Substrata makes possible the visit of the legendary North American percussionist and sound artist: Z’EV, he is going to perform at Festival Aural on December 16th.
He is going to present an A/V piece, product of his research in topics as: resonance, psychoacoustics, trance, cymatics, synchronicity and frequency.
Active since the decade of 70’s he is one of the artists that gave birth to the industrial music movement in 80’s
The live ritual within the frame of this festival is curated by Elnicho’s Eric Namour and is going to take place at Faro de Aragon
Located in: Av 517 S/N, Gustavo A. Madero, San Juan de Aragón I Sección, 07969 Ciudad de México
You can see the full program of the festival here: www.festivalaural.mx
Z’EV is an American poet,percussionist,and sound artist. After studying various world music traditions at CalArts, he began creating his own percussion sounds out of industrial materials for a variety of record labels. He is regarded as a pioneer of industrial music.
Z’EV was a strong presence in the New York City downtown music scene in the 1980s and 1990s, performing with Elliott Sharp, Glenn Branca, and doing solo performances at The Kitchen, The Knitting Factory, Danceteria, and other venues where experimental music flourished.
In 1983, critic Roy Sablosky wrote: “Z’EV doesn’t just break the rules, he changes them.” Journalist Louis Morra wrote in 1983: “Z’EV is a consummate example of contemporary performance art, as well as modern composition and theater.” and, “Z’EV realizes many of modernist art’s ultimate goals: primitivism, improvisation, multi-media/conjunction of art forms, the artist as direct creator.”
His work with text and sound has been influenced by Kabbalah, as well as African, Afro-Caribbean and Indonesian music and culture. He has studied Ewe music, Balinese gamelan, and Indian tala.
In 1978 he began developing an idiosyncratic performance technique utilizing self-developed instruments formed from industrial materials such as stainless steel, titanium, and PVC plastics. Initially these instruments were assemblages of these materials, used with a movement-based performance style that was a form of marionette, although with the performer visible. He has since come to refer to this performance mode as ‘wild-style’, a term originally related to graffiti. Critic John Buckley described his performances in this era:
- The instruments are collections of objects … strung together with ropes and swung at varying speeds and directions to produce a fairly astonishing range of pitches and timbres. And the moves the guy goes through to manipulate these instruments are, for grace and athleticism, strong stuff. Z’EV is also interesting for the close correlation of visual and musical aspects, since the physical vibrations of the objects you see are the same as those picked up by the ears as sound. Also, since the rhythms of the work are dictated by the performer’s every and any movement, an inevitable integrity unifies the act.