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Sun 21 April 2013 Dundee Contemporary Arts
Sat 9 February - Sun 21 April 2013 Dundee Contemporary Arts 152 Nethergate Exhibition open: Dundee DD1 4DY Tue - Sat 11:00 - 18:00 01382 909900 Sun 12:00 - 18:00 www.dca.org.uk Open late Thu until 20:00 Reg Charity No. SCO26631 Admission free Introduction Dundee Contemporary Arts is proud to present Seasons and Sacraments by the influential German artist Jutta Koether. Featuring a selection of new and recent works, Seasons and Sacraments is Koether’s response to two important series of paintings by the French artist Nicolas Poussin (1594-1665) and is the largest exhibition of the artist’s work in the UK to date. The exhibition is supported by the Institut für Auslandsbeziehungen and will travel to Arnolfini, Bristol. A publication is in preparation. Seasons and Sacraments is an exhibition of contemporary paintings by an artist who is remembering, repeating and working within the tradition of historical painting, while at the same time deviating from and radicalising the conceivably conservative position of being a painter. The idea of “Network Painting” is central to Koether’s work. It is a term coined by the art historian David Joselit in his essay Painting Beside Itself from the journal October, 2009. It references a statement by Martin Kippenberger (1953-1997), a contemporary of Koether’s, in which he states that: “Simply to hang a painting on the wall and say that it’s art is dreadful. The whole network is important!”. Koether acknowledges and emphasises the act of reading and re-interpreting paintings within her own work. This process will be expanded in a performative event by the artist which will take place in the galleries on Thu 7 March at 19:00 (please see page 8 for details). -
Rock Album Discography Last Up-Date: September 27Th, 2021
Rock Album Discography Last up-date: September 27th, 2021 Rock Album Discography “Music was my first love, and it will be my last” was the first line of the virteous song “Music” on the album “Rebel”, which was produced by Alan Parson, sung by John Miles, and released I n 1976. From my point of view, there is no other citation, which more properly expresses the emotional impact of music to human beings. People come and go, but music remains forever, since acoustic waves are not bound to matter like monuments, paintings, or sculptures. In contrast, music as sound in general is transmitted by matter vibrations and can be reproduced independent of space and time. In this way, music is able to connect humans from the earliest high cultures to people of our present societies all over the world. Music is indeed a universal language and likely not restricted to our planetary society. The importance of music to the human society is also underlined by the Voyager mission: Both Voyager spacecrafts, which were launched at August 20th and September 05th, 1977, are bound for the stars, now, after their visits to the outer planets of our solar system (mission status: https://voyager.jpl.nasa.gov/mission/status/). They carry a gold- plated copper phonograph record, which comprises 90 minutes of music selected from all cultures next to sounds, spoken messages, and images from our planet Earth. There is rather little hope that any extraterrestrial form of life will ever come along the Voyager spacecrafts. But if this is yet going to happen they are likely able to understand the sound of music from these records at least. -
Doawangardy Scott Walker
ISSN 2084-4999 1,23 zł (w tym 23% VAT) maj-czerwiec 2013 ISSN 2084-4999 1,23 zł (w tym 23% VAT) #11 Dźwięk: Obraz: Słowo: Interakcje: Redaktor naczelny Korekta Tadeusz Bisewski Wydawnictwo EKWITA www.ekwita.pl Redakcja Kamil Downarowicz Karolina Joisan Maciej Kaczmarski Wydawca numer 11 Ana Matusevic Alterpop Media s.c. maj-czerwiec 2013 Agnieszka Młynarczyk ul. Śląska 35/37 ISSN 2084-4999 Wojciech Onyśków 81-310 Gdynia PREMIERY płytowe Primal Scream More Lights ******** Podobno niektórzy ludzie potrafią bawić się bez alkoholu i narkotyków. Spróbować tego członkowie Primal Scream. Odstawili wszystkie używki, obwieścili światu, że są czyści, pełni pozytywnej energii i motywacji do nagrywania nowych kawałków i wy- stępów na żywo. Można odetchnąć z ulgą, że jeszcze nie odnaleźli w sobie Chrystusa… Zwrócili się za to do innego pro- roka – Davida Holmesa, znanego i cenionego producenta, który wy- prawiał już cuda z remiksami nagrań U2, Manic Street Preachers czy Dove. Tutaj także daje się wyraźnie odczuć jego obecność. More Lights to płyta bardzo udana, niezwykle eklektyczna w swojej formie. Muzycy czerpią peł- nymi garściami z bogatych zasobów psychodelicznego rocka lat 60.,współ- czesnych klubowych trendów i mo- torycznych krautrockowych rytmów. Pojawiają się nawet elementy bluesa oraz dźwięki przywołujące w wyobraź- ni krajobrazy Dalekiego Wschodu. Całość jest spójna i diabelnie prze- konująca. Aha, zaleca się słuchać na trzeźwo. Lillte Boots Nocturnes ***** Aż trzy lata musieliśmy czekać na nowy materiał Victorii Hesketh. Materiał, który w znacznej mierze różni się od tego, co mieliśmy okazję usłyszeć na Hands. Wciąż jest to pop, jednak tym razem na usługach nocnych klubów z głośną muzyką taneczną. -
