review

Surplus 1980, Satya Sena and Electric Chair Repair Company, Bottom of the Hill

Today we look back at the December 5 show featuring Surplus 1980 with Satya Sena and Electric Chair Repair Company at Bottom of the Hill in San Francisco. It was a “post punk” affair, a night of loud, intense, and creative rock music. It was also my first time playing on stage with Surplus 1980.


[Photo by Polly Moller.]

I am somewhere there in the “back line” along with Thomas Scandura on drums and Steve Lew on bass. With guitarists Melne Murphy, Moe! Staiano and Bill Wolter in front. We were loud and aggressive with a lot of percussive pounding on otherwise tonal instruments, but there was also just the right amount of complexity with metric changes and chromatic riffs. Things were also deliberately out of tune, which when combined with ring modulation and other effects made it challenging to follow in a traditional melodic sort of way. But that would not have been the point. And the audience got that, enjoying moving along with our noisy percussive lines. It was also fun to play the vintage toy piano for our improvised piece and our finale Ed Saad (though I wish the contact mic had not fallen off halfway through it).

The evening opened with a performance by Electric Chair Repair Company, a self-described “post-punk noise trio.”

They lived up to their description with their instrumental performance, a bit more of the traditional sound that one would expect with loud driving chords and drums and switching between fast and slow tempos. During the set. they also joined forces with guests from “The Girlfriend Experience”, who were quite entertaining.

Electric Chair Repair Company was followed by Satya Sena, a duo of Jason Hoopes on bass and Peijman Kouretchian on drums. They also had a huge column of amplifiers.

Satya Sena was impressive to say the least. Their music was full of complex and intricate rhythms and they had a full dense sound that one wouldn’t necessarily expect from just bass and drums. I found myself watching Kouretchian’s frenetic drum playing through much of the set. It was almost impossible to capture a moment where he wasn’t in motion like this:

Hoopes of course was technically strong as well, and was interesting to see him performing in a different context like this.

Overall it was a fun night of good music. Our audience (on a Wednesday night in San Francisco) was not particularly large but was certainly appreciative, and I look forward to more performances with Surplus 1980 next year.

Issue Project Room: Mind Over Mirrors with Zelienople + The Ashcan Orchestra

As part of my wanderings around New York this past week, I had the opportunity to hear an evening of experimental music produced by Issue Project Room. The concert, at the Actors Fund Arts Center in Brooklyn, featured two ensembles that were quite different in terms of music and instrumentation.

The evening began with a performance by the Brooklyn-based Ashcan Orchestra. The group is a project of composer p. spadine and involved a variety of colorful toy instruments.

[Ashcan Orchestra.]

Through the set of four pieces, the members of the ensemble rotated around the instruments, beginning with a piece for an ensemble of toy bells. The bells were actually quite sonorous, and one would be hard pressed to recognize this as a piece performed with toy instruments if only listening and not observing the bright colors. The colors were nonetheless an important part of the presentation and even part of the musical score.

As the performers rotated, the orchestration and timbres became more varied and complex, including more drums and other louder instruments, giving the impression martial music (ableit martial music with toys). In the end, however, they rotated back to the bells for one final piece. The music and presentation was a lot of fun, and I thought they could have easily done another piece. But the set as it was had a good structure. It was nice to hear the ensembles treatments of traditional harmony and ideas reminiscent of early-twentieth century music.

The second half the concert featured a collaboration of Mind Over Mirrors, the project of resident artist Jaime Fennelly, and the ensemble Zelienople. Fenelly’s work involves the use of harmoniums together with electronics. The combination was impressive to look at.

At least one member of Zelienople also used a combination of harmonium and electronics, while others used guitars and other instruments to produce music similar to droning or “space rock” that we have discussed on this site before.


[Mind Over Mirrors and Zelienople.]

In this case, the music was performed as a soundtrack to Gone, a film by Donald Prokop. The film appeared to be winter suburban scenes familiar to any of us who grew up around New York City, with bare trees, ranch houses, and white snow. A lone figure occasionally appeared, walking or entering and exiting a car, and occasionally the scenes dissolved into wintery abstract color contours. Throughout, the music remained based on long drones, but veered between moderate pads and loud dramatic flourishes. The structure of the music and the film both added to a sense of listlessness and disorientation – this was an experience to simply lose oneself in.

