London-based concert series 840 specialises in new experimental and minimal music. Here’s what they’re offering this month:
“840 presents an evening of new music for viola and cello, performed by Jennifer Ames Alexander and Colin Alexander (Tre Voci). Showcasing the versatility of this duet format, the programme will feature intimate, resonant pieces from Eva-Maria Houben (Wandelweiser) and Marc Sabat alongside brand-new works from Colin Alexander and from 840 curators James Luff and Alex Nikiporenko.
“We are also excited to be featuring work by two wonderful Irish composers, with a piece from Amanda Feery in which disjointed fragments replace seamless transitions, and a newly-composed work from Garrett Sholdice, known for writing music of “exquisite delicacy” (‘The Irish Times’).”
840 presents:
840: New Music for Viola & Cello St James’ Church Islington, Prebend Street, Islington, London, N1 8PF, England
Saturday 7th July 2018, 7.30pm -information here, here and here
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And a week later, there’s this…
“London Symphony Orchestra‘s Discovery’s Soundhub programme presents new music by first year composers, performed by LSO musicians and guests.
“Join us to hear ‘Twenty One Minute Pieces’, Robin Haigh’s survey of nine hundred years of musical language and instrumentation alongside Lillie Harris’ ‘My Last Duchess’ an interactive insight into coercion and control in a Gothic-Romantic monologue. Then take the fragile journey from sorrow to hope through music and dance with Yvonne Eccles’ ‘Towards hope’ before Nick Morrish Rarity explores ghostly sounds etched into the brittle grooves of shellac records in ‘the traces left behind’.”
The evening’s ensemble includes Early Music recorder specialist Tabea Debus, flute and piccolo player Stuart McIlwham, flautist/bass flautist Carla Rees (who’s appeared plenty of times in here with her ), clarinettist Heather Roche, percussionist Paul Stoneman and viola player Anna Bastow. Broadening the sonic perspective, violinist Julian Gil Rodriguez and cellist Jennifer Brown will both also be playing Stroh versions of their respective instruments, and acoustician Aleksander Kolkowski will be playing a phonograph and an assortment of antique shellac discs for the Rarity piece. (Presumably, that’ll be Rarity played using rarities. Don’t all of you laugh at once, now.)
A quick note – this is one of the few times I’ve heard of Stroh string instruments being used in classical concerts, although a century ago they’d have been quite common. Late Victorian devices, they’re trimmed-down solid-body versions of acoustic instruments (mostly from the orchestral string section, but also sometimes guitars and lutes) with their sounds amplified by built-in metal resonators and horns, like early phonograms. Designed to replace traditional string instruments which might be drowned out in noisy environments, they were used in early recording studios before being killed off by amplification technology and better microphones.
These days the ones which aren’t in museums or the backs of cupboards are mostly used to lend antique sonic retrofitting to experimental rock and pop songs. My guess is that for this concert they’re being used alongside the shellac to add compression and metal plating to the Rarity piece…
Despite their increasing whirl of gigs over the past year, it’s difficult to find performance video of V Ä L V Ē besides these gnomic little fragments: glimpses of feet and harps, pedals and synths, shuffles and patch wires. They’ve been rapidly evolving far beyond their beginnings as Chlöe Herington’s vehicle for musical jokes, chance theory and post-Zappa woodwind patchworks and her experiments with samples and homemade instruments. Now, they’re a live, surprisingly accessible avant-everything trio with Elen Evans and Emma Sullivan – reeds and microsynth, melodica, harpstrings and bass, RIO/Raincoats-style vocals that inhabit both the forthright and the naïve – and they’re getting pieces in ‘The Quietus’ about how they’re expanding on synaesthesia and spacework and the disjunction of time, and mining the weird yet archetypal templates of Chlöe’s recurring dreams.
While we’re waiting for more evidence to emerge, here are a couple of pieces which represent a couple of V Ä L V Ē’s varied polarities – the avant-rock all-in wrestle match of Rhythm Strip (based on an EEG reading from Chlöe’s mum) and the warming songwork of the more recent Lights – plus one of those distracted fly-on-the wall videos (this time, of Chlöe negotiating a keyboard, pretty much literally).
