DOCSLIB.ORG

Digimag34.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Digimag34.Pdf DIGICULT Digital Art, Design & Culture Founder & Editor-in-chief: Marco Mancuso Advisory Board: Marco Mancuso, Lucrezia Cippitelli, Claudia D'Alonzo Publisher: Associazione Culturale Digicult Largo Murani 4, 20133 Milan (Italy) http://www.digicult.it Editorial Press registered at Milan Court, number N°240 of 10/04/06. ISSN Code: 2037-2256 Licenses: Creative Commons Attribution-NonCommercial-NoDerivs - Creative Commons 2.5 Italy (CC BY- NC-ND 2.5) Printed and distributed by Lulu.com E-publishing development: Loretta Borrelli Cover design: Eva Scaini Digicult is part of the The Leonardo Organizational Member Program TABLE OF CONTENTS Marco Mancuso Kaiichiro Shibuya: Order And Chaos ......................................................................... 3 Silvia Bianchi Olyvetty: Processing Sound And Images ................................................................. 7 Giulia Baldi Design And The Elastic Mind ..................................................................................... 11 Giuseppe Cordaro The Dissonant Ecstasy Of Charlemagne Palestine ............................................... 14 Marco Mancuso Sonar 2008: The Feminine Factor ........................................................................... 22 Eleonora Oreggia Edoardo De Carli: The Permanence Of Knowledge ............................................. 26 Gigi Ghezzi Late Neopositivism And New Political Energy ..................................................... 36 Salvatore Iaconesi We Are Not Alone – Part 1 ......................................................................................... 39 Bertram Niessen Rudy Rucker: Let’s Give Flurb To The People! ....................................................... 43 Annamaria Monteverdi Videoelektra Superstar ............................................................................................. 48 Massimo Schiavoni Careful Evolution Researches .................................................................................. 52 Alessio Galbiati Ulf Langheinrich, The Useless And Fascinated Look ........................................... 58 Kaiichiro Shibuya: Order And Chaos Marco Mancuso 12k in terms of production, aesthetic, packaging and image), and recently had the opportunity to get in touch with his sound design art, thanks to the installation Filmachine presented by Club Transmediale 2008 inside Tesla halls. A fascinating and striking audiovisual installation, made by an open cubic structure, surrounded by constructions of speakers and columns of Led, from whom center Elektra is back. The Canadian the spectator is guided in an audiovisual art festival comes back for immersive flow of drones and lights. It its ninth edition in the habitual Usine uses chaos theories, cells automations C of Montreal. A series of international and logistic maps to re-create a artists will perform from 7 th to 11 th systematic non-rhythmic sound-light May ’08 with audio-video live that will flux. be judged in June Digimag edition. Emotional maximalism and aesthetic Between the rich setting of Elektra for minimalism, art and grace in an this year, I found very attractive equilibrate design with a synaesthesia Kaiichiro Shibuya audio-video live, on system that pushes the limits of one side because of its artistic and chaos. A rare tension, that his live in productive history musician, sound Elektra will surely give to the public designer and owner of ATAK label, on and that he openly talks about in this the other side because of its interview. collaboration with Exonemo, couple of Japanese audiovisual experimenters able to use digital tools and circuit bendings of different kind. I appreciated Shibuya work for ages, both as musician and ATAK producer as well (label that is leveled to the more well-known Raster Noton and 3 . Keiichiro Shibuya: I never thought my label as in terms of aesthetic or Marco Mancuso: Would you tell me communication strategy. ATAK is something about your performance in formed by individualities, well known Elektra 2008? You’ll perform with as specialists in their areas, so they Exonemo, so would you like to tell us work on their influences or how this collaboration was born and suggestions, while I just direct them. which is the concept and structure of For now, since I started ATAK in 2002, your audiovisual set? I’ve always been conscious on what I should have done after the reign of Keiichiro Shibuya: Exonemo and I the