Live @ LOW END | Eli Keszler

724 South 12th Street,Omaha NE 68102

02 June, 2022

Description

Eli Keszler is a composer and percussionist based in New York City. FREE admission. Proof of COVID-19 vaccination or negative COVID-19 test is required for in person attendance. Face coverings are recommended, not required. Read more about our COVID Safety Policy at bemiscenter.org/visit. The performance will also stream live at twitch.tv/bemiscenter and facebook.com/bemiscenter. Twitch account not required. Eli Keszler is a composer and percussionist based in New York City. In 2021, Keszler released his first album with LuckyMe ICONS followed by its companion ICONS+ which includes additional songs and a Mach1 spatial mix of the album as a whole. Keszler has released music on Empty Editions, ESP Disk and PAN. His album ‘Stadium’ released on Shelter Press was awarded Boomkat’s 2018 Album Of The Year. Collaborator to Oneohtrix Point Never, Skrillex, Laurel Halo, Kevin Beasley and Rashad Becker–Keszler’s work has shown at The Lincoln Centre, MoMA PS1, MIT List and The Barbican. Keszler has written the original score to Dasha Nekrasova’s feature The Scary of Sixty First and his other film work includes contributions to Daniel Lopatin's score for the Safdie Brother’s acclaimed, Uncut Gems. Keszler’s music, installations, and visual work have appeared at the Whitney Museum, Lincoln Center, MIT List Center, 67 Ludlow, Victoria & Albert museum, Sculpture Center, The Kitchen, South London Gallery, Hessel Museum, Harvard's Carpenter Center for theVisual Arts, Luma-Foundation, Barbican-St. Lukes, Walker Art Center, LAX art, and MoMA PS1. Keszler's commissions include: The Icelandic Symphony Orchestra, ICE Ensemble, Brooklyn String Orchestra and So Percussion. elikeszler.com Image: Eli Kezler; Photo: Leia Jospé; Courtesy of the artist. LOW END performances and Bemis Center's Sound Art + Experimental Music Program are made possible by The Andrew W. Mellon Foundation. LOW END performances are also supported, in part, by Trudy and Larry Lundquist. Additional support provided by New Music USA’s New Music Organizational Development Fund.