DOCSLIB.ORG

Elke Krasny Archive, Care, and Conversation: Suzanne Lacy's

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Elke Krasny Archive, Care, and Conversation: Suzanne Lacy’s International Dinner Party in Feminist Curatorial Thought Elke Krasny Archive, Care, and Conversation: Suzanne Lacy’s International Dinner Party in Feminist Curatorial Thought Acknowledgment First and foremost, I am deeply grateful to my supervisor Dorothee Richter for her endless support. I appreciate the ongoing conversations around feminist curating. I am especially thankful to Susanne Clausen and Alun Rowlands for their support throughout. This book is lovingly dedicated to my wonderful family. Elke Krasny Archive, Care, and Conversation: Suzanne Lacy’s International Dinner Party in Feminist Curatorial Thought The present study was accepted as a dissertation at the Department of Fine Arts of the University of Reading. Prof Dr Dorothee Richter advised the dissertation. This publication is based on the dissertation as part of the PhD in Practice in Curating Program, a joint doctoral program of the Zurich University of the Arts and the University of Reading, supported by “swissuniversities.” Published by ONCURATING.org Proofreading: Stephanie Carwin Set and design: Biotop 3000 © 2020 ONCURATING.org, and the author. The rights of this publication remain by the author. The publication is openly accessible on the website www.on-curating.org and can be downloaded and shared under the restriction of crediting the author and/or OnCurating.org. The Publisher is granted a non-exclusive right of use in respect of the online publication of the work without the obligation to make use of this right. The Author is entitled to make a PDF version of the work publicly accessible online via his/ her personal website, an institutional server or a suitable subject-based repository once it has appeared in book form. This usage of rights is in compliance to the requirements by the of Swiss National Science Foundation (SNSF). ONCURATING.org Pfingstweidstraße 96, 8005 Zurich, Switzerland www.on-curating.org ONCURATING.org is an independent international journal supported by the Postgraduate Programme in Curating, ZHdK. ISBN: 9798645807054 CONTENT LIST 2 Acknowledgment 4 Imprint 7 Introduction 39 Feminist Thought and Curating: On Method PART 1 The Subjects of the International Dinner Party: A Feminist Cultural Analysis 69 The Emancipated Spectatress in Conversation with Equal Listeners 103 Putting on the Map: International Dinner Parties PART 2 The International Dinner Party in Feminist Curatorial Thought 121 The Salon Model: The Conversational Complex 140 Emergent Archives of Conversations: Feminist and Queer Feminist Practices 184 Conclusion 193 Bibliography INTRODUCTION 7 Introduction Art is a potential link between differences. It can be constructed as a bridge between people, communities, even countries, such as my 1979 project the International Dinner Party. — Suzanne Lacy, The Name of the Game, 1991 Sisterhood cannot be assumed on the basis of gender; it must be forged in concrete historical and political practice and analysis. — Chandra Talpade Mohanty, Under Western Eyes, 1984 This publication examines Suzanne Lacy’sInternational Dinner Party. On March 14, 1979, “a simultaneous world wide dinner happened on the eve of Judy Chicago’s Dinner Party exhibition at the San Francisco Museum of Modern Art, this global project was offered as a gift to Judy Chicago, one of Lacy’s mentors.”1 While Judy Chicago’s Dinner Party has since been recog- nised as a widely celebrated, at times most controversially discussed, icon of feminist art, which since 2007 has been permanently installed as the central piece of the newly founded Elizabeth A. Sackler Center for Femin- ist Art at the Brooklyn Museum in New York City, the International Dinner Party has remained one of Suzanne Lacy’s lesser known works. Numerous events celebrated the 1979 Dinner Party exhibition opening. “Poetry readings, panels, and workshops ran throughout the weekend. […] On Saturday, an all-day conference titled ‘A Celebration of Women’s Heritage’ took place at a nearby Holiday Inn. Art critics Lucy Lippard and Jan Butterfield, art historian Ruth Iskin, Lacy and Geldon led a panel discussion in the morning on the subject of ‘women’s art as a vehicle for social change.’”2 The International Dinner Partywas just one among many other events. This may have contributed to the fact that it 8 INTRODUCTION has taken a very long time for Suzanne Lacy’s 1979 art project to become recognised as a work in its own right. So far, no study has been devoted to the International Dinner Party. This book presents the first in-depth feminist cultural analysis of the International Dinner Party. It is structured in two parts. First, it offers first an analysis of the subjects of the International Dinner Party, then going on to extend some of the insights uncovered through its analysis over time. The initial focus is on the subjects of the International Dinner Party: the 2,000 women who staged international dinner parties