Overall it was a strong evening of music, and the performance was well attended. I hope that I can continue to hear programs from Issue Project Room during my visits to New York.

X Libris, Root Division

X Libris opened this past Saturday at Root Division in San Francisco, and I had the opportunity to attend. X Libris is “an exhibition exploring the book as a mode of communication in flux.” More and more of our media is migrating from print to digital form, and even the venerable book isn’t immune from this. But the book as an object still retains value for many of us, even if we do much of our reading via digital media such as e-books. We display books, arrange them carefully in rows on shelves or gracefully positioned on tables. Some of the pieces directly lament the loss of books as a central element in our lives, while others explore the printed page as an artistic medium separate from its traditional function.

One corner of the gallery was taken up with a large “architectural installation” made entirely of books. One could walk in between the undulating walls and look at the titles. Although most of the books were closed, every so often there would be an open one. I encountered at least one or two mathematical texts.

One of the most eerie pieces was Alexis Arnold’s “Flood”, which featured distressed and disheveled encyclopedias encrusted in borax crystals. It could have been a scene from a major natural disaster such as Hurricane Sandy or Katrina, with floodwaters causing first one form of damage as they rise, and then another as they recede leaving behind salt deposits. The knowledge contained in the books is just out of reach behind the translucent crystals. Another piece that treated books destructively, but more humorously was Michael Kerbow’s installation of pages as autumn leaves to be raked.

Pantea Karimi created ink drawings with repeated motifs on heavy paper, arranged in unfolding structures on shelves. The result is a colorful and meticulous tribute to the bookshelves that many people proudly display in their homes, but also a lamentation that such displays are gradually becoming rarer.

If books as source of textual information (or escape into fantasy) is waning, what of the physical form of the book as an artistic medium unto itself? Several pieces presented books that were physically books with pages that one could flip and look at, but intended as objects of abstract or conceptual art rather than something to “read.” These examples by Laura Chenault have color and texture but no text.

Still others were more distance from our expectations of the standard book form. Lauren Bartone’s complementary pieces “Letter Trash” and “Leftovers” presented a jumble of letters pasted onto a background and piled on a shelf, respectively. Steven Vasquez Lopez did away with letters and symbols altogether, using only intersecting straight lines on paper, as in this piece entitled “Jooked”:

One might ask what such a piece has to with books, but for me it did bring to mind the whole genre of “abstract comics”, a topic for another time.

X Libris will be on display at Root Division through December 1. You can visit the exhibition page for more info.

Guy Overfelt #BLACKLIGHT, Ever Gold Gallery

Last weekend I had the opportunity to see #BLACKLIGHT, conceptual artist Guy Overfelt’s solo show at Ever Gold Gallery, before it closed on November 3rd. The main installation of the show was “hesher tribute” to renowned artist Dan Flavin, whose work involves abstract lines of light (you can see an example in this show at David Zwirner in New York in 2009). Overfelt’s tribute uses these light elements arranged in a pentagram in a darkened room with mirrors:


[Courtesy of Guy Overfelt and Ever Gold Gallery.]

It was interesting to peer directly through the infinitely vanishing series both head-on, as in the image above, or from the side. Indeed, the effect of side or oblique views was more disorienting, especially coming into the dark room during an exceptionally bright and sunny afternoon in San Francisco. Indeed the contrast between indoors and outdoors is what made this a particularly strong experience.


[Courtesy of Guy Overfelt and Ever Gold Gallery.]

It is the pentagram element that makes this “hesher” art. The darkened posters from L.A. punk shows that cover the wall before the installation and a curtain in the rear of the gallery would appear be at odds with the hesher theme, which is distinctly different from punk even if they overlapped during the early 1980s.


[Courtesy of Guy Overfelt and Ever Gold Gallery.]

Some rather colorful posters were also presented separately as framed oil-on-linen pieces.

The gallery describe this exhibition as Overfelt’s last exhibition, stating somewhat mysteriously that “You’ll never see Guy Overfelt’s face in San Francisco nor his work after this exhibition.” I hope that is not in fact true, as the work of this 2012 SECA AWARD nominee is growing on me.

Reconnaissance Fly and KREation, Luggage Store Gallery

Last week, Reconnaissance Fly returned the Luggage Store Gallery, with selections from our upcoming album Flower Futures, featuring songs based on spoetry (or spam poetry). We were joined on stage by the piñatas which I reported on at a previous show, including the manatee and the “pyramonster” that appears on the US one dollar bill.

