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Selectors

Maud Seuntjens
Maud Seuntjens is Artistic Coordinator at Musica, Impulscentre of Music and Klankenbos.
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Jana Winderen
Jana Winderen is an artist with a background in mathematics, chemistry and fish ecology.
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Gilles Helsen
Gilles Helsen is Artistic Coordinator at Musica and Klankenbos, Europe’s largest collection of sound art in the public space.
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Chris Watson
Chris Watson is one of the world’s leading recorders of wildlife and natural phenomena.
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Guto Roberts
“I think the Soundlands project is very interesting. Many people come to Cwm Idwal to enjoy the peace, but once you begin to ‘really’ listen, this mountainous area has all kinds of interesting sounds. I’m looking forward to hearing how the artists interpret the sounds in Cwm Idwal as well as those in nearby Bangor.”
I am responsible for this National Nature Reserve in my role as the Cwm Idwal Partnership Officer. My duties include maintaining the Cwm’s landscape and encouraging its sustainable use and management.”
News from Cwm Idwal and the Ogwen
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Ceri Hand
“I am delighted to be a judge for Soundlands, which is a great sound art commissioning initiative. It’s always great seeing and hearing new work by artists, so I am looking forward to the selection process and then seeing the outcomes of the artists selected to make new installations”.
Ceri Hand has over twenty five years’ experience of working in the art world, having held positions including Associate Consultant, Contemporary Art Society (current); Director of Ceri Hand Gallery, London; Director of Metal, Liverpool; Director of Exhibitions, FACT, Liverpool; Deputy Director of Grizedale Arts, Cumbria and Director of Make, London. She has curated over 70 exhibitions and over 150 events.
Ceri has developed many artists projects and supported artists exhibiting nationally and internationally, from the 55th International Art Exhibition – la Biennale di Venezia 2013; MUDAM, Luxembourg to Camden Art Centre, London and Bonn Kunstverein, Germany. She was a contributing curator to Liverpool Biennial in 2004 and 2006 and also contributed programme for Liverpool’s Capital of Culture in 2008.
She has a track record of fundraising and selling artists work to international private and national public collections, including Arts Council Collection, Government Art Collection, Tate, The Whitworth Art Gallery, Leeds City Art Gallery and most recently has negotiated a major body of work by Mel Brimfield for Lancaster Institute of Contemporary Arts and The Harris Museum, supported by Art Fund.
Ceri is frequently called upon to provide mentoring for individual artists, including organisations such as Artquest/Bloomberg New Contemporaries; Manchester Metropolitan University, the Photographers Gallery, London and the New Art Gallery, Walsall. She is a Visiting Lecturer and Tutor, having delivered numerous studio visits, crits and lectures at various institutions including Wimbledon College of Arts, London; Central Saint Martins, London; UCLAN, Preston and Sotheby’s, London.
She has served on the boards of a number of organisations, including most recently Made in Arts London, UAL; Malgras Naudet, Manchester; Eastside Projects, Birmingham; Open Eye Gallery and Tate Members Committee, Liverpool.She has acted as a judge and selector for many panels, prizes and open exhibitions, including the Exeter Open, Shoosmith Arts Prize, Creekside Open, Catlin Art Prize and Kinsale Arts Festival.
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Annea Lockwood
“In 2012 I had the great experience of working with Soundlands and Bangor Sound City to present one of my Piano Transplants, Piano Burning, an event which was imaginatively organized and beautifully documented, so I am delighted to once again be working with Soundlands, this time as a selector. I am a composer and sound artist with a particular focus on natural environments and sites such as Soundlands proposes for two art-works, in Bangor and Cwm Idwal. Site-specific work is particularly valuable I feel, having the potential to make both artist and visitor deeply aware of a particular environment at a time when that sensitivity is crucial.”