and sent tele- grams to the museum where their arrival was marked by Lacy on a large black-and-white map of the world. I argue that the International Dinner Party exists in the following three modes: first, as a living artwork; second, as an installation result- ing from Suzanne Lacy’s performance at the San Francisco Museum of Modern Art; third, as an archive of feminist messages from 1979. The first part of my argument explores both the living artwork and its represent- ation as the artist’s performance-installation via the documents kept by Suzanne Lacy in the International Dinner Party Archive. Here, historical research and a theory-based approach are brought together to analyse this example of conceptual social feminist art practice. I examine the his- torically gendered division of art production and art reception and intro- duce the concept of the “emancipated spectatress.” I argue that the map is the ideological pivot through which feminism’s entanglement in his- torical conditions and power relations becomes legible. I claim that the unresolved paradoxes of participation that can be identified in the differ- ences between the living artwork and the artist’s performance-installa- tion play out on the map. The second part of my argument extends the 1979 art project tem- porally, first toward the past and then toward the contemporary moment. I do so by placing the International Dinner Party within feminist curat- orial thought.3 The structure of this artwork reveals a model of art-mak- ing based upon conversation with others. Such art-making differs pro- foundly from the concept of the artist-as-genius as the sole producer of art. The International Dinner Partybridges the domestic sphere and the public sphere. This inspired my search for a historical model of art as con- versation bridging the domestic sphere and the public sphere. I suggest here that the historical precedent of such a model presents itself in the women-led Jewish salon culture of Berlin and Vienna around 1800. The salonière provided the space and the knowledge, the material and imma- terial support necessary for conversations as artmaking with others. In today’s institutional frameworks and the languages of the globalised art world, the historical subject position occupied by the salonière becomes legible as the curator of conversations. Yet, museum studies and writing INTRODUCTION 9 on the history of curating have so far never considered the inclusion of the salonière. I propose here the salon model and its conversational com- plex. This is an intervention into the hegemonic narratives of the histori- ography of curating. I claim that today the International Dinner Party, understood as an ad-hoc and collectively produced archive, affords a search for 1979 feminism. I took this as the point of departure for the concept of my PhD exhibition. The exhibition Suzanne Lacy’s International Dinner Party in Feminist Curatorial Thoughtplaces Lacy’s work in the con- text of four different 21st-century feminist and queer feminist artistic and curatorial collectives who engage archivism to raise consciousness and reclaim agency under the economic and political conditions of the austere and precarious contemporary moment. The four collectives are Aktion Arkiv, radical practices of collective care, Red Min(e)d, and Queer- ing Yerevan. My PhD exhibition sought to test feminist exhibition making as a conversation-based practice that could be constructed as a bridge between past and contemporary conversations via the archive as its method of search and action. The curatorial intent differed from chro- nological feminist group shows or survey shows, as well as from feminist monographic exhibitions. Here, feminism is made legible as an ongoing location-specific and situation-specific project across aesthetic, social and political relations—as much a conversation with past feminism as with feminism’s future.4 Getting to Know the International Dinner Party While other works by Suzanne Lacy, particularly Three Weeks in May (1977), In Mourning and in Rage (1977), and The Oakland Projects(1991- 2001), have become canonical examples in art history and art theory, more specifically the histories and theories of activist art, community art, feminist art, performance art, and socially engaged art, the same is not true for the International Dinner Party. This artwork has remained lesser known and has not yielded much scholarly analysis.5 I first read about the International Dinner Party in Suzanne Lacy’s 2010 Leaving Art: Writ- ings on Performance, Politics, and Publics, 1974–2007. In this volume of collected writings, she mentions the International Dinner Party once in her 1991 essay “The Name of the Game.” Here, Lacy states the following: “Art is a potential link across differences. It can be constructed as a bridge between people, communities, even countries, such as my 1979 project The International Dinner Party.” 6 This sentence, which serves as the epi- thet to my introduction here, provoked my initial interest.
Recommended publications
  • Frank Paco Art Ensemble

