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Alec Hall

New York, NY   

Alec Hall is a composer, scholar cross-disciplinary artist and curator in New York City whose works are frequently performed across the United States, Canada and Europe.  He has had works performed by such groups as the Ensemble Intercontemporain, the Orchestre Philharmonique de Radio-France, the JACK Quartet, ICE, Talea, Either/OR, Wet Ink, Continuum, Pamplemousse, Ekmeles, the Mivos Quartet, Patrick Higgins, Ensemble SurPlus, Ensemble Proton, Séverine Ballon, Stephane Ginsburgh, and David Broome. He has also collaborated with a wide range of artists across multiple disciplines, including Vanessa Place, Tyshawn Sorey, the architecture collective, Michael Mandiberg, and the Philosophical Investigation Agency. Hall is the co-founder of Qubit and currently serves as an artistic director and curator of Project-Q, an experimental performance space in Upper Manhattan. He was the recipient of a Guggenheim Fellowship in 2017, and his work has been supported by the New York State Council on the Arts, the Canada Council for the Arts, the Conseil des Arts et des Lettres du Québec, the French American Cultural Exchange, the Aaron Copland Fund and New Music USA. His degrees include a Doctor of Musical Arts from Columbia University, and a Master of Arts from UC San Diego.

The House of Influence (trailer video)

An unnamed lobbyist purveys a stolen bioweapon on the cryptomarket before arriving at a social media celebrity house in Los Angeles, and finally at a Twitter Bot factory in regions unknown. With a libretto by Dan J. McLaughlin O’Neil, the characters find themselves entangled amidst a widening morass of advertisements and social media. As the lines blur between themselves and their surroundings, the lobbyist takes flight to alternative dimensions, spanning the physically discrete to the virtual, beyond the singularity and into the post-Human.

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28 Hours

Inspired by the Last Words Project of Iranian-American artist Shirin Barghi, I took erasure as a metaphoric starting point for 28 Hours. Using the last known words from victims of police murder— most famously Eric Garner’s “I can’t breathe”, for example—I searched through online lyric databases, looking for places in songs where these words would show up. I then took these moments in each respective song and subjected them to a variety of processes analogous to the erasure of the original source.

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