Born in New Zealand in 1939, Annea Lockwood moved to England in 1961, studying composition at the Royal College of Music, London, attending summer courses at Darmstadt and completing her studies in Cologne and Holland, taking courses in electronic music with Gottfried Michael Koenig. In 1973 feeling a strong connection to such American composers as Pauline Oliveros, John Cage, the Sonic Arts Union (Ashley, Behrman, Mumma, Lucier), and invited by composer Ruth Anderson to teach at Hunter College, CUNY, she moved again to the US and settled in Crompond, NY. She is an Emerita Professor at Vassar College.
During the 1960s she collaborated with sound poets, choreographers and visual artists, and also created a number of works such as the Glass Concerts which initiated her lifelong fascination with timbre and new sound sources. In synchronous homage to Christian Barnard’s pioneering heart transplants, Lockwood began a series of Piano Transplants (1969-82) in which defunct pianos were burned, drowned, beached, and planted in an English garden.
During the 1970s and ’80s she turned her attention to performance works focused on environmental sounds and life-narratives, often using low-tech devices such as her Sound Ball, containing six small speakers and a receiver, designed by Robert Bielecki for Three Short Stories and an Apotheosis, in which the ball is rolled, swung on a long cord and passed around the audience. World Rhythms, A Sound Map of the Hudson River, Delta Run, built around a conversation she recorded with the sculptor, Walter Wincha, who was close to death, and other works were widely presented in the US, Europe and in New Zealand.
Since the early 1990s, she has written for a number of ensembles and solo performers, often incorporating electronics and visual elements. Thousand Year Dreaming is scored for four didgeridus, conch shell trumpets and other instruments and incorporates slides of the cave paintings at Lascaux. Duende, a collaboration with baritone Thomas Buckner, carries the singer into a heightened state, similar to a shamanic journey, through the medium of his own voice. Ceci n’est pas un piano for piano, video and electronics merges images from the Piano Transplants with Jennifer Hymer’s musings on her hands and pianos she has owned, her voice being sent through, and colored by the piano strings.
Other recent work includes Vortex commissioned by Bang on a Can for the All-Stars; a surround-sound installation, A Sound Map of the Danube; Luminescence, settings of texts by Etel Adnan for Thomas Buckner and the SEM Ensemble; Gone! in which a little piano-shaped music box, attached to 20 helium balloons, is released from a concert grand and floats off over the audience playing, in one case, Memories. Jitterbug, commissioned by the Merce Cunningham Dance Company for the dance eyeSpace, incorporates Lockwood’s recordings of aquatic insects, and two improvising musicians working from photographs of rock surfaces. Poems by three of the prisoners in Guantanamo Bay are the focus of In Our Name, a collaboration with Thomas Buckner for baritone voice, cello and ‘tape’.
Much of her music has been recorded, on the Lovely, XI, Mutable, Pogus, EM Records (Japan), Rattle Records, Soundz Fine (NZ), Harmonia Mundi and Ambitus labels. She is a recipient of the 2007 Henry Cowell Award.
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Janek Schaefer
“I love the contrasting settings for the two commissions… Hectic Streetscape vs Majestic Landscape. Truly inspiring… so I recommend you propose a nifty idea for each site and see which one wins ! … Go for it … Explore your ideas, as Deadlines Rule… Press Go go. We look forward to finding out your thoughts…”
Professor Janek Schaefer was the British Composer of the Year in Sonic Art in 2008. He is renowned for his concerts and installations that ‘explore the conceptual, emotional and spatial aspect that sounds can evoke in site specific situations’. Sound is space and that creates our sense of place.
He is the holder of two Guinness World Records, and has toured widely throughout Europe, USA, Japan, played at The Sydney Opera House, and released over 25 albums.
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J Milo Taylor
J Milo Taylor is an artist, musician, producer and researcher whose interests include site-responsive installation, interactive robotics, sound art, multimedia environments, improvisation and performance.
His work has been shown internationally and he maintains a commitment to interpersonal, intercultural and intermedial exchange as productive of original and context-specific creative outcomes.
Milo is currently Senior Lecturer Digital Music & Sound Art at University of Brighton.
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