Hollis Brown Thornton's by Something Even More Bizarre and Inex- Works Is Filled with Micro-Arrays of Sharp Plicable

N-SPHERE a world behind curtains | july 2011 FEATURING

H. B. THORNTON

DE SOUZA CARDOSO

SHINYA TSUKAMOTO

WOEFOEP

ENFANT TERRIBLE

NOISE & INSTALLATIONS N-SPHERE JULY 2011 EDITORIAL TRANQUILIZERS

In 1945, von Neumann was setting the realms. Interweaved within themselves, foundations of an electronic discrete vari- the minimal waves of a retro culture bend able automatic computer, changing the time into high-order nonlinearities. The digital world forever and opening dimen- worlds succumb into yoctodimensions, sions priorly unknown to man. The mark- as the observer moves along to the works ing of time over the exponential growth of Woefoep, with a pixel-by-pixel under- of processing capabilities made way to standing of a megacosmos assembled. versatile tools of expression, be it visual, So, back towards the giant extensions, audio or heterogeneous. Technology has killer robots from outer space shift noisily since harnessed the perception of the ob- around Shinya Tsukamoto's Tetsuo. Vast- servable universe, both towards the mi- er and vaster, the large infinity opens to croscopic realms and the large distances the very first N-Sphere Magazine contest, into the outer space. A Microinstallation Endeavour, aiming towards personal observation of the daily, Overlapping the small and the large in- palpable universe. finity, a metaverse emerges, layer after layer of boundaries, constraints and en- »There is a theory which states that if ever, demic laws to govern them fully. Care- for any reason, anyone discovers what ex- fully placed on a torus, each tier would actly the Universe is for and why it is here, eventually expand and fuse with others. it will instantly disappear and be replaced The omniverse of Hollis Brown Thornton's by something even more bizarre and inex- works is filled with micro-arrays of sharp plicable. There is another that states that intensity, unveiling hidden worlds inside. this has already happened.« Following the thread of light, the path to the small infinity reaches into the elec- VEL THORA tron-shaped spaces of Enfant Terrible's Quote | Douglas Adams

| 2 INDEX

JULY ABUSE CHAINS & 2 2011 34 SHOWCASE 80 SCISSORS Editorial Martijn van Gessel Ker Welt Tranquilizers (Enfant Terrible Label) The Centre Cannot Interview Hold

GLASS NOX EYE 4 SHOWCASE 48 SHOWCASE 84 TEASER Hollis Brown Thornton Woefoep Symon Chow United States The Netherlands United States

STONE CLOCKWORK 20 SHOWCASE 62 SHOWCASE Amadeo de Souza Noise Making & Cardoso Installations Portugal

MOVING HANGING 26 SHOWCASE 76 CAGES The 180˚ Deformorphografitti of Shinya Tsukamoto

3 | GLASS SHOWCASE HOLLIS BROWN THORNTON

| 4 GLASS SHOWCASE HOLLIS BROWN THORNTON

5 | PIXELS MEMORY EROSION

Name: Currently favourite artists: Hollis Brown Thornton Famous - Cy Twombly, Peter Doig, Location: and Matthew Barney Aiken, SC Not Famous (yet) - Vrno, Roberto Occupation: Calbucci, and Clare Grille Artist Tools of trade: Definition of personal sphere: Acrylic paint, permanent markers, I try to take things from either masking tape, xacto knives, my personal history (like family photocopies, and Photoshop photographs) or popular culture and Current obsessions: work those images into a broader Behind my studio is a rather large analysis of how past ideas merge with garden. 100+ tomato plants, squash, modern sensibilities. sweet potatoes, okra, asparagus, Artwork in 4 words: black berries, etc. Every summer, Pixels Memory Erosion Turtles like it or not, that is my obsession, What is inspirational for you: keeping plants alive and weeds dead. On an artistic level, young artists that Personal temptation: don't have a lot of resources working Playing video games. I had an Atari away with absolutely no one knowing when I was 5. The way games have what they are up to, purely of desire. evolved, being able to experience that, There is nothing like that dedication it is a very impressive history. and perseverance.

| 6 photo | Hollis Brown Thornton. 2011. Luke Skywalker Courtesy of the artist

7 | photo | Hollis Brown Thornton. 2010 Unsolved Mysteries of the Universe. Courtesy of the artist

| 8 photo | Hollis Brown Thornton. 2010. Howl Courtesy of the artist

| 20 STONE SHOWCASE AMADEO DE SOUZA CARDOSO

21 | »THE FAIRY GODFATHER OF MODERNISM«

Name: Associated with: Amadeo de Souza Cardoso The early stages of Modernism; Lived: magazine Orpheu; Gertrude Stein, November 14, 1887 - October 25, 1918 Juan Gris, Amedeo Modigliani, Location: Alexander Archipenko, Max Jacob, Portugal Robert and Sonia Delaunay, Occupation: Constantin Brâncusi, Otto Freundlich, Painter, Caricaturist, Water colorist, Gino Severini, Umberto Boccioni. Illustrator Obsessions: Influences: Aggressive colours, chaotic compositions, Expressionism, cubism, futurism, balanced structures, exotic landscapes, some naturalism and impressionism, elegance in cubism, poetry is quasi- VEL THORA abstractionism collages, symbolism in innovation.

