Mit Sitz in der Stadt Chicago, ist der in Buenos Aires geborene Komponist, Architekt, Visueller Künstler und Musiker Guillermo Gregorio einer der wenigen , die in den 60-ern Aktivitäten entwickelten, die als eine Parallele zu den im lateinamerikanischen „Cono Sur“ schwer aufspürbaren avantgardistischen Tendenzen gesehen werden können, und die gegenwärtig von bestimmten Kreisen experimentellen Charakters assimiliert worden sind.In seiner gegenwärtigen Sprache, ausgerichtet auf Kompositionen, die sowohl sensibel und heikel als auch offen für freie Interpretation sind, konvergieren Re-Interpretationen des Konstruktivismus und die Madi Kunst mit historischen Erfahrungen von Fluxus, intermedialer Synthese, bestimmte, nicht entscheidende Aspekte des Serialismus, und graphische Notation.

Born in Buenos Aires, Argentina, in 1941, Guillermo Gregorio has lived variously in Europe and the United States since 1986. He was active participant on the Argentine music scene throughout the 1960s, '70s and early '80s. His involvement with New Music included both composing and playing saxophone, clarinet, and miscellaneous instruments in the Movimiento Música Más (Fluxus Group), the Experimental Group of Buenos Aires, and the Group of Contemporary Music of La Plata, featuring Fluxus events, multi-media spectacles, environmental pieces, experimental concerts, and aleatory realizations, as well as works by Cage, Ligeti, and avant-garde Argentinean composers.
He has also written many articles about avant-garde music (Musique Concrète, Futurism, Grupo Nuova Consonanza, Cornelius Cardew, AMM Group, Musica Elettronica Viva, Morton Feldman, Earl Brown, Robert Ashley, LaMonte Young, Albert Ayler, Bob Graettinger). He has a degree in Architecture and taught history and theory of architecture and industrial design and visual communication at the University of Buenos Aires and the University of La Plata, Argentina. He has also worked as an architect and consulting designer in Buenos Aires and Los Angeles. He has been Radio Curator of Armonia, a Musicians Residency Program created by the Chicago Symphony Orchestra. Currently, he teaches Art Appreciation at Purdue University.
"What affects me more than any other thing," Gregorio explains, "is my involvement in visual arts, and my architectural and design experience." In his compositions, a reinterpretation of the fundamental and structural concepts of Constructivism converges with the historical experiences of Argentinean Conceptualism, Fluxus, intermedia synthesis, certain aspects of serialism, and graphic music. In addition to the acceptance of sound as material, constructive and geometrically generated ideas are used in scores ranging from conventionally notated statements to graphs, including planimetric projections of spatial structures. With his Chicago-based trio and other ensembles, Gregorio has performed his own compositions in Europe and the USA. In January 2001, he founded the Madi Ensemble of Chicago, which performs original and historical scores that draw from the conceptual foundation of diverse Argentinian avant-garde currents.
Since 1995, the label hat Art has consistently recorded Gregorio's compositions and released his CDs, among them, Degrees of Iconicity (hat[now]ART 134), Faktura (hat[now]ART 146), and Coplanar (forthcoming, hat[now]ART 152). He has also recorded the music of Anthony Braxton and Cornelius Cardew. He has worked with Ran Blake, Gene Coleman,Vinko Globokar, George Graewe, Franz Koglmann, Le Quan Ninh, among others. Some of his earlier works in Argentina are available in the CD Guillermo Gregorio: Otra Música. Tape Music, Fluxus and Free Improvisation in Buenos Aires 1963-70 (Atavistic UMS/ALP209CD).

Bild © Guillermo Gregorio


Janice Misurell-Mitchell, composer, flutist and performance artist, is Co-Artistic Director of CUBE Contemporary Chamber Ensemble in Chicago. A member of the faculty of the DePaul University School of Music, she is also involved in the creation of programs and courses about women in music. She was chosen as a "Chicagoan of the Year" in classical music for 2002 by the Chicago Tribune. Her honors include grants from the Illinois Arts Council, the Chicago Department of Cultural Affairs, Meet the Composer, residencies at the Atlantic Center for the Arts and the Ragdale Foundation, and awards and commissions from the National Flute Association, the Youth Symphony of DuPage, the International League of Women Composers, Northwestern University, The Loop Group and others. Her works are performed throughout the United States and Europe and have been featured on the Public Broadcasting Network, the National Flute Association Conventions, at the National Museum for Women in the Arts in Washington, D.C., the Museum of Contemporary Art and Symphony Center in Chicago and at Carnegie Hall.
Her work, Alone Together, for bass clarinet and double bass, and her composition for orchestra, Luminaria are available on compact disks produced by MMC Recordings. Two of her award-winning pieces, On Thin Ice, for flute and guitar, and Sub-Music and Song, for solo flute, are available on OPUS ONE Recordings. A recent work, Profaning the Sacred, for flute/alto flute/voice and bass clarinet/clarinet was produced by Arizona University Recordings. Two of her performance pieces, After the History and Scat/Rap Counterpoint, are available on video.
Her music is published by Margun Music (available through Shawnee Press), the Needham Publishing Company, and Arizona University Publications.