JO with live soundtrack by KEIJI HAINO at MIT
Thursday, May 17

Non-Event and the List Visual Art Center Present

JO with live soundtrack by Keiji Haino, Directed by Cameron Jamie (Boston Premiere)

Bartos Theater at MIT
20 Ames Street, Building E15, Atrium level
Cambridge, Massachusetts

About the artists:

KEIJI HAINO’s work has included rock, free improvisation, noise, singing, songwriting, solo percussion, psychedelic, minimalism and drone styles, and covers. Performing since the 1970s, he is known for intensely cathartic sound explorations. Much of his work bears an insular singularity, but his varied output eschews a signature style. Haino cites a broad range of influences, including troubadour music, Marlene Dietrich, Iannis Xenakis, Syd Barrett, and Charlie Parker. He has had a long love affair with early blues music, particularly the works of Blind Lemon Jefferson, and is heavily inspired by the Japanese musical concept of “Ma,” the silent spaces in music.

Backyard teenage wrestlers, spook houses, eating contests, and a winter visitation by mythical beasts are just some of the fringe rituals CAMERON JAMIE explores through his art. Working across materials and media, he frequently collaborates with street-portrait artists and celebrity impersonators as well as musicians such as the Melvins and Keiji Haino. The resulting work conflates investigative strategies, autobiography, mythologies, vernacular traditions, and urban folklore to examine contemporary life, our fascination with the outlandish, and our need for escapism—what one critic has identified as “backyard anthropology” or what the artist calls “social theater.” For his fourth film, JO, Cameron Jamie unfolds a three-part investigation of the precarious line that separates nationalism, patriotism, and bigotry.

Tickets are available at the LVAC Gallery and Twisted Village (12b Eliot Street, Harvard Square) or by calling 617.253.9477.

This performance is presented in conjunction with the exhibition Cameron Jamie on view through July 8 at the LVAC and is funded in part by a grant from the LEF Foundation.