    Frank Paco Art Ensemble

    Frank Paco Art Ensemble Nu-World Jazz @ its best Frank Paco’s impressive career includes highlights such as 46664 Mandela AIDS concert performing with many of the world’s great musicians such as the legendary band “Queen”, Bono, Jimmy Cliff, Angelique Kidjo, Dave Stewart, Andrew Bonsu, Johnny Clegg, Brian May and Peter Gabriel. Frank started playing drums at the tender age Jazz Fest, Washington DC, New York, of 11 in Mozambique, where he already gained Switzerland’s Lugano Jazz Fest, Italy, France performance experience with friends and and Holland’s North Sea Jazz Fest just to name school bands. He recalls making his own but a few. drums and guitars out of oil canisters as a child, as it was hard to find musical instruments in a Mozambique oppressed by a In 1994 Frank Paco decided to further his raging civil war. Despite the challenges, study in jazz by enrolling at the University of however, Frank achieved true musical Cape Town where he attained an Honours greatness. Degree in Jazz Performance with distinction. Other collaborative highlights include In 2000 Frank was invited to record with performances with internationally acclaimed South Africa’s top musicians under the Sheer South African-born LA-based guitarist / singer Sound Jazz Label, of which his composition Jonathan Butler; Miriam Makeba, Hugh Milagre was chosen for the music video. The Masekela, Ragga Africa, an Indian-African group also won the South African Music collaboration that performed at Cape Town’s Awards (SAMA), for the Best Contemporary 2004 North Sea Jazz Festival; Award-winning Jazz Album and received an invitation to Den guitarist Allou April and saxophonist Moreira Hague to perform at the North Sea Jazz Chonguiça; the highly acclaimed house music Festival in 2001.
  • Jazz Circuit Texto Text Amâncio Miguel Fotografia Photography Ouri Pota

    Jazz Circuit Texto Text Amâncio Miguel Fotografia Photography Ouri Pota

    Carlos Gave e/and Sheila Jesuíta O circuito de jazz de TheMaputo jazz circuit texto text Amâncio Miguel fotografia photography Ouri Pota Trinta de janeiro. Noite de chuviscos, na Julius 30 January. A night of showers on Julius Nyerere Nyerere, avenida da zona nobre de Maputo. Quanto Avenue in the heart of Maputo. As I approach the mais me aproximo do parque de estacionamento do Polana Hotel car park, the rain is competing with the Hotel Polana, mais os chuviscos competem com o sounds of guitar and saxophone. I follow the sound som de guitarra e saxofone. Sigo o som e vou dar ao and come to the Polana’s Aquarius Bar which, Aquarius Bar deste ex-libris de Maputo, que, por ser because it is Thursday, is hosting another jazz quinta-feira, acolhe mais uma sessão de jazz. Aqui, session. Here I decide to begin my round of the decido iniciar a ronda pelo circuito jazz da capital. capital’s jazz circuit. O sopro e a guitarra que atrairiam qualquer The sax and guitar notes which would attract amante de jazz são do tema “Mo’ any lover of jazz are from the theme “Mo’ Better Blues", composed by Bill Lee, and popularised by the Branford Marsalis quartet (with the collabora- tion of Terence Blanchard), for the soundtrack of the film of the same name, by the American director Spike Lee, of 1990. The dramatic film is about Bleek Gilliam, a fictitious jazz trumpeter. This time, “Mo’ Better Blues" is recreated by the guitarist João Cabral, accompanied by Vando Infante, on drums; Sarmento de Cristo, alto sax; and Realdo Salato, on bass.
  • Constructing the Archive: an Annotated Catalogue of the Deon Van Der Walt

