I am in New York this week for a pair of shows together with Tania Chen. We will have some brand new songs and sounds to share. Also performing that evening with be Smomid (Nick Demopoulos) with his unique music instruments; and Teerapat Parnmongkol with a solo electronic performance. For those in New York City or who can make their way to Brooklyn tomorrow night, the details are below:
The Brick Theater
579 Metropolitan Ave, Brooklyn, New York 11211
8:00 PM Smomid
8:45 PM Amanda Chaudhary & Tania Chen
9:30 PM Teerapat Parnmongkol
Door: $10 Suggested donation
TANIA CHEN is a pianist, experimental musician, free improviser and sound artist, working with pianos, keyboards, found objects, toys and vintage and lo-fi electronics.
AMANDA CHAUDHARY is a composer and performer specializing in contemporary and electronic music; an artist; and a developer of advanced software for creativity. She performs regularly around the Bay Area and beyond, both solo and with various bands and ensembles. Her solo work involves experimenting with innovative sounds via analog synthesis and custom software with computers and mobile devices for new modes of expressive musical performance. She often incorporates folk and toy instruments from around the world, along with jazz, dance music and other idiomatic styles into her visually captivating performances.
The SMOMID is a unique interface/musical instrument created by Nick Demopoulos. SMOMID is an acronym for “String Modeling Midi Device.” SMOMID hardware resembles a touch-sensitive guitar or bass. Its software allows the performer to control numerous aspects of a performance, including the playing of melodies and harmonies, the direction and pattern of a melody, controlling beats and bass lines, triggering samples, manipulating audio files, and more. All aspects of a performance can be controlled from the grid on the fret board and the buttons on the instrument body. In addition to emitting sound, SMOMID also emits light that is rhythmically in sync with the music the instrument is then creating.
TEERAPAT PAMMONGKOL was born in 1988 in Sakon Nakorn, Thailand. He lived there until 7 years old then he moved to Udonthani, Thailand with his parent. In 2006 – 2010 he studied music in Bangkok City, Thailand. After music school he moved to New York City, USA in 2011. He sometime release music album under alias such as Lemur Onkyokei, LO and his own name.
The South Bronx still gets a bad rap. And I do remember what it was in the late 1970s and 1980s. But for us at CatSynth, it has become a place of great curiosity and surprising forms of beauty. A few years ago, I noticed some changes along the southern stretch of the Bronx River in Google Maps. In particular, there was a brand new park.
Concrete Plant Park is literally that, a park built around the ruins of an old concrete plant along the river’s edge. I had to see this for myself. And since 2013, I have gone to see it several times.
To get there via subway from Riverdale is a bit of a challenge. There have never been east-west subway lines traversing the borough, only north-south to and from Manhattan. So a subway trip from the western end of the Bronx to the southeast requires a trip into Manhattan and a few transfers (there is no crosstown subway in Harlem, either). Finally, one reaches the 6 IRT, which heads north into the south and east Bronx. It’s a long ride underground eventually emerging onto an elevated structure over Westchester Avenue, one of the main thoroughfares through the South Bronx. I alight at the Whitlock Avenue stop.
Between the station and the park is the Sheridan Expressway (I-895). This is a strange little highway that hugs the western edge of the Bronx River from the Bruckner Expressway (I-278) north to East Tremont Avenue with connections to the Cross Bronx Expressway (I-95) and the Bronx River Parkway.
It is sort of a connector from the Bronx Zoo to the Triborough Bridge, though one that isn’t really needed given the other larger freeways in the vicinity. It only has one exit between its termini: Westchester Avenue near the Whitlock station and Concrete Plant Park. One can see the entry ramps leading down to the highway while walking towards the park.
Another ramp leads down from the street level to the park itself. It’s a flat piece of land with grass concrete paths dotted by the refurbished structures from the former concrete plant.
Although it seems to be a trend to incorporate reclaimed industrial elements into public spaces, the structures are still fairly unique for an urban park, and quite photogenic. Here are just a few of the photos I have taken.
The Bronx River itself is an important element of the park’s identity and landscape. The section south of Bronx Park has long been more industrial, and the river and its banks still bear the visuals of that past. A major effort to clean up and restore the river has been underway for a while. And it is much cleaner than it was in the 1980s, though one can still see a lot of detritus collecting along the berms.
Looking north alongs the river towards the 6 Elevated and Westchester Avenue is quite beautiful with filtered lighting.
Although I visit this park for its visuals and geographical placement, it is a local park enjoyed by the local community. On a summertime visit, I saw a lot of families and individuals there, playing sports, relaxing along the river, and even barbecuing. It seems that this park is a successful one, and I wouldn’t be surprised if I visit again.
For today’s photo, we went into the archives. Usually, one of the pictures will speak to me that today is its day. This was that photo. It features a scene from Concrete Plant Park in the Bronx.
2015 was a rough year. There is no other way to put it. We looked over the precipice at some of the worst possibilities becoming reality. But we came through. Luna stared down an extremely dire diagnosis and is once again thriving. For that I am truly grateful. I rebounded strongly from my own health issues as well. And there were many other beautiful moments this year, a few of which are included in our graphic.
