Nana April Jun’s audio works have been used in several feature films, dance performances and theatre. Here are some of them:

Year: 2019
Country: US
Feature film: The Education of a Negro
Director: Ryan Culver
Tracks used: Sun Wind Darkness Eye, Process Philosophy

‘The Education of a Negro’ from director Ryan Culver is a feature film inspired by the 2006 FBI Report about white supremacists’ infiltration of US law enforcement.

Year: 2015
Country: Sweden
Feature film: Kim
Director: Tobias Rydin
Tracks used: 8.3 Minutes From the Sun, High and Low and Mid Plane Mass

The feature film ‘Kim’ by filmmaker Tobias Rydin is a raw love triangle about tape and freedom. It’s a story about windmills, megalomania, airplanes, self doubt, BDSM, consent and friendship. The film is a portrait of a complex persons struggle to reclaim her artistic and personal freedom.

Year: 2015
Country: US
Dance Performance: Glitter Faboulous
Choreographer: James Gardella in collaboration with Chris Braz
Venue: The Wild Project, New York
Performed by: James Gardella and Chris Braz
Tracks used: Sun Wind Darkness Eye

Year: 2011
Country: Iran
Film: AT
Director and choreographer: Davoud Zare
Performers: Davoud Zare, Tara Fatehi Irani, Ehsan Abdifar, Amir Hossein Koushyari
Tracks used: The One Substance, Semantic Shift

The performance and film ‘AT’ by choreographer Davoud Zare is a research on creating movements and choreography in the field of contemporary dance. The act of avoiding food deeply influences different levels of the performer’s daily life including his physical, emotional and sensual behaviour and also his thoughts and perception of time. Thus the performer is simultaneously the subject of the performance and also the object of preconditions of the performance.

Year: 2010
Country: UK
Dance performance: A Stream of Waiting
Choreographer: Fortunato Angelini
Venue: Trinity Laban at Bonnie Bird Auditorium. London
Performed by: Susanna Sastro, Vincenzo Capasso
Tracks used: From The Ontology of Noise

‘A Stream of Waiting’ is a piece of choreography created by Fortunato Angelini, which produces movement from a process of abstraction starting from specific subjects. The act of abstraction was the stimulus for the choreographic approaches and the application of video images as the scenographic design. The guideline for the practical research in this work and choreographic implications was the play Waiting for Godot by Samuel Beckett.

On the occasion of its eighth year, Helicotrema is back at Palazzo Grassi and at the Teatrino with new listening sessions inspired by the main themes of Luc Tuymans’ exhibition “La Pelle”.

With sound works by:
Michael Baers, Enrico Boccioletti, Isabella Bordoni, Clarice Calvo-Pinsolle, Budhaditya Chattopadhyay, Department of Ultimology, Sylvia Eckermann and Gerald Nestler, Donato Epiro, Zuriñe F Gerenabarrena, Anton Kats, Gli impresari, Islands Songs, Marcos Lutyens, Lorena Mal, Marzia Migliora, Nana April Jun, Roberto Memoli, Flavio Scutti, Atau Tanaka, Mia Thom, Diego Tonus, Julie Vacher, Mark Peter Wright

More info:
helicotrema.blauerhase.com

Helicotrema 6
Venice 20 – 25 November 2017

_{Photo: Christofer Wallentin}

Nana April Jun
extended view
8.45 min
Recorded in London October 2017

Nana April Jun’s contribution to Helicotrema is a sculptural soundscape made with impulses created by the artist’s cat interacting with effect chained contact microphones. With an interest in alien phenomenology and the interface between actants, the flow of impulses and the decoding that takes place between them, the audio effect chain was set up to experiment with low-end frequencies, depth of field and to set non-linear dynamics and textures into play.

