marlo de lara

Cultural Studies. Psychosocial Studies. POC Feminism. Sound artist. Baltimore born. #marloeggplant #ladyzinnoyz

[marlodelara]

Both Sides Now: Shiva Feshareki

In March we took Both Sides Now to Leeds for the first time. The selected women spent five days at Leeds College of Music experimenting, improvising and coll...

My friend Sophie Broadgate put together this film together about our five day all woman improvisational deep listening meditative residency. The images are really well composed. 

(I start speaking at 5:30, regarding the group’s improvisational process.)

[marlodelara]

Gribs: IWD Special w/ Machine Woman, Object Blue, Marlo Eggplant, Lucaufer & BGU - 8th March 2018

I forgot i did this interview i did! it was with awesome Gribs for International Womens Day. Check it out! 

[marlodelara]

I am very excited to announce the digital release of a special edition of the International Computer Music Association's Array publication, co-edited by Patricia Alessandrini and Shelly Knotts, and timed for release just in time for #ICMC18 !

http://www.computermusic.org/media/documents/array/Array-2018-special.pdf

This issue focusses on practice-based perspectives, with a feminist and generally inclusive outlook. It has somewhat experimental formats, including conversations between artist-researchers such as Pamela Z and Atau Tanaka, Marlo De Lara, Muyassar Kurdi and Veronica Mota, Rebecca Fiebrink and Laetitia Sonami, as well as a dialogue between Maria Chavez, Seth Cluett and the text of Pauline Oliveros' epic ICMC keynote, and artist statements from a host of practitioners including Silvia Rosani, Amble Skuse, Mari Kimura, Paula Matthusen, Joanne Armitage, Nour Emam Refai, Annie Goh and others. It also has a great feature from Cat Hope and a review from Robin Buckley, along the lines of previous Array issues.

[marlodelara]

Fort Process is a one day sound art and music event that utilises the extraordinary resonant spaces of Newhaven Fort. This third edition of the festival will feature performances, installations, talks, workshops and live art, and is part of an extended season that runs from July to October with events at De La Warr Pavilion, Cafe Oto and ACCA. 

TICKETS http://www.wegottickets.com/f/11730 On the door - £45 Advance - £40 +BF Concessions - £35 +BF Group of four discount - £120 +BF (£31.50 each) 13-17 year olds - £20 + BF Children 12 and under may enter free of charge. INFORMATION AND UPDATES: Website: http://fortprocess.co.uk/ Twitter: https://twitter.com/lostpropertyco

SPONSORS: Arts Council England Sasakawa Foundation East Sussex Arts Partnership KONE Foundation Konstnärsnämnden Spirit of Gravity MEDIA PARTNERS: The Wire CLOT Magazine Totallyradio SUPPORTING ORGANISATIONS: University of Brighton Sussex Downs College De La Warr Pavilion Cafe OTO Attenborough Centre for the Creative Arts Community 21

[marlodelara]

The work ‘neneng: tales of the (dis)enchanted’ (1999) was performed at Bard College at Simon’s Rock, Great Barrington, MA and submitted for completion of my Bachelor of Arts degree. The autobiographical installation consisted of found objects, refuse, super-8 home movies, cassette recordings, and childhood journals. The objects were arranged within a maze and included live art characters/improvisations. The experience concluded by entering a constructed plastic spiral in which a series of filmed autobiographical monologues were played on television monitors; ultimately the artist/performer herself amidst a therapy session in progress. The piece served to represent the multiple challenges of coming of age - mental health, addiction, violence, and difficulties with self-identification as a Filipina American in Baltimore, MD in the early 90s.

Photos by Ani Kaiser.  Childhood monologue was the first in the series of monitors.