| 22 photo | Amadeo de Souza Cardoso. 1917. Caixa Registadora. Courtesy of the artist

23 | photo | Amadeo de Souza Cardoso. 1916. Pintura. Courtesy of the artist

| 24 photo | Amadeo de Souza Cardoso. 1917. Pintura. Courtesy of the artist

25 | MOVING SHOWCASE SHINYA TSUKAMOTO

| 26 MOVING SHOWCASE SHINYA TSUKAMOTO

27 | »THE DEFOR- MORPHO- GRAFITTI OF SHINYA TSUKAMOTO«

Amongst cult circles, Shinya Tsu- industrial technology – also coined kamoto may be a hero of sorts. Al- with Japanese cyberpunk - the though, throughout his career, he movie is somewhat reminiscent of made a share of fairly accessible David Lynch's Eraserhead by means films, he is known for the more »un- of decomposed narrative and a very friendly ones«. disturbing atmosphere, but while Eraserhead retains some familiarity, Tsukamoto started making films at Tetsuo's moments of coherence re- the age of 14, but it wasn't until 1988 main linked with the mood it creates that he achieved notoriety with Tet- rather than what happens in the film. suo: The Iron Man. A very graphic After all, how can one explain how yet striking fantasy revolving around someone's body is turning gradu- SHADE the collision between man and post- ally into metal after his encounter

| 28 with a metal... »fetishist«? And why observe it holds pretty much of the would one do that, since in film the same characteristics and the more »how«-s in many occasions are more we think about it, the clearer they important than the »why«-s. There is are, because we see a reason behind a hint of an industrialized Metropolis them. (Fritz Lang), there is a strong sense of repulsion or revolt towards the First of all, we are talking about Ja- mechanical society of earnings-col- pan, a country in which technology lecting ants (many of Tsukamoto's plays a large part of daily living so it protagonists are as such), there is is easy to deduct that people may even an eerie kind of logic that fol- ask themselves one day whether it lows the maddening succession of did not become an extension of the images all of them sustained by the human nature, because not only that seemingly absurd premise of the film. people use it every day, but they There are some ridiculous moments seem to get more and more mechani- and lines, as well, but they seem cal, they seem to want to embrace a somewhat deliberate as some ugly mechanical life-style. So, therefore, mirror-images of real actions. the next easy question is what happens when those boundaries be- In Tetsuo, Shinya Tsukamoto creates tween humanity and technology van- a nightmare world, comes up with ish. Of course, it is not the first time stories impossible to believe and one hears this question; it isn't, by yet, at the heart of such stories, lie any means, a new idea in art, but in frighteningly real human emotions. few cases, broken boundaries meant And here, there is another link with literally broken boundaries. And so, a modern director, David Cronen- we uncover another aspect. berg, who used the same strategy in his earlier films (The Brood, for ex- While this may seem a second-rate ample). But where Cronenberg still argument, Japan was the target of retains a narrative sense, Tsukamoto two nuclear bombardments so there is mostly focused on the mutations is no wonder that they retained a themselves and on their relation- more sensible and careful eye to ships with the characters. whatever involves physical mutations. INDUSTRIAL SYMPHONIES INWARDS THE »NEW« FLESH In the wake of these aspects, Tet- suo's approach may not be entirely In its early days, industrial (the mu- predicable, but necessary. sic genre) was harsh, abrasive, disturbing and somewhat repetitive or Also, there is another ground where obsessive (you can choose the term things are laid upon, and this one is that you think fits better). There was connected to other of Shinya Tsu- a desire to tear apart preconcep- kamoto's films,Tokyo Fist especially. eventually abandon their routine, but tions about how music should sound The reason behind these series of soon they find themselves unable like, there was the use of technology mutations is also related to what to have real and workable interac- to create something that is ultimately those mutations mirror when it comes tions with other people, except the primitive, savage, in complete oppo- to inter-personal relationships. Gen- ones imposed by the system (they sition to what technology would rep- erally, Tsukamoto's protagonists are are trapped in and ironically fuel day resent. Ultimately, it was transgres- humble, half-mechanical employees, by day), or try to cope with what is sive. »ants« trapped inside an unreward- around them. And they fail, or they ing system. Occasionally, they try fall victims to horrifying circumstanc- If we are to look at the film, we can to glance at the world outside and es. Then it all comes: guilt, anger, re-

| 30 pression... Especially anger. And here earlier films calledThe Brood. There seen a lot better in one of its closing there is a little to talk about, because the anger in a woman was a source of scenes: a failed couple disfiguring one anger is a common presence in the summoning fiendish, children-shaped another as a mirror-image not only to Japanese cinema, no matter if we are presences/entities (I refuse to call their relationship itself, but to each talking about poltergeist, action or them children, for they were not chil- of themselves individually and also horror flicks – anger is in almost every dren, the just looked like children, to the way their relationship deterio- case unmistakably present. creepy children). Tsukamoto walks rated. And it is another »tradition« in the same road. It is not only the tech- Japanese cinema to have characters Having said all these, we return a little nology as an extension, but it is also holding their calm for long periods to David Cronenberg and one of his the cripple inside. In Tokyo Fist this is of time and then bursting into ex-

