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William Basinski William Basinski. Foto: Danilo Pellegrinelli 2017-04-07 09:01 CEST William Basinski - en av världens främsta ljudkonstnärer till Uppsala William Basinski, född 1958 i Houston och under lång tid baserad i New York, opererar numera med Los Angeles som hemvist. New York-stämpeln är dock svår att tvätta bort; Basinskis till dags dato mest uppmärksammade verk ”The Disintegration Loops” tillkom i den omedelbara skuggan av 9/11-attentaten, och staden har satt djup prägel på hans konstnärskap. I ett loft i hjärtat av det numera kraftigt gentrifierade området Williamsburg i Brooklyn – ett halvt kvarter från exklusiva Wythe Hotel – skapade Basinski tillsammans med sin partner, galleristen James Elaine, 1989 plattformen ”Arcadia” där artister möttes, arbetade och arrangerade intima undergroundspelningar under 1990-talet. I kretsen kring Arcadia märks egensinniga visionärer såsom Anohni (f.d. Antony Hegarty, Antony & the Johnsons), Diamanda Galás, Rasputina med flera. De stegrande hyrorna blev dock så småningom slutet för både Arcadia och Basinskis dagar som New York-bo. Det var i slutet av 1970-talet, som musikstudent vid North Texas State University, som Basinski tog de första stegen mot sitt kommande musikaliska uttryck. Den klassiskt skolade klarinettisten och jazzsaxofonisten studerade komposition, och fann inspiration hos de stora minimalisterna – Brian Eno, Steve Reich, Philip Glass. Snart började han, i deras anda, att experimentera med rullbandspelare och bandloopar. Korta brottstycken på piano och fragment av uppsnappat radiobrus som bryts mot varandra i vågor av rundgång och förskjutning blev grunden när Basinski 1978 började mejsla fram sin kompromisslösa vision av en meditativ, melankolisk helhet i gränslandet mellan ambient och musique concrète, och som han förfinat till perfektion under de följande årtiondena. Debuten kom att bli 1983 års ”Shortwavemusic”, som släpptes först 1998 genom det inom minimalistisk electronica världsledande tyska skivbolaget Raster-Noton (Alva Noto, Atom TM, Emptyset, Ryoji Ikeda, Ryuichi Sakamoto m.fl.). Sedan dess har ett drygt 20-tal skivsläpp följt, där det mest uppmärksammade är 2002-2003 års albumserie "The Disintegration Loops" – ett monumentalverk i fyra delar som kom till i ett försök att digitalisera gamla bandloopar som spelats in under 1980-talet. Under arbetet märkte Basinski att de åldrade magnetbanden befann sig i ett sönderfallande skick, men det som kunde inneburit ett misslyckande gav istället upphov till någonting nytt. I dokumentationen av ljudets gradvisa förfall i takt med att banden sakta smulades sönder mot tonhuvudet, en aning mer förvrängt för varje passage, fångades också själva förstörelseprocessen i en hypnotisk nedåtgående spiralrörelse. De fyra skivornas respektive omslag utgörs av stillbilder från den video som Basinski filmade från sitt tak i Brooklyn morgonen den 11:e september 2001, i samband med inspelningarna – ett apokalypsens New York, insvept i rök och byggnadsdamm som väl speglar den omskakande, poetiskt fullkomliga och djupt melankoliska ljudvärld som de fyra delarna i "The Disintegration Loops" med sina omkring 74 minuter vardera målar upp. Det senaste släppet ”A Shadow in Time” utkom 20:e januari 2017 på Basinskis eget skivbolag 2062, och skivans två stycken ”A Shadow in Time” och ”For David Robert Jones” uruppfördes 23:e februari i Union Chapel, London. ”A Shadow in Time” kom till som ett beställningsverk för galleriet Volume i Los Angeles i samband med David Bowies bortgång, som stycket ”For David Robert Jones” (Bowies födelsenamn) är en elegi över. William Basinski framför båda dessa stycken vid konserten i Uppsala. ”A Shadow in Time” har fått ett varmt kritikermottagande, med betyget 84 på sammanställningssajten Metacritic. Konserten på UKK är en del av festivalen Revolve Performance Art Days, 12- 13 maj. Revolve utgörs av performancekonst, som under 33 timmars festival förflyttar sig mellan olika platser i Uppsala. Revolve vill samla och lyfta fram en rikedom av uttryck och konstnärliga strategier som kan utmana, berika och motsäga varandra. Revolve arrangeras av Uppsala konstmuseum, Uppsala Konsert & Kongress, Köttinspektionen Dans och Gustaf Broms i samarbete med Royal College of Art, London. Efter konserten med William Basinski har publiken möjlighet att åka gratisbuss till Köttinspektionen på Strandbodgatan, där festivalen fortsätter med bland andra norska koreografen Ingri Fiksdal , DJ:s och bar. William Basinski (USA) Uppsala Konsert & Kongress, Sal B Lördag 13 maj, på scen 19:00 Pressröster om ”A Shadow in Time”: ”Its eerily distorted saxophone, a nod to Low, takes six minutes to surface, but then takes centre stage, a mournful motif subtly evolving over the next quarter of an hour” The Observer, 4/5 ”That eternal-moment is quintessential Basinski; his work has been uniquely