Nana April Jun’s debut album The Ontology of Noise was released in 2009 by the UK-based audio-visual label Touch. Concerned with phase transitions and perceptions of space and time, The Ontology of Noise project researches the material-semiotic properties of noise and its relationship with the sounds of nature by using digitally generated white noise shaped into evolving abstract and cinematic soundscapes that mimic natural phenomena.

Nana April Jun has among other places performed live at Göteborgs Konsthall, Sweden, at the Netmage Festival in Bologna and as an opening act for pop band The Radio Dept. In recent years the project has been on hold while the artist has been concerned with the visual aspects of his practice, focusing on installation and sculpture, using materials like microprocessors, silicone and sand with an interest in the transformation of matter and it’s multilayered connections to variations of itself.

The program will open with a double event hosted on Monday 20 and Tuesday 21 November by Palazzo Grassi – Punta della Dogana at the Teatrino di Palazzo Grassi.

Artists: Monira Al Qadiri, Mohamed Bourouissa, Angus Carlyle, Francesco Cavaliere, Michele Ciacciofera, Caroline Claus, Enrico Coniglio, Viv Corringham, Pauline Curnier Jardin, Stefano D’Alessio, Nicola Di Croce, Donato Epiro, Gaia Formenti, Rene Gabri and Ayreen Anastas, Nana April Jun, Hassan Khan, Marcos Lutyens, Daisuke Nakajoh, Maurizio Nannucci, Camille Norment, Bianca Pitzorno, Anna Raimondo, Simon Ripoll-Hurier, Lina Selander, Alberto Toso Fei, Enrico Vezzi, Giulia Vismara, James Webb, Hildegard Westerkamp, Samson Young.

Curated by Blauer Hase and Giulia Morucchio.

Objects are pushed through their physical breaking points and mixed with the raw materials they consist of. These mixtures are then casted and variations are displayed next to each other, attached to each other and reconfigured again.

In this performance / installation by Nana April Jun, folding, rolling, cascading and crushing are modes of making that are both bodily and geological, and the careful mixing and re-staging of parts create a fluid sense of narrative that explores issues of control. A network of objects with an entropic nature that oscillates between an understanding of matter and image.

These processes that the artist is carrying out, act as impulses through contact microphones into complex chains of audio effects. This create an abstract soundscape that is part visually synced to the work that is carried out and partly invisible – delayed, repeated, smeared out – through the impulses inner dynamics in the effect chain field. It is a process of revealing the integrity of something without resorting to representation, but rather a type of realism.

Left in the room in the form of an object based installation, is the residue of the performance.

Performance 09 Dec 2016  19.00
Installation 2016 12 10 – 2016 12 16 by appointment only
RCA Woo building
London SW11 4AY

Helicotrema is a festival that presents a program of recorded audio pieces, that aims to investigate different forms of collective listening, inspired by the early decades of radio broadcasts. Helicotrema borrows the format of the film festival, replacing the film screening with a program of listening sessions.

Artists involved in Helicotrema 2016: Oren Ambarchi, Meris Angioletti, Simona Barbera, David Bernstein / Jokūbas Čižikas, Francesco Bertocco, Cecilia Borettaz, Roberta Busechian / Christoph Szalay, Budhaditya Chattopadhyay, Viv Corringham, Robert Curgenven, Stefano D’Alessio, Roberta Durante, Stefano Faoro, Lucia Farinati, Roberto Fassone, Francesco Fonassi, Louise Hervé & Chloé Maillet, Nana April Jun, Hassan Khan, Petri Kuljuntausta, Giovanni Lami, Brandon LaBelle, Goshka Macuga, Alex Martinis Roe, Abinadi Meza, Rabih Mroué, Antoni Muntadas, Matteo Nasini, Emeka Ogboh, Beatriz Olabarrieta, Roberto Paci Dalò, Fabrizio Perghem, Steve Peters, Olivia Plender, Anna Raimondo, Caterina Rossato, Bernhard Rüdiger, Davide Savorani, Caterina Erica Shanta, Sláva Sobotovičová, Hristina Tasheva, Venturi & Vasiljević, Enrico Vezzi.