31 | treme violence: it is either one or the conscience used to be. The math other, no middle ground. But middle here is fairly simple: in the man's case, ground has its role, it shows you can the conscience is mutated to eradi- control the rage, or try to control the cation, and the entity exists for itself, rage, it show that it is coming, or it it has no such thing as conscience or will come from you, in the end, it of- a soul, but only a form, therefore the fers a continuous image. Its absence transformation itself, the anger un- splits the subject in two, and that is leashed resolves nothing. why in all those mutations in Tetsuo you can see a man, as if he is looking There is another interesting link with from the inside, as if he lives there, as another David Cronenberg movie if those pieces of metal are inhabited called Videodrome, in which we have by him. It is an act of possession and the line »Long live the new flesh!« it is very common in people who re- used there as a statement of libera- ceived a very strict, but inconsistent tion. Here, the new flesh exists, but education, by means that they were it is only a vehicle from a cage to an- told, ordered what to do, there was other. an instance/person that made sure they are doing what they are told, CYBORGIAS they were given hypocrite and shal- low explanations, but no real insight. »So my cyborg myth is about trans- So this repression grew something in gressed boundaries, potent fusions, them, but, because they were unable and dangerous possibilities which to show it, they fed it day by day with progressive people might explore as angry thoughts, fantasies of escaping, one part of needed political work.« taking revenge, unleashing hell on earth or anything else related, and We are all familiar with »cyborgs«. that »something« laid dormant, until We've been ever since we were chil- it was actually powerful enough to dren and we encountered films such take control once in a while. It is like as Terminator, for example. We might having someone locked in the floor even deduce a traditional meaning below with only a cracked floor cov- and might even be right. ering. Once that crack is big enough the trapped one may find his way However, there is another look at out. the problem, one more deepened in as well. As I said before, there is no our own existence, in our own selves, beautiful and ugly, outside our own The same kind intensity describes one that does not necessarily imply, perceptions and with or without met- the sexual act as well. Of course, in but neither does it exclude implants, al limbs we remain who we are. Once a sexual act, an involvement of sorts familiar physical extensions, but it we can accept our anger, our inner is mandatory, and therefore intensity is coined with things nearer to us, violence (creation is ultimately a vio- is present without saying. But here, like the quote above. It is ultimately lent act) we can learn how to master the involvement is linked again with about escaping a preexistent pattern it, if we run from it it will chase us the primitive needs, with something and accepting the final outcome, no during our entire existence. that was long buried. And ultimately matter how »against-the-stream it is«. the sexual act is not performed by And the enumeration can continue, Inside, it may be as Donna Harraway the partners themselves, but by their but I guess you got the point. suggested: that we are all cyborgs. mutations, henceforth we don't have We are not straightforward beings, »angry sex«, but the anger itself as Tetsuo revolves around nightmares, we are not defined only by a set of the protagonist of the sexual act. It is nightmarish transformations, mecha- unitary attributes. There are things also a collection of movements, noth- nisms, repression and so forth, but placed somewhere outside, things ing more, because behind all curtains if we are to take a step forward, we that still define us, things we, some- lies only a great void, where one's can hint that it is about acceptance times instinctively, run away from and

| 32 this is why we perceive them as ugly, rial becomes. The first film is a take- This is it from now, sweet metal repulsive (temptation unveiled is al- it-or-leave-it ride, you either like it dreams, children... ways depicted as ugly, and veiled as or you don't, in the end there may unearthly beautiful). Once we learn not be many things you can criticize, Quote | Donna Harraway. 1991. A how to shatter the boundaries, we because it barely has any common Cyborg Manifesto: Science, Technol- may evolve. ground with other films and since ogy, and Socialist-Feminism in the criticism involves comparison, at Late Twentieth Century FINAL CONSIDERATIONS least to a certain degree, this option is one foot out of the map. Photos | Tetsuo the Iron Man. 1988. Tetsuo works better with no com- Film Still plex storyline to be wrapped in. This The sequels both have stories and is why I overlooked the sequels, be- the problem is that they are not well cause they all find the roots here. developed enough to draw attention, They are better produced, but sadly, but not vagues enough to be ignored. less effective, since only in an austere Maybe they are best being seen just space the ideas behind it work best. as a curiosity to see how some parts The more detailed and crowded the of the first film work on a better bud- space is, the less efective the mate- get.

33 | ABUSE SHOWCASE ENFANT TERRIBLE

| 34 ABUSE SHOWCASE ENFANT TERRIBLE

35 | »THE REAL CHALLENGE IS TO ALWAYS GO FURTHER AND AT THE SAME TIME TO STAY YOURSELF«

:: Hallo, Martijn, and welcome to the Cocteau's novel in mind, which plays Spheres. This is the first interview with themes such as isolation and which, in a sense, focuses on meta- alienation. Do you believe we could levels: writing about/asking people talk about those concepts in relation who are involved in the writing and to the minimal wave/power electron- creative process as well, namely your ics scene as well? work with the Dutch label Enfant Ter- The name does of course goes back rible. to Cocteau’s novel. But I do not think To get us started, a first question on its themes has only a relation with the obvious - the choice for the name the minimal electronics and power of the label. Why and how was that electronics subgenres. I think these DIANA DAIA idea triggered? Right now, I have Jean themes are to be found in many mu-