V Ä L V Ē’s next show (just over a week before Chlöe pops up again with the Lindsay Cooper Songbook) is this coming Sunday, supporting the Monkey Puzzle Trio – which unites perpetually/perversely-journeying art-rock and improv drummer Charles Hayward, Pinski Zoo bassist Nick Doyne-Ditmas and longstanding sound-and-place voice artist Viv Corringham. It’s a post-jazz music of deformed rounds, ranging chatter and a kind of reimagined dub focus, via Charles’ assured yet regularly broken-up and disrupted drum cycles, Viv’s cavernous range of vocal effects (stippled by loop pedal and flexible larynx, augmented by mini-disc abuse) and Nick’s bass, which seems to be travelling at two-thirds of the thinking speed of the voice and drums but always knows where to settle and lean on the moving beat.
V Ä L V Ē and Charles Hayward present:
Monkey Puzzle Trio + V Ä L V Ē Servant Jazz Quarters, 10a Bradbury Street, Dalston, London, N16 8JN, England
Sunday 10th June 2018, 7.00pm – information here, here and here
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Charles Hayward shows up again just under a week later when he guests at Laura Cannell’s ‘Modern Ritual’ show at LSO St Lukes, performing a self-explanatory experimental piece called ‘30 Minute Snare Drum Roll’, an “improvisational piece that sees him develop a rudimental drum technique into something more complex, subtlety changing density, pressure and volume before our ears.” There are precedents for this kind of thing – people like Max Roach or Art Blakey keeping an audience enthralled by a quarter of an hour of carefully modulated hi-hat – but any excuse to see Charles thinking hard behind a drum kit is a good one.
In many respects, this is a revisitation of the ‘Memory Mapping’ show which Laura brought to Daylight Music in November 2016. More to the point, it also revives an event at Cafe Oto last March, with repeat appearances for Charles’ drum roll, for ‘Wire’/Resonance FM/Arc Light Editions mainstay Jennifer Lucy Allan and for Suffolk-based “edgelands” musician Andre “Hoofus” Bosman.
Hoofus’ experiments in FM overlaps, raw-formed percussion and drifting oscillators “(explore) the uncanny beauty of the intangible, the occult and the arcane seeping through into the post-industrial 21st century world of reason and corporate compliance” resulting in “music of eerie wonder, where oscillating melodic loops meld with distorted rhythms.” In contrast, Jennifer presents her combined talk and performance ‘Foulis’s Daughter: Social and Cultural History of the Foghorn in 30 Interrupted Acts’ accompanied by “the ghost of a long de-activated foghorn which is on a fifteen-second loop”: Jennifer’s history is narrated during the gaps between blasts, tracing “a rhythmic history of the foghorn at the edges of the Atlantic: along the fog-bound Labrador Coast; at a bend on the Firth of Clyde; on the tip of The Lizard and from the cliffs at the South Foreland in Kent.”
In keeping with this drift into New Weird Britain ambience, writer, filmmaker and ‘Quietus’ co-founder Luke Turner explores his own world of liminals with a talk on “urban forests, family, death and sexuality”. This is based around his forthcoming “spiritual memoir” ‘Out Of The Woods’ – a study of Luke’s own coming-to-terms with his bisexual identity and his past experiences with sexual abuse and a religious upbringing, alongside his investigations of “memory and experience in the context of landscape and the natural world”. It’s a journey framed by the trees and the history of Epping Forest, which for Luke seems to have become representative of an ur-forest which allows for the expression of “a wilder, truer, more spiritual self” (and brings those wood-woses, drones and leafery which have threaded through ‘The Quietus’ into fuller perspective). Laura, meanwhile, keeps up her own traditions of reinvention, refurbishment and recontextualising on double recorder and bow-threaded violin: generating eerie, often-violent sonic landscapes of folk melodies and sharp-minded post-classical noise, each calibrated to the particular place where it’s being performed.
The evening will be topped off by a large group collaboration involving all of the named performers plus additional guests.
Laura Cannell: ‘Modern Ritual’ LSO St Lukes, 161 Old Street, St Lukes, London, EC1V 9NG, England
Saturday 16th June 2018, 7.30pm – information here and here
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More assorted improvisations and explorations come on the 22nd, when Ashley Paul and Tom James Scott team up as a duo at The Old Dentist in Homerton. Both have a fair amount in common, as multi-instrumentalists heading up small exploratory record labels (Ashley with Wagtail, Tom with Skire). Equally, there’s enough distinction between them to make for some interesting friendly frictions as Ashley’s American background, reeds leanings and free-form tastes interact with Tom’s Cumbrian background and the process that’s taken him from classical guitarist to experimental minimalist.