Curated by Blauer Hase and Giulia Morucchio

http://helicotrema.blauerhase.com/
http://helicotrema.blauerhase.com/nana-april-jun/

Nana April Jun is part of Touch. 30 Years and Counting together with Oren Ambarchi, Fennesz, Eleh, Hildur Gudnadottir, Chris Watson, Biosphere and others.

Touch. 30 Years and Counting
CD – 4 tracks – 70:16
Edition of 1000 oversized digifiles

4 tracks – DLP – 70:16
Gatefold full colour sleeve with black inners
Limited edition of 1000

Compiled, edited, mixed and produced by Mike Harding & Jon Wozencroft
Mastered by Denis Blackham at Skye, 26th October 2012

Tracklist:

1 – 16:58

Touch 33 – Pont Saeson
Fennesz – 55 Cancri e
Bruce Gilbert – Apis
Rosy Parlane – Awhitu
Oren Ambarchi – Merely A Portmanteau

2 – 17:15

The Book Depository
ELEH – Over Woven
BJNilsen – The cackle of dogs and laughter of death
Nana April Jun – High And Low And Mid Plane Mass
3 – 18:14

Chris Watson – Brussel-Nord
Mika Vainio – Erstwhile
Carl Michael von Hausswolff – Cleansing of the Cruel Tyrants Chamber
Jana Winderen – In a Silent Place

4 – 17:49

Philip Jeck – Saint Pancras
Francisco López – untitled#286
Z’EV – the inreadables
Hildur Gudnadottir – Just This Senescent
Biosphere – Gryfici

“30 years and counting is an echo of a time when the world was in a critical condition, and potentially about to blow itself into oblivion at the tail end of the Cold War. As such the title is a wry reflection on the situation we find ourselves in today, where the final curtain is less likely to close, but the stakes somehow seem to be more extreme and polarised than ever.

As far as Touch is concerned, it is an expression of our youthful relationship to the work. Mike Harding and Jon Wozencroft invited each of the Touch artists to contribute a glimpse of their current practice to what is effectively a group show rather than a compilation. The brief was not only to celebrate a situation, but to remind each other why we are doing it, and make a kind of documentary realism.

Some artists responded quickly with significant twists and returns to their signature sound and others left it to the last minute. The net result was that Mike and Jon mastered the LP/CD more or less as live performance in the cutting room, Transition, as an expression of the vitality of the project rather than some pre-ordained historical item.

The history is built into the cover with two images of the first computer, the ‘Colossus’, built in Bletchley Park during the early 1940s as a means of cracking the Enigma codes… Here the pressure of time is at its most compressed. Two contra-punctal images were shot only recently, backstage moments of Touch 30 situations which as historical events, pale in comparison – they are just personal, memories in a flash.

30 years and counting is a filmic/time-based response from a collective of artists who have made a distinct impression on contemporary music and the way things go. Fennesz, Eleh, Hildur Gudnadottir, Chris Watson, Philip Jeck, Biosphere… We should really list everyone. That’s what they try and do on hip-hop albums.

We started with cassettes; this project commenced as a dedication to vinyl rather than digital, a question concerning the art of recording. 30 years and counting is a manifesto after all these transformations. It is available on CD and download. The vinyl flares with the crackle of the present.” Jon Wozencroft, November 2012

Concert | Le Théâtre de la cité internationale (avec la complicité de Kongfuzi) présente:

NANA APRIL JUN
Feb 5, 2011

En concert, NANA APRIL JUN propose une expérience auditive assez unique, plongeant le spectateur dans le noir complet. Un artiste rare dont ce sera la première venue en France. A ne rater sous aucun prétexte.

