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Sep 25, 2021

Tactile | Spaces

7:30 PM Central Time
St. James Cathedral | 65 E Huron St, Chicago

A dual-media collaboration between composers and visual artists. Hear and see orchestral and screenprint work from Chicago creators, with the aural and visual presented side-by-side.


*CCO requires all in-person attendees 12 and over to provide proof of fully-vaccinated status to attend Tactile | Spaces. Per the City of Chicago mandate, all attendees are required to wear a mask in public indoor settings. All staff, volunteers and artists entering the venue are required to be fully vaccinated as well. Attendees will need to bring a photo ID and proof of vaccination to enter.

Tickets will also be sold at the door. Join us for a pre-concert Q & A beginning at 6:45pm.

A live-stream option is available on our YouTube channel. Suggested donation: $15.

View the Digital Program

Tactile | Spaces is a continuation of CCO’s Ten x Ten project, co-presented with Homeroom Chicago and Spudnik Press as part of the Ear Taxi Festival! Ten x Ten pairs composers with visual artists, challenging each pair to co-conceptualize their work across media, stretching and expanding their creative processes. By producing a limited edition compilation and public presentation of the artworks, Ten x Ten documents, celebrates, and promotes Chicago’s artistic community.

World premieres:

Artist Michelle Nordmeyer made Work with Whatchya Got in pandemic lockdown, using found-objects to express the idea of “limitation”. Composer Andrew McManus responds with Feather, echoing the tactile quality of the visual objects, where a feather becomes a slowly blossoming, misshapen chorale for muted violins.

Exploring memory and gesture in recollections of the space of "home", artist Susan Giles and composer Amy Wurtz start from the same source: a recorded story capturing the gestures of a member of a choir for senior citizens with early-stage memory loss. Their dual works focus on how movement and sound connect to memory, place and emotion.

In Lapsus, artist Carlos Matallana and composer Ben LaMar Gay observe –instead of patterns– the spaces in between them: the repetitive divisions that interrupt a line, or define a beat's closing or opening. Their vehicle is the mouth: mouths that surround us among family and friends, each of them unique, either still or gesticulating.

In A River is Found on the Other End, composer Jonathan Hannau starts with a paper cadenza: shredding, tearing, and manipulating paper; until a solitary note finds its voice and a lush melody guides a lone traveler to the end of a river. Artist Yoonshin Park translates the soundscapes into colors, lines, and forms that resonate the dynamics and density of the sound.

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