minimalism movement. At the started a collaboration a year ago, moment I’m working on the during an event for my label called concept/idea of “maximalism”, inside “ATAK Night 3″ , where Pan Sonic and my entire work. The name of the label Goem performed as well and it has ATAK derive from an error in the word been recorded and edited as DVD. “attak”, so it’s synonym that the label That partnership was awesome, so we want to evolve including an error on decided to collaborate again for this one side, attacking sound and the occasion. Sound and visual are potentialities of tones and rhythm. completely autonomous, so we’re never synchronized. There’s no specific concept in our live, even if we’re always conscious of the high resolution and “hyperness” obtained by the high density and speed of our data, that human beings are not able to perceive. Marco Mancuso: You launched Atak label in Japan, that follows lots of aesthetic instances, production values . and thematic interests of labels such as Raster Noton or K12. Each one of Marco Mancuso: I had the opportunity your releases has a splendid package to live the installation Filmachine at and design elements are always the CTM ’08 in Berlin, inside Tesla elegant. The structure of your label is halls. You worked with Takashi founded not only on musicians, but Ikegami in that occasion. This project also on designers, visual artists and started from an album, where you sound artists. present a series of abstract sound 4 tracks, created by algorithmic Keiichiro Shibuya: The flicker of the software such as Logistic Map and Led inside “Filmachine” are controlled sndchanger. You said that those by different parameters that are tracks are “dynamic non-linear managed for example by the decibel models, sounds that emulate chaotic of the sound, by the cells automation, system characteristics, schemes that by the logistic maps. These are in equilibrium between stability parameters are interpreted as sound and chaos”. Why did you decided to used for the composition or as data work on those concepts and how that allows the sound moving around much chaos concept is important in the space three-dimensionally. In your work? every moment we can choose what parameter to send to Led, using the keiichiro Shibuya: Takeshi Ikegami is a fact that the system allows multi-level well-known researcher of chaos and composition of sounds and optical complex systems. After a month since movements in a perfect way. we met for the first time, we started a project called “The Third Term Music”. Filmachine is the first work produced by our collaboration. Nothing is completely casual, but it is not a loop as well. It is a real system that uses chaos theories, cells automations and logistic maps to create the non- rhythm in a systematic manner. I can surely say that we’re more interested into technical component, before the concept or the aesthetical realization . of the project. Marco Mancuso: You work with the Marco Mancuso: How do you put Yamaguchi Center for Art and Media sounds and lights inside space in your as well, together with Sota Ichikawa, installation version? Who worked on that I interviewed in February, n. 32 of the stunning installation design? And Digimag, about Mapping Sound in general, how much is important in Installation project. Would you tell us your work the approach, not only as something about your role in the musician, but also as sound artist, project, and in general about your attentive to physical space and professional and artistic relationship immersive synaesthesia impact of the with the center? public? 5 Keiichiro Shibuya: If I should describe . YCAM center, I’d say it’s fantastic and nothing more. There’s a technical staff Marco Mancuso: Which are your with sophisticated skills and the audiovisual and music production center produces lots of sound plans for the future? installation works. I worked in this Keiichiro Shibuya: At the moment I’m very direction with dnA, on the sound working on two album at the same design of the installation Mapping time. One in piano with some electric Sound Installation. We can establish sound and the other one will be an intimate relationship with the totally electronic. I hope I can realize technical staff, while we create a new them both this year. Moreover, there work in the center, and this is very will be some concerts in Europe and important. At the moment we’re Filmachine will travel around some discussing about a new work for next museum. There are some artists that year. will produce for my label, but please I need to keep them secret. We have some astonishing names in the list!. http://atak.jp/ www.elektrafestival.ca/ http://exonemo.com/ 6 Olyvetty: Processing Sound And Images Silvia Bianchi common is their actual research on sound, which means a direct interaction with the object and its surface through the use of different supports, both durino production and live processing. Riccardo Benassi was born in Cremona but he had long lived in Bologna. He has been working with sound experimentation for years and Olyvetty is an audio visual a young artist of great
