I.U.D. is the percussion duo of Lizzi Bougatsos (Gang Gang Dance) and Sadie Laska (Growing, Extreme Violence) who infuse industrial noise with abrasive screams and inventive drum work. Called “minimal, contagious noise" (Artforum), their album, The Proper Sex has gained cult status in the New York noise scene. During the 15 years they have been performing, I.U.D has traversed DIY venues and several continents. Notable performances include: Performance Space NY, The Whitney Museum of American Art, Kunsthalle Zurich, Gropius Bau, Berlin, Germany and P.S.1 Contemporary Art Center. They have collaborated with Kim Gordon and Spencer Sweeney and have shared bills with OOIOO and The Royal Trux.
Eucademix is the moniker of Yuka Honda, a producer, composer, performer, and visual artist renowned for her innovative, genre-defying approach to music and multimedia. Through her compositions and self-crafted video art, Honda seeks to transport audiences and expand the possibilities of sound and visual expression. Born in Tokyo, Honda spent her formative years in Germany and Denmark before later living in Aix-en-Provence and Paris. These cultural experiences deeply inform her sonic explorations, resulting in a distinct and boundary-pushing body of work. Recently, Honda has continued to explore new creative directions with her two-part EP series Farm Psychedelia I and Farm Psychedelia II, released under the Eucademix moniker. Alongside her solo work, she collaborates in the duo CUP with her husband, guitarist Nels Cline, blending poetic lyrics with experimental soundscapes. She also performs in Mycorrhiza, a project with multi-instrumentalist YoshimiO (of Boredoms and OOIOO), exploring vibrant, improvisational music that reflects their deep creative synergy. Find out more at www.yukahonda.com.
Dave Miko: New York City vocalist
Mark Ohe has been involved in music since his childhood in the 1960s, playing String Bass in his grade and high school orchestras and being captivated by his parents hi-fi system and LP records at their home in the far western suburbs of Chicago. The first 7-inch he remembers buying was Santana’s (not Fleetwood Mac’s, sadly), “Black Magic Woman” in 1970 and first LP, T-Rex’s, “Electric Warrior” in the fall of 1971. With this solid foundation his record collection has had absolutely no problem growing by leaps and bounds for the past fifty years. A short employment at Wax Trax Records in the early 1980s, followed by a few years of graphic design work for Lydia Lunch’s Widowspeak Productions, and later as Art Director at Matador Records from 1992 - 2009, greatly facilitated further record collecting. Extended stays in Europe, during the 1980s in Berlin and later Düsseldorf in particular, brought his attention to German Progressive, Geniale Diletanten, Neue Deutsche Welle and eventually German avant club music. His live DJ resume is thin, but he did time as a radio DJ at WZRD and Antidote Radio on WVVX in the 1980s and occasionally spun at NY’s Cat Club in the 1990s. This will be his, and partner Pia Dehne’s, Abasement debut.
Pia Dehne grew up in Düsseldorf and was part of the punk and new wave scene at the city’s Ratinger Hof club in the 1980s. Mittagspause, Fehlfarben, D.A.F., Die Krupps, Der Plan, Liaisons Dangereuse and Kraftwerk were among her friends and favorite bands during those years. The first record she bought with her own pocket money as a 10 year old girl was George McCrae’s dancefloor hit, “Rock Your Baby” in 1974. As a teen Pia explored music by playing guitar and cello after being inspired by the Public Image album, The Flowers of Romance. Her focus then shifted, realizing that her skills for expression were more in the visual arts. Yet the exploration of musical ideas has continued to spiral through Pia’s art in many projects over the last 30 years, such as her first solo show Naked City, based on Jimi Hendrix’s ‘Electric Ladyland’ album at Deitch Projects, and her recent solo show of paintings inspired by Brian Eno’s ‘Oblique Strategies’ cards, currently on view, at IS-Gallery in Tribeca.
Working primarily with video synthesizers and bygone broadcast equipment, Cable Visions explores the chaotic and colorful nature hidden in feedback loops and anachronistically analog signal paths.
Bradley Eros, as always, (since the very beginning of Abasement (.001), 77+ months, or sessions, ago) will project their "hand-made" analog slides, and/or film ~ all night long! *** "eau de cinema", 'musique plastique', "philosophical jaywalker", "Eros C'est L'amour!"
Abasement has been curated by Joseph Frivaldi and Robert Mayson since 2015.