Independent Online Edition > Features
Scott Walker http://www.thewire.co.uk/web/unpublished/scott_walker.html The Wire 267, May 2006 Unedited transcript by Rob Young Scott Walker London, 23 March 2006 [I tell him I was impressed with the record] SW: Well thank you - it's so unusual for people to just say that out to me, I just feel like I brought in the plague or something. If people just said they liked it upfront it would make me feel so much better. [laughs] RY: The studio seems to be where your creativity is focused - I wouldn't want to see The Drift performed live, it would reduce the impact so much.. SW: [laughs] I wouldn't want to see it! No, it would be nigh impossible. It would be first of all, financially prohibitive, there's no way you could tour it because you couldn't take a force like that out every night. And if you did it for one night, you'd have a nervous breakdown, you know? There's no way. I've been asked that, so now I'm toying with writing something I could actually do some gigs with, because... but it would have to be scaled down. A lot. I'd have to take four or five players. But the problem with me is that I'm an either/or man. My imagination either gets very big, or it ends with a whimper, like all the end songs on all my records. It's very small or it's very big, but somewhere in between always sounds too normal to me. -
30 CENTURY MAN Credits Directed by Stephen Kijak
SCOTT WALKER : 30 CENTURY MAN Credits Directed by Stephen Kijak Produced by Mia Bays & Stephen Kijak Produced by Elizabeth Rose, Aim High Productions Executive Producer David Bowie Co-Executive Producers Mark Vennis and Gary Phillips Colin Burch and Julia Short Featuring Damon Albarn Dot Allison Marc Almond David Bates JD Beauvallet Ed Bicknell David Bowie Hugh Burns on guitar Cally Callomon Al Clark Jarvis Cocker Cathal Coughlan Rob Ellis Brian Eno Gavin Friday Brian Gascoigne Alison Goldfrapp Colin Greenwood Jonny Greenwood Neil Hannon Richard Hawley Martin Lawrance Ute Lemper Lulu Alasdaire Malloy Johnny Marr Angela Morley Michael Morris Ed O’Brien Peter Olliff Tim Painter – Big Box Construction Evan Parker Arnie Potts Simon Raymonde Philip Sheppard David Sefton Sting Peter Walsh Mark Warman Hector Zazou And Scott Walker Narrated by Sara Kestelman Associate Producers Gale Harold David Sefton Line Producer Joanna Gueritz Segment Producer, NYC Philip Farha Production Accountant Denis Wray Director of Photography Grant Gee Additional camera Derek Wiesehahan May Rigler Mat Whitecross Grant Jordan Grip/Swing, NYC Micky Hohl Scott Walker 2006 portraits & String Session stills Grant Gee Clara/Milan photos Stephen Kijak Editing Grant Gee Mat Whitecross Additional editing Jerry Chater Special Motion Graphics Directed and Designed by Graham Wood For Tomato Films Boychild Animation/Design Mans Swanberg Edit & Post Quentin Olszewski Produced by Viktor Bjork Sleepwalkers Woman Animation/Design Dana Schechter The Electrician & Jesse Animation/Design -
SCOTT WALKER – 30 CENTURY MAN Panorama SCOTT WALKER – 30 CENTURY MAN Dokumente SCOTT WALKER – 30 CENTURY MAN Regie: Stephen Kijak
Berlinale 2007 SCOTT WALKER – 30 CENTURY MAN Panorama SCOTT WALKER – 30 CENTURY MAN Dokumente SCOTT WALKER – 30 CENTURY MAN Regie: Stephen Kijak Großbritannien/USA 2006 Dokumentarfilm mit Scott Walker Länge 95 Min. David Bowie Format 35 mm, 1:1.85 Brian Eno Farbe Radiohead Sting Stabliste Jarvis Cocker Buch Stephen Kijak Marc Almond Kamera Grant Gee Damon Albarn Zusatzkamera Derek Wiesehahan Allison Goldfrapp May Rigler Ute Lemper Mat Whitecross Lulu Grant Jordan Schnitt Grant Gee Mat Whitecross Zusatzschnitt Jerry Chater Sounddesign Joakim Sundström Ton Rashad Omar Mischung Richard Davey Herstellungsltg. Joanna Gueritz Produzenten Mia Bays Stephen Kijak Elizabeth Rose Executive Producer David Bowie Co-Executive Scott Walker Producers Mark Vennis Gary Phillips SCOTT WALKER – 30 CENTURY MAN Colin Burch „The Sun Ain’t Gonna Shine Anymore“ sangen Mitte der 60er Jahre The Julia Short Associate Producers Gale Harold Walker Brothers, ein Trio um den amerikanischen Bassisten und Leadsänger David Sefton Scott Walker, das mit diesem Song aus dem „Swinging London“ weltweit Co-Produktion Plastic Palace LLC, einen Hit landete – und sich schon 1967, auf dem Höhepunkt seines New York Ruhms, auflöste. Denn Scott Walker, dessen Karriere als Gelegenheitsbassist auf dem Sunset Strip von Los Angeles begann, hatte andere Interessen, als Produktion Missing in Action Films sich mit den Beatles oder Rolling Stones um ein Publikum aus kreischenden Flat 1, 2 Whitfield Street Teenagern zu streiten. Scott Walker schwärmte für Filme von Ingmar GB-London W1T 2RB Bergman, er las Jean-Paul Sartre und hörte die Chansons von Jacques Brel. Tel.: 207-323 28 95 So führte für Scott Walker kein Weg nach Las Vegas, wo er ein zweiter Frank [email protected].