    Constructing the Archive: an Annotated Catalogue of the Deon Van Der Walt

    (De)constructing the archive: An annotated catalogue of the Deon van der Walt Collection in the NMMU Library Frederick Jacobus Buys January 2014 Submitted in partial fulfilment for the degree of Master of Music (Performing Arts) at the Nelson Mandela Metropolitan University Supervisor: Prof Zelda Potgieter TABLE OF CONTENTS Page DECLARATION i ABSTRACT ii OPSOMMING iii KEY WORDS iv ACKNOWLEDGEMENTS v CHAPTER 1 – INTRODUCTION TO THIS STUDY 1 1. Aim of the research 1 2. Context & Rationale 2 3. Outlay of Chapters 4 CHAPTER 2 - (DE)CONSTRUCTING THE ARCHIVE: A BRIEF LITERATURE REVIEW 5 CHAPTER 3 - DEON VAN DER WALT: A LIFE CUT SHORT 9 CHAPTER 4 - THE DEON VAN DER WALT COLLECTION: AN ANNOTATED CATALOGUE 12 CHAPTER 5 - CONCLUSION AND RECOMMENDATIONS 18 1. The current state of the Deon van der Walt Collection 18 2. Suggestions and recommendations for the future of the Deon van der Walt Collection 21 SOURCES 24 APPENDIX A PERFORMANCE AND RECORDING LIST 29 APPEDIX B ANNOTED CATALOGUE OF THE DEON VAN DER WALT COLLECTION 41 APPENDIX C NELSON MANDELA METROPOLITAN UNIVERSTITY LIBRARY AND INFORMATION SERVICES (NMMU LIS) - CIRCULATION OF THE DEON VAN DER WALT (DVW) COLLECTION (DONATION) 280 APPENDIX D PAPER DELIVERED BY ZELDA POTGIETER AT THE OFFICIAL OPENING OF THE DEON VAN DER WALT COLLECTION, SOUTH CAMPUS LIBRARY, NMMU, ON 20 SEPTEMBER 2007 282 i DECLARATION I, Frederick Jacobus Buys (student no. 211267325), hereby declare that this treatise, in partial fulfilment for the degree M.Mus (Performing Arts), is my own work and that it has not previously been submitted for assessment or completion of any postgraduate qualification to another University or for another qualification.
  • Durban: a Return to Paradise and Its People

    Durban: a Return to Paradise and Its People

    DURBAN A Return to Paradise and its People welcome t to durban you are here CONTENTS 009 Foreword 010 History 016 City Plans 026 Faith 030 Commerce 036 Eating 042 Building 048 Design 054 Writing 058 Art 064 Music 072 Dance 076 Theatre 080 Film Published by eThekwini Municipality 084 Museums Commissioned by Ntsiki Magwaza 088 Getting Out eThekwini Communications Unit Words and layout Peter Machen 092 Sport Photography See photo credits 096 Mysteries Printed by Art Printers 100 Where to Stay Printed on Environmentally friendly Sappi Avalon Triple Green Supreme Silk paper 102 Governance ISBN 978-0-620-38971-6 104 Etcetera FOREWORD The face of Durban has changed citizens in to the mainstream of economic activity in eThekwini. dramatically over the past few years These plans are part of the Citys 2010 and Beyond Strategy. due to the massive investments in When the Municipality was planning for the 2010 World Cup, it did infrastructure upgrade that were kick- not just focus on the tournament but tried to ensure that infrastructural started ahead of the 2010 Fifa World improvements would leave a lasting legacy and improve the quality Cup. Many of the plans that were of life for its residents. Beyond the World Cup, these facilities, detailed in the previous edition of Durban together with the Inkosi Albert Luthuli International Convention Centre A Paradise and its People have now been completed and have and Ushaka Marine World, have helped Durban to receive global helped to transform Durban into a world class city that is praised by recognition as Africas sporting and events capital.
  • MALAUENE Umn 0130E 22082.Pdf

    MALAUENE Umn 0130E 22082.Pdf

    A history of music and politics in Mozambique from the 1890s to the present A DISSERTATION SUBMITTED TO THE COLLEGE OF LIBERAL ARTS OF THE UNIVERSITY OF MINNESOTA BY DENISE MARIA MALAUENE IN PARTIAL FULFILLMENT OF THE REQUEREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY ALLEN F. ISAACMAN JANUARY 2021 Ó DENISE MARIA MALAUENE, 2021 Acknowledgements Nhi bongide ku womi ni vikelo Thank you for life and protection Nhi bongide gurula ni guhodza Thank you for peace and provision Nhi bongide gu nengela omo gu Thank you for happiness in times of tsanisegani suffering Nhi bongide Pfumu Thank you, God! Denise Malauene song titled “Nhi bongide Pfumu”1 Pfumu Nungungulu, nhi bongide ngudzu! (Thank you, God!) My children Eric Silvino Tale and Malik TSakane Malauene Waete: I thank you for your unconditional love, Support, and understanding aS many timeS I could not be with you nor could meet your needs because I waS studying or writing. Mom and dad Helena ZacariaS Pedro Garrine and João Malauene, nhi bongide ku SatSavbo. My Siblings Eduardo Malauene, GiSela Malauene, Guidjima Donaldo, CriStina AgneSS Raúl, DioníSio, Edson Malauene, ChelSea Malauene, Kevin Malauene, obrigada por tudo. I am grateful to my adviSor Allen IsSacman for the advice, guidance, and encouragement, particularly during the difficult timeS in my Ph.D. trajectory Somewhat affected by Several challengeS including CycloneS Idai, the armed instability in central and northern Mozambique, and Covid 19. Barbara’s and hiS support are greatly appreciated. I am grateful to ProfeSSor Helena Pohlandt-McCormick for her encouragement, guidance, and Support. Her contribution to the completion of my degree in claSSeS, reading groups, paper preSentations, grant applications, the completion of my prelimS, and Michael’s and her support are greatly appreciated.
  • KATHARINE CONLEY August 2020