Réservation en ligne www.theatredelacite.com, au téléphone ou sur place, du lundi au samedi de 14h à 19h : 01 43 13 50 50
Tarif concert seul : 14€ / 10€
Tarif soirée événement : 26 € / 21€ / 14 €
Hauts Cris (miniature) et concert Nana April Jun

Nana April Jun will open for Swedish pop band The Radio Dept at their show in Stockholm (Strand), Sweden, December 4,
…and in Lund (Mejeriet), Sweden, December 15, 2010

Full Pull Festival

Nana April Jun (SE), Demdike Stare (UK)
Live Saturday Oct 2, 20–23. Caroli Church, Malmö, Sweden

also part of the Full Pull 2010 program: Atom™, Carl Michael von Hausswolff, Johannes Heldén, Alvin Lucifer, Kaffe Matthews, Rafael Rozendaal, Janek Schaefer, Wildbirds & Peacedrums, among many others.

Nana Apri Jun will be part of Göteborg Art Sounds 6th GAS-festival. The theme for this year is Burning.

Artists performing are: Aidan Baker, Alexander Berman & Richard Widerberg, Amy Knoles & Michael Sakamoto, Andreas Gedin, Ann Ighe, Anna Westberg & Joel Brindefalk, Axel Dörner/Werner Dafeldecker/Sven-Åke Johansson, Batagraf, Blood Stereo, Brösarp, Christiam Wallumrød Ensemble, crWth, Danny Saul, Dror Feiler & Gunilla Sköld-Feiler, Duo EN.D.E, Dylan Nyoukis, Erik Gandini, Esther Shalev-Gertz, Forty Fingers, Franck Vigroux Trio, Fredrik Nyberg, Hans Appelqvist med band, Iraqi Bodies, Isabell Schierenbeck, Jana Winderen, Jasper TX, Joakim Forsemalm, Johan G. Winther (Tsukimono), Johannes Anyuru, Jørgen Johansen, Kajsa G Eriksson, Karin Blixt, Karin Flodhammar, Karin Johansson, Keith Rowe/Kjell Bjørgeengen/Streifenjunko, Lena Dahlén, Lena Ulrika Rudeke, Liondialer, Lisa Ullén & Nina de Heney, Magnus Bärtås, Maja Hammarén, Malin Kling, Marie Kretz, Master Musicians Of Bukkake, Michelle Collins, MonoMono, Nana April Jun, Norrbotten NEO, Otto von Busch, Palle Dahlstedt, Papegojan som krympte, Paul Schütze & Simon Hopkins, Per Anders Nilsson, Phill Niblock & Thomas Ankersmit, Renzo Aneröd, Saralunden feat. Steven Cuzner, Seasons (pre-din), Sewilius Berg, Sigrid Strömgren, Simon Ohlson, Sonanza, Stefan de Vylder, Sten Sandell, Svarte Greiner, Syna Outtara, Tanya Tagaq, The Moth, Tina Carlsson, Tony Blomdahl, Twice A Man, UKON, Ulf Friberg, USIT, Valby Vokalgruppe, William Basinski, World Domination

GAS-Festival 5-9 May 2010
www.gas-festival.com/en

NETMAGE.10
21-23 January 2010

10th edition
Palazzo Re Enzo
Piazza Nettuno, Bologna
Italy

The tenth edition of the Netmage festival (Bologna, 21, 22, 23 January 2010) will present contemporary audiovisual research featuring live media, live cinema, concerts, performances, sound and visual installations in the historical castle of Palazzo Re Enzo.

Netmage festival was conceived and created by Xing, a cultural network operating in Italy and abroad, with the purpose of planning, supporting and promoting products and events characterized by an interdisciplinary approach toward the issues of contemporary culture.

Artistic direction: Daniele Gasparinetti, Andrea Lissoni.
Performing Arts: Silvia Fanti.
International Live−Media Floor: Lino Greco, Riccardo Benassi.