In support are improvising trio Glowering Figs, made up of venerable Ya Basta! free jazzers Ivor Kallin and Dave Fowler (on electric upright bass/vocals and drums, respectively), plus Ivor’s London Improvisers Orchestra comrade and ex-Astrakan member Jerry Wigens on guitar. Come for bilious, awkward avant-power-rock noodlings topped with Ivor’s authoritative stream-of-conscious rantings: here’s an example…
Opening the show is Ben Pritchard – not to be confused with the former Fall guitarist, he’s a London-based artist, songwriter, experimental musician and Ashley Paul bandmember who writes disintegrating-shack instrumentals for prepared acoustic guitar and percussion – strangely compelling pings, scrapes, rattles and string noise with an emotive visual quality as well as a knack for summoning in illusions. You can somehow hear impressions of ghost fiddles, a whittler’s workshop, or vocal chords tweaked by breeze gusts. When he wanders into song, it’s along the frail, fluttering-shirt lines of end-of-the-road Talk Talk, or the sparsest of Robert Wyatt: spontaneous-sounding experimental folk sketches with an undertone of parched, amnesiac blues.
Muckle Mouth presents
Ashley Paul & Tom James Scott + Glowering Figs + Ben Pritchard The Old Dentist, 33 Chatsworth Road, Homerton, London, E5 0LH, England
Friday 22nd June 2018, 7.00pm – information here and here
News on an intriguing long-weekender of a festival coming up next month…
“Imagine if Bach was a jazzman, Vivaldi a folk-fiddler, or Handel a minimalist… A brand-new event from the creators of the highly successful London Festival of Baroque Music (artistic director Lindsay Kemp and manager Lucy Bending, working in partnership with LSO St Luke’s) the Baroque At The Edge festival invites leading musicians ranging from classical to world, jazz and folk to take the music of the Baroque and see where it leads them. No rules, no programme notes, no lectures: all you need to know is how to listen.”
There are three virtuoso duet concerts. The first features German recorder player Tabea Debus and theorbo lutenist Alex McCartney performing Telemann’s Solo Fantasias, alongside specially commissioned new pieces from Colin Matthews (‘Meditation’), Laura Bowler (‘TV Man’) and Fumiko Miyachi (‘Air’). The second is a part-improvisational teamup of lutenist Thomas Dunford and Persian percussionist Keyvan Chemirani, crossing and blending the sounds of sixteenth-and seventeenth-century European Baroque masters with similarly dazzling and spiritual Persian compositions. The third and last brings together Bjarte Eike (of raw folk/Baroque crossover ensemble Barokksolistene) and jazz pianist Jon Balke(of Magnetic North Orchestra).
Opening the festival, delightfully eclectic pianist, programmer and prime musical communicator Joanna MacGregor will deliver a concert “celebrating birds, ground basses and chaconnes” and consisting of nineteen pieces spanning four-and-a-half centuries – not only the Baroque (handsomely represented by Alessandro Poglietti, Jean-Philippe Rameau, Henry Purcell, Louis-Claude Daquin, François Couperin and Johann Pachelbel), but the Renaissance (William Byrd), the Romantic movement (Franz Liszt, Leoš Janáček), Modernism (Olivier Messiaen), minimalism (Philip Glass) and the fanning-out of contemporary classical (Harrison Birtwistle, Hossein Alizâdeh, Sofia Gubaidulina).
Warm, witty universal percussionists O Duo (Oliver Cox and Owen Gunnell) will be leading a family-friendly open-to-all percussion workshop with a baroque twist, while Paolo Pandolfo gives a solo viola da gamba recital embracing fantasies and popular dance-tunes of the sixteenth century, brushes with Bach, Telemann and the French baroque, and Paolo’s own captivating 21st-century improvisations.
