20161029 — Elysia Crampton presents Dissolution of the Sovereign: A Timeslide into the Future

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Elysia Crampton presents Dissolution of the Sovereign: A Timeslide into the Future

South London Gallery

London, UK

Bolivian-American producer, sound artist and conceptual collagist Elysia Crampton presents the UK debut of her audiovisual play Dissolution of The Sovereign: A Time Slide Into The Future.

Elysia’s music is an ambitious confluence of ideas, synthesising multiple underrepresented histories, geographies, musical genres and cultural signifiers into addictively colourful sonic material that packs contemporaneous dancefloor weight. Following last year’s American Drift EP on Blueberry Records, her newest work, Elysia Crampton presents: Demon City arrived on Break World this summer: a concept album that works as an epic poem with guest appearances from Chino Amobi, Why Be, Rabit and Lexxi. Dissolution of The Sovereign: A Time Slide Into The Future is the live performance which accompanies this release - bridging Aymara oral history tradition/theatre legacy with Elysia’s own trans-femme abolitionist grasp of futurity.

A collaborative event between Thirty Three Thirty Three and Janus, a club night and record label founded in Berlin.

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20161026 — Thirty Three Thirty Three & Janus present: Elysia Crampton – A/V Presentation

#40

Thirty Three Thirty Three & Janus present: Elysia Crampton – A/V Presentation

South London Gallery

London, UK

In the lead up to her sold out live performance at South London Gallery's Clore studio, and following DJ slot at Oscillate Wildly : Janus & Non at Corsica Studios, we will host a presentation by Elysia Crampton on her work with A/V examples of her sound & performance practice. Tracing the legacy of indigenous trans and queer history in her work and life, she will discuss music as a means of communication and how it has allowed for survival and preservation amidst oppressive hegemonic power structures. Crampton will give examples of how her own work has connected to the always-fluctuating interrelation between sound and its place in oral history. In the process, she will uncover a more complex notion of being – one that reveals the inherent violence involved in the formation of a sovereign self. From this historical perspective, Crampton will contemplate how different forms of communication within and around sound – from its tactility as a signal to its function as a market and media commodity – can articulate notions of being that are, and have always been, in opposition to the state.

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