Featuring: Rachida Ziani/Dewi de Vree (F/NL), Francesco Cavaliere/Marcel Türkowsky (I/D), Harappian Night Recordings (UK), The Hunter Gracchus (UK), Lee Hangjun/Hong Chulki (KR), My Cat Is An Alien (I), Ectoplasm Girls (S), The Magic State (S), Be Maledetto Now(I), Richard Lainhart (USA), Cluster (D), Canedicoda (I), Nassa (Nadav Assor/Surabhi Saraf) (USA), Andrê Gonçalves (P), Es (Fin), Margareth Kammerer/Andrea Belfi/Stefano Pilia/Daniela Cattivelli/Michaela Grill (I/D/A), Carlos Casas (E), Vincent Dupont (F), Nana April Jun (S), Aaron Dilloway (USA).

www.netmage.it/2010/

***This album was voted in Boomkat’s Top 20 of 2009***

LP Vinyl only – not available for digital download
Limited edition of 1000
Packaged in a tip-on style outer sleeve

Artwork & Photography: Jon Wozencroft
Cut by Jason at Transition

Track listing:
Side 1: Eleh – Slow Fade for Hard Sync 21’35”
Side 2: Nana April Jun – Sun Wind Darkness Eye 12’45”

“Sun Wind Darkness Eye” is taken from the Nana April Jun album The Ontology of Noise [Touch # Tone 37, 2009]

About 18 months ago, we were advised of some interesting activity online concerning the nom de bruit of Swedish artist Christofer Wallentin, Nana April Jun; we didn’t know it at the time, because the authorship was something of a mystery. We produced a CD together, The Ontology of Noise in Feb 2009, in which one track, particularly, stood out as being perfect for a vinyl edition.

In the same timeframe, the stream of releases by Eleh on Important Records attracted our attention. These homages to La Monte Young, Pauline Oliveros and Charlemagne Palestine, vinyl-only limited editions stunned us with their acuity and passion for detail… There was something other in the sound. Eleh, also, is an artist who prefers the work to speak for itself, and has other ideas about noise. The digital is questioned by a commitment to a working practice based around analogue tone-generators and letterpress printed covers. The Important Records/Taiga releases are now sought after with a passion by anyone who recognises something truly special occurring. On this new record, Eleh develops the waveforms that the Important Records series started.

The split vinyl format is a great meeting point for this idea of digital persona and analogue privacy. The effect, we hope, is for the vinyl to represent a digital question… That this LP summons up a universal sound and an intimate sphere of operations… Which is of course a continuing dilemma. Here is a great opportunity to hear Eleh and Nana April Jun at their finest.

http://importantrecords.com/artist/eleh

Nana April Jun live performance 090504 at Göteborgs Konsthall, Sweden
Also Performing: Jasper TX, Dead Letters Spell Out Dead Words

**A collection of reviews can be read here

Nana April Jun – The Ontology of Noise
Touch # Tone 37
5 Tracks – CD – 36:40

Photography & Design by Jon Wozencroft

Track Listing:

1. The One Substance
2. Process Philosophy
3. Space-Time Continuum
4. Semantic Shift
5. Sun Wind Darkness Eye

Mastered by Denis Blackham

The Ontology of Noise researches the dark associations of post-black metal. No traditional instruments are used on the album and all techniques are digital in their application. There are almost no arrangements or layers, but the pieces consist of single streams which change intuitively. This makes The Ontology of Noise a concrete journey through an abstract language evolving around light and darkness, nature and artificiality, and sometimes even takes the form of a sound very similar to an electric guitar…

The Ontology of Noise explores the filmic qualities of noise – the image-creating mechanisms that arise almost hallucinogenically from subtle variations of frequencies. By using a special set of digital mastering and filtering techniques, the recordings often sound very much like the sounds of nature; wind in trees and water. The Ontology of Noise opens up an audial perception for these sounds of nature and ask questions about their ontology…

ref: Burzum’s Filosofem

with thanks to Annika von Hausswolff
Cover art: Jon Wozencroft

Buy The Ontology of Noise in the TouchShop
Buy as mp3 or FLAC on Boomkat