| 36 37 | sic styles and genres that have any this record somehow seems to have Through the years some contempo- real content. Also all real art will re- set a trend. Many labels followed and rary Dutch artists appeared on my veal these themes… next to some still it seems like the last few years label, mostly on the compilations, but other universal themes. saw a few new labels every year who only in 2009 I decided to give extra Anyway, the name I came up with re-release this kind of 1980’s music. attention to new Dutch talents. mostly as I already knew back then My other focus has always been con- This is an inner driven sense that that I can be a pain the ass to many something needs to be done… as people… a sophisticated pain in the there are very good musicians in ass, but still a pain in the ass. my country whom deserve some at- I have my own ideas about how things »I focus on tention. At the same time it makes a should be done and why. I can and I stand against the recycle culture with will always articulate what I do and its endless streams of records with why I do it that way. In relation to this the here so called lost gems from the 1980’s. In I will also always speak out my ideas my opinion only very few of these re- and thoughts on what I come across leases are in fact lost gems. I focus on in this world… among this the works and now… the here and now… on the local and of others. the contemporary instead of dwelling Taking this position also means not in the past and trying to create ob- everybody will be your friend as all on the scure stars from archives around the outspoken people make some en- world that never saw the light before emies along the way… for various rea- for obvious reasons… sons… So in the end the name refers local Next to that these musicians from the to me and how I look upon the world 1980’s have had their moment in my and take my position in this world. opinion… now is the time for these and the contemporary artists to get the cred- :: When did Enfant Terrible come into its and attention. So I am very happy being and what led to its birth? Is it to work with them and to be able to in a sense a response to events and contemp- release their music and give them bands from the Netherlands nowa- some occasions to perform live. days? I started my activities as a logical step porary :: I found it interesting how Enfant Ter- from writing reviews, DJ’ing and orga- rible manages to comprise so many nizing parties and concerts. The label things, part of them which you've was founded in 2004 and evolved instead of just mentioned. Almost like a Gesa- into a platform with next to the label, mtkunstwerk. Any plans for adding/ mail-order and live events also a we- aligning more things to the current blog, a radio show and a paper jour- dwelling in formula? nal. Some of these activities I do in Yes, I am always dreaming, thinking collaboration with others. and planning. Around July a new as- When I started I was not at all fo- the past« pect of Enfant Terrible will appear. cused on the contemporary Dutch Also I am breeding and writing on music scene. My interests were elec- a much bigger plan. This is still a re- tronic music in the broadest sense. temporary artist in the field of elec- search project right now to see if this Starting with the second record I put tronic music. The fourth release on is possible. If not I will rewrite it and for a part the focus on forgotten, or Enfant Terrible was a compilation LP look for a different way to realize this at least obscure, Dutch electronic entitled Electronic Renaissance. This next dream. music from the early 1980’s. This sec- record is seen by many people as the ond release was a compilation LP first record that brought together the :: What could you tell us about the with music from the Dutch cult 1980’s scene of contemporary musicians current radio show you're hosting at tape label Trumpett. Even though I who work in the tradition of minimal Intergalactic FM. How was it received? was not the first to re-release these electronics of the late 1970’s and ear- Well… it is funny… I wanted to do a kind of minimal electronic sounds ly 1980’s. radio show for a long time. One in the

| 38 39 | tradition of the 1980’s shows Radio- We do not do much talking during Anyway, the contemporary artists I Nome and Spleen. Meaning with DJ the show as we aim to let the music work with are musicians who not just sets and live acts to showcase music speak. There are two hours per show copy the music from the old days. not heard everywhere. When I met and we want them filled with music. They take this as inspiration and Andreas (Lesbian Mouseclicks) and So next to some short announce- maybe as a starting point from where Peter (Sololust) one of the things that ments we serve music only. they take off. Copy cat bands who were discussed first was also their just play the old style I am not inter- wish for some time to do radio shows. :: You mentioned that you also re-re- ested in. The music has to be fresh, So I contacted I-F through Rude66. lease lost material from the old days. daring and recognizable as being a Rude66 is doing my mastering for the Could we draw a line between new/ product of this world and age. Even record releases. He has a radio show old when it comes to electronic music though most of the time the traces of for a long time on IFM and has been or should we talk about it more along the music from the old days are there a working with I-F also for a long time. the lines of a continuum from the 80s to be found. The idea was received with enthusi- onwards? You could also call this citation. Like asm and so we started to plan it. in a scientific publication. Or you can For us the radio show is a playground. call it a reference like you can also We do not aim to bring professional trace this back in all good art no mat- radio. Our aim is to have fun our- »Copy cat ter if that is a painting or a theatre selves and in the meantime showcase play. All good art shows it roots and music not heard (enough) through inspiration and is building on that tra- contemporary live acts in the studio bands dition. That way you become part of and DJ’ed music. a certain tradition, keep it alive, re- The reception until now is very good. fresh it and enrich it. Also the archive with all past shows who just available on demand works perfect. :: To my mind, I think it is a very frag- I hear from people around the world mented musical area altogether, of they replay the old shows at work play the course depending on where one is and at home. That is great to hear. based as well. In some areas minimal Like with all activities I am involved in wave was almost inexistent even in there has to be an audience… other- the 80s (I have Romania in mind now), wise it is not worth doing it… for some old style how was/is it for the Netherlands? activities an audience is easier to find I am too young to know how it really then for other activities. The radio was in the late 1970’s and early 1980’s. shows seems to be doing just right I am not But of course I know people who without too many efforts from me to were playing in the bands backthen, promote it. That is great! were running labels, made magazines interested and did radio shows. In this case I :: How do you plan the shows and am talking about the bands, labels, what do you usually aim to include? magazines and radio shows that have Are you also interested in doing live in.« influenced my own current activities. interviews with musicians or having From these people I know that there guests who bring along their playlists was something going one. But it is as well? I recently explained in an interview hard to judge if this was really bigger The shows are planned quite close that I like to work with musicians back then as it is nowadays. Some before the broadcast date most of the who work in the tradition of the late visited my nights in the past and they time. We always have one live act and 1970’s and early 1980’s post-punk and said my nights had the same atmo- two DJ sets. I am resident DJ so I will experimental new wave music styles. sphere as the parties back then. So do a DJ set very show. For the second Today this is often narrowed down to I guess it has always been and always DJ set we have some people rotating, »minimal wave«, but that is a style I do be a specific niche for a specific audi- and if we think of somebody nice fit- not recognize at all. For me there is a ence. ting that specific night with that spe- style called minimal electronics not a Depending on the current fashion cific live act we ask that person. style called minimal wave. and hype some more or some less

