Drawing from his background in a wide field of genres including rock, classical, film, theater, improvised, and electronic music – composer, producer, multi-instrumentalist Hahn Rowe has developed a uniquely personal sonic language which fuses disparate musical elements into atmospheric, sensual, and polymorphic soundscapes.
Equally at home performing on violin, guitar, turntables, and digital/electronic studio instruments, Hahn Rowe has retained his unique sensibilities while crossing musical borders. He has worked with Hugo Largo, David Byrne, Antony and the Johnsons, Hassan Hakmoun, Glenn Branca, Moby, Swans, Foetus, and R.E.M., among many others.
He is a 3 time Bessie Award recipient and his long-standing collaboration with Brussels/Berlin based choreographer Meg Stuart (DAMAGED GOODS) has resulted in the creation of 8 evening length dance/theater works. He has also created scores for choreographers Benoit Lachambre, Louise Lecavalier, and John Jasperse among others.
Hahn Rowe is active as a composer for film and television, creating scores for films such as CLEAN SHAVEN by Lodge Kerrigan, SPRING FORWARD by Tom Gilroy, and MARRIED IN AMERICA by Michael Apted.
About This Project
Observing the Supernatural grants access to a shared kaleidoscopic body.
Human and non-human actants camp together on a hot pink terrain under an unblinking fluorescent sky. With axes, wood, violin, electronics and the bare body, Simone Aughterlony, Antonija Livingstone and Hahn Rowe stage an inquiry into some vibrant matters.
Supernatural suggests a wilderness that signifies a plurality of agencies without ontological hierarchy – the vigour of the blade, the skin, the wood, the rope, the gaze, and all in our midst, buzz together lovingly in a hot debate on the political ecology of things.
Queer lives know that being in disguise can encourage the dissolution of normative identity patterns of recognition. Supernatural actively chops up the topography of gender perceptions and welcomes the joyful techno construction of multiple bodies and pleasures.
Is this movement research or fun post-porn practice?
Whatever it is, it brings the bodies and companion materials in conversation to know no difference between being excited, being exciting and being excited-with.