We are honored to host acclaimed sound artist @fujilllllllllllta at The Egg on Sunday, June 14. The Lea Bertucci, Cleek Schrey, Ben Vida, and Henry Fraser Quartet (an ensemble with local roots) will open the show. This is going to be a truly special and visceral evening of performances. Tickets on sale Friday, March 27 @ 10AM ET.
FUJI|||||||||||TA is a Sound Artist living in Japan. His unique practice utilizes various natural phenomena that respond to his interest in wanting to hear unheard sounds and unknown sounds.
The @lilbertucci , @cleekschrey , @btvida , and @henry__fraser Quartet investigates structural and dramatic aspects of sound and performance using amplified woodwind and stringed instruments, electronics, voice, and tape.
Cleek Schrey responds sonically to the works of Hans Bellmer, Bruce Nauman, and Rona Pondick, engaging the body as both material and metaphor. Through fractured bow strokes, unstable tones, and emergent resonances, the performance traces hidden structures that echo the artists’ fragmented and resonstituted forms. Subconscious threads surface in the interplay between sound and object, where intimacy, disturbance, and transformation unfold in real time. As Bellmer, Nauman, and Pondick’s work moves between bodily and remanents and unlikely wholes, the music inhabits a similar terrain: oscillating between sensuality and rupture, surface and interior, presence and dissolution. As an extension of the body, Schrey’s violin emanates breath, pressure, and vibration in the space where sculpture and sound converge.
Wednesday, 3/18
5, 6, 7pm
Nunu Fine Art
381 Broome St
NYC
Outfitted by @lrcnyc.online
📷: Nate Lavey
Join us next Wednesday, March 18 for a live violin improvisation by NYC-based fiddler, composer, and improviser Cleek Schrey, who will respond sonically to the works of Hans Bellmer, Bruce Nauman, and Rona Pondick.
As Bellmer, Nauman, and Pondick’s work moves between bodily remnants and unlikely wholes, Schrey’s music inhabits a similar terrain: oscillating between sensuality and rupture, surface and interior, presence and dissolution.
Three individual performances will occur at 5:00, 6:00, and 7:00 PM, with a short intermission between each.
This event was organized by @f1rst.t1me
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誠摯邀請您於下週三（3月18日）蒞臨現場，欣賞現居紐約的小提琴家、作曲家暨即興音樂家 Cleek Schrey 帶來的現場小提琴即興演出，他將以聲音回應漢斯．貝爾默（Hans Bellmer）、布魯斯．諾曼（Bruce Nauman）與羅娜．龐迪克（Rona Pondick）的作品。
當貝爾默、諾曼與龐迪克的創作游移於身體的殘片與不可能的整體之間，Schrey 的音樂也行走於相似的感知場域：在感性與斷裂、表面與內在、存在與消散之間擺盪。
演出將分為三個場次，時間分別為下午 5:00、6:00 與 7:00，每場之間設有短暫中場休息。
本活動由 @f1rst.t1me 策劃。
#nunufineart #cleekschrey #bellmernaumanpondick #materialdesire
Last night's spectacular performance was a beautiful and fitting conclusion not only for our fall/winter performance season, but for our landmark exhibition, "Points in Space: Performance at Black Mountain College." Natacha Diels and Cleek Schrey's dynamic performance explored sound and silence, rhythm and melody, immersing the audience in an experience that was simultaneously contemplative and joyful. Throughout the exhibition, our programming has explored the foundational history and influences which shaped performance at Black Mountain College—this performance brought us back to the present and even to the future, demonstrating how BMC's legacy of experimentation continues to resonate with artists pushing the boundaries of performance today. Thank you to Natacha and Cleek for sharing the evening with us, and to our BMC community for coming out to support our contemporary programming!
With that, our "Points in Space" exhibition comes to a close. Remember that BMCM+AC will be closed until January 30th for the installation of our next exhibition—"Dialogue: Lindenfeld + Lindenfeld." We hope to see you then!
Beehive Cathedral plays Betty Baker, Philadelphia, 11/9/25. old Kentucky fiddle tune + brutalist space. Now accepting bookings for your local brutalist space. We’ve started calling this trio (Joseph, Cleek, Luke) by the name of our 1st record. Thanks to @ripleys_believe_it_or_else & @milkocromlom for the video and to @bowerbird_philly for hosting. The full video is on JD’s YouTube.
#folk #traditionalmusic #folkmusic #banjo #oldtimemusic
Last show of the 2025 season at Tremper: Nov 22. Zosha Warpeha and Cleek Schrey. Two musicians working with the Handanger fiddle in different ways.
Zosha Warpeha is a composer-performer working in a meditative space at the intersection of contemporary improvisation and folk traditions. Zosha will present an evening of solo Hardanger fiddle playing.
Cleek Schrey will present a multi-channel piece that structures materials from his investigations of folk fiddling, medieval polyphony, free improvisation, and post-serial processes.
@zoshazosha@cleekschrey@tremperorg
photo of Zosha by @knthjimenez , photo of Cleek by @gp.selvaggio
A rare chance to catch my duo with @nicgareisslfi this weekend in NYC. I’ve been making music with Nic in one form or another since I was 16 years old and every single time is full of genuine surprise. Shows are Friday and Saturday at @artxnyc
Fiddler Cleek Schrey & percussive dancer Nic Gareiss are members of a generation exploring new horizons through historical modes of movement and
sound. Drawing on folk fiddling, flatfooting, and step dance from Ireland and Appalachia, they combine elements of traditional repertoire, improvisation, and experimental composition, highlighting melody and sonic texture.
The New York Times writes, “the two are virtuosos in their respective forms, but also in the shared art of listening.”
Part of @artbathnyc
ARTX NYC | 409 W 14th St, New York, NY 10014
8pm
Billy in the Lowground in a cabin above Shoal Creek in Lawrence Co., Tennessee in March, 2021 with Joseph Decosimo fiddle, Cleek Schrey pump organ, and Luke Richardson Banjo
We unwittingly filmed the take we used on our record Beehive Cathedral, and here’s that audio synced to some fine iPhone footage
#oldtimemusic #folkmusic
Last Saturday @cleekschrey premiered 𝘚𝘵𝘳𝘢𝘯𝘨𝘦 𝘊𝘳𝘦𝘦𝘬 𝘔𝘶𝘴𝘪𝘤 @lampodotorg —a new fiddle work for his hardanger d’amore, performed in our 10 × 20-foot office. The ten-string instrument has five bowed strings over five sympathetic ones, which aren’t played but vibrate in response, filling the small room with rich overtones.
𝘚𝘵𝘳𝘢𝘯𝘨𝘦 𝘊𝘳𝘦𝘦𝘬 𝘔𝘶𝘴𝘪𝘤 recasts John Johnson’s (1916-1996) repertoire of Appalachian fiddle tunes—first in their traditional form, then stretched into free improvisations. Rooted in dance, these melodies turn inward here—solitary, reflective, and marked by Schrey’s own history.
Schrey performed eight 20-minute sets, each limited to four people, from 5:30 to 9:30 p.m. Each was devoted to a different old-time tune: Hell Among the Yearlings, Forked Deer, Camp Chase, Irish Girl, Grey Eagle, Shelvin’ Rock, Three Forks of Reedy, and Piney Mountain.
“Instead of attempting an expansion of tradition via experimentalism, I’m interested in the opposite,” he writes. “Drawing on traditional fiddling techniques and my solo practice of improvisation, I want to convey the ethos of interiority, lonesomeness, and mystery that inhabits this music.”
Photos @alex_inglizian
#fiddle #oldtimemusic #folkmusic #appalachianmusic #experimentalmusic