| 40 people will have interest in this type »big no« to the latter? If yes/no - why :: Do you think that preference also of music. But if you keep it real and I released one CD. It was an experi- makes distribution more restrictive? stick to the true attitude the audi- ment to see if I could make a good One advantage would be that it defi- ence will be small… always. product with that format. Only partly nitely brings along a sense of iden- this was successful for me. So do not tity in the buyers, even if that iden- :: I have noticed a resurgence with re- expect another CD soon on my label. tity mostly comes from the type of releases as well, and also a growing As for mp3 releases… I do not even releases. trend for both tapes and vinyls. What consider that as a release… it is noth- In the case of Enfant Terrible I work do you think has led to that? with a network of independent Vinyls are a different story as tapes. shops and mail-order who sell my Vinyl is simply a superior product to releases. As I do not release any a CD. Or… it is a product and a CD is »The music well known acts and the music I re- not a true product. Also the twist you lease as not for a general consump- can give to a vinyl record to enhance has to tion minded audience I have nothing the experience around it is not to be to do with bigger distributors. But… compared to the restrictions of the more important I never have worked CD format. be fresh, with them for a much more impor- When it comes to tapes it is some- tant reason. thing really different. Tapes have The music I release is for the real been the first format to make the mu- daring collectors, the true lovers and the sic industry more democratic so to authentic connoisseurs of music. If I speak. You can make tapes cheaply would work with bigger distributors in a professional way or even very and recog- the records would end up in chain cheaply at home. Later the CD-R store record shops or at the best took over the tape scene a bit. But in so called »specialized« record now tapes seem to be back and I can nizable stores. These stores only sell music only say for myself that this is as tapes to people who still read the most are simply much more charming and as being a popular magazines and go to the are a perfect format to enhance into regular hip clubs and festivals. That a real object instead of just a format is not my world and these people to release music on. product of are not the people interested in, or For both formats it is true they are let alone aware of, the music world I gaining new fans in certain music am active in. scenes as a reaction against mp3 this world So, the network I mentioned above releases and all the download plat- is the way I distribute my releases. forms. Both formats ask for more Every single record goes through commitment and effort from the lis- and age« my hand and I am in direct contact tener. This when it comes to getting a with all shop owners. Which I like copy as they are not easily to obtain ing… But if bands I work with want to and which I value a lot. I am also very everywhere, but only through specif- spread their music I am okay on one happy and grateful these shops sell ic channels. But also when it comes condition… and that is that the mu- my records as they are able to bring to listening. You need to do more to sic is for free. As I do consider mp3’s this music to the right people. This as listen to a vinyl record as push a but- anything at all it would make no sense they know their customers. ton on your IPod or computer. For to ask money for it. When it comes to identity I guess not tapes it is also evident that in some I did this with Kim Ki O. Their album the records themselves, or the type parts of the world it is very hard to appeared on their website a few of releases, is mostly responsible for get a tape player today. months after the vinyl release came this. I am quite sure the Enfant Terri- out, and is there available for free ble trademark so to speak does this. :: It's pretty straightforward that En- downloads. They put all their mu- Even though I am not here to please fant Terrible is opting for vinyl instead sic for free on their website as mp3 anybody with my releases… mean- of CDs or online mp3 releases. Why download. So it made sense to do ing I release whatever I like myself that decision and would you give a this also for the vinyl we did together. no matter what… people know that

