So Audiograft is over for another year. The helium has been returned, and the installations taken down. Glass tubes have been posted back to Japan.
Working as Production Manager was really rewarding and there was great stuff as always, but this time the highlights for me were Arno Fabre‘s ‘Cloche’ (our six-year-olds were fascinated, and thought the moment the bell dropped down and rang was ‘Wow!’), and Sally Golding‘s ‘hacked cinema’ of tampered-with film and projections, visceral, making me feel excited in a way I haven’t quite felt about music/ sound for a while.
But Audiograft is full of highlights, simply because of the range and commitment to experimental work. This year, as well, the ‘audioHEARth‘ ran again at the Oxford Hub, to ‘nurture the social side of Audiograft’, adding an extra dimension, encouraging people to meet and discuss the events and artists, and bringing Audiograft right into the heart of Oxford. Hearing Sally Golding talk about her work as I recovered at the end of the main week with a very large hot chocolate felt like something there should be more of.
Onwards and upwards: next thing is tour managing in France with the Kronos Quartet; I’m looking forward to hearing them play (amongst many other things) my favourite piece written for them, Nicole Lizée’s Death to Kosmische.