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The annual New Ear Festival fulfills one of Fridman Gallery's core missions—to help restore creative, experimental spirit on the ground floor level of downtown Manhattan. The festival showcases time-based art in all its forms—from sound installations and video screenings to storytelling and physical movement. Each evening is live-streamed via Wave Farm / WGXC-90.7 FM. For more information about the New Ear Festival, including tickets to attend in-person, visit fridmanlive.com/new-ear-festival-2023.

Elliott Sharp is a composer, multi-instrumentalist, producer, sound-designer, author, and visual artist who leads the projects Orchestra Carbon, SysOrk, Tectonics and Terraplane and whose compositional strategies encompass fractal geometry, chaos theory, algorithmic approaches, genetic metaphors, and new techniques for graphic notation.

Eric Mingus is known as a polymath, trained classically as a vocalist, he sings the blues like nobody's business, improvises with the best of them, and plays a fierce bass. One of Eric's most recent successes is the creation of his unique take on the Who's Tommy. Working with Hal Willner, Eric brought a brilliant reworking of a rock classic to the Adelaide Arts Festival (2015).

King Vision Ultra and Dreamcrusher are Centennial Gardens. Thank you for listening.

Jesús Hilario-Reyes, also known as MORENXXX (born 1996, San Juan, Puerto Rico) is an interdisciplinary artist with a Bachelor’s in Fine Arts Studio from the School of the Art Institute of Chicago. While situating their practice at the crossroads of sonic performance, land installation, and expanded cinema. Interwoven in the midst of these notions is a concern for the im/possibility of the Black Body and the failure of mechanical optics.

Bronze Age is a project practiced by Erinn Buhyoff (b.1994) that focuses on improvisation strategies and experimentation. Through an interpretation of shifting geographies and environments, Bronze Age seeks to activate a latent performance network. By practicing improvisation in formal/informal performance settings, the restrictive preconceived duties of audience, performer, and space, are contested.