    KATHARINE CONLEY August 2020

    KATHARINE CONLEY August 2020 Modern Languages & Literatures 21 Sussex Court William and Mary Williamsburg, VA 23188 PO Box 8795 (757) 645-3876 Williamsburg, VA 23187-8795 (603) 443-2462 (cell) [email protected] ACADEMIC AND ADMINISTRATIVE POSITIONS Professor of French and Francophone Studies, William and Mary, 7/12- Dean of the Faculty of Arts and Sciences, William and Mary 7/12-6/20 Edward Tuck Professor of French and Comparative Literature, Dartmouth, 7/10-6/12 Professor of French, Dartmouth College, 7/04-6/12, Emerita 7/12- Associate Professor of French, Dartmouth College, 7/98 - 6/04 Assistant Professor of French, Dartmouth College, 7/92 - 6/98 EDUCATION Virginia Women’s Senior Leadership Seminar 2015-16 Harvard Institute for Management and Leadership in Education, June 2014 PhD French, University of Pennsylvania, May 1992 Honorary MA, Dartmouth College, 2007 MA French, University of Pennsylvania, 1990; MA French, University of Colorado, 1988 BA cum laude, Harvard-Radcliffe University, 1979 (major: honors English) AWARDS, FELLOWSHIPS, AND INSTITUTES (since 1992) Phi Beta Kappa, Dartmouth College, June 2009 Jacobus Family Fellowship, Dartmouth College, 2004-2005 Senior Faculty Fellowship, Dartmouth College, Winter-Spring 2005 J. Kenneth Huntington Memorial Award, Dartmouth College, June 2004 Whiting Foundation Travel Grant: Summer 1996 Humanities Institute on Cultural Memory and the Present, Spring 1996 Junior Faculty Fellowship, Dartmouth College, Winter-Spring 1996 School of Criticism and Theory, June-July 1995 Burke Research Initiation Grant, Dartmouth College: 1992-1995 PUBLICATIONS AND PAPERS Books and Edited Volumes: Author: Surrealist Ghostliness. Lincoln: University of Nebraska Press, 2013. Katharine Conley / 2 Author: Robert Desnos, Surrealism, and the Marvelous in Everyday Life.
  • The Sculpted Voice an Exploration of Voice in Sound Art

    The Sculpted Voice an Exploration of Voice in Sound Art

    The Sculpted Voice an exploration of voice in sound art Author: Olivia Louvel Institution: Digital Music and Sound Art. University of Brighton, U.K. Supervised by Dr Kersten Glandien 2019. Table of Contents 1- The plastic dimension of voice ................................................................................... 2 2- The spatialisation of voice .......................................................................................... 5 3- The extended voice in performing art ........................................................................16 4- Reclaiming the voice ................................................................................................20 Bibliography ....................................................................................................................22 List of audio-visual materials ............................................................................................26 List of works ....................................................................................................................27 List of figures...................................................................................................................28 Cover image: Barbara Hepworth, Pierced Form, 1931. Photographer Paul Laib ©Witt Library Courtauld Institute of Art London. 1 1- The plastic dimension of voice My practice is built upon a long-standing exploration of the voice, sung and spoken and its manipulation through digital technology. My interest lies in sculpting vocal sounds as a compositional
  • Sounding the Cape, Music, Identity and Politics in South Africa Denis-Constant Martin

    Sounding the Cape, Music, Identity and Politics in South Africa Denis-Constant Martin

