Shows | Page 13 of 53 | Performance Space New York

A Memorial for Catherine Christer Hennix (1948-2023)

Blank Forms and Performance Space New York present a commemorative day-long program honoring the life and practice of Catherine Christer Hennix (1948-2023). Marking nearly a year since Hennix’s passing, this memorial program offers an opportunity for friends and admirers to experience a large-scale realization of her final sound work, Kamigaku, and reflect on her life and work.

For this memorial program, members of Hennix’s ensemble—Ellen Arkbro, Amir ElSaffar, Mattias Hållsten, Marcus Pal and Amedeo Maria Schwaller—will present Kamigaku in her absence, following the sonic ideals and performance practices that she specified. The structure of the long-form presentation will abide by a principle of ethics that Hennix had formulated and committed to already in her 1976 realization of Chagaku: that musicians should be allowed unrestricted space and time for them to be able to play (only) when they feel inspired and (only) for as long as they feel inspired. Part of what this meant for Hennix is that no predetermined performance schedule should be given, since the forms of attention and inspiration required for playing can not be scheduled in advance. Therefore, as per Hennix’s wish, the space will function as a sound environment throughout the day-long program, an environment in which Kamigaku will be heard only occasionally, and when occasionally subsiding the space will be considered a space for sustained sonic contemplation while we all await the next wave.

Growing up in a vibrantly musical context in Stockholm, Sweden, Catherine Christer Hennix spent her formative years immersed in modal music, attending concerts by John Coltrane, playing jazz drums, and learning trumpet from Idrees Sulieman. In parallel to developing a rich practice as a musician, poet, and visual artist, Hennix obtained an advanced degree in mathematical logic, which would later lead her to do substantial work on ultrafinitist mathematics with Alexander Esenin-Volpin. Hennix wrote poetry and extensive philosophical prose on the ontology of being and the nature of subjectivity, blending Parmenidian metaphysics, topos theory, Brouwerian intuitionism, Japanese aesthetics, Lacanian psychoanalysis and Sufi notions of monism and divine love.

As a composer and sound artist, Hennix was part of the downtown school of sustained harmonic sound and was closely engaged with some of its key figures such as La Monte Young and Henry Flynt. For years, Young and Hennix worked collaboratively on developing and refining Young’s theories of the harmonic ordering of continuous composite waveforms, while Flynt became both a musical collaborator and life-long philosophical interlocutor. Following the advice of Young, Hennix started learning from Pandit Prān Nāth, a renowned vocalist from the Kirana tradition of classical Hindustani music, which further deepened her understanding of sound as a path to contemplative transcendence. Through her relationship to Prān Nāth, Hennix was introduced to Sufism—first in the Chishti Order, and later when taking hand with Sheikha Fariha in the Nur Ashki Jerrahi Order—and was dedicated to its practice from then on. Hennix formally converted to Islam before relocating to Istanbul, where she spent the final years of her life.

In the early ’70s, inspired by Young and Terry Jennings’s use of precisely-tuned reeds and harmonically distorting amplification in Pre-Tortoise Dream Music, Hennix formed her Stockholm-based ensemble The Deontic Miracle, wishing to develop ways to maximize the psychophysical impact of combination tone harmony. In 1976, as part of their seminal 10-day presentation at Moderna Museet in Stockholm, the Deontic Miracle premiered Chagaku, Hennix’s collection of works of high-intensity combination tone harmony for justly tuned renaissance oboes, the Chinese mouth organ sheng, and precision-controlled harmonic feedback distortion. Almost 50 years after what became both the first and last public presentation of the Deontic Miracle, Hennix formed a new ensemble which would revisit the aesthetics and ethics of perception that had motivated her early work. Her composition, Kamigaku, featured a new instrumentation centered around the Japanese mouth organ shō and expanding onto a section of trumpets and a refined system for combination tone distortion. Kamigaku was Hennix’s primary focus as a composer and musician in the last two years of her life. Through long periods of rehearsal and a total of ten public presentations, she developed and refined the composition in close connection with her ensemble.

Hennix’s own words about Kamigaku, as read out loud to her ensemble before her penultimate performance:

Kamigaku is a practice of sound which seeks to mediate and draw out the presence of sound’s transformative agency of non-cognitive, enhanced synoptic activities when initiated by certain families of intervals, which are made to live together in a continuous, distributed composite sustained sound waveform in an enclosed designated space. Kamigaku opens up this enclosed space to the audible harmonic spectra that are present by calling on the generating frequencies one at a time using its instruments’ (shō, trumpet) capacity for precision intonation. The establishment of a generating frequency takes place by a gradual process of interiorizing the gradient of its exact frequency, which is being probed by the fundamental frequency of the instrument being activated for this prehistoric interval formation. This process is characterized by a gradual diminishing of mind’s cognitive faculties, while its non-cognitive faculties become increasingly occupied once the probing frequency locks on to the concurrent generating frequency, the combined effect of which results in a resonance phenomenon by which mind becomes enveloped by its interior by a vibrational dynamics which feeds forward what it feeds back, forming a conjugate pair between sound and mind’s total attention and submission to the former.”