We have played this music often enough now to feel confident, even routine, with what is still a challenging set. As always, we opened with Small Chinese Gong and wound our way through prog rock, jazz and more experimental styles to the closing catchy riffs of An Empty Rectangle.


[Photo by Tom Djll]

The acoustics of the Luggage Store Gallery once again presented a huge challenge for our performance, which requires tight rhythmic integration between players. But I thought we did a great set despite the challenge, including the syncopated unisons in sanse is crede nza and the abstract event-driven Oh! Goldfinch Cage.

We were followed on the program by KREation (Kevin Robinson Ensemble). It was interesting that their line-up for the evening was very similar to ours: two wind payers, keyboard, bass and drums. Neither group had a guitarist. But the music was quite different. Compared to Reconnaissance Fly’s structured set of composed songs, KREation’s performance was free-flowing, shifting between different levels of energy and texture in a continuous whole.


[Kreation]

They started off with the sounds of key clicks, scratches and other soft percussive sounds in a cloud of staccato noise, before shifting in a more tonal free-jazz sound. The rhythms, harmonies and textures shifted every few minutes, with a few instrument changes along the way, and different members of the band taking turns with abstract vocals.

It was a strong performance that kept my attention for the entire duration of the set, and I am glad we had the opportunity to share the bill with them.

Y2K12 Live Looping Festival in San Francisco

For the past few years, the annual Live Looping Festival, which primarily takes place in Santa Cruz, California, co-hosts an opening-night performance in San Francisco with Outsound Presents at the Luggage Store Gallery. This year was no exception, with visiting artists coming from afar and braving the large flying piñatas on display in the gallery that evening.

The show opened with a solo performance by Philipp Zurcher, who was attending the festival from Switzerland. His set opened with dark and subtle tones on guitar and effects, and very little overt looping. The music remained sparse for a while, but eventually started to build up into a thicker texture as the loops came to the forefront.


[Philipp Zurcher.]

While Zurcher’s performance was subtle and sparse, the next set by Krispen Hartung and Aaron Davis from Boise, Idaho went in the opposite direction. Davis played fast runs and driving chords and rhythms on keyboard while the pair layered electronics and loops in a loud and intense rhythmic texture that they sustained for the duration of the set. There were moments where things grew a bit software which allowed Davis’ keyboard performance to come to the forefront, but overall it was a full-on barrage of electronic beats and semi-rhythmic long tones that enveloped the space and the audience.


[Krispen Hartung and Aaron Davis]

The final set featured Italian ” sound-sculptor” Luca Formentini. At first glance, he appeared to be another looper-guitarist, but that label sells his highly virtuosic and narrative music short. His guitar sounded other-wordly, aided by the fact that his performance was largely without any light. The dark, tense and melancholy tones were augmented by electronics and more complex loops layered with a mixture of effects. There were sounds that mimicked natural elements, such as water, fire and even sound evocative of cats. Rather than simply building up layers of sound, he adeptly added and removed the layers to forward an abstract narrative – one had the sense of a movie with something beautiful but tragic was about to happen. Overall, it was an impressive performance.

Overall, it was a good show, with a small but appreciative audience. The festival moved back to Santa Cruz after this opening performance. I was not able to attend any of the subsequent events, but glad I saw these artists on this night in San Francisco.

Cindy Sherman at SFMOMA

The huge Cindy Sherman retrospective at SFMOMA will be closing in a week, and I would be remiss if I did not write a few words about it. Her work, which is almost entirely composed of self portraits, is often described with terms like “masquerade,” “caricature,” “persona”, and her still images lend themselves to the idea of performance and play. I had the opportunity to see the exhibition a few times and found the her use of invented persona and performance inspiring as my own work in both music and visuals moves in that direction.

While much of the attention has focused on Sherman’s more over-the-top and exaggerated portraits, I found her early Untitled Film Stills to be among the most compelling. In these pieces, she successfully transforms herself into realistic roles and characters that one might see in films of the 1960s and 1970s.

