Renée T. Coulombe
Renée T. Coulombe is an artist, musician and scholar of considerable breadth: composer, improviser, media artist, producer, critical theorist and publisher. She is founder of the new media publishing company, Banshee Media, and the international transmedia performance collective, Improvised Alchemy, both explore the nexus of emergent media art, immersive technologies and digital distribution, collaborating across borders, genres and disciplines and bringing unique visions to life. In 2018, she opened Improvised Alchemy’s new workshop, performance and recording space in the historic neighborhood of Friedrichshain, Berlin.
A prolific experimental musician and improviser, she has performed around the globe in a staggering diversity of venues as both a refereed and invited visiting artist, including many performances with her free-funk collective Erroneous Funk. She has recordings available on Everglade, Open Space, and through Banshee Media. In 2018 she completed her Deep Listening Certification through the Center for Deep Listening (Rensselaer Polytechnic University) joining the global ranks of workshop leaders and practitioners certified through the new Deep Listening Institute. As an academic, she has taught at the University of California, San Diego, University of San Diego and Mesa College. From 2000 to 2010, she was an Assistant Professor of Music Theory and Composition at UC Riverside, where she also founded and directed the Free Improvisation Ensemble, represented the campus in the UC Institute for Research and the Arts, and produced several system-wide interarts events. As a scholar, she is published widely on topics of contemporary music, sound art and music in media, in international anthologies and journals; she presents her scholarly work regularly as both invited and refereed panelist at conferences around the globe. She is an associate editor of Perspectives of New Music and contributing editor to The Open Space Magazine.
Autumn Artist-in-Residence 2019
New Zealand flutist Tessa Brinckman has been described by critics as a“flutist of chameleon-like gifts” and “virtuoso elegance” (Gramophone), an “excellent…flutist” (Willamette Week) and “highlight of Portland” (New Music Box), who “play(s) her instrument with great beauty and eloquence” (Music Matters New Zealand). She enjoys a versatile career, having worked in many classical music ensembles and concert series in the United States, South Africa, France and New Zealand. Her orchestral, chamber and solo music performances include the Oregon Symphony, New Haven International Arts, Festival of New American Music, Britt Festival of Music & Arts, Ashland Independent Film, Oregon Bach, Oregon Shakespeare, Ernest Bloch, Bumbershoot, Oregon Fringe and Astoria Music Festivals. Performing on flute, piccolo, alto, bass, contrabass and baroque flutes, and miscellaneous keyboards, Ms. Brinckman also co-directs the ever-polymathic duo, Caballito Negro with percussionist Terry Longshore, and is a member of Collectif Impulsion in France. She has recorded, composed and performed in major regional theaters across the United States and internationally, as well as for radio, TV and film. Her co-composition for Tony Award-winning director Mary Zimmerman’s White Snake was nominated for a Joseph Jefferson Award in 2014.
Over the past 15 years Ms. Brinckman has received local and international grants to commission, curate and perform unique programs, which blend technology, tradition, and contemporary geo-political themes. The music is often interwoven with her own visual and narrative work, in concert with diverse, global artists. Recent collaborations/commissions (outside her duo work with Caballito Negro) include taonga puoro master Horomona Horo, live electronics composer Nicolas Vérin, theorbist Caroline Delume, microtonalist Pascale Criton, avant-rock composer Randy Woolf, poets Angela Decker and Tricia Snell, electronic composer Jeremy Mayall, composer-scholar Martin Lodge, multi-media composer Nissim Schaul, and koto-player Mitsuki Dazai. Ms. Brinckman’s composition for flute and string trio, Glass Sky (2005), can be found on the critically acclaimed CD, Glass Sky, and is featured in the South African documentary, Inner Landscapes (Climax Films), centering around Outsider artist Helen Martins and her Owl House creation. She has served on the music faculties of various Oregon universities and colleges, and now teaches workshops and masterclasses in the USA and abroad. Recent solo projects include performance (“When Flutes Spoke Words”) and teaching residencies (“Building for the (Un)Reliable Narrator”) at Waikato and Canterbury Universities (2017); a residency at Centre Pompadour (2018) to compose Box |Grown Men Sing (2019) for bass flute, waterphone, recording + video on the subject of solitary confinement; and ongoing recording projects for upcoming CD and video release.
BOX | GROWN MEN SING – TRAILER: https://vimeo.com/335610769
Musician, teacher, performer and psychologist. He has studied frame drums from Zohar Fresco since 2010. Studied also from i.a. Bijan Chemirani, Jacek Ostaszewski, Sabina Giannatou, Efren Lopez, Andrew Morrish, Iwona Olszowska. Apart from music, he is involved in movement improvisation and performance field as well as in varied forms of somatic work like mindfulness, psychogenic training, BMC, martial arts, traditional dances i.a. from Poland and Greece. In his teaching he uses those methods and experiences to make learning easier and more intuitive.