    Sounding the Cape, Music, Identity and Politics in South Africa Denis-Constant Martin To cite this version: Denis-Constant Martin. Sounding the Cape, Music, Identity and Politics in South Africa. African Minds, Somerset West, pp.472, 2013, 9781920489823. halshs-00875502 HAL Id: halshs-00875502 https://halshs.archives-ouvertes.fr/halshs-00875502 Submitted on 25 May 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Sounding the Cape Music, Identity and Politics in South Africa Denis-Constant Martin AFRICAN MINDS Published by African Minds 4 Eccleston Place, Somerset West, 7130, South Africa [email protected] www.africanminds.co.za 2013 African Minds ISBN: 978-1-920489-82-3 The text publication is available as a PDF on www.africanminds.co.za and other websites under a Creative Commons licence that allows copying and distributing the publication, as long as it is attributed to African Minds and used for noncommercial, educational or public policy purposes. The illustrations are subject to copyright as indicated below. Photograph page iv © Denis-Constant
  • Download Full Cv

    Download Full Cv

    Susan Hiller Solo Exhibitions 2019 Making Visible [Susan Hiller, Anna Barriball], Galeria Moises Perez de Albeniz, Madrid, Spain Re-collections [Susan Hiller, Elizabeth Price, Georgina Starr], Site Gallery, Sheffield, England Die Gedanken sind Frei, Serralves Museum, Porto, Portugal 2018 Susan Hiller: Altered States, Polygon Gallery, Vancouver, Canada Susan Hiller: Social Facts, OGR, Turin, Italy Lost and Found & The Last Silent Movie, Sami Center for Contemporary Art, Norway 2017 Susan Hiller: Paraconceptual, Lisson Gallery, New York, USA 2016 Susan Hiller: Magic Lantern, Sursock Museum, Beirut, Lebanon Susan Hiller: Lost and Found, Perez Art Museum, Miami, USA Susan Hiller: Aspects of the Self 1972-1985, MOT International, Brussels, Belgium Susan Hiller: The Last Silent Movie, Frac Franche-Comté, Besancon, France 2015 Susan Hiller, Lisson Gallery, London, England 2014 Channels, Den Frie Centre of Contemporary Art, Copenhagen, Denmark Resounding (Infrared), Summerhall, The Edinburgh Art Festival, Scotland Susan Hiller, The Model, Sligo, Ireland Channels, Samstag Foundation, The Adelaide Festival, Australia Hiller/Martin: Provisional Realities (2 person: with Daria Martin), CCA Wattis Institute for Contemporary Arts, San Francisco, USA Speaking In Tongues (3 person: with Sonia Boyce and Pavel Buchler), CCCA, Glasgow, UK Can You Hear Me? (2 person: with Shirin Neshat), Golden Thread Gallery, Belfast, Northern Ireland Sounding, The Box, Pippy Houldsworth Gallery, London, England Susan Hiller, Les Abattoirs, Festival International d'Art de Toulouse, France 2013 Channels, Matt’s Gallery, London Channels, Centre d’Art Contemporain La Synagogue de Delme, Delme, France 2012 Susan Hiller: From Here to Eternity, Kunsthalle Nürnberg, Germany Psi Girls, University Art Gallery, San Diego State University, San Diego, USA 2011 Susan Hiller, Tate Britain, London, England (ex.
  • Mzwakhe Mbuli God the Best Free Downloading the Voice of Reason

    Mzwakhe Mbuli God the Best Free Downloading the Voice of Reason

    mzwakhe mbuli god the best free downloading The Voice Of Reason. Purchase and download this album in a wide variety of formats depending on your needs. Buy the album Starting at £11.49. The Voice Of Reason. Copy the following link to share it. You are currently listening to samples. Listen to over 70 million songs with an unlimited streaming plan. Listen to this album and more than 70 million songs with your unlimited streaming plans. 1 month free, then £14,99/ month. Mzwakhe Mbuli, Composer, MainArtist. (C) 2009 The CCP Record Company, a division of EMI Music South Africa (Pty) Ltd This Labelcopy information is the subject of Copyright Protection. All rights reserved. (C) 2009 EMI Music South Africa (Pty) Ltd ℗ 2005 The CCP Record Company (Pty) Ltd. Mzwakhe Mbuli, Composer, MainArtist. (C) 2009 The CCP Record Company, a division of EMI Music South Africa (Pty) Ltd This Labelcopy information is the subject of Copyright Protection. All rights reserved. (C) 2009 EMI Music South Africa (Pty) Ltd ℗ 2005 The CCP Record Company (Pty) Ltd. Mzwakhe Mbuli, Composer, MainArtist. (C) 2009 The CCP Record Company, a division of EMI Music South Africa (Pty) Ltd This Labelcopy information is the subject of Copyright Protection. All rights reserved. (C) 2009 EMI Music South Africa (Pty) Ltd ℗ 2005 The CCP Record Company (Pty) Ltd. Mzwakhe Mbuli, Composer, MainArtist. (C) 2009 The CCP Record Company, a division of EMI Music South Africa (Pty) Ltd This Labelcopy information is the subject of Copyright Protection. All rights reserved. (C) 2009 EMI Music South Africa (Pty) Ltd ℗ 2005 The CCP Record Company (Pty) Ltd.
  • Joy of Jazz Festival, Grahamstown 2004

