“The kaleidoscopic nature of their set—a battery of sound generating equipment: mixers, oscillators, sensors, wind and string instruments, bamboo and objects—plays with the audience’s perception of time with hallucinatory effects.” — Artnoise

Japan’s legendary ensemble Marginal Consort uses established and homemade acoustic instruments, electronics, bamboo sticks, marbles, water, and other objects to realize sonic constructs as well as incorporating actions that do not produce sound.

Meeting only once each year since forming in 1996, Marginal Consort discuss nothing before their annual performances, preferring to gather as a collective of horizontally organized independent solos rather than a cohesive goal-oriented ensemble. The start and end times are the only fixed elements in their longform happenings, featuring the players spread out across the performance space, distant enough to concentrate on perfecting their own work without distraction. The audience is invited to mill about or recline on the floor, each creating their own subjective experience of the performance.

Marginal Consort is a Japanese collective improvisation group founded by members of East Bionic Symphonia, an outfit assembled from students of Fluxus artist Takehisa Kosugi’s class at the radical Bigaku School of Aesthetics in Tokyo in the 1970s. Current participants are former Taj-Mahal Traveller Kazuo Imai, engineer Kei Shii, artist and Gap member Masami Tada, and musician Tomonao Koshikawa. Their records together have been released by P.S.F. and PAN.

This performance has been organized in collaboration with PuSh Festival in Vancouver, B.C. and On the Boards in Seattle, Washington. Support for this project is provided by the Oregon Arts Commission, Western States Arts Federation (WESTAF), National Endowment for the Arts, and the Japan Foundation.

Run time: 180 min.