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Lou Mallozzi is a Chicago-based artist known primarily for his work in sound, often with a focus on dismembering and reconstituting language, gesture, and signification. His work includes performances, installations, music works, recordings, and radio works. In addition, he has a visual art practice that includes drawing and other media. He has performed and exhibited in the U.S. and Europe, including projects at the Museum of Contemporary Art Chicago, the Chicago Cultural Center, the Arts Club in Chicago, the Italian Cultural Institute and Italian Pavilion at the Venice Biennale, the Fort Wayne Museum of Art, the Grunwald Gallery at Indiana University Bloomington, Experimental Intermedia New York, "Le Cri du Patchwork" on Radio France, Ausland Berlin, Podewil Berlin, TUBE Audio Art Series Munich, and the Radiorevolten Festival Halle. In addition to his solo works, Mallozzi often collaborates with artists, filmmakers and musicians. These have included Sandra Binion, Michael Vorfeld, Alessandro Bosetti, Michael Zerang, Frédéric Moffet, Antonia Contro, Jacques Demierre, Vincent Barras, Fred Lonberg-Holm, Charlotte Hug, Jaap Blonk, Vincent Raude, and many others. He has received support for his work that includes several fellowships from the Illinois Arts Council, and artist residencies through the Chicago-Lucerne Sister Cities Program, the Rockefeller Foundation Bellagio Study Center, Ragdale Foundation, and Spritzenhaus Hamburg. He is on the faculty of the Sound Department of the School of the Art Institute of Chicago, and is co-founder and former executive director of Experimental Sound Studio.


Sunday, August 28, 2016

Coppice Turning Concert

On August 27, 2016, I performed on one of two nights of the recent Turning Concert by Coppice (Noé Cuellar and Joseph Kramer), along with Peter Speer (analog synthesis) and Phil Peters (video), at Silent/Funny in Chicago.  

Still from video by Noé Cuellar
Click HERE to view video

My part of the evening consisted of two improvisations.  In the first, two 20-foot pieces of .75-inch diameter steel conduit were connected to my ears, so that Noé and Joseph could perform very delicate, quiet sounds in the two separate spaces of Silent/Funny. They could not hear each other, but I could hear them both in separate ears. In response, I improvised vocal sounds with two microphones very close to my mouth, amplified to loudspeakers in the two separate spaces.  Immediately following was a second improvisation using the two microphones in and around my mouth to create controlled feedback in a pair of drones that shifted pitches and beating patterns, combining and colliding in the bifurcated architecture.

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