The Perfect Nothing Catalog & Kenzo Niwa
Subwoofer Hot Tub

October 13 - November 18, 2017

baths available/aux cord open/b.y.o. soundsource



Kenzo Niwa is a sound artist interested in the experiences, memories, and communities to be explored in auralscapes and created by acoustical spaces.

The Perfect Nothing Catalog is a collection of seashells arranged between two mirrors. The work has been shown at MoMA PS1 and featured in Artforum and New York Magazine's "Reasons to Love New York.



Public programs:

Conrad Winslow's "The Perfect Nothing Catalog"
Wednesday, November 8, 2017
6:00 - 8:00pm

Come over for a night bath. We'll be streaming Conrad Winslow's "The Perfect Nothing Catalog" through the hot tub.

The 30 minute piece was composed for an ensemble of cello, flute, violin, vibraphones, terra-cotta pots, and bare feet. It was originally performed at Signal in Brooklyn and is being released by Inova Records on November 17.

Bring your bathing suit, hear it underwater.

"Winslow is rapidly gaining notice as one of the most original and accomplished composers to emerge on the Brooklyn scene. He has been commissioned by Alarm Will Sound, Carnegie Hall, the American Composers Orchestra, the Albany Symphony Orchestra, the New York Youth Symphony, New York City Ballet's Choreographic Institute, the Juilliard Orchestra, the New Juilliard Ensemble, and others. His work combines a Borgesian sense of play with a striking ear for color and a sure sense of pacing." -

Eyvind Kang
Saturday, November 18, 2017
7:00 - 7:45pm

Curator Fionn Meade will play a recording of Eyvind Kang’s work, done collaboratively at the Swiss Institute in NYC October 5, 2013, through the hot tub. His brief remarks will include thoughts on Kang, Darboven, and advocacy for the importance of composers within the context of international contemporary art. These remarks will be presented within the context of Subwoofer Hot Tub.

Renowned composer and violist Eyvind Kang brings his own consonant, alchemical precision to all of his work, including his recorded excerpts of Hanne Darboven’s Wende 80 (“Turning Point,” 1980/81) and Requiem Op. 19.

Based primarily on transposing numbers, Hanne Darboven’s notational visual language eventually came to let in transcribed texts from favorite writers, her own looping, cursive script, found and re-photographed images, music and beyond: ever-expanding, ever-condensing. Often hinting at the opposite of its calendrical, self-evident rigor, Darboven’s compositional ardor embodies, corrupts, and renews time.

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