| 42

Enfant Terrible stands for quality releases inevitably brings along a lot Here are four acts to name just a few music and quality products. of redundant material as well. I sec- I really like, without being nasty to If you are an open minded music lover ond your thoughts about focusing other artists I am working with: you maybe like all my releases… and if on new artists, especially as a label. • Sololust, as he is able to create both you prefer the more specific minimal What Dutch acts have raised your at- minimal techno like elektro pieces electronics releases you maybe like tention these years, in particularly? just as easy as perfect synthpop or about half of my output but in the At this moment there are so many almost ambient like dark elektro. I am end it is all typical Enfant Terrible… great bands in The Netherlands. I sure more people will start to hear and I am here to surprise people and am really enthusiastic about this. The the quality in his work after we have try to take them with me on this trip… Kamp Holland compilation started as released more and we have done and I think that is an identity some a project to map this current field of more live shows. people at last can relate to… contemporary acts… of course from • Distel, simply another of those of my point of view and with a focus on the few true talents in contemporary :: I find it paradoxical that, at least electronic music. (electronic) music. Just listen to Dis- with most »collectors« I meet, no mat- tel and his other project Hadewych. If ter how hardcore is their aversion to- you as a musician are able to do both wards digital releases, most listen to »I am that then you have real talent! mp3s in parallel to purchasing mate- • Neurobit, he is one of those people rial. Probably because it is some- who not just makes music but knows times realistically faster to press play what he is doing. Even though his mu- on your computer rather than going here to sic can be considered pop music it is through the archive to find a specific related to the Minimal Music in the album/track. My question hence is: tradition of Steve Reich and Terry Ri- do you think those two can happily surprise ley. He is an academic turned on pop co-exist or are we going more in the music. Also he is one of those people direction of one instead of the other? who is not limited to one trick. With Oh, in the end both will stay… vinyl Rioteer he produces harsh industrial will stay forever and digital music is people breakcore with a sound of its own. here to stay as well. For me personal Next to that he is also involved in a I do not care if people like to listen performance group. More of Neurobit to digital formats because it is easy. and try and the other projects he is involved If they want to, why not? Who am I to is talked about, imagined and being tell them not to? planned to appear on Enfant Terrible. Also I am convinced that a good qual- • Neugeborene Nachtmusik, the mas- ity product will always find its way to to take termind behind Milligram Retreat. people. So if these people like the He is working hard to get his solo act vinyl for their collection but like to together for live sets. Next to that we listen to the music in a digital way are working on music being released when preparing their diner or clean- them with on Enfant Terrible. Two amazing psy- ing their house… why not? chedelic dark elektro-wave tracks are Only I will not start to include stupid already selected for a special project mp3 download coupons as so many me on this for the near future. labels do nowadays. As said if bands I work with want the music to be avail- :: Let's stop a bit at the Kamp Holland able digital we will look for a way to compilation, described as an »over- get this available for free. So also if triP« view of the current Dutch electronic you do not buy the vinyl first. Besides There are so many acts I like right independent scene«. 16 bands..ranging this I am quite sure one or two or now… just tune in to the Radio Resis- from minimal wave to ganz experimen- more illegal peer-to-peer networks tencia radio shows we do and you will tal tracks, not an easy task to gather will host the ripped vinyls for me. hear every month a new live act. Until all those artists together. How did the :: As you rightfully said, this constant now most have been from Holland. preparation and selection process take search for all »underground«/»obscure«" We will keep it that way. place?

| 44 I always start all my compilation with pilations as an experience both in :: I really like the cover: a field of a rather fixed idea and theme and new talents as in sounds and in the white tulips. »Emblematic« in a sense from there on I start asking artists if flow you tap into. It has happened be- for Holland, but also a bit ironic/»in they like to participate. The problem fore that there are great tracks I have your face«, especially since we're talk- I have with most compilations is that left out as they did not fit in with the ing about independent artists« who there is no real idea behind. They are rest of the selection or my idea for detach from those frameworks alto- just a collection songs, mostly in one that specific compilation. I am sure gether. Why did you find that choice style and genre and often even with people recognize the end result of of cover fitting for this compilation? leftovers from bands and with no co- this as feedback on my compilations Hahaha, sorry but those are not tu- hesion between the different tracks. have always been that they are really lips. Please have a second look. Also There is no story told. There is no trip concept records, and not a mere col- if you investigate the cover a bit more to tune in to… lection of songs, but without being and maybe try to find out a bit more So I take great care to make my com- focused on one single style or genre. about Dutch politics you will start to

