In 2017 Jessica returns as associate artist for the Bendigo International Festival of Exploratory Music (BIFEM). She is hard at work co-ordinating a number of projects featuring exciting International and Australian artists, but you'll have to wait until July 20th for the official program announcement to see who is coming.
Jessica Aszodi and Jane Sheldon co-direct the first International iteration of New York City's acclaimed Resonant Bodies Festival. Presented in partnership with the Melbourne Symphony Orchestra and the Melbourne Recital Centre, and supported by the Victorian government through Creative Victoria, Resonant Bodies Australia will feature newly devised performances from Australian and International vocal artists from across the spectrum of exploratory vocality.
A paper by Jessica about realizing a new work by Alexander Garsden:
"The singing subject is both site-of and author-of her practice. This practice-based, artistic research unpacks the entangled process of making new music, conscious that the performer-author is the site where embodied problem solving takes place. The principal focus of the paper is the author’s realization of Alexander Garsden’s [ja] Maser, for voice and electronics, created by recording and reconstituting vocal elements using traditional compositional and performative methods as well as studio recording and granular synthesis..."
Grafter is a work for two vocalists, live electronics, and hanging speakers. An early 15-minute version of Grafter was premiered as part of the Resonant Bodies Festival in New York in September of 2015, which we (Jenna Lyle and Jessica Aszodi) continue to expand as we tour it as a multivalent evening-length work. The process of expanding Grafter exploits two very different vocal practices and backgrounds, as we exchange methods of vocal production and sensation in the body to craft a holistic work utilizing the physical body as a responsive apparatus to physical and environmental stimuli. Grafter represents the objectification of the performer’s experience of her own body and that body in space, with other people. As she moves toward the audience, sound production methods and the environment surrounding the voice progress through a series of changes that highlight spatial depth as an analog to personal relation.Read More