[marlodelara]

“Marlo hails from Baltimore in the US and our good fortune in having her currently resident in the UK rests on her Leeds-based PhD studies. Expending energy on multiple fronts, Marlo created the internationalist Ladyz In Noyz compilation series that began in 2008, the related documentary forming part of our film programme in 2016. She’s also a regular speaker and workshop presenter on subjects relating to the challenges to DIY, feminism, marginalized populations, and music/music technology/music industry. Amongst all this, she finds time to make music and appear at a range of mouthwatering international festivals, her music often borne of barely perceptible tones and textures that slowly bloom and erupt via the use of autoharps, contact mics, vocals and loops.“

http://tuskfestival.com/artists/marlo-eggplant/

[marlodelara]

LFTMX_20_Marlo Eggplant

Marlo Eggplant is a Leeds based artist we've wanted to hear a mix from for a real long time. As the curator of the Ladyz in Noyz collective and owner of record label Corpus Callosum she has consistent

[marlodelara]

Digital interactive game installation at Titwrench Stockholm festival 2014, Fylkingen, Stockholm, Sweden.

https://titwrenchstockholm.tumblr.com/2014

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(live) improv curated by marlo de lara / marlo eggplant

what defines an improvisation? an improvisation is defined by the Oxford English Dictionary (2014) as: 1. to create and perform (music, drama, or verse) spontaneously or without preparation 2. to produce or make (something) from whatever is available

in order to perform or create media, a level of preparation is required and with that certain level of intention to be spontaneous or ‘improvisational’. this piece plays with concepts of intention, interaction, and virtual community. by entering into the exercise, the participant becomes part of an international improvisational community, activating the media improvisation. the improvisation requires both the media artists from across the globe and the participant.

the exercise (in a nutshell): the participant rolls the dice. each corresponding artist is then played to create an improvisational sound/film interaction. artists have submitted two minute or less films or sounds.

Contributors with corresponding file numbers: Khorsun & Kisbali (Moscow, Russia) – “Aliboy” – song clip – 13 Megan Moncrief / Lazurite (NY, USA)  – videos and sounds – 3,7,8 Bonnie Mercer (Austrailia) – guitar loop - 9 Rosalind Hall (Austrailia)– rosalind-hall.com - Saxophone, spring tube extension - 16 Rebecca E Davies (Brighton, UK) – “#FFFFFF” - video - 5 Donna Brown / Poundland (Seattle, WA, USA) – videos - 4 Kate Fear (Blackpool, UK) – “Chicken Feed” – song clip - 12 Sarah McWatt /Psoas (Leeds, UK) – “alto” - flute, breath, vocal improvoisation - 15 Daria Ramone (Leeds, UK) – drone - 10 Jesika McEvoy (Seattle, WA, UK) – old television/radio sample – 14 Freudian Slit (Brighton, UK) – “Hands” – vocals - 11 Marlo de Lara / Marlo Eggplant – videos: field recordings and sample – 6,1,2 Ingrid Plum (Brighton, UK) – “Letting Go” – recorded live performance - 18

[marlodelara]

September 2018

Sonic Cyberfeminisms is an ongoing project by an open collective of artists, musicians and writers, which draws upon intersectional feminist praxis and the legacies of cyberfeminism. The project aims to foreground agendas of social justice in the domains of sound, gender and technology and, in doing so, develop critical cultural work.The project was initiated by Annie Goh and Marie Thompson. Current Sonic Cyberfeminisms participants include Robin Buckley, Marlo De Lara, Jane Frances Dunlop, Natalie Hyacinth, Miranda Iossifidis, Louise Lawler, Frances Morgan and Shanti Suki Osman.  

http://www.wysingartscentre.org/whats_on/residencies/september_sonic_cyberfeminisms

[marlodelara]

The Fringe and Underground Music Group at Goldsmiths launched a pamphlet/printed edition series entitled Spaces of Making.

Based broadly on themes of physical, digital, social and conceptual/ideological space, the first run of pamphlets features contributions from artists and musicians Charles Hayward, Marlo Delara, Sharon Gal and Richard Phoenix.

