. Zachary has been an artist in resident at the Espy Foundation, Djerassi and the Headlands Center for The Arts.
Soundwave: Translocality
Translocality seeks to unite human and nonhuman communities in the Bay Area socially, physically, and sonically as a living network of sentient beings. Soundwalks will be public throughout the SF Bay Area starting October 15th.
Soundwave NEXT is supported in part by the National Endowment for the Arts, Grants for the Arts, The Wattis Foundation and donors and viewers like you.
To support Soundwave programming and local artists, please consider making a donation today.
Join us April 9th for Soundwave NEXT: Rite of Spring II
SAT APRIL 9
9:00PM – 2:00AM
Rite of Spring II
The final act of a 3 part performance series by amorphous mutant collective i8i.
With support from Cel Genesis, Rose Cherami, Fiera Ferari, Baby Blue and projections by Billie0cean.
In collaboration with our friends at Gray Area, Soundwave is thrilled to present Rite of Spring II. Through sound, sculpture, and live actions, the intentionally enigmatic collective i8i brings together a global network of collaborators to create genre-bending experiences that conjure an eerily expansive canon of conspiracy and cybernetic spirituality. Fusing landscapes, both virtual and real, with avant-garde sound and mythological imaginaries, i8i weaves a narrative that simultaneously evokes ancient primitivism and A.I dystopia.
21+
Sliding Scale Tickets $5-30 ($15 suggested)
See video preview below.
Join us March 17th for Soundwave NEXT: Past & Future Form II
THUR MARCH 17
7:00PM
Past and Future Forms II
One Night Only: March 17
In collaboration with our friends at Gray Area, Soundwave is thrilled to present Past and Future Forms II, featuring works by Sholeh Asgary, Dena A Al-Adeeb, and Leyya Mona Tawil.
The “Epic of Gilgamesh” provides a departure point in a series of embodied performances that excavate the elusive body across time and space, through noise, sound, and video.
“Past and Future Forms” is a container for collaborative projects initiated in 2020, which have since taken flight into myriad directions. Reflecting the non-static body within the context of self-defined notions of time as shaped by the geography of foreign policy, crude oil, and water, “Past and Future Forms” uses the Epic of Gilgamesh as a departure point in a series of performances that excavate the elusive body across time and space.
“At the Edge of the Sea” is a transdisciplinary collaboration between artist-scholar Dena A. Al-Adeeb and interdisciplinary sound artist Sholeh Asgary. In “At the Edge of the Sea,” Al-Adeeb and Asgary use the Epic of Gilgamesh as a departure point in conducting oral research through a series of community events, resulting in an ongoing project that incorporates performance, multimedia video, and sound as mediums to excavate the elusive body across time and space.
“The Gates” is a new sound performance work by Leyya Mona Tawil. Tawil uses voice, effects, microphones, light, and raw materials to simultaneously build and obscure a sound and movement scene in real time.
Join us September 14th for Soundwave NEXT: a new program to explore the future of sound.
Soundwave NEXT is a partnership between two veteran San Francisco arts organizations, Soundwave and Gray Area, that invites curators, artists, producers, collectives, and other parties to propose new performance-based productions with a foundation in sound. NEXT explores the future of sound as a theme and ask “What’s next?” for the medium as it relates to our collective social, cultural, technological and/or political experience. Productions are presented at Gray Area Theater in San Francisco.
$15 | ADVANCE TICKETS ($10-30 Sliding Scale)
TUE SEP 14
8:00PM
Gray Area Grand Theater in San Francisco, CA
No one will be turned away for lack of funds. Please fill out this form to request access.
To Hear the Earth Before the End of the World (Act I-iii ; Earth and Sky)
To Hear the Earth Before the End of the World (Act I-iii ; Earth and Sky) is a 60min sound journey by LaMont Hamilton featuring improvised movement by artist brontë velez.
The title is an alternate phrasing on poet Ed Roberson’s book To See the Earth Before the End of the World. Over the past years, artist LaMont Hamilton has been collecting biodata — field and electromagnetic recordings — from around the world to gain “a ground zero understanding of our changing Earth.” Hearing glaciers cracking, smelling forest fires, the mechanical cacophony of land being razed — all felt on a cellular level.
“Music is the healing force of the universe.” Healing is the future of sound. Conversely, sound has also been used as a method of warfare, of manipulation, destruction. Thus the lines have been drawn. To echo Anthony Braxton, “a re-examination of our experience in this realm” is now in order. Understanding this is to understand our smallness in the equation, our finitude. Reckoning with that smallness is a necessary preparation for the voyage this work hopes to achieve.
ABOUT THE ARTISTS
LaMont Hamilton
LaMont Hamilton (b. 1982) is an interdisciplinary artist based in New York. Hamilton has been the recipient of several fellowships and awards including the Jerome Hill Artist Fellowship, MacDowell Colony (MF ’15), Smithsonian Artist Research Fellowship, Artadia Award, ArtMatters Grant and more. His residencies include Skowhegan, Camargo Foundation in Cassis France among others.
brontë velez
brontë’s work and rest is guided by the call that “black wellness is the antithesis to state violence” (Mark Anthony Johnson). as a black-latinx transdisciplinary artist, designer, trickster, and wakeworker, their eco-social art praxis lives at the intersections of black feminist placemaking & prophetic communiy traditions, environmental justice, and death doulaship.
Zachary James Watkins
Zachary James Watkins studied composition with Janice Giteck, Jarrad Powell, Robin Holcomb and Jovino Santos Neto at Cornish College. In 2006, Zachary received an MFA in Electronic Music and Recording Media from Mills College where he studied with Chris Brown, Fred Frith, Alvin Curran and Pauline Oliveros. Zachary has received commissions from Cornish College of The Arts, The Microscores Project, the Beam Foundation, sfsound, The Living Earth Show, Kronos Quartet and the Seattle Chamber Players among others. His 2006 composition Suite for String Quartet was awarded the Paul Merritt Henry Prize for Composition and has subsequently been performed at the Labs 25th Anniversary Celebration, the Labor Sonor Series at Kule in Berlin Germany and in Seattle Wa, as part of the 2nd Annual Town Hall New Music Marathon featuring violist Eyvind Kang. Zachary has performed in numerous festivals across the United States, Mexico and Europe. Zachary releases music on the labels Sige, Cassauna, Confront (UK), The Tapeworm and Touch (UK). Novembre Magazine (DE), ITCH (ZA), Walrus Press and the New York Miniature Ensemble have published his writings and scores. Zachary has been an artist in resident at the Espy Foundation, Djerassi and the Headlands Center for The Arts.
Soundwave: Translocality
Translocality seeks to unite human and nonhuman communities in the Bay Area socially, physically, and sonically as a living network of sentient beings. Soundwalks will be public throughout the SF Bay Area starting October 15th.
Soundwave NEXT is supported in part by the National Endowment for the Arts, Grants for the Arts, The Wattis Foundation and donors and viewers like you.
To support Soundwave programming and local artists, please consider making a donation today.
55 Taylor Street
San Francisco, CA 94102
415-484-6278
info@soundwavesf.com
EIN 45-0862788
Guidestar Profile