This was a year of many endings as well, most notably in the personal and musical domains. But new doors are opening for 2016 as a result, and there are some new projects and opportunities for which I am excited. 2015 left a lot of questions unanswered, some of which are also depicted in the graphic and some of which are beyond the scope of this site.
So we are excited for 2016, but also extremely anxious and apprehensive. There are more big challenges coming up; and if I have learned anything, it is that I have no idea how things will ultimately turn out. It’s just a matter of doing things one at a time incrementally – but also continuing even more than ever to speak my truths and accept the risks and consequences that come with doing so.
Meanwhile, we at CatSynth will continue to do what we do here, bring music, art, culture and cats to the world. Thank you for all your support in 2015, and especially all your support for Luna and me. We are truly humbled and look forward to sharing this new year whatever it brings.
This winter the Bronx Museum of the Arts has three exhibitions to bring forth different aspects of life and art in New York City: a gritty and intimate solo exhibition, reflections on the urban landscape from the permanent landscape, and a view of a little understood country through the camera lens.
Martin Wong: Human Instamatic is a large posthumous retrospective of Chinese-American painter Martin Wong. There have been several exhibitions highlighting his role as collector and muse for contemporary artists, but this one is the first to bring together his work as a painter since his death in 1999. It starts with his early works as a street artist in Eureka, CA but mostly focuses on his time in New York, especially his years on the Lower East Side in the early 1980s.
The Lower East Side of that era was a notoriously gritty neighborhood, as exemplified in the painting above. But there was a vibrant multi-ethnic community of artists and musicians living among the dilapidated buildings. Wong’s work documents the artistic and daily life of the area, but does so in a way the is deeply personal and internal at the same time.
[“Attorney Street (Handball Court With Autobiographical Poem by Piñero),” dated 1982-84.]
Sign language abounds in his work along with urban scenes. The sign language in the piece shown above, Attorney Street, Handball Court with Autobiographical Poem by Piñero, features a short poem by Miguel Piñero, the playwright and actor who was co-founder of the Nuyorican Poets Café. The piece and its subject also show the immersion of Wong, a Chinese American, in the Latino culture of the neighborhood, and his expression of his identity as a homosexual man – Piñero was both his collaborator and lover. The latter theme repeats frequency is works – most prominently in images of firemen – along with the sign language.
In contrast to his depictions of the Lower East Side, his paintings of Chinese American people and culture have a more quaint and nostalgic quality, whether illustrating Manhattan’s Chinatown or San Francisco. In these works, we see women for the first time. One particularly prominent piece featured a cheongsam-clad woman reminiscent of the sexually charged images of Asian women from the early 20th century. He did, however, marry his heritage to the contemporary urban world. In the piece shown below (and a much larger companion), the Chinese symbolism and astrology are combined with the brick facade of the urban landscape and an ominous black hole, perhaps a nod to the rising AIDS epidemic that eventually took his life.
(DE) (RE) CONSTRUCT brings together pieces from the museum’s permanent collection around the topic of design. Design covers a lot of territory, and there are pieces that explore both its small and large aspects. Liliana Porter’s Bird, Drawing, Model, Painting, Rip, Hand, 1982 deals with small objects and figures. The start white background gives it a somewhat lonely but simultaneously tender quality.
[Liliana Porter. Bird, Drawing, Model, Painting, Rip, Hand, 1982. Acrylic, pencil, silkscreen, collage. Gift of the artist]
Vito Acconci’s Building Blocks for a Doorway, goes in the other direction by focusing on architecture. The lettering is a fun detail, though, and I leave its interpretation as an exercise to the ready.
[Vito Acconci. Building Blocks for a Doorway, 1983-85. Five color etching. Each half 93 7/8″ x 47 1/4″. Edition of 8]
Acconci’s architectural spoke to me on a personal level, as did the far more minimalist Black Road by Glen Goldberg. Fun with highways…
[Glen Goldberg. Black Road]
And the most minimal of all was Elizabeth Jobim’s Red.
[Elizabeth Jobim. Red]
Transitions: New Photography from Bangladesh brings together works from nine Bangladeshi and Bangladeshi-American photographs to interpret a country that is rapidly changing country that defies many long-held stereotypes. The Bronx happens to be home to a large community of Bangladeshi Americans. Many of the photographs were just portraits and landscapes, as well as some striking similarities with India. On the subcontinent, pointing out the similarities between the two countries would be politically charged, but as South Asian Americans we can freely observe them. Most of the portraits were relatively prosaic, but one that I particularly liked was Arfun Ahmed’s Olympia Burka which featured the artists’ wife and a relative is Muslim does. It a very timely statement given the conversation we are having in this country around Muslim-American identity and prejudice. Plus, it features a cat!
[Arfun Ahmed. Olympia Burka, 2014]
Debashish Chakrabarty’s photographs featuring streaks of light are abstract and energetic. The figures, when visible at all, are very much obscured in the dark background.
The Bronx Museum of Arts has become a regular stop on my visits to New York, and I’m proud to see this institution grow and thrive in the borough to which I am most deeply connected. I look forward to more exhibitions in the future. Dare I even hope to play a show there someday?