45 | recognize the meaning of the sleeve works out fine. Also I always go for comes their trademark. and the title. I am not going to give an end result both the musicians and I understand this from a commer- this away, sorry. I are happy with. So even though I cial point of view as the mass of the have fixed ideas about the design of people out there is an audience that :: Enfant Terrible also has an interest- my records it is a rather democratic needs and wants to know what they ing logo, any concept behind that? process. can expect. Many people claim to Who is responsible for the graphical have a broad interest in music, arts part for the label? and the world around them. But in Everything I do has a concept and has the end they like to know what they meaning. There is already too much »a good get. They want to feel secure in their nonsense in this world. But as with own little world. Maybe also they are the Kamp Holland sleeve I am not not educated enough or not capable giving away everything. I like people for other reasons to explore new to get involved and find out things for quality things. themselves. That is part of the game For any real artist or creative agency I play. the challenge is to go beyond and But I can tell more about the design product continuously provide new fresh con- part for Enfant Terrible. In the early tent, create new exciting traces to phase I worked with my sister next follow and start new daring stories. to Zivago. Zivago has taken over the This new content should be linked design part since years, and only sel- will to the repertoire already put out but dom a record is released he is not needs to provide enough new angles involved with. The Hex Grammofoon- to be fresh and daring. platen sublabel is an exception as he always I know this is not the game for every- has until now done nothing for these body to play and not a trip everybody releases. For some records he is only is able to provide as a setting for their responsible for the lay-out but most audience. Let alone that everybody are also designed by him. find its can create an audience around them He is one of the musicians from Ende to follow such a trip. So it a real chal- Shneafliet from the Dutch 1980’s mu- lenge to do this. It asks a lot from all sic scene and he is a real music lover. way to involved. I hope I succeed in this… Due to this he always understands but I know that at least do my best to very well what I want. Because he is archive this. involved in Enfant Terrible for such a long time he is also capable of creat- people« :: It is true that the whole cultural and ing concepts with only a few words economical context differs from 30 from me on a future record. Which years ago, but is everything more or is great and saves me from spelling less »solved« and without problems out everything and it also means the :: You are right saying that refreshing now? What are, in turn, the challenges mood and feel of the artwork will fit and enriching a tradition are part of a for an independent level? the Enfant Terrible trademark. musician's tasks now. What motivates Of course the cultural and economi- artistic expression then and which cal context is different now. The world :: Concerning the artwork of the re- would be the new challenges one has has changed a lot. But I do not under- leases, is it generally a collaboration to face in that sense? stand what you mean with »solved«. between the artists and the label or The real challenge for every artist or I think in a way it has become harder something that relies on the ideas of creative agency that produces artis- for independent cultural agents and the musicians exclusively? tic output, like a label, is to always go creative agencies. One example says The artwork is always a collaboration further and at the same time to stay it all. The people behind Suction Re- as I have rather fixed ideas myself yourself. What you see is that many cords told me recently their situation. what I want and don’t want. I am open artists and labels are good in one This label is the home of Solvent and for proposals and musicians can send thing only. They go for that and mar- Lowfish and was part of the first wave in elements to work with. Often this ket that. One single style or genre be- of IDM music and second wave of

| 46 minimal elektro. They started in the CD, to find an audience that wants commitment and no involvement. mid-nineties and at their heyday to get involved and still values these So the challenge is to create quality the sold about two to three thou- artistic outputs so they want to pay a products that need commitment and sand copies of their releases. They little money for it. involvement and with those products recently started again after a break The world has changed and people attract and built an audience that are of a few years. Their first release have changed. All is there available still interested in, and/or capable to, was a CD by Lowfish in an edition within second by a few clicks on a letting loose the conditions of mod- of only 250 copies. It was released mouse button or a touch screen… ern life and become part of the expe- a few months ago back in 2010 and and for free. People seem to have rience you set out for them. is still not sold out. lost all notions of value and decency What do I need to say more? The towards artistic products. It has to Questions | Diana Daia challenge is for all activities, not be easy and fast. They do not want Answers &Photos | Martijn van Gessel matter if this is a live event or a to pay real attention… all should be (enfant-terrible.nl) physical product like a record or a commodity product that asks no

47 | NOX SHOWCASE WOEFOEP

| 48 NOX SHOWCASE WOEFOEP

49 | NAME: WOEFOEP LOCATION: SCHIEDAM, THE NETHERLANDS OCCUPATION: FREELANCE ILLUSTRATOR WEBSITE: WOEFOEP.DEVIANTART.COM FLICKR.COM: WOEFOEP

| 50 photo | Woefoep. RVLVR Courtesy of the artist photo | Woefoep. Black merz 2. Courtesy of the artist

| 52 photo | Woefoep.A-Z Merz. Courtesy of the artist

53 | photo | Woefoep. ClaireMerz 2. Courtesy of the artist

| 54 photo | Woefoep. A+. Courtesy of the artist

55 | photo | Woefoep. Fraumerz 39 69. Courtesy of the artist

| 56 photo | Woefoep. Fraumerz 218g. Courtesy of the artist

57 | photo | Woefoep. Invasion 3. Courtesy of the artist

| 58 photo | Woefoep. Invasion 2. Courtesy of the artist

59 | photo | Woefoep. Collage Story 3. Courtesy of the artist

| 60 photo | Woefoep. Collage 6. Courtesy of the artist

61 | CLOCKWORK SHOWCASE NOISE MAKING & INSTALLATIONS

| 62 CLOCKWORK SHOWCASE NOISE MAKING & INSTALLATIONS

63 | HOW TO BUILD YOUR OWN »NOISE MAKER«

he 20th century was a turn- This tiny incursion into analog devic- ing point in the expansion of es could either wake in you the love all things tek, from the now- for the mighty electron, or sent you common LED to the nano- on a path to prick your fingers with Tdimensional transistor. The waves a paperclip. produced by the development of electronics reverberated into all life Author's note | While the schematic facets, including music, and making for the analog sound producing cir- way to analog circuitry as a means cuit is accurate, we advise caution in to produce sound. From the very first building it at home. The second appa- electronic pieces of music, to the ratus is meant to be a mock-up minia- electro-industrial industry of today, ture installation of the real circuit, in oscillators produce waves, waves memory of all the fathers of today's turn into sound, and all at the touch field of electronics and the new ways VEL THORA of a button. they brought into making art.

| 64

Get stuff from the local electronic Get your hands on a soldering iron. α components store: :: two resistors Get your hands on a schematic: the :: four capacitors schematic used in this article has :: one transistor been developed by Andy Collinson; :: one small audio transformer the circuit is a modified hartley oscil- :: one push button switch lator with a couple of extra compo- :: one speaker nents included; see above. :: one battery/power source :: some wires

| 66 Get stuff from the local office sup- Buy chewing gum. And get some pli- ω ply store: ers with a wire cutter. :: a few paperclips :: 2.5m of internet cable Get your hands on some tequila: 'cos if you're going to start this, you might not want to think clearly.