Perhaps most absorbingly, vocal ensemble The Marian Consort (accompanied by lutenist Jamie Akers and solo actor/onetime ‘Casualty’ star Gerald Kyd) will deliver the London premiere of Clare Norburn’s concert-drama ‘Breaking the Rules‘, an acclaimed concert-drama exploring the last agonies of the seventeenth-century composer Carlo Gesualdo (a boundary-crossing influence on artists including Igor Stravinsky, Aldous Huxley, Werner Herzog and Frank Zappa). Having jealously murdered his first wife Donna Maria D’Avalos (along with her lover), Gesualdo poured his pain into deeply and unconventionally expressive music of torture and regret. ‘Breaking The Rules’ promises “(a) sound-track to Gesualdo’s mind on the final night of his life, as he contemplates his own mortality and the tumultuous events which have led him to this moment.”
Dates for ‘Baroque at the Edge’ (all other information is here):
Joanna MacGregor – LSO St Lukes, 161 Old Street, St Lukes, London, EC1V 9NG, England, Friday 5th January 2017, 7.30pm
Tabea Debus & Alex McCartney – St James Clerkenwell, Clerkenwell Close, Clerkenwell, London, EC1R 0EA, England, Saturday 6th January 2017, 1.00pm
Paolo Pandolfo – LSO St Lukes, 161 Old Street, St Lukes, London, EC1V 9NG, England, Saturday 6th January 2017, 4.00pm
The Marian Consort: ‘Breaking the Rules’ – LSO St Lukes, 161 Old Street, St Lukes, London, EC1V 9NG, England, Saturday 6th January 2017, 7.00pm – tickets
Thomas Dunford & Keyvan Chemirani – LSO St Lukes, 161 Old Street, St Lukes, London, EC1V 9NG, England, Saturday 6th January 2017, 9.30pm
O Duo Family Workshop – LSO St Lukes, 161 Old Street, St Lukes, London, EC1V 9NG, England, Sunday 7th January 2017, 10.30am
Bjarte Eike & Jon Balke – LSO St Lukes, 161 Old Street, St Lukes, London, EC1V 9NG, England, Sunday 7 January 2018, 12.30pm
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Much later in the month, over in a lofty Arts & Crafts Movement Anglo-Catholic church in west Kensington, the London City Quartet will be playing four string quartets: one of them an established twentieth century classic, the other three brand new works.
West Kensington Music Team presents:
London City Quartet: “Bomafescho.” St. Cuthbert’s Church (Earls Court), 50 Philbeach Gardens, Earls Court, London, SW5 9EB, England
Saturday 27th January 2018, 5.00pm – tickets & enquiries via email here or via telephone (020 7101 4479)
Programme:
Dmitri Shostakovich – String Quartet No. 1 David Bozzo – String Quartet No. 2 Brian Martínez – String Quartet No. 1 Peter Fender – String Quartet No. 1 (Thredony Quartet) Op. 30
There hasn’t been much more that I could dig up about this, either from the slightly bewildering WKMT homepage or elsewhere; but as appetite-sharpeners here’s a recording of David Bozzo’s previous string quartet (as played by the Billroth Quartet), a Martinez piano prelude, and a rendition of the Shostakovich by the Fitzwilliam Quartet. (Peter Fender, modestly, seems to restrict his own video output to examples of his conducting and training rather than his compositions.)
Several longstanding Misfit City experimental favourites (all veterans of the liminal cross-encroachments between British post-rock, noise and electronic explorations during the 1990s) feature in a mid-month triple bill of shifting noise, words and melodies down at IKLECTIK.
Champion Version presents:
Edition 1: Rothko + Yellow6 + Darkroom IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Thursday 12th October 2017, 7.30pm – information here and here
Though they’ve passed through a shifting variety of lineups and different instrumentation, Rothko are based around a single constant: Mark Beazley’s resonant post-industrial bass guitar, which speaks stern granite-y notes and impressionistic chthonic drones and blurs, sketching and deepen evocatic musical landscapes from unyielding post-punk city visions to soft-edged post-rock hillscapes.
On this occasion they’re appearing in an expanded version of the beautifully bleak words-and-shades trio last mentioned in ‘Misfit City’ just under a year ago (in which Mark was joined by recitateur Johnny Brown from Band of Holy Joy, and by Inga Tillere on projected visuals). In place for tonight’s show is a fourth member – Mark’s Low Bias colleague Graham Dowdall (a.k.a. Gagarin), whose synth wizardry’s brought him into collaboration with Pere Ubu, Suns of Arqa, Roshi and no less than two former Velvet Undergroundeers (Nico and John Cale).