Load more

Recommended publications
  • Microsoft Outlook
    Dave M. Peck From: Squidco <[email protected]> Sent: Thursday, September 14, 2017 10:11 AM To: Dave M. Peck Subject: SQUIDCO Email Update September 14, 2017 UPDATE September 14, 2017 We wanted to make a new art— new expressions of art— in an art world that was, for us, traditional." —Herman Nitsch Essential Labels Alga Marghen KARLRECORDS Art Yard Matchless Clang Mikroton Recordings Confront Room40 Creative Sources Someone Good / Room40 Discus Taping Policies Evil Clown Trost Records Fragment Factory Wide Hive Holidays Records Creative Artists 1 • Abecassis, Eryck / Francisco Meirino • Derek Bailey / Mick Beck / Paul Hession • Borbetomagus • Tony Buck • Deep Tide Quartet (Archer / Macari / Cole / Shaw) • The Elks (Fagaschinski/Allbee/Roisz/Zapparoli) • Georg Graewe / Mark Sanders • Haco • Junk & The Beast (Petr Vrba / Veronika Mayer) • Alice Kemp • Leap of Faith • Kurt Liedwart • Roscoe Mitchell • Dafna Naphtali / Gordon Beeferman • Hermann Nitsch • Orfeo 5 (Blezard/Bourne/Jafrate w/ Prince/Oliver/Kane) • Charlemagne Palestine • Pat Patrick And The Baritone Saxophone Retinue • Massimo Pupillo / Alexandre Babel / Caspar Brotzmann • Ernesto Rodrigues / Ulrike Brand / Olaf Rupp • Sakata / Mota / Di Domenico / Calleja • Udo Schindler • String Theory [Boston, USA] • String Theory [PORTUGAL] • Eckard Vossas 4 (Vossas / Fields / Henkel / Nabatov) • Christian Wolfarth / Jason Kahn • Christian Wolff / Eddie Prevost • Nate Wooley / Daniele Martini / Joao Lobo • Zeitkratzer / Svetlana Spajic/Dragana Tomic/Obrad Milic • Zeitkratzer + Elliott Sharp Jazz & Improvisation Bailey, Derek / Mick Beck / Paul Hession: Meanwhile, Back In Sheffield... (Discus) Free improvising guitar legend Derek Bailey was invited to perform in his home town of Sheffield, England in 2004 with the trio of Mick Beck on tenor sax, bassoon, and whistles, and Paul Hession on drums, Bailey's first visit in many years, and a joyful occasion as the collective group explores a wide range of approaches to creating instant compositions.
    [Show full text]
  • Lucie Vítková (1985, Boskovice, CZ); +1 347 967 2997; [email protected];
    Lucie Vítková (1985, Boskovice, CZ); +1 347 967 2997; [email protected]; http://www.vitkovalucie.com. I am a composer, performer and improviser of accordion, harmonica, voice and dance from the Czech Republic. My work pursues two lines of enquiry: my compositional practice focuses on sonification (compositions based on abstract models derived from physical objects), while my improvisational practice explores characteristics of discrete spaces through the interaction between sound and movement. Recently, I have become particularly interested in the question of social relationships in music and their implications for the structural organization of musical pieces. I explore this theme in all aspects of my work. Education: [2013-present] Janacek Academy of Music and Performing Arts Brno (JAMU Brno), CZ: Doctorate in composition and music theory (Ph.D.) with Peter Graham; in the academic year 2014/2015 recipient of Nadace Český hudební fond scholarship. [1/2016-1/2017] Columbia University NYC, USA: Visiting scholar with Prof. George E. Lewis. [2/2015-12/2015] Universität der Künste Berlin, DE: Recipient of Erasmus Scholarship for studies in composition and music theory with Marc Sabat. [9/2014-1/2015] Universität der Künste Berlin: Recipient of DAAD scholarship (Deutscher Akademischer Austausch Dienst). [2011-13] JAMU Brno: Master’s Degree (MgA.) in composition with Martin Smolka and Peter Graham, including the following international exchanges: [2011-12] Royal Conservatoire The Hague, NL: Recipient of Erasmus Scholarship for studies in composition with Martijn Padding, Cornelis de Bondt, Gilius van Bergeijk and Yannis Kyriakides, and in sonology (a subset of sound studies) with Paul Berg, Joel Ryan, Peter Pabon, Richard Barrett and Kees Tazelaar.
