lilithlithlithlithlithlith: through spiral upon spiral of the shell

Description:

While in residence at Western Front, Elisa Ferrari developed lilithlithlithlithlithlith, a multimodal sound-based research and performance project that considered the complex interrelation of land use history, power infrastructures, and daily life. lilithlithlithlithlith: through spiral upon spiral of the shell was a roving performance informed by the actions, events, and collaborations that took part during Ferrari’s residency. Beginning in the centre of the Grand Luxe Hall, the performance featured movement, costumes, and sound to make audible a range of energetic phenomena in the Mount Pleasant neighbourhood as reconfigured through practices of deep listening. 

As part of lilithlithlithlithlith, Ferrari collaborated with Leah Weinstein to design a set of costumes capable of electromagnetic sensing. With electronics by Victor Mazon Gardoqui, the black and silver garments were embedded with copper antennas that could collect and transmit electromagnetic frequencies. These costumes were worn by performers Gabi Dao, Michelle Helene Mackenzie, and S F Ho, who conducted frequencies from various objects and the room itself. Other sounds heard throughout the performance were a combination of field recordings using custom made systems for electromagnetic listening, and emissions captured live at Western Front. During the performance, Ferrari interpreted, managed, and enhanced the audio using a controller to trigger samples, as well as the modulations emitted by the costumes. 

through spiral upon spiral of the shell unfolded against a projection of images generated in response to the locations, events, and prompts of Ferrari’s ongoing project. The performance concluded with a procession from the Grand Luxe Hall to Coast Mountain Bus Company Substation adjacent to Western Front, where Ferrari and the performers continued to conduct the frequencies emitted from the power site. 

Project assistance was provided by Emma Metcalfe Hurst, with technical support from John Brennan and Ben Wilson. 

Presented with support from the British Columbia Arts Council, and the Canada Council for the Arts.

Curated by Allison Collins.