‘
[Cindy Sherman, Untitled Film Still #21. 1978; gelatin silver print; 7 1/2 x 9 1/2″ (19.1 x 24.1 cm); The Museum of Modern Art, New York, Horace W. Goldsmith Fund through Robert B. Menschel; © 2012 Cindy Sherman  Source: San Francisco Museum of Modern Art]

The transformation from her real appearance and character into these fictional roles through costuming, makeup and expression is already apparent, and one would not think they are all the same person if seen outside the context of the exhibition. It is the realism coupled with black-and-white that makes these portraits stand out from the rest of her body of work. There was also one particularly interesting series of images documenting the Sherman’s transformation from her everyday self into one of the characters.

One the other extreme are some of her more recent portraits, depicting female archetypes from contemporary society as well as a series devoted to aging “society women”. She uses the same elements of clothing, hair, make-up, setting and pose as in the earlier images, but here the effect is to make these everyday tools of beauty and personal identity into something strange. Some results of beautifully exaggerated, others veer towards the grotesque. But in all of these pieces there is a deliberate falseness to the facades and personae.


[Cindy Sherman, Untitled #463, 2007-08; chromogenic color print; 68 5/8 x 6″ (174.2 x 182.9 cm); courtesy the artist and Metro Pictures, New York; © 2012 Cindy Sherman. Source: San Francisco Museum of Modern Art.]

Once again, these images suggest performance, ranging from burlesque to reality television to more experimental performance art where the visitor is confronted with this exaggerated form of human appearances and has to figure out how to interact with her.

Another take on fictitious persona can be found in her history series from 1988-1990. Here, she uses the same elements to recreate scenes either directly referencing or suggesting historical works of Western painting. She transforms herself into the a variety of women as well as a few men that one might see in paintings from the 17th and 18th centuries.


[Cindy Sherman, Untitled #193, 1989; chromogenic color print; 48 7/8 x 41 15/16″ (124.1 x 106.5 cm); courtesy the artist and Metro Pictures, New York; © 2012 Cindy Sherman. Source: San Francisco Museum of Modern Art]

In some cases, they are quite convincing, while in others they are once again deliberately exaggerated through the addition of prothetic facial elements, lactating breasts, as so on. There was even one portrait that at least to me looked more like a Klingon from Star Trek than a European aristocrat.

Not everything in this exhibition was playful. A few of the characters were clearly meant to be battered or abused women. And entire room was devoted the period in the 1980s when she moved away from self portraits into more abstract pieces. This was the height of the AIDS epidemic and these images portraying dismembered bodies and rotting flesh were very difficult to look at.

Finally, in a nod to the focus on digital technology of San Francisco and SFMOMA, Sherman presented a wall-to-ceiling site-specific mural that used Photoshop rather than traditional techniques to alter her appearance. In the piece, we see her larger than life in a variety of characters, the most memorable had her in long hair and long flowing dress, more reserved than in her later photographic portraits. The use of Photoshop also is a reminder of how the ideas of invented personae is more accessible to more people than ever before.

As I said in opening, this exhibition was an inspiration as I move into more invented personae and theatrical performance in my own work, whether in music, video or photography. It is more of indirect influence through the mechanics and discipline of her production and the idea of the characters and transformation, rather than a desire to specifically emulate what she does. In that sense, the timing could not have been better.

Cindy Sherman will remain at SFMOMA in San Francisco through October 18. If you are in the Bay Area and have not yet seen it, I recommend doing so. The exhibition will next travel to the Walker Art Center in Minneapolis and then onto Dallas.

San Francisco Electronic Music Festival (SFEMF): Art Installations

In addition to the main concerts, this year’s San Francisco Electronic Music Festival featured a concurrent gallery exhibition. It took place at Million Fishes in the Mission District of San Francisco, and featured a variety of works that combined sound and visuals. I had the opportunity to visit the gallery on the Saturday of the festival, just before that night’s concert.

I have experienced Matthew Goodheart’s work with transducer-excited cymbals a few times now, most notably in his solo performance at the Outsound Music Summit. Here, he arranged them around the front room over the gallery to create an immersive installation called …silence through things secret….


The installation dominated the main room both visually and aurally, with the late-afternoon sun reflecting off the cymbals, and a variety of sounds echoing around the room. Computer-generated sounds were created from analysis of the resonances of each cymbal and recordings of each instrument played in a variety of manners. The sounds were then used to excite the cymbals via small transducers.


[Photo: PeterBKaars.com.]