    [Show full text]
  • The Philip Glass Ensemble in Downtown New York, 1966-1976 David Allen Chapman Washington University in St
    Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) Spring 4-27-2013 Collaboration, Presence, and Community: The Philip Glass Ensemble in Downtown New York, 1966-1976 David Allen Chapman Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/etd Part of the Music Commons Recommended Citation Chapman, David Allen, "Collaboration, Presence, and Community: The hiP lip Glass Ensemble in Downtown New York, 1966-1976" (2013). All Theses and Dissertations (ETDs). 1098. https://openscholarship.wustl.edu/etd/1098 This Dissertation is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Music Dissertation Examination Committee: Peter Schmelz, Chair Patrick Burke Pannill Camp Mary-Jean Cowell Craig Monson Paul Steinbeck Collaboration, Presence, and Community: The Philip Glass Ensemble in Downtown New York, 1966–1976 by David Allen Chapman, Jr. A dissertation presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2013 St. Louis, Missouri © Copyright 2013 by David Allen Chapman, Jr. All rights reserved. CONTENTS LIST OF FIGURES ....................................................................................................................
    [Show full text]
  • Charlemagne Palestine 17 Mai – 19 Novembre 2017
    Dossier Exposition mahj.org de presse Charlemagne Palestine 17 mai – 19 novembre 2017 © Charlemagne Palestine Charlemagne Palestine 17 mai – 19 novembre 2017 Sculptures, peintures, installations visuelles et sonores, films et concerts... Charlemagne Palestine investit le mahJ à l’occasion d’une exposition personnelle, première du genre dans un musée français. Dans les écuries de l'hôtel de Saint-Aignan, il déploie une installation qui mêle œuvres historiques et nouvelles productions, faisant évoluer le visiteur au cœur de son univers foisonnant, où les peluches tiennent un rôle de premier ordre. Né à Brooklyn en 1947 sous le nom de Chaim Moshe Palestine, il rejoint, enfant, la chorale juive de Stanley Sapir pour atténuer par le chant les effets de son bégaiement. Élevé dans une famille originaire d’Odessa, il est partagé entre une éducation traditionnelle et son goût pour les formes artistiques expérimentales. Dès les années 1960, il évolue aux côtés de nombreuses figures de l'avant-garde new-yorkaise, dont La Monte Young, Terry Riley ou John Cage. Sa pratique du chant, du carillon, de l’orgue puis du piano lui permet de développer, à partir des années 1970, une relation physique et vibratoire à l’espace, à son corps et à ceux de l’auditoire. Ses performances s’adaptent aux contextes et aux instruments qu’il utilise, engendrant un dialogue avec les lieux qui le reçoivent. La dimension totale de sa démarche est à l’image des peluches qu’il recueille et expose : public idéal, totems, communauté choyée et perdue qu’il cherche à reconstruire, elles concrétisent aussi le caractère animiste de son œuvre.
    [Show full text]
  • DB Music Shop Must Arrive 2 Months Prior to DB Cover Date
    05 5 $4.99 DownBeat.com 09281 01493 0 MAY 2010MAY U.K. £3.50 001_COVER.qxd 3/16/10 2:08 PM Page 1 DOWNBEAT MIGUEL ZENÓN // RAMSEY LEWIS & KIRK WHALUM // EVAN PARKER // SUMMER FESTIVAL GUIDE MAY 2010 002-025_FRONT.qxd 3/17/10 10:28 AM Page 2 002-025_FRONT.qxd 3/17/10 10:29 AM Page 3 002-025_FRONT.qxd 3/17/10 10:29 AM Page 4 May 2010 VOLUME 77 – NUMBER 5 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Kelly Grosser ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sue Mahal 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 www.downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough, Howard Mandel Austin: Michael Point; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D.