The launch event for the pamphlet series, co-hosted by The Lumen Lake, was held from 7:30pm on 11 May 2018 in the Lewisham Arthouse.  Event link: www.gold.ac.uk/calendar/?id=11547

Reading link: https://soundcloud.com/marlo-eggplant/reading-from-spaces-of-making-pamphlet-by-marlo-de-lara

How does one reflect on personal memories and choices and locate them in relation to current projections and understandings of self? What would this process visually and aurally entail? By reviewing my personal archives of childhood journals, field recordings, old photographs, and image stills home movies, I distilled and mapped  five moments/stages of my life that have catalyzed and instilled my artistic voice. With each of these temporal reflections, I created a sound composition to accompany the making process involved in the memory curation. A multimedia contemporized version of the confessional riot grrl zine genre but formed in a self-retrospective lens.

[marlodelara]

PRJKTR Issue 003

Yasmin Mobayad / Bonnie Sanders / Oscar Ronan _____ Candy Brat / Wolfkid 666 / Jack Jeasche / Alexandra Bell _____ Courtney Ward / KUBU Studio / Marlo Eggplant / Eamon Donnoley.

online archive of interview during the Ladyz in Noyz Australia tour of 2016 with Soraya Mobayad.

[marlodelara]

Call: Marlo Eggplant (Leeds, UK/ Baltimore, MD)

Responses: Chrisie Caulfield (Leeds, UK) Furchick (Perth, Australia) Marya Errin Jones (Alberquerque, NM, USA) Nuyulu Callejas (Brooklyn, NY, USA) Nelly Khorsun (Moscow, Russia) Marisa Demarco (Alberquerque, NM, USA) Monica Isabel Sanchez (Washington D.C.) Ingrid Plum (Brighton, UK/Denmark)

The musical pattern/technique of 'call and response' is useful to the understanding of the mutual practices of feminist collectives. The roots of 'call and response' in musical discourse lie within a framework where a leader presents a space for democratic direct interaction by introducing a line of music/sound/words. An immediate aural reaction is returned in kind, signifying the singular expressions of reciprocation/accordance/enquiry invoked from members within the performance space.

In this film, a call was made out to the international 'Ladyz in Noyz' collective, a virtual collaborative network of women practitioners in experimental musics and sound arts. The network functions as a frame or 'the leader' in which all that participate are acknowledged and counted as unique and integral voices to the whole community. The initial call/performance was sent out to members and responses were culled in this audiovisual collage. In addition to being a document to the ideals of the 'Ladyz in Noyz' network, this film exemplifies the ways music and feminist networking can be demonstrated, heard, and seen.

The film premiered at Tusk Festival 2016 and at the Women in/on Sound June 2016 gallery.

A film review by Tristan Bath was published in The Wire, December 2016, Issue 394.

Another review can be found here: International Call and Response: Ladyz in Noyz | Yeah I Know It Sucks

[marlodelara]

"I think people have an emotional relationship to music so when you take it out of the category of it needing to sound like "what music sounds like", and it's about the DOING of sound, "sounding" - everyone knows how to make a sound." - Marlo DeLara

Yorkshire Sound Women Network SWN in collaboration with Catalyst: Festival of Creativity presents "Live Looping and Effects Pedals" with Sarah Statham and  Marlo DeLara aka Marlo Eggplant. Marlo and Sarah explained how to use looping pedals and apply effects to different instruments, and encourage participants to experiment and improvise with these new techniques.

[marlodelara]

As part of the Panel Discussion: Women in Art at Left Bank Leeds, I presented a new work entitled 'malay/taos/RP/PI'. The piece concerns the ongoing presence of mass deaths, political unrest, and haunting of the Philippines. From mulitple colonizations and US imperial relations to its precarious global position of constant natural disasters, this multimedia piece is a commentary on its temporal loop of national traumas. September 6-9, 2017. 

Photography by Martin Paul Wright. Screenshot from film. https://vimeo.com/232534409