11/11/11 Sound Performance and Catalog Release

Friday, November 11th 7-9

Performances by:

and a special catalog release for:
"Trick Question"


Friday November 11th, Front Room will be presenting an evening of sound performances curated by Jeremy Slater in conjunction with our current exhibition, Peter Fox: Trick Question." With performances by Zilmrah, Richard Kamerman and tū.


"The name Zilmrah is a made up word that came about in the early 90's while I was playing in the band Splungent (also a made up word). As drummer Louis Clausi and I were naming tracks the word Zilmrah was born. Years later as I began to put together this particular project, it really felt right to use Zilmrah as a moniker for it primarily because there are no expectations in words that lack definition; just as the Zilmrah sound defies definition as it morphs through all barrier free genre. In keeping continuity with this loose mantra, I began building my own instruments to redefine the sounds I choose to use and break away from my comfort zones that I already had on other instruments. I found a new way to keep myself honest to my musical belief system. The overall sound shape often change as a result of the energy being conveyed by different collaborators, something I am striving for and evolving with in a way that enables others to channel these individual energies collectively to push the sound somewhere it has not been or needs to visit. As of this writing the current Zilmrah line up is a four piece consisting of Ernest Anderson III on Bass, Free jazz great Marc Edwards on drums, David Tamura on Tenor Sax and myself playing electronics and hand made stringed instruments."

Richard Kamerman's artistic interest is aimed foremost on the task of magnification. Small sounds, small gestures - made large. Inconsequential events - made important. The vast difference made to a narrative by a small change in focus. Room acoustics, microphone/pickup placement, and amplification are often very important to his live construction of sound, where he places great weight on the embracing of unintended consequences - e.g. errors in translation/format conversion, bursts of feedback, power supply failures. Although primarily a percussionist, he rarely sits behind a drum kit, preferring to explore the percussive behaviors of various repurposed electronics, ranging from computer circuit boards to a system of found mechanical parts - fans, motors, etc - that he has been developing since 2006. Frequent collaborators include Reed Evan Rosenberg (as Tandem Electrics), Anne Guthrie & Billy Gomberg (as Delicate Sen), Steven Flato & Corey Larkin (as Fyxzis), Jordan Topiel Paul, Eric Laska, and the quintet Frogwell.

Tamara Yadao and Jeremy D. Slater are the audiovisual performance duo known as tū. Their sound work uses field recordings, spoken word, ambient noise and drones created with guitars, oscillators, radios, voice, and other electronic objects. Investigations may include arbitrary structures in conceptual improvisation, the collective experience of listening in the medium of radio, liminal relationships in sound juxtaposition, phonemic reduction and memory differentiation of sound and signifier. Selected exhibitions and performances include Conflux Festival 2009, FLOW at Front Room Gallery, Cube Considered at Monkeytown, NOISE! Festival 2009 at the Ontological Theater, Recherche, a conference on the work of Marcel Proust at Stony Brook University and the Avant Ghetto series at Zebulon.


Front Room gallery is proud to present "Trick Question" a solo exhibition of drip and stencil paintings by Peter Fox. Friday, November 11, we will be releasing a special exhibition catalog of Peter Fox's new work. "Trick Question" will be on view through February 20th.

Peter Fox’s paintings are loaded. Loaded with paint and texture, loaded with context in their relationship to movements in formal and conceptual art, and overflowing with color. They have been described as Op Art, Abstract Expressionism, Pop Art, and Punk Rock, or a mixture of all of them.

In his "Process" series Fox creates directed forms through composed accident, creating a visual structure that accumulates on the surface of each painting, developing a textural world of color that is drenched in abstraction. Entering a new arena of self-reflexive discourse, Fox has established a nuanced language, built from his vocabulary developed through his signature style of drip painting.

Peter Fox's stencil paintings act as a counterpoint to the copious tactile forms in his "Process" series, extracting the compositional structure of selected, individual brightly banded droplets. Fox analyses the arc of color-separations formed through gravity and translates them into articled shapes that reference the fluidity of natural interventions. While referencing the form and structure developed through chance, Fox utilizes a stencil artifice to enact an authority over the outcome of each composition. These works create an eye popping display of luscious color and forms, pulling out all of the stops