The Louloudi Birds

A collaboration between hannah_g & Zoe Katsilerou.

Coming soon …

Zoe Katsilerou (singer/composer) and hannah_g create a three part narrative and suite of songs that draw on themes of home, immigration, the reframing of familiar surroundings, and opportunities for connection.

To be released end of August 2020 …

We gratefully acknowledge the generous support of the Canada Council for the Arts through the Digital Originals grant program.

Plague Fantasies

A collaboration between Canadian sound artist, Ken Gregory, and hannah_g.

_g reads texts written during the Covid 19 pandemic over Gregory’s soundscapes.

The EP is a gesture of solidarity: by expressing our experiences of the Covid-19 crisis we hoped to provide affirmation and respite, a means of making sense of, and escaping into, experiences that are not one’s own.

The EP is a kind of call and response between two people who, though one-time neighbours, cannot meet in person. This situation is common all over the world now. Plague Fantasies is a small testimony to the determination to listen and respond and the slippery interpretations that can ensue.

Gregory and _g share the goal of creating alternative intimate spaces of experience whether through stories and experimental writing (_g) or performative media and robotics. This was an opportunity for the artists to riff on each other’s practices and expand their respective interests in hacking lived experience to find more connections between people and places as well as new perspectives.

https://hannah-g.bandcamp.com/album/plague-fantasies

Made with the generous support of the Manitoba Arts Council.

Where and How: a composition for Kristin Nelson’s Sydney/Sidney

Kristin Nelson (Canada) commissioned me and other artists to create new work using the sounds of winches as recorded in the Joan Sutherland Theatre at the Sydney Opera House by Sound Designer Emma Duggan during a Canada Council for the Arts International Residency at Artspace in Sydney, Australia. More info at her website here.

The album is currently available for $40 USD and was produced in an edition of 100. Cost includes shipping within Canada and the US.

The project was made possible by The Winnipeg Arts Council.

Sounds of Curtains (now destroyed) Sydney Opera House, 2020; vinyl, screen print, risograph, duralar, offset printing, book binding; 12.25 x 12.875.

Available for purchase on this discogs page. You can also hear samples there.

Sounds of Curtains (now destroyed) Sydney Opera House vinyl* release date was March 6, 2020, at Garry Street Coffee in Winnipeg (CA) and contains works by crys cole (DE), Christine Fellows (CA), hannah_g (CA), Casey Mecija (CA), Gail Priest (AU), Judith Rice (CA), Kelly Ruth (CA), Andrea Roberts (CA), Süss (CA), and Roger White (CA). Includes a bonus written response in the form of a ficto-criticism by artist and cultural theorist Jeanne Randolph (CA), and a visual response to Jeanne Randolph’s text by artist Kelly Campbell (CA).

Below is the text explaining my composition.

Book design by Kristin Nelson.

Tyranny Songs

Tyranny Songs is a performance with soundscape and movement that explores the effects of overt and subtle tyrannies and their disguised deployments of power on individual voices and bodies.

Drawing on Hannah Arendt’s The Origins Of Totalitarianism, among other texts, I created a soundscape using bird calls and songs (to the untrained ear one cannot tell the difference- a metaphor for the current  proliferation of misinformation), quotes, and personal reflection. The actions that accompany it perform resistance, affect, and internalised conflict.

This project was developed during an artist residency at HUB14 in Toronto in April 2018. My attendance was made possible by the Winnipeg Arts Council and Manitoba Arts Council.

The work was first performed at Art Holm (curated by Hilary Crist & Alexandra Elliot) in Winnipeg from 11-13 May 2018.

Photo: Pablo Riquelme

 

Extract from the text in the soundscape:

One

There are certain phrases that repeat in my head. Warnings, one might call them. Like the chattering of sparrows, sometimes I notice them more than at other times. Sometimes they sound like warnings, sometimes like songs.

 

And although I try to live in a way that lessens the bombardment of messages from corporations that endlessly arc the air around me like arrows from thousands of medieval longbows.            And although I try to live in a way that allows me to be struck by the arrows from the defending longbows of resistance and criticality that are less but still many.                There is still the ‘although’.                                   There is still the although.

 

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