fixated on time and loss, his compositions heaving with longing, melancholy and a sense of impenetrable mystery /…/ At its best, Basinski’s music inspires the sort of rapturous testimony usually reserved for peak experiences, cult leaders and the dead. ”The album /…/ offers a stunning journey into a vast, ink-black void.” Pitchfork, 7.9/10 ”Like scattered others through the annals of music history — Eric Satie, La Monte Young, Pauline Oliveros, Brian Eno — Basinski brings to his craft an understanding that music structures time just as much as time structures music. Among his most entrancing work.” Drowned In Sound, 8/10 Uppsala Konsert & Kongress är mötesplats för kulturliv, företag och organisationer. Här arrangeras konserter, föreställningar, kongresser, konferenser, event och banketter. I de olika konsertsalarna framträder internationella, nationella och lokala artister inom alla musikaliska genrer. Vår ledstjärna är att, med ett programutbud som präglas av mångfald och hög kvalitet, välkomna alla. #uppsalakonsertkongress Kontaktpersoner Karin Sävström Presskontakt Marknadschef Press och kommunikation [email protected] 018-727 90 40.
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  • Performance and Installation by William Basinski and James Elaine
    FOR IMMEDIATE RELEASE ! ! MEDIA CONTACT Connie McAllister ALWAYS FRESH Director of Community Engagement ALWAYS FREE Tel 713 284 8255 [email protected] The Contemporary Arts Museum Houston presents a performance and installation by acclaimed composer William Basinski and artist James Elaine. Performance and installation by William Basinski and James Elaine At CAMH: Installation on view: Tuesday, October 8 – Sunday, October 13, 2013 Live Performance: Friday, October 11 | 7PM At Texas Contemporary Art Fair*: Special Installation: Thursday, October 10 – Sunday, October 13, 2013 *Location: George R. Brown Convention Center Houston, TX (August 19, 2013)—The Contemporary Arts Museum Houston is pleased to present a performance and installation by acclaimed composer William Basinski and artist James Elaine. An installation by the duo will be on view at CAMH as well as a site-specific installation for the Texas Contemporary Art Fair. A live performance by the two will take place at CAMH on Friday, October 11 at 7PM. Since 1978, James Elaine and William Basinski have worked together closely, creating some of the most visually poetic and aurally arresting installation and theatrical experiences. Using original compositions, found sound, tape loops, and delay devices, Basinski’s experimental music compositions provide a brilliant accompaniment to Elaine’s fragmented and painterly moving images recorded using super-8 video. By using obsolete technology and analogue tape loops, Basinki and Elaine explore the temporal nature of life, the reverberations of memory, and the mystery of time. The result of their collaboration provides a melancholic meditation on the passing of time and the decay that remains in its wake.
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  • William Basinski, the Disintegration Loops. De L'érosion De L
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  • The Kitchen Videos and Records, 1971-2011 (Bulk 1971-1999)
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  • William Basinski
    Interview with William Basinski ????: Why did you choose to work with loops? William Basinski: I found them a way to begin to have an understanding of the way the mind works, how memory works, how time seems to work. As a young experimentor with a lot of confusion in my mind, it helped me to understand myself better. To get some of my feedback loops resolved in a way that allowed new loops to form. ???? .What is the attraction? Basinski: I liked it when loops are seamless, when they are really just this eternal thing, that has no beginning and no end. They are meant to last forever. With the nature of loops, the cyclical and endlessly repeating nature, you can find your own space in them. If I listen to the loops that I recorded a long time ago - they still blow my mind. They're just organic. They're from another world. I don't know… they just do something. They always do. I can just fall into them. ????: Why did you get involved in working with loops? Basinski: When I left the university in 1978 and moved to San Francisco, I had been exposed to John Cage and his idea of chance elements, and that really opened a lot of possibilities for me and the possibilities it opened up. And then hearing the early works of Steve Reich and his early work with loops like “Come Out” and “Drumming” and his masterpiece “Music for 18 Musicians”. And then Brian Eno´s “Music for Airports” and a bit later on, being exposed to Robert Fripp and all the German electronic musicians through my friend Jamie, who was a big record collector.
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