Because the sound from the cymbals is acoustic, the only notion one has of electronics at work is the fact that they are standing on their own without anyone there to play them. But there is nonetheless something otherwordly about the visuals and sounds of the unattended cymbals. Goodheart’s piece was part of a larger project he has developed in conjunction withe Center foew New Music and Audio Technologies (CNMAT) at UC Berkeley.

Giant Leap, the result of collaboration by Floor van de Velde and Elaine Buckholtz, paid tribute to the late Neil Armstrong and the 1969 Apollo 11 moon landing. The audio-and-visual work combined an anaglyph image of the moon with a sound score realized using modified rotary telephones.

The moon landing and the sounds associated with that achievement are still quite fresh, but the use of rotary telephones reminds us just how long ago this achievement took place. I consider rotary phones a particularly endangered technology in that it bears so little resemblance to contemporary phones in both form and function.

Dan Good presented two small kinetic sound sculptures. Artificial Lung combined standard speaker drivers in a novel way. They were pressed against one another a driven with a 1Hz sine wave. While the signal is far below the range of human hearing, the pressure on the speakers was visible and created the illusion of a breathing organism.


[Photo: PeterBKaars.com.]

In, Good’s sculpture Petri Dish, small glass spheres are pulled up and down in a glass bowl and tubes. The sound of the glass is subtle, but the visual is quite striking, especially when it is moving (the photograph does not really capture this aspect.)

Both of Good’s sculptures draw upon simple shapes, lines and processes to create something conceptually compact and understandable. As such, they play to the strengths of modernism – something refreshing to see in a contemporary setting,

SFEMF has featured installations before, usually as fixtures in the lobby during concerts. I thought separating it out into a gallery presentation worked well and allowed the pieces the chance to be seen outside the shadow of the live performances and milling crowds. I hope they do this again next year.

San Francisco Electronic Music Festival (SFEMF): September 9 Concert

The final concert of the 2012 San Francisco Electronic Music Festival (SFEMF) took place on Saturday, September 9 at the Brava Theater. If there a common thread among the different performances on this evening, it was the use (and celebration) of analog electronics.

The concert opened with a solo piece by Chuck Johnson called Passivity and Void. The performance featured analog electronics with steel guitar as a sound source, and explored the tension between retaining and relinquishing control over timbre and musical processes. This is particularly true of feedback and random voltages that Johnson used. The result was beautiful low-frequency drones with complex textures layered on top.


[Chuck Johnson. Photo: PeterBKaars.com.]

I also found myself focused on his suitcase-based analog setup, similar at least in appearance to what I have been using of late.

The next set featured James Fei using a large speaker, in particular an Altec 604, as a musical instrument in its own right.


[James Fei and Altec 604. Photo: PeterBKaars.com.]

The large speaker, which is a model that has existed since the 1940s, is visually impressive. And the dramatic movements of its driver in response to the low and mixed frequency analog sound sources was a central aspect of the performance. Through his mixture of subtle long tones and more pointed elements, Fei seemed to imbue the speaker with a personality, expressing itself with motion and sound. It was fun to watch. As a purely sonic experience, the elements were simple, though not as minimalist as the piece’s title Sine of Merit would suggest.

The final set of the concert and of the festival featured a collaboration of Peter Conheim of Negativeland and Jon Leidecker (aka Wobbly) appropriately called Negativewobblyland. They were joined for this performance by Don Joyce.


[Negativewobblyland. Photo: PeterBKaars.com.]

Their performance, titled Booper Variations No. 18 and featured sounds and techniques based on Boopers, which were “analog feedback instruments created entirely from salvaged radio and amplifier parts.” Although the modern reinterpretation used samples and delays as forms of feedback, the music was based on the principles of the original Boopers. The result of sampling and feedback was a complex and varied array of electronic sounds and felt like a swiftly moving history of electronic music in a single set. The energy of the trio carried the music forward for the entire duration.

Overall, this year’s SFEMF included several strong nights of music, and each of the nights was quite well attended. Additionally, there was a concurrent gallery exhibition, which I will review in the final installment of the series.

International Orange: Art for the Golden Gate Bridge at 75

Today we look at the ongoing International Orange exhibition here in San Francisco. As part of the celebrations for the 75th Anniversary of the Golden Gate Bridge, sixteen artists were invited to create new works in response to the bridge. The results ranged from very concrete interpretations to more conceptual, and focused a variety of aspects from the iconic color to the architecture to the surrounding environment. All of the works were brought together at Fort Point in the shadow of the bridge for the show.