    [Show full text]
  • Bik Van Der Pol Charlemagne Palestine
    FEATURES BIK VAN DER POL X CHARLEMAGNE PALESTINE BIK VAN DER POL X CHARLEMAGNE PALESTINE De eigenzinnige kunstenaar, CHARLEMAGNE PALESTINE Josine van Droffelaar, who was componist en performer Charlemagne Palestine (in 1945 of assistant curator at the Stedelijk Charlemagne Palestine 1947 geboren als Chaim Moshe Tza- in those days. I’m happy to be the dik Palestine, of Charles Martin in “Uncle Appel”.’ bespeelde het carillon van het Brooklyn, New York, tegenwoodig Hendrik Chabot Prijs 2014 van het Prins Bernhard Cultuurfonds aan Bik Van der Pol, 16 januari 2015, foto Peter van Mulken van Peter foto 2015, januari 16 Pol, der Van Bik Cultuurfonds Bernhard aan Prins het van 2014 Prijs Chabot Hendrik Uncle Appel. The last one standing. Rotterdamse stadhuis toen Bik woonachtig in Brussel) is een Ame- rikaans componist van minimalisti- ‘I was a pilot at the time.’ Van der Pol de Bart Chabot sche muziek, performer en beeldend You mean a pilot in the sense of Prijs 2014 kregen uitgereikt. kunstenaar, met, zoals Wikipedia het flying? De kleurrijke kunstenaar, die al omschrijft een voorkeur voor ‘knuf- ‘What happened is that I went to felbeesten, cognac en kretek siga- live for almost a year in Sweden, in geruime tijd in Brussel woont, retten’. Palestine, een tijdgenoot van Skåne, which is below Stockholm. vertegenwoordigt in zekere Steve Reich en Philip Glass, heeft It’s in the countryside. I had a few zin de rijke geschiedenis van altijd zijn eigen werk uitgevoerd, in performances zowel op het podium shows of these drawings I was mak- de westerse conceptuele als in kunstcentra, zoals De Appel ing those days with arrows that went kunst waar het Rotterdamse in de legendarische tijd met Wies in all kinds of directions.
    [Show full text]
  • Battles Around New Music in New York in the Seventies
    Presenting the New: Battles around New Music in New York in the Seventies A Dissertation SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Joshua David Jurkovskis Plocher IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY David Grayson, Adviser December 2012 © Joshua David Jurkovskis Plocher 2012 i Acknowledgements One of the best things about reaching the end of this process is the opportunity to publicly thank the people who have helped to make it happen. More than any other individual, thanks must go to my wife, who has had to put up with more of my rambling than anybody, and has graciously given me half of every weekend for the last several years to keep working. Thank you, too, to my adviser, David Grayson, whose steady support in a shifting institutional environment has been invaluable. To the rest of my committee: Sumanth Gopinath, Kelley Harness, and Richard Leppert, for their advice and willingness to jump back in on this project after every life-inflicted gap. Thanks also to my mother and to my kids, for different reasons. Thanks to the staff at the New York Public Library (the one on 5th Ave. with the lions) for helping me track down the SoHo Weekly News microfilm when it had apparently vanished, and to the professional staff at the New York Public Library for Performing Arts at Lincoln Center, and to the Fales Special Collections staff at Bobst Library at New York University. Special thanks to the much smaller archival operation at the Kitchen, where I was assisted at various times by John Migliore and Samara Davis.
