Goethe-Institut Boston
Wednesday, March 8, 2017

Goethe-Institut Boston and Non-Event present
an evening of solo, collaborative, and multichannel sets by


Goethe-Institut Boston
170 Beacon Street, Boston
Doors: 8:30pm, Music: 9pm $10 general admission / $5 members & students

Concert: Jan Werner, David Grubbs and Ernst Karel

DAVID GRUBBS is Professor of Music at Brooklyn College and the Graduate Center, CUNY. At Brooklyn College he also teaches in the MFA programs in Performance and Interactive Media Arts (PIMA) and Creative Writing. He is the author of Records Ruin the Landscape: John Cage, The Sixties, and Sound Recording (Duke University Press).

Grubbs has released twelve solo albums and appeared on more than 150 commercially-released recordings. He is known for his cross-disciplinary collaborations with writers Susan Howe and Rick Moody, visual artists Anthony McCall, Angela Bulloch, and Stephen Prina, and choreographer Jonah Bokaer.  His work has been presented at the Solomon R. Guggenheim Museum, MoMA, the Tate Modern, and the Centre Pompidou. Grubbs was a member of the groups Gastr del Sol, Bastro, and Squirrel Bait, and he has performed with the Red Krayola, Will Oldham, Tony Conrad, Pauline Oliveros, and Loren Connors, among many others. He is a grant recipient from the Foundation for Contemporary Arts; a contributing editor in music for BOMB Magazine; director of the Blue Chopsticks record label; and a member of ISSUE Project Room’s Board of Directors.

ERNST KAREL makes electroacoustic music and experimental nonfiction sound works for multichannel installation and performance. His recent projects are edited/composed using unprocessed location recordings; in performance he sometimes combines these with analog electronics to create pieces which move between the abstract and the documentary. Recent sound projections have been presented at Boston City Hall; Oboro, Montreal; EMPAC, Troy NY; Arsenal, Berlin; and the 2014 Whitney Biennial. Sound installations in collaboration with Helen Mirra have been exhibited at Culturgest, Lisbon; KW Institute for Contemporary Art, Berlin; Audiorama, Stockholm; MIT List Visual Arts Center, Cambridge; and in the 2012 Sao Paulo Bienal. Video with multichannel sound collaborations include Ah humanity! (2015, with Lucien Castaing-Taylor and Véréna Paravel) and Single Stream (2014, with Toby Lee and Pawel Wojtasik). Other projects include the long-running electroacoustic duo EKG, and the location recording/performance collective the New England Phonographers Union. Recent nonfiction vilms on which he has done sound work include The Iron Ministry, Manakamana, and Leviathan, all produced in the Sensory Ethnography Lab at Harvard University, where, as a Lecturer on Anthropology, he teaches a class in sonic ethnography.

Berlin producer and sound artist JAN ST. WERNER is perhaps best known for his work in Mouse on Mars, which he formed with Andi Toma in the early 90s. Over two decades, the duo has charted a perpetual course of reinvention, indulging in complex, heavily hybridized forms that synthesize everything from ambient, techno, and dub to post-rock and next-level electronics and releasing via labels like Too Pure, Domino, and their own Sonig imprint.

In the mid-90s, Werner began releasing music as Lithops and as one half of Microstoria with Markus Popp of pioneering electronic/glitch unit Oval. His output as Lithops — said to rub the outer edges of inferential electronics, and often sounding as though they began their lives as studio accidents, all fumbly, peripatetic rhythms emerging from a haze of muffled bass and overdriven synth textures — continued well into the 2000s, published by labels such as Moikai, Sonig, and Thrill Jockey. In 2013, St. Werner began producing records under his own name with Blaze Colour Burn, the first in a run of experimental albums called Fiepblatter on Thrill Jockey. The most recent installment in the series, Miscontinuum Album, saw release on the label in late 2014 and was originally created for a live opera performance in Munich; Popp composed the libretto. It is part of a larger project that encompasses visual works, installations, writings, software, and lectures. St. Werner is currently a visiting lecturer in the Art, Culture and Technology program at MIT.

This program is supported in part by a grant from the Boston Cultural Council, a local agency which is funded by the Massachusetts Cultural Council, administrated by the Mayor’s Office of Arts & Culture.