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Marcia Bassett & Katherine Liberovskaya

A construction of sounds missed during a period of shifting norms. The piece fills in the eerie silence that hung over the city a year ago. The collusion and randomness of sound encountered, the environment of uncertainty, the imagination, and infinite variables as I moved throughout the city. Liberovskaya's video material was entirely generated on a Sandine vintage video synthesizer (with some Jones modules) during a residency at the Institute for Electronic Arts at Alfred University, NY, in the fall of 2018. Bassett and Liberovskaya have previously collaborated on several occasions for live music with live visuals performances. This is their first fixed video-audio work.


Marcia Bassett is a NYC-based artist whose music explorations have spanned over 3 decades encompassing drone projects; sculptural noise; psychedelic free-form folk; electroacoustic interventions; large improv ensembles, durational performances, and sound & light installations. Working with synthesis, processed field recordings, electric guitar, electronic experimentation and acoustic instruments, she transforms and re-imagines. As a co-founder of Philadelphia’s shambolic psychonauts un and tectonic drone pioneers Double Leopards, Bassett is deeply entwined with the American noise underground and has mapped regions still only dimly understood by subsequent sonic travelers. From 2003-2008, Bassett

joined Matthew Bower in Hototogisu, where her mastery of cacophonous eardrum shred achieved monolithic proportions. Her solo recordings appear on a number of independent USA and European record labels, as well as her own private-press label Yew Recordings. Bassett also co-ran labels Heavy Conversation (1998-2005) and Heavy Blossom (2004-2010). A premier collaboration with Thomas Dimuzio Losing Circles limited edition LP was published Jan 2020, Morning Flare Symmetries, her duo Guitar and Violin LP with Samara Lubelski was released in June 2020 on Feeding Tube Records, and she contributed a track to Buchla Now curated by Todd Barton, on the UltraViolet Light label, 2020. 

Recent solo and collaborative presentations of her work include Drift/Scatter/Settle in collaboration with Nancy Storrow at AIR, Gallery Brooklyn; Social Entropy a 4-channel sound installation as part of Untune’s Social Residency at Human Resources, LA; Out-SIDe PATtern RE-configuration at Issue Project Room, NYC; The Eternal Now, Buchla Music Easel improvisations in collaboration with Ted Gordon,  and Jeffery Perkins on Stroboscopic lights, and Time_UnTime a collaboration with Ursula Scherrer at Roulette Intermedia NYC.


Katherine Liberovskaya is a Canadian intermedia artist based in New York City. Involved in experimental video since the 80's, she has produced numerous single-channel video art pieces, video installations and video performances, as well as works in other media, that have shown around the world. Since 2001 her work predominantly focuses on the intersection of moving image with sound/music in various both ephemeral and fixed forms (projections, installations, performances), notably through collaborations with many composers and sound artists in improvised live video+sound concert situations where her live visuals seek to create improvisatory "music" for the eyes. Frequent collaborators include: Phill Niblock, Dafna Naphtali,

Keiko Uenishi, Shelley Hirsch, Barbara Held, Mia Zabelka, Al Margolis (IF,BWANA), David Watson, among many others. Recent solo projects include: the audiovisual installations "Insular Air-Play" (2017), "Mise-en-Abyme Cu29" (2016), "Rake" (2015-16), "sonimaginations tissulaires" (2014-16), "NoizeBreeze" (201 4-17), "Air-Play" (2013), "Amplifontana" (2012-16) and "Shines" (2008-16) and the intermedia installation "Muidebrugge Wave (Matisse/Haacke Blues)" (2015). Since the late 1980s she has received over 30 grants and arts awards in Canada, U.S.A. and France. Concurrently she curates and organizes the yearly Screen Compositions evenings at Experimental Intermedia NYC since 2005 and, since 2006 the OptoSonic Tea salons (co-curated with Ursula Scherrer) in NYC and various nomadic locations in North America and Europe and lately on-line during the Covid pandemic. In 2014 she completed a PhD in art practice entitled "Improvisatory Live Visuals: Playing Images Like a Musical Instrument" at the Universite du Quebec in Montreal (UQAM).


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