steve roden

SASSAS pairs these long time fans of each other’s work for a first time ever joint concert. Seattle based artists Climax Golden Twins are exacting archivists whose work draws upon old wind-up Victrolas, broken down guitars, field recordings, drones, and electro-acoustic manipulations to produce an abstract assemblage of sounds. Steve Roden works with acoustic objects, old instruments, small electronics and field recordings to create “possible landscapes” focused on the quiet activity of listening. Roden will also be working with scores generated by Schindler’s architectural drawings of the House, along with “a heavy dose of improvisation.”

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Part bandClimax Golden Twins, part art project, Climax Golden Twins (Robert Millis and Jeffery Taylor) have maintained a restless aesthetic that has allowed them created a diverse array of releases, installations, radio works and soundtracks including the film “Session 9” for Focus Features and works for the Discovery Channel, NPR and Resonance FM London. Using field recording, tape manipulation, and found sounds along side instrumentation, the Twins equally embrace punk rock and musique concrete collage. They have explored the subtle juxtaposition of environmental recordings (“Locations”, 1998) and themes of memory (“Highly Bred and Sweetly Tempered”, 2004) and meditation (“Lovely”, 2002). An interest in early recording infuses much of their work and led to “Victrola Favorites”, a double CD and book (“Dust to Digital”, 2008) that explores the music and design from the 78rpm era.

A ten year retrospective of their work was held at Priceless Works Gallery in Seattle in 2004.


steve roden

Steve Roden is a visual and sound artist from Los Angeles. His work includes painting, drawing, sculpture, film/video, sound installation, and performance.

Roden’s working process uses various forms of specific notation (words, musical scores, maps, etc.) and translates them through self invented systems into scores; which then influence the process of painting, drawing, sculpture, and sound composition. These scores, rigid in terms of their parameters and rules, are also full of holes for intuitive decisions and left turns. The inspirational source material becomes a kind of formal skeleton that the abstract finished works are built upon.

In the visual works, translations of information such as text and maps, become rules and systems for generating visual actions such as color choices, number of elements, and image building. In the sound works, singular source materials such as objects, architectural spaces, and field recordings, are abstracted through humble electronic processes to create new audio spaces, or ‘possible landscapes’. The sound works present themselves with an aesthetic Roden describes as “lower case” – sound concerned with subtlety and the quiet activity of listening.

Roden has been exhibiting his visual and sound works since the mid 1980’s, and has had numerous solo and group exhibitions internationally.

Recent solo shows and projects include Susanne Vielmetter Berlin Projects, Nicole Klagsbrun Gallery New York, Studio La Citta Gallery Verona Italy, San Francisco Art Institute McBean Gallery, Fresno Metropolitan Museum of Art and Science, Tang Teaching Museum Skidmore College, and Gallery E/static Torino.

Recent group exhibitions include the Mercosur Biennial Porto Alegre Brazil, Centre Georges Pompidou Paris, the San Diego Museum of Contemporary Art, the UCLA Hammer Museum Los Angeles, the Sculpture Center NY, the Museum of Contemporary Art EMST Athens, and the Drawing Room London.