A concert of original music by vocalist Jessika Kenney, joined by violist Eyvind Kang and singer and kanklės player Indrė Jurgelevičiūtė. Invoking the abstraction of the ghazal form in music as well as a wide range of oral traditions, Kenney animates the extant lines of Roman poet Sulpicia and her love’s struggle to reveal and conceal transformative joy.
This music will be performed in parallel with the powerfully grounded and elusively coded video of Osage artist Keli Mashburn. Pre-show spatial contemplation in the cafe will involve participation of communities that Kenney has connected with in Berlin.
Kenney is a Los Angeles-based composer, vocalist, writer, and educator. Kenney’s work hovers at the intersection of voice, text, and tradition through subtle and multidimensional compositions that draw from a range of influences, from her early involvement in Seattle’s underground music and activist scenes, to intensive studies in Indonesian and in Persian art musics. Her most recent work is featured on her solo LP Uranian Void, released in 2025 on Kou Records, and includes a parallel video work filmed and directed by Osage artist Keli Mashburn.
Indrė Jurgelevičiūtė is a singer, kanklės player and composer from Lithuania. Often performing solo or as part of Merope—her long-standing collaboration with Belgian guitarist and electronic artist Bert Cools— weaving together elements of folk, ambient and electronics. Their albums Naktės, Salos and Vėjula, released on Stroom and granvat, has been described as “stylistically fluid and carrying transcendent allure.” Indrė’s creative reach extends through collaborations with artists such as Surya Botofasina, Shahzad Ismaily, Laraaji, Gyða Valtýsdóttir, Solo Cissokho.
Eyvind Kang is a violist and composer who has released 15 albums including Riparian (2025) Sonic Gnostic (2020) and Ajaeng Ajaeng (2020), Chirality (2019) and Grass (2012), going back to Sweetness of Sickness (1996). He has worked closely with illustrious musicians including Laurie Anderson, Skuli Sverrisson, Bill Frisell and Hildur Guðnadóttir.
