Jules Gimbrone (b. 1982 Pittsburgh, USA; lives and works in Los Angeles and NYC) is an artist and composer that asks how social performance is codified, captured, and transmitted. Combining sound and objects into immersive aural and haptic environments, Gimbrone re-engineers sites of past and current performances with audio transduction equipment, producing installations that transform the sounds of performance into a physical experience for the audience. Using a variety of recording and amplifying technologies—in addition to materials such as clay, ice, and even the ambient sound of past performances—Gimbrone investigates how sound travels through space, bodies, and language as a way of exploring hidden or sublimated gendered systems. Concerned with the tension between conceptual systems and their inevitable demise, the container and the contained, the visual and the sonic, Gimbrone’s work exposes multiple queerings of the performative and pre-formative body. For Gimbrone, sound is more methodology than medium.

Sound is slippery, unruly, awkward, shape-shifting, and everywhere. Sound travels via vibrating mediums. Sound is a disturbance that challenges the solidity of form. Sound is  spooky action at a distance. Sound seeps into locked rooms, into bodies. Sound doesn’t care who or what you are. Sound is tender. Sound is violent. Sound is a system that we are a part of. Sound is political and private. Sound shows seams and structures. Sound is a canary in a coal mine. Sound maps out non-space. Sound is the subliminal and the sublime. Sound is annoying and loud. Sound is a special interest for those who study it. Sound studies you. Sound is a laughing animal. Sound doesn’t like choices. Sound wants us to all just get along. Sound recognizes differences. Sound feels like it was born too soon. Sound feels like it is an alien, like it is from the future. Sound can sneak up on you. Sound can put you to sleep. Sound can’t be bought and sold. Sound is all. Sound is not often seen. Sound is a place of worship. Sound is easily desecrated. Sound wants more listening and less doing. Sound is not yet here. – Jules Gimbrone 2015

Gimbrone attended Smith College (BA, 2004) and CalARTS (MFA Music Composition, 2014). In 2012 Gimbrone received an Emerging Artist Commission from ISSUE Project Room to present Pastor Pasture with choreographer Jen Rosenblit.  Gimbrone was a presenting panelist on The 2012 Symposium on Electroacoustic Music Performance (NYC) and moved to LA to pursue an MFA at CalARTS. While at CalARTS, Gimbrone received the Diversity Grant (2013), Music School Grant (2013), and Interdisciplinary Grant (2014) for performances Diagonal Throws (2013), Blubber Humm (2013), and This Body is not THAT Solid (2014). In 2013 Gimbrone performed A Thin Wall Sympathetically Maintained at Human Resources LA and curated the compilation LP and performance Fault Lines released by PACK Projects. In January 2013 GLOC Infinite Loop premiered at ISSUE Project room (NYC) and in November Outer Edges at Vox Populi (PHL). Gimbrone composed Piss Pott (2014) performed by the The New Century Players Ensemble. Gimbrone’s sculptural sound installation, Spooky Action / Flesh Wedge was part of The Third Ear at FOCA (LA). In June 2014, with dancers Mariana Valencia and Lydia Okrent, Gimbrone premiered Taking Up Space at FLAX Fahrenheight (LA) the prequel to the larger performance commission, Rooms, Junk, and Other Forces for the Théâtre de l’Usine in Geneva, Switzerland (2015). Gimbrone guest curated N {enter} S (2014), at LACE with the LA-based performance art journal Native Strategies. In March of 2015, Gimbrone installed, There is no There There, at Cuchifritos Gallery (NYC) part of Threshing Floors and in June was a presenting panelist for AVANT’s Sonic Research: Psychoacoustics Session 1 at MOMA PS1 (NYC). Gimbrone sculptural sound stage, Traps and Transmutations (2015), was installed at Park View Gallery (LA) part of The Social Register.

Gimbrone is Artistic Director and co-founder of PSSST a non-profit art space in Los Angeles, CA.