Intermittent and elusive, yet steadily prolific, Jon Attwood’s solo guitar project Yellow6 has links with the undersung east London post-rock scene of the 1990s (which also spawned A.R. Kane, Disco Inferno, Moonshake and Bark Psychosis (BP’s drummer Mark Hartnett would later put in a Yellow6 stint). Moving away from his initial goth and anarcho-punk roots (tempered with soul), Jon was drawn into the world of minimalism, repetition and reverbed/distorted drone loops. Shaped equally by Jon’s natural humility and his “obsessive need to create” toward an artistic peak he’s not yet reached, Yellow6 has produced over fifty releases with results variously described as “gentle shape-shifting misery” and “beautiful, shimmering and blissful”.
With roots in Cambridge science culture, propulsive and unorthodox ambient duo Darkroom initially found their feet in the fertile 1990s ferment surrounding art-poppers No-Man (initially sporting the latter’s singer Tim Bowness as a member, and providing that particular scene’s experimental edge alongside Steven Wilson’s electrodrones as Bass Communion). Since then, like a wide-orbiting comet, synthworker Os and guitarist Michael Bearpark have forged their own idiosyncratic path in and out of various drone, loop, texture and improv clusters, as well as becoming in-house soundtrackers for brain investigations at the Hub. Moving on from their earlier minglings of boiling starstuff, ambient techno and gasping tidal experimental textures, their more recent music is moody, beating improvised electronica increasingly shaped by Mike and Os’ rediscovery of attenuated blues tones, troubled elongated Neil Young guitar churns and dark bass clarinet voicings. For more assorted ‘Misfit City’ froth and musings on Darkroom, click here. Less celebrated than their gigmates, they’ll be opening the show. They could just as well be closing it.
This concert has been set up by boutique vinyl art-music label Champion Version, who’ll have one of their limited-edition vinyl EP featuring all three acts available on the night.
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Towards the end of the month, there’s an intriguing reconnection between late twentieth-century New York and the Indonesian form which inspired so much of it…
Europalia Arts Festival Indonesia presents:
Iwan Gunawan & Stefan Lakatos’ ‘Moondog For Gamelan’ + Steve Lawson/Corey Mwamba LSO St Luke’s, 161 Old Street, St Luke’s, London, EC1V 9NG, England
Saturday 28th October 2017, 7.30pm – information
“Few musicians are the source of as much intrigue as Moondog. A blind man from Kansas transplanted to New York City, he dressed as a Viking and chose to live on the streets. His compositions reflect his experiences of hearing his way through the city – motifs borrowed from Jazz, Classical and Native American music unwind over the constant beating of a tom-tom drum, like the thumping of a subway train. Occasionally field recordings of traffic noise or crying babies sneak in, as if leaking through an open window. It’s the sound of a city, the sound of a wealth disparate parts coming together to create a complex whole – a kind of urban gamelan.
“For this concert, Moondog’s output is literally reimagined as gamelan by Iwan Gunawan (a reknowned contemporary Javanese gamelan composer known for combining the tradition with the use of electronics and computers) and Moondog’s friend and pupil Stefan Lakatos (who performs using a homemade percussion instrument given to him by the composer himself). Featuring instruments built especially for the occasion, this performance takes gamelan out of its traditional context, taking on Moondog’s experimental yet optimistic compositions. Almost minimalist in its construction – indeed, Moondog alleged that Phillip Glass once called him the “father of minimalism” – the influential outsider musician’s melodies resonate amid the controlled chaos of gamelan.”
In support, there’s a duo performance by another ‘Misfit City’ favourite – bass guitar looper Steve Lawson and experimental vibraphonist Corey Mwamba. Collaborators for at least a decade, they’re a pair of accessible yet stubborn musicians creating their own long-distance version of village music on the outskirts of the music business. Recorded/filmed evidence of what they do is surprisingly thin on the ground (I can’t find any) so you’ll have to go on word-of-mouth info about their past gigs. Expect some aspects taken from jazz and fed through sundry loops, delays and perky processors, but don’t expect them to be confined by that – their musical minds stretch from contemporary classical and process music to goofy tunes, and their textural tastes from lowdown murmur to ear-piercing noise. A big bucket to dip into.
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While we’re still on the topic of New York minimalism and Philip Glass, look out next month for what sounds like it’ll be an enthralling conjunction of Big Apple pulse and Caribbean tonal warmth…
‘Steel Pan Fusion Plays Philip Glass’ The Jazz Café, 5 Parkway, Camden Town, London, NW1 7PG, England
Thursday 23rd November 2017, 7.30pm – information here and here
“One of the most influential and important composers of the twentieth century, Philip Glass is a pioneer of minimalist music alongside fellow luminaries Steve Reich and Terry Riley. With a body of work that stretches beyond contemporary classical music into film scores, operas and more, the source material is rich for reinterpretation. We have commissioned London based ensemble Steel Pan Fusion to perform a selection of works from Glass’ extensive repertoire, from his peerless ‘Glassworks’ to the soundtrack for ‘The Truman Show’.”
A quick reminder/primer for this week’s London concert paying tribute to the late British composer Jonathan Harvey and concentrating on his love for a cappella choral music:
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BBC Singers: ‘Other Presences: The Music of Jonathan Harvey’ LSO St Luke’s, 161 Old Street, St Luke’s, London, EC1V 9NG, England
Friday 23rd September 2016, 7.30pm – information here and here
“Haunting, spiritual, ecstatic: Jonathan Harvey’s music blurs the boundaries between east and west, body and soul. Its lucid, bell-like resonances and pioneering use of electronics will take you on a journey into new and transformative worlds.
“’Mortuos Plango, Vivos Voco’ is an electro-acoustic masterpiece. Spinning sonorities ring out as it blends sound samples of a cathedral bell and the voice of a chorister. The looped, harmonised trumpet parts in ‘Other Presences’ weave sounds that echo the music of Tibetan Buddhist purification rituals. ‘Forms Of Emptiness’ sets the vivid flashes of joy in poetry by e.e cummings against a Buddhist Sanskrit chant, creating moments that feel transient and scarcely real.
“Experience Harvey’s compelling music alongside Britten’s virtuosic cantata ‘A.M.D.G.’ and a new work by Wim Henderickx, whose music reflects his fascination for eastern sound-worlds and philosophies.”
Benjamin Britten – ‘A.M.D.G. Op.17’ (Ad Majorem Dei Gloriam)
Jonathan Harvey – ‘Mortuos Plango, Vivos Voco’
Jonathan Harvey – ‘I Love The Lord’
Jonathan Harvey – ‘The Annunication’
Jonathan Harvey – ‘Other Presences’
Wim Henderickx – ‘Blossomings’ (world premiere)
Jonathan Harvey – ‘Forms Of Emptiness’
Jonathan Harvey – ‘How Could The Soul Not Take Flight’
There’s more on the Wim Henderickx piece in a post penned by the composer himself at ‘Classical Diary’. In it, Wim discusses the interest in Buddhism and spirituality which he shared with Jonathan Harvey, and which led to his composing ‘Blossomings’ as both a salute to Harvey and a triptych setting of texts from different and parallel religious traditions, starting with eighteenth century Tibetan Buddhism (‘From the blossoming lotus’ by Jigme Lingpa), twelfth century Christianity (Hildegard of Bingen’s ‘Holy Spirit’) and 13th century Islam (Jalāl ad-Dīn Muhammad Rūmī’s poem ‘O love’ (text by Rumi). As well as going deeper into the significance of the chosen texts, Wim also comments on the musical structure of the piece, with its inspirations of Tibetan open-air ceremonial music, its use of mixed choir performing multiple functions, the double bell trumpet employed by the soloist as commenter and introducer, and the way in which optional electronics “create a sonorous background of the harmonic material sung by the choir (and) give the work a spatial effect.”
Meanwhile, here are versions of some of the other material on the concert programme, drawn from a variety of sources:
Swoon. /swo͞on/ A verb. To be emotionally affected by someone or something that one admires; become ecstatic. Here are some people and things that make me swoon. #swoon #swoonage
“840 presents an evening of new music for viola and cello, performed by Jennifer Ames Alexander and Colin Alexander (Tre Voci). Showcasing the versatility of this duet format, the programme will feature intimate, resonant pieces from Eva-Maria Houben (Wandelweiser) and Marc Sabat alongside brand-new works from Colin Alexander and from 840 curators James Luff and Alex Nikiporenko. 
Misfit City 