The bridge itself is a work of art on display at Fort Point, with unique views of the architectural detail that one does not see in the standard postcard shots.

The first formal piece to catch my attention was the sound-and-video installation by renowned multimedia artist Bill Fontana. It was in a dark alcove off the main courtyard of the fort, and focused primarily on sound derived from sensors and microphones that Fontana placed at various points on the bridge and Fort Point along with a live video of the underside of an expansion joint of the bridge. The result was an immersive aural experience anchored by the percussive rhythm of traffic over the expansion joins, the bridge’s cables and the waves at the shore. These elements worked together into a polyrhythmic “composition”, while the video helped orient the listener to the context of the bridge. I found Fontana’s piece to be both technically impressive (e.g., microphones on the bridge) and a captivating listening experience.

Several of the artists made literal use of the international orange color. Artist Stephanie Syjuco‘s installation simulates the typical souvenir store with mass-produced objects in that color, arranged in displays on tables and shelves.

The objects appear as those one might expect in the souvenir shop of an art museum (or next to the Golden Gate Bridge, for that matter), but the uniform color and lack of labeling gives it a strange quality, reminding the viewer that this is not an ordinary shop. It leaves space for the viewer to question the role of shops and commoditization in art without participating in it. Nothing was for sale – though visitors were encouraged to take a free postcard, which showed a solid international orange color field.

Anandamayi Arnold created seven paper dresses in the style of the Fiesta Queens from the original 1937 opening of the bridge – while most of them had the traditional colors and patterns associated with the style, the most striking one was entirely colored in international orange.

I am pretty sure the life-size dresses were in fact wearable, as I saw Arnold wearing either the piece shown above or one like it at ArtMRKT a few weeks before the opening of the exhibition.

Another project that directly featured the international orange color covered the railings overlooking the inner courtyard with swags of orange bunting that were created by female veterans in collaboration with artist Allison Smith. Orange textiles were also a part of Pae White’s “digitally woven tapestries” based on photographs of the fog that is more often than not part of the environment in and around the bridge.

The environment was a major theme of several other projects as well, as artists turned their attention away from the bridge itself to the surrounding water, air and land. Photographer David Liittschwager created an installation that examined the life within one cubic foot sections of water below the bridge. The result is a series of detailed images of life large and small mounted on cubes.

The images themselves could have easily been at home in a science museum rather than an art exhibit, but it is the way the dark pedestals are arranged and their contrast with the brick hallway that makes it art.

Camille Utterback presented an ambitious piece that used digital displays and custom software to create dynamic visual models of the patterns of water flow in the San Francisco Bay. Like Fontana’s work, it was presented in a dark alcove where the displays shown brightly with undulating patterns, but small portals in the wall allowed the viewer to contrast the actual flow of water under the bridge with the historical model. Abelardo Morell explored light and shadow with his camera-obscura installation. A pinhole is used to expand light from outside the fort in a large but grainy image characteristic of this old form of photography.

Other projects were more conceptual, drawing inspiration and organization from history and social context surrounding the bridge and the surrounding area. Cornelia Parker’s sculpture Reveille featured two bugles, one flattened and no longer playable. The piece is a a comment on Fort Point’s history – it was never called into action. Rather than hearing the sound of the bugles, we hear the acoustics of the vault with the wind and echoes of other visitors. The light also plays off the shapes creating more flattened copies of the instruments.

“Artist, historian, and urban strategist” Jeannene Przyblyski produced a virtual radio station K-BRIDGE that presents numerous stories, ideas and sound experiences suggested by the bridge, some of which are factual and some of which are not. The station is broadcast acoustically from a live installation as well as over WiFi to mobile devices and streaming on the internet. You can read and listen to samples here.

The installation is an interesting blend of old an new, with vintage “On Air” sign and wooden details as well as modern electronics for digital storage and wireless networking.

There are more pieces in the show that are not covered by this article. Overall, I am glad I was able to experience this artistic part of the 75th anniversary celebration, and in particular getting to see the pieces within the immediate environment of the bridge itself. The exhibition continues through October, so there is still plenty of time to see it.