Icons

 
First Mondays invites our communities to experience readings of unpublished works and works in progress by an intergenerational group of vanguard writers. This season we continue to gather over free drinks in our theaters to hear writers discuss what’s on their mind and get a glimpse of the future of literature.
 
For more than 5 years, First Mondays has brought readers and writers together to celebrate the written word from diverse perspectives and genres, all for free.

The Art of Precision and Imagination

 
First Mondays invites our communities to experience readings of unpublished works and works in progress by an intergenerational group of vanguard writers. This season we continue to gather over free drinks in our theaters to hear writers discuss what’s on their mind and get a glimpse of the future of literature.
 
For more than 5 years, First Mondays has brought readers and writers together to celebrate the written word from diverse perspectives and genres, all for free.

A Special Evening with

 
First Mondays invites our communities to experience readings of unpublished works and works in progress by an intergenerational group of vanguard writers. This season we continue to gather over free drinks in our theaters to hear writers discuss what’s on their mind and get a glimpse of the future of literature.
 
For more than 5 years, First Mondays has brought readers and writers together to celebrate the written word from diverse perspectives and genres, all for free.

Palabre/s en mode marron & Rite de passage || solo 2

Symposium: Palabre/s en mode marron

The Neilma Sidney Theatre
December 6 – 7 | 12pm
Free with RSVP

Performance: Rite de passage || solo 2

The Keith Haring Theatre
December 6 – 7 | 7:30pm
Tickets

 

Artist Bintou Dembélé presents Palabre/s en mode marron, a gathering of artists, academics, activists, and more with connections to Paris and the French West Indies. This program will feature a day of exchanges and encounters with conversations, film screenings, readings, DJ sets, and workshops, culminating in a dance performance by Dembélé, performed by Michel “Meech” Onomo. Palabre offers a dedicated space for artists’ voices, conflict resolution and community engagement while cultivating diasporic exchange among scholars, stakeholders, and activists. Working collaboratively with Performance Space and L’Alliance New York to bring communities together, Dembélé demonstrates the multifaceted nature of performance.

 

Dembélé’s work explores ritual and corporeal memories, interrogates gender dynamics, and addresses both individual and collective wounds of the past. Palabre/s is an iteration of a series she has presented several times in the past, which, with the blessing of the Bushnengue elders of French Guiana, allowing her to invent a ‘Maroon Dance,’ a memory of marronnage – of descendants of Africa, the Americas and the Caribbean who created new, free societies on the margins of slavery and colonization.

 

As part of the invitation, Bintou Dembélé also presents a movement-based work, Rite de passage || solo 2, that ends each day and blends together this ritual practice of palabre with the essence of Hip Hop. They assume the role of MC and orchestrate the flow of speech within the space, inviting vulnerability and fragility and enabling participants to find common ground and collectively reimagine new narratives. As an artist, Dembélé unearths the memories buried in bodies, souls and minds, as a living archive of another point of view on histories of French enslaved people and colonial histories more generally.

 

Friday, December 6
 

Arrivals and Welcome
12:30 – 1pm, Open Room; Keith Haring Theater

Palabre 1: With Mawongany, Audrey Célestine, and Bintou Dembélé
1 – 4pm, Keith Haring Theater

Film Screening and Conversation: Here Ends the World We’ve Known with Anne-Sophie Nanki
4:30-5:30pm, Keith Haring Theater

Dinner and Discussion with BEM Books
5:30-7pm, Open Room / Neilma Sidney Theater

Performance: Rite de passage || solo 2
7:30 -8:30pm, Keith Haring Theater
 
Saturday, December 7
 

Arrivals and Welcome
12-12:30pm, Open Room; Keith Haring Theater

Palabre 2: With Stefanie Batten Bland, nora chipaumire, and Bintou Dembélé
12:30 – 2:30pm, Keith Haring Theater

We The Youth – Keith Haring Lecture with mayfield brooks
2-3pm, The Neilma Sidney Theater

Palabre 3: With Mame-Fatou Niang and Bintou Dembélé
3-4pm, Keith Haring Theater

Film Screening: Vanille
3:30-4pm, The Neilma Sidney Theater

Palabre 4: With C Riley Snorton and Bintou Dembélé
4-6pm, Keith Haring Theater

Performance: Rite de passage || solo 2
7:30 -8:30pm, Keith Haring Theater

DJ set and dance party with UBABU
8:30-10:30pm, Keith Haring Theater

 

This project is co-presented by L’Alliance New York, as part of Crossing The Line Festival.

About L’Alliance New York

L’Alliance New York is an independent, not-for-profit organization committed to providing its audience and students with engaging French language classes and audacious multi-disciplinary programming that celebrates the diversity of francophone cultures and creativity around the world. A welcoming and inclusive community for all ages and all backgrounds, L’Alliance New York is a place where people can meet, learn, and explore the richness of our heritages and share discoveries. L’Alliance New York strives to amplify voices and build bridges from the entire francophone world to New York and beyond.

About Crossing The Line Festival

Crossing The Line is a citywide festival that engages international artists and New York City audiences in artistic discovery and critical dialogue to re-imagine the world around us. Crossing The Line is produced by L’Alliance New York in partnership with leading cultural institutions.

All rights reserved by Performance Space New York
Skip to content