    [Show full text]
  • Sine Waves and Simple Acoustic Phenomena in Experimental Music - with Special Reference to the Work of La Monte Young and Alvin Lucier
    Sine Waves and Simple Acoustic Phenomena in Experimental Music - with Special Reference to the Work of La Monte Young and Alvin Lucier Peter John Blamey Doctor of Philosophy University of Western Sydney 2008 Acknowledgements I would like to thank my principal supervisor Dr Chris Fleming for his generosity, guidance, good humour and invaluable assistance in researching and writing this thesis (and also for his willingness to participate in productive digressions on just about any subject). I would also like to thank the other members of my supervisory panel - Dr Caleb Kelly and Professor Julian Knowles - for all of their encouragement and advice. Statement of Authentication The work presented in this thesis is, to the best of my knowledge and belief, original except as acknowledged in the text. I hereby declare that I have not submitted this material, either in full or in part, for a degree at this or any other institution. .......................................................... (Signature) Table of Contents Abstract..................................................................................................................iii Introduction: Simple sounds, simple shapes, complex notions.............................1 Signs of sines....................................................................................................................4 Acoustics, aesthetics, and transduction........................................................................6 The acoustic and the auditory......................................................................................10
    [Show full text]
  • Rethinking Minimalism: at the Intersection of Music Theory and Art Criticism
    Rethinking Minimalism: At the Intersection of Music Theory and Art Criticism Peter Shelley A dissertation submitted in partial fulfillment of requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee Jonathan Bernard, Chair Áine Heneghan Judy Tsou Program Authorized to Offer Degree: Music Theory ©Copyright 2013 Peter Shelley University of Washington Abstract Rethinking Minimalism: At the Intersection of Music Theory and Art Criticism Peter James Shelley Chair of the Supervisory Committee: Dr. Jonathan Bernard Music Theory By now most scholars are fairly sure of what minimalism is. Even if they may be reluctant to offer a precise theory, and even if they may distrust canon formation, members of the informed public have a clear idea of who the central canonical minimalist composers were or are. Sitting front and center are always four white male Americans: La Monte Young, Terry Riley, Steve Reich, and Philip Glass. This dissertation negotiates with this received wisdom, challenging the stylistic coherence among these composers implied by the term minimalism and scrutinizing the presumed neutrality of their music. This dissertation is based in the acceptance of the aesthetic similarities between minimalist sculpture and music. Michael Fried’s essay “Art and Objecthood,” which occupies a central role in the history of minimalist sculptural criticism, serves as the point of departure for three excursions into minimalist music. The first excursion deals with the question of time in minimalism, arguing that, contrary to received wisdom, minimalist music is not always well understood as static or, in Jonathan Kramer’s terminology, vertical. The second excursion addresses anthropomorphism in minimalist music, borrowing from Fried’s concept of (bodily) presence.
    [Show full text]
  • THE ORCHESTRA of FUTURIST NOISE INTONERS Luciano Chessa, Director
    Intonarumori, ArtBasel Miami Beach, 2011, photo by Javier Sanchez THE ORCHESTRA OF FUTURIST NOISE INTONERS Luciano Chessa, Director A Performa 09 Commission These eccentric hurdy-gurdy instruments first created in 1913 still sounded musically radical after all these years. Roberta Smith for The New York Times The Orchestra of Futurist Noise Intoners is the only complete replica of futurist composer/sound artist Luigi Russolo’s legendary intonarumori orchestra. The orchestra tours worldwide, presenting concerts that feature historical and new works commissioned from an all-star cast of experimental composers, some performing live alongside this orchestra of raucous mechanical synthesizers. The orchestra’s composers include Sonic Youth’s founding guitarist Lee Ranaldo, seminal composer/vocalist Joan La Barbara, Einstürzende Neubauten frontman and Nick Cave collaborator Blixa Bargeld, avant-garde saxophonist John Butcher, Deep Listening pioneer Pauline Oliveros, Faith No More and Mr. Bungle vocalist Mike Patton, avant-garde musician Elliott Sharp, and composer/vocalist Jennifer Walshe collaborating with late composer and film/video artist Tony Conrad, among others. For further details and touring information contact Esa Nickle at Performa on +1 212 366 5700, or email [email protected] HISTORY As part of its celebration of the 100th anniversary of Italian Futurism, the Performa 09 biennial, in collaboration with the Experimental Media and Performing Arts Center (EMPAC) and the San Francisco Museum of Modern Art (SFMOMA), invited Luciano Chessa to reconstruct Russolo’s intonarumori. