Listening Party

Event Archive

Listening Party

Hannan Jones, Sgàire Wood, Lydia Davies and Yulia Carolin Kothe

Yulia | Julia Carolin Kothe is an artist working between Glasgow and Frankfurt am Main. Her practice moves between sculpture, film, sound, writing, installation and performance, often responding to archival material, feminist theory and personal and oral histories. Through forensic expansion of these materials, Kothe creates new sites, both digital and physical, glitching fictional or often partially-remembered environments that seek to configure new relational and temporal experiences. She regularly works collaboratively, recently undertaking a residency at CCA Creative Lab with Lisa Fabian exploring uncatalogued recorded material from the CCA and Third Eye Centre archives. Recent works have been shown at Neuer Kunstverein Mittelrhein, Neuwied (2023), French Street, Glasgow (2023), Rosa Stern, Munich (2022), Kunsthalle Mainz (2021), Queens Street Studios, Belfast (2021), POKY – Institute of Contemporary Art, Mainz (2020), ATLETIKA Gallery, Vilnius (2020), mañana bold, Offenbach/Main (2019) and Frankfurter Kunstverein (2018). She has participated in residencies at Glenkeen Garden Residency, Crespo Foundation in Frankfurt am Main and West Cork, Ireland (2023) and Hospitalfield, Arbroath (2021/22). Kothe has completed Masters degrees at both Glasgow School of Art and Kunsthochschule Mainz.

‘Poltergeist or some scene else’ is an essayistic live performance by Yulia Carolin Kothe that takes the Barras Market’s (Glasgow) syntax of artefacts as a starting point for creating an expanding and ever-evolving tableau of intense, uneasy acousmatic atmospheres. The conspicuous and omniscient narrator takes the listener on a rambling walk through the Barras entering private and public spaces, a remote cottage and various ambivalent territories home to disembodied voices and close up traces of life like a wet ring of a coffee cup just plucked from the scene.

This new piece is rich and heavy in material. Kothe’s own electronic compositions are juxtaposed with re-articulated local oral histories, chopping up DIY recordings on cassettes purchased from the Barras Market, and combining with avantgarde German poems by Elsa von Freytag-Loringhoven (1874–1927), Thekla Lingen (1866-1931), Karoline von Günderrode (1780-1806) and Anna Ritter (1865–1921).

Centring the figure of the Poltergeist, Kothe explores the etymological possibilities of the word as a ghost responsible both for unruly physical disturbances and moving objects — ‘Genstände bewegen’ in German — which could be understood as ‘moving forward with a subject’, e.g. the suggestion of an unconventional idea. In this sense, the live performance lingers like a poltergeist, making metaphorical and geographical suggestions then playfully pulling out the chair from underneath you just at the last moment.

Hannan Jones has a research-led practice that deep dives into concepts of hybridity, rhythms, and psychogeography in response to cultural and social migration. Jones practises at the intersections of sound, sculpture, installation, and moving image. Recent presentations include: Counterflows, Glasgow (2023); Edinburgh Art Festival (2022); Sonica, Glasgow (2022); Well Projects, Margate (2022), New Radicalisms, Rotterdam (2022).

For the Listening Party, Hannan’s commissioned sonic landscape Blue Grey Haze will take an improvised approach. The piece centres sound in and around the locked groove ?, which serves as a rhythmic foundation that unfolds progressively and cyclically returns. Blue Grey Haze underpins compositions, poems and research elements, field recordings, and collected audio materials that undergo deliberate sonic shifts, amplifying the sense of constellations whilst sitting in a state of flux bound by the locked groove.

Initially, through her broadcast on Clyde Built Radio in June, Hannan explored Scannell’s concept of “the doubling of place”, the notion that radio listeners occupy two places simultaneously—the physical place where the event unfolds and the subjective place where they engage with the listening experience––embracing a non-linear approach, sitting with time as a fluid and subjective entity.

In this live setting, Hannan will work with samples, speech and delay, expanding noisily on the concept of the locked groove as a cyclical return, the abstraction of sound, oscillating currents between the personal and political, and the technical instrument: the radio.