67 | α

Heat up the soldering iron.

Glue the components together, pref- erably without glueing your fingers, too. In case a soldering iron is impossible to get, you can also carefully connect the wires and press the knots with pliers. It is usually customary to build such circuitry on a circuit board, but unless you are an electronics buff, this work is most times tedious, as it is very easy to make mistakes. The schematic should be carefully followed. During soldering, first melt the end of one connector, and afterwards bring closer the other wire or connector and hold it in the melted metal drop that has previously formed. Do so hastily, as wires as thin as the ones used in this presentation harden easily.

Press the button to make noise. This circuit will reproduce the sounds of a chirping canary.

| 68 ω

Start chewing, to take away the tequila smell.

Start by removing the first layer of coating from the internet cable. This should be done without cutting the cable, as you will need a long stretch of it. Internet cable usually has high malleability, but is also quick to break off. Now, sculpting with wires is pretty difficult, as they won't stay in place -un less on a stand and while securing an end, the other might decide to take a stroll. At this point, we recommend another shot of tequila. The usual internet cable has four colours of wir- ing inside, each of them comprised two-wire spirals. It should be easier to work with a spiral instead of a single wire, as it is a bit harder to break, while remaining malleable enough to stretch and fold by hand. Start at one end of the schematic and make your way around it without cutting the wire; imagine you are sowing something, but without the cloth. Yes, it is time to get another shot. Use some paperclips to mark the components' places (the miniature installation presented here lacks some components, but since art is a representation of various entities, it makes no differ- ence), so you can afterwards wrap different coloured wires around them for aesthetic effect. Enough with the shots already. Is half the bottle gone? You are ready for the next step.

Run around the room making beep- beep noises while holding the installation up high. Or just take some pic- tures of it, like we did.

69 | α

Skip ahead and you can get a whole stage setup. See right. And you know you are a genius.

| 70 71 | | 72 ω

Skip ahead and you might make it into a museum. See left. And you know you are a genius.

73 | BUILD YOUR OWN

The Spheres Virtual Art Gallery and the N-Sphere Art Magazine present:

THE MICROINSTALLATION ENDEAVOUR

In a world bound by change, how is art evolving? Is it possible to create emotion out of everyday items?

Build your own microinstallation us- ing everyday items. Take a picture and send it to the gallery address. In December, we will feature the best works in a special showcase.

Entering the contest :: sign up to this endeavour by sending a message to the gallery address.

Themes :: every participant needs to enter a theme when entering the contest. This theme will be approved by our editorial staff.

Deadlines :: the deadline for entering the cotest is September 25th, 2011. The deadline for submitting the artwork is October 25th, 2011.

Eligibility :: all participants must be of legal age in their country of resi- dence.

Details on the Spheres website :: sfere.ro/inside/contest

| 74 75 | HANGING CAGES 180˚

| 76 HANGING CAGES 180˚

77 | »I DREAM IN BROKEN LIGHT BULBS «

I am when I should be long gone. I come in colors when I should deal in I walk when I should crawl and run black and white. when I should pace myself. I am depraved of sleep when trapped I spill blood when I should drink wine. by running waters. I hold my head up high in the rain and I mutilate the vessel of my life with bend it in the sunlight. joyous harmony. I embrace the dried out earth when I I take snapshots of my future and sell should summon the muse. them in my past. I spit venom when I should inhale per- I speak in unknown tongues that only fume. my brethren recognize. I smile in disdain when I should offer I breathe an air filled with scent of comfort. dying orchids and smell of melted im- I travel through mystical lands when I mortal sands. should cleanse my soul. I live in a house with glass walls and I dwell in deadly places when I should chromium burning palm trees. roam the sky. She works in a place with two bowls I dream in broken light bulbs when I of chocolate candy when she should BAHAK B should seek sanctuary. hide.

| 78 photo | Bahak B. Courtesy of the artist

79 | CHAIN ZCISSORS

| 80 CHAIN ZCISSORS

81 | Vel Thora | Ker Welt. Courtesy of the artist Diana Daia | The Centre Cannot Hold. Courtesy of the artist EYE TEASER SYMON CHOW United States

N-SPHERE MAGAZINE | ISSN 2068 – 620X SFERE.RO © 2007-2011 all rights reserved. the reproduction of all material presented in then-sphere is restricted. the photographs and portfolios are property of the respective artists. for editorial matters, please contact the gallery. GRAPHICS &LAYOUT: diana daia | www.in-circles.org WORDS: vel thora, bahak b, diana daia CONTACT: [email protected]