21c Presents We All Owe: Roberto Lange, Julianna Barwick, & Jonathan Dueck
Thursday, April 8
Doors 7pm, Show 7:30pm
in the Atrium Gallery
$8 in advance, $10 at the door
Cash bar
In a blending of art and music, 21c hosts the We All Owe: Lange, Barwick, Dueck
2010 Tour – a one night exhibition of music and film that blurs the division between
the studio, stage, touring, and recording. Two musicians, Roberto Lange (of Epstein
and Helado Negro) and Julianna Barwick, will create new work with each live performance
on the tour in addition to playing recent material. The evening will feature Epstein,
Helado Negro, Barwick, and short films by Jonathan Dueck in a listening room environment.
Evening's Line-Up:
- Short film by Jonathan Dueck
- Helado Negro performance
- Short film by Jonathan Dueck
- Julianna Barwick performance
- Epstein performance with projections by Jonathan Dueck
About the Artists
Jonathan Dueck
A visual artist from Calgary, Canada, Dueck's most recent project IN TRANSIT is
a portable art gallery inside a red suitcase. Quickly gaining traction, IN TRANSIT
became a web-based "school" in which participants completed assignments regularly
posted online.
Roberto Carlos Lange (Epstein & Helado Negro)
Lange is a musician who begins by experimentation and moves towards refinement.
Growing up in various Latin American cultures of south Florida, he was influenced
by an unlimited variety of objects that produced music. With music projects of Epstein,
ROM, and Helado Negro, Lange has also created kinetic sound sculptures over the
past four years that include type-writers that rhythmically type lyrics to songs
to trashcans made into drum machines.
Julianna Barwick
With influences of midwestern choral congregations, Barwick is known for experimental
soundscapes based on the soaring texture of a large choral group. Starting quietly
and building to greater complexity, Barwick's compositions employ both harmony and
dissonance – a range that allows a variety of different emotional spaces.
"This blend of uplifting sounds and postlapsarian concept might account for the
music's sorrowing, joyful, dreamlike impression - it moves in two directions at
once, floating upwards to describe a fall." - Brian Howe, Pitchfork Magazine,
December 2009