SONIC CULTURES: Curator and critic Christine Eyene, multimedia artist Evan Ifekoya and IN·FLO·RES·CENCE composer, vibraphonist and researcher Corey Mwabma, in conversation with The Showroom Director Elvira Dyangani Ose about the cross-modality of music, aesthetics, and culture.
This discussion includes a welcome by curator Katherine Finerty to IN·FLO·RES·CENCE’s focus on the cross-modality of art and sound, followed by Elvira Dyangani Ose’s introduction of the three speakers including: one of the project’s commissioned composers, Dr. Corey Mwamba (a musician, promoter, arts advocate, and researcher from Derby); Evan Ifekoya (a London-based artist and energy worker who practices through sound, text, video and performance) and Christine Eyene (a UK-based curator and critic focusing on feminist art practices, digital media, design, music, urban culture, and socially-engaged initiatives).
Image: Evan Ifekoya performing at All Of Us Have A Sense Of Rhythm: An Evening of Live Music (Curated by Christine Eyene , David Roberts Art Foundation, London, 2015. Photo: Dan Weill
This conversation delves into different sound art projects; ideas of polyrhythmic cultural expression; challenging hierarchical Western creative philosophies and methods; and the exchange between identity formation and sonic landscapes, which all of the participants’ practice powerfully, yet quite distinctly, address.
It starts by reflecting on Corey Mwamba’s composition fellowred as a framework of how to communicate and connect with people during these trying times of absence – about how to find a deep intimacy of communication and companionship. In response Christine Eyene discusses absence with reference to her projects around sound to fill a void of the representation black experience; in context to her personal reconnection with cultural heritage; and upon reflection of the recent loss South African photographer George Hallett. Evan Ifekoya also reflects on her relationship to sound as similarly in response to what isn’t present or visible, which often manifests in a practice expanding on the subjectivities of being a queer, nonbinary, black, artist.
The discussion continues to talk about the body as a locality for sound; the role of technology in producing and receiving resonance; the politics of sound, from community-led sound systems, radical archiving, and contemporary sound-driven resources; challenging institutional spaces and what it means to be heard; and restructuring voice and sound to amplify conversation and visibility.
Corey Mwamba’s website: here
IN·FLO·RES·CENCE interview & composition fellowred: here
Christine Eyene’s Website: here
Curating Lab for OORtreders sound art festival: here
Sounds Like Here (New Art Exchance, Nottingham, 2017): here
All Of Us Have A Sense Of Rhythm (David Roberts Art Foundation, London, 2015): here
Embodied Spaces (FramerFramed, De Tolhuistuin, Amsterdam, 2015): here
Evan Ifekoya’s Website: here
Evan’s Interview for Ritual Without Belief (Gasworks, London, 2018): here