PLEASE NOTE: Due to circumstances surrounding the flooding, the Redstone Building has been declared an environmental hazard and we are not allowed into The Lab for the foreseeable future. This program will now take place at Gray Area, 2665 Mission St, San Francisco, CA 94110, USA

Saturday, January 21, 2023
7:30pm doors / 8pm sound
Tickets $15 (discounted or free for members)
Students can email us for a discounted ticket
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This inter-generational performance event brings together artists in different stages of their career, several of whom have close ties to the San Francisco Bay Area.

The first set is a performance by Ikue Mori, on electronics, and William Winant, on percussion instruments. The second is a solo performance by the Italian drummer Valentina Magaletti (Vanishing Twin). The evening concludes with a performance by the sister duo NOMON.

Each of these artists engage and complicate the legacies of Avant-Garde music by remaining on the margins of the experimental and by constantly pushing the limits of what’s sonically possible within their instruments.

These performances take place on the occasion of the exhibition Drum Listens to Heart at The Wattis Institute.

Ikue Mori arrived to New York in 1977 and subsequently became the drummer of the iconic No Wave band DNA. She later started incorporating drum machines in her music practice and moved on to using her computer as an instrument to blend sonic and visual space.

William Winant is a percussionist and educator who, during his 40+ year career, has collaborated with composers such as John Cage, Iannis Xenakis, Barbara Monk Feldman, Wendy Reid, Frank Zappa, Roscoe Mitchell, Anthony Braxton, Hi-Kyung Kim, James Tenney, Terry Riley, Cecil Taylor, George Lewis, Joan LaBarbara, Yo-Yo Ma, Lou Harrison, John Zorn, Bun-Ching Lam, Gordon Mumma, Alvin Lucier, and Wadada Leo Smith, several of whom have written pieces specifically for him. He has recorded and toured worldwide and teaches at Mills College and UC Santa Cruz.

Valentina Magaletti is a drummer, percussionist and composer whose practice has been characterized for its constant experimentation with new materials and sounds. In addition to her solo work, she is currently a member of Vanishing Twin and Tomaga, where she explores a wide range between conventional jazz drumming and experiments with field recordings and drone sounds.

NOMON is a percussion and electronic music duo composed of sisters Shayna and Nava Dunkelman. After spending years apart working on their own, Shayna and Nava came together in 2018 to form NOMON. Born and raised in Tokyo to an Indonesian mother and an American father, the sisters became multi-instrumentalists performing alongside their mother, a musician and composer active in Asia and the Middle East. NOMON's music is as visual as it is aural, and their performances have a physicality and an immersive choreographic quality, while the sounds combine electronic soundscapes and intricately composed percussion parts.

Drum Listens to Heart is curated by Anthony Huberman and organized by Diego Villalobos, with assistance by Katherine Jemima Hamilton and Meghan Smith.

PLEASE NOTE: Due to circumstances surrounding the flooding, the Redstone Building has been declared an environmental hazard and we are not allowed into The Lab for the foreseeable future. We will be refunding tickets. San Francisco Cinematheque will be finding a new date and venue for the event, likely sometime in February. Stay tuned via their website: https://www.sfcinematheque.org/

Thursday, January 12, 2023
7pm doors/ 7:30pm screening
Tickets $15 (discounted or free for members of The Lab and San Francisco Cinematheque)
Get Tickets Now

Presented by San Francisco Cinematheque
Program Curated by Steve Seid
Dale Hoyt (1961–2022)

Dale is Dead. Dale Hoyt who at age 19 was already showing his irascible works to perplexed audiences. Dale who five years in made a remarkable, sui generis video, The Complete Anne Frank, that still holds its own. Dale who, it was rumored, slept on the roof of the SFAI when his money got thin. Dale whose uncompromising ways never found welcome from grants panels of his supposed peers. Dale who left briefly to run the video program at New York’s The Kitchen, but faithfully returned. Dale who in later years haunted the Tenderloin like a sage and wily guy. Dale who left behind a chill absence where his vital life had once warmly sounded.

Dale Hoyt’s body of videowork that streamed forth for a decade, then vanished for a time, only to return in his waning years. Dale came-of-rage in a fruitful moment, the late-70s/early-80s. From the scrap heap of punk culture, he snatched an aesthetic that was low-rent, appropriative and bratty. Video art had moved on from the performative documentation of the ‘70s to cut-and-paste storytelling from the likes of Tony Labat, the Yonemotos, Ilene Segalove, Tony Oursler and others. Dale deployed shreds of narrative, shrewd iconoclasm, and cut-and-paste tech, then coerced his artist-pals into enacting their own angst. The never-faltering early works drilled into the frontal lobe of juvenile yearning, marshaling pop icons, cascading pills, viscous props and grotesque wallowing as the stuff of post-pubescent misery. Atop this heap, Dale added a miasma of sound bites, pop song lifts, and plaintive dialogue to amass an unnerving swamp of sonorities.

This memorial screening of Hoyt’s works includes Your World Dies Screaming (1981); Dancing Death Monsters (1981); Ringo Zappruder (1981/82); Over My Dead Body (1983); The Complete Anne Frank (1985); Braille (1986); Transgenic Hairshirt (2001); Don’t Be Cruel (2004); Because (2006).

Full screening details, including extended curatorial essay by Steve Seid, details of related online screening and more can be found here.