by Anna Liebzeit
A review of audio!
“In a suspended dimension, such as the protagonists’ lives, Anna Liebzeit’s music becomes a decisive linguistic element: now enveloping, now sinister, it follows the hysterical trend of their wavy relationship, disclosing that penumbra imbued with a lost, non-durable, intimacy.”
Simone Nebbia Arsenale Theater, Venice – Biennale Teatro 47, July 2019
Venice was a treat, so beautiful… congratulations to the entire LOVE and SHIT team.
This piece has seen a few incarnations over the years with this version seeing me play with text from Margaret Cameron’s In Regard.
Looking through not at the looking and listening through not at the listening speak gently as a mammal loves to love, until the bending arms of language accept you
From 2010-2013 Performance Practicum was a space of creative development and practice. With mentors Margaret Cameron, Helen Sharp and John Howard participants could explore perceptual practice and devise new work. Here’s some pics and sound from that time.
I went through a phase of recording covers as a way of trying new things with music and software. This is song came out of that phase. You can hear the rain on the roof of the shed that was my studio at the time. Keeping it real. x
This song is an old re working of Ya the Volim first recorded when I was 26 as part of the work Svila. It tells the story of when my dad looked after his mum until she died, he was 15. Her name was Anna Liebzeit. He was committed to the act of love. Anna’s death was freedom for both of them. Years later I was the caretaker of Rudy’s death. This picture is one of the last I took of him in 2012, a few days before he died in my arms. I’d said to him,
“I’m all right dad, you do what you need to do. I love you”.
He knew I loved him. But he had to leave.
Often my relationship with the world is understood through my relationship with sound. Active listening sometimes allows my body to surrender expectations, allowing the experience of art as a verb. Vibrational practices exploring difficult felt spaces became material when limitations are resisted. Margaret Cameron (2016) writes;
In many ways it is beyond my comprehension that a thought or a feeling might become perceivable as dimensional. It is a miracle that I am the first to audience. In this way I learn.
Critical engagement with auto biography levers the personal into a radical reconnection of our relationships with one another.
Right now I can breathe on my own (mourning song with duduk)
Performance pictures working with voice and space.
Singing Water, Gadigal Country. Incubator Residency, Queen Street Studio, Sydney, 2011
Cuckoo, Footscray Community Arts Residency, FCAC Melbourne. Paper and cardboard room made by Anna Liebzeit. Audience viewed the performance as they stood or walked around the perimeter of the room. The performance took place inside.
Membrane, a paper and cardboard site specific performance installation, Footscray Arts Centre. Slits cut into the paper walls were where the interior of the room could be viewed from. By Anna Liebzeit, 2005.
Many moons ago I went to Germany for a month. After time spent in the north I went to the south to breathe in the Alps. It was there I recorded this song using my phone and the microphone input of my headphones (hence the phasing). Guitar and vocal is in the one take, with a wee bit of post-production. I had bought the electric guitar in Berlin a few weeks before. Such a beautiful tone even unplugged.
Apparently in love “only fools rush in”… x
Today marks dimly the consciousness of Australia and it’s political parties. The death of a man on Manus who needed urgent medical help exemplifies how barbaric indefinite detention is, and how it needs to end. Men, women and children need freedom so they can rebuild and begin to heal. Australia and it’s colonial discourse must be accountable for this mess. (language warning)