    Joy of Jazz Festival, Grahamstown 2004

    Standard Bank Jazz Festival, Grahamstown 2015 (Incorporating the Standard Bank National Youth Jazz Festival) Support funding from: The Austrian Embassy Brian Meese Dutch Fund of the Performing Arts The French Institute of South Africa Paul Bothner Music ProHelvetia Johannesburg The Royal Netherlands Embassy SAfm SAMRO Spedidam Swedish Arts Council / Swedish Jazz Federation / Mary Lou Meese Youth Jazz Fund Swiss Arts Council The US Embassy Thursday 2 July Bokani Dyer Quintet Contemporary South African Jazz meets Swiss precision Bokani Dyer has had a meteoric rise in the jazz world, winning the Standard Bank Young Artist Award at age 25 and garnering invitations to international festivals such as the London Jazz Festival. As part of his extensive 2014 European tour he performed with four gifted representatives of the Swiss jazz scene whom he had met during his residency at the Bird’s Eye Jazz Club in Basel, and the vitality of contemporary South African Jazz meets Swiss precision and musicianship in this outstanding collaboration. Dyer’s music is all-encompassing, embracing his roots as well as the contemporary musical landscape of South Africa. Bokani Dyer (piano), Donat Fisch (sax - CH), Matthias Spillmann (trumpet – CH), Stephan Kurrman (bass - CH), Norbert Pfammatter (drums - CH) DSG Hall Thursday 2 July 17:00 R80 Carlo Mombelli & the Storytellers Manipulated bass and sound design “Disconcertingly beautiful” was the comment on Carlo Mombelli’s playing from The Jazz Times – the world’s leading jazz periodical. The US Bass Player Magazine’s view was that “Avant-garde bass-focused jazz composition has rarely sounded so gorgeous....Once in a while an artist comes along who produces music unlike anything you’ve heard.” Having played sold out concerts over the past year to much critical acclaim, this ensemble features the unique composer/bassist Carlo Mombelli, known in South Africa for his cutting-edge voice-like playing style.
  • Take Me to Another Strange World // Stupid Boring Internet by Nicola

    Take Me to Another Strange World // Stupid Boring Internet by Nicola

    Take Me To Another Strange World // Stupid Boring Internet by Nicola Morton Master of Fine Arts Sydney College of the Arts University of Sydney 2016 Statement This volume is presented as a record of the work undertaken for the degree of Master of Visual Arts/Doctor of Philosophy at Sydney College of the Arts, University of Sydney. I certify that the work in this thesis has not previously been submitted for a degree nor has it been submitted as part of requirements for a degree except as fully acknowledged within the text. I also certify that the thesis has been written by me. Any help that I have received in my research work and the preparation of the thesis itself has been acknowledged. In addition, I certify that all information sources and literature used are indicated in the thesis. ii Table Of Contents Acknowledgements . iv Abstract . v List of Illustrations . vi Introduction . 1 Chapter 1: A Trace is Found. 8 Chapter 2: The Psychic is Lost . 15 Chapter 3: It Speaks in Colours. 28 Chapter 4: Alternative Futures . 37 Conclusion . 50 Bibliography . 52 Appendix . 57 Resumé . 60 Catalogue of Work Presented for Examination . 61 List of Media Attached . 62 iii Acknowledgements I would like to thank the following people for their contribution to my research and practice: Joyce Hinterding, Margaret Seymour, Matt Earle, Danni Zuvela, Louise Bennett and Dhana Merritt. Professional editor, Peter Blamey offered copyediting services in alignment with the Proofreading and Editing of Thesis Dissertation Policy of the University of Sydney. iv Abstract This research paper responds to the contemporary calls made by theorists Jean Baudrillard and Marshall McLuhan to interrogate media with art to act as a respite from the ego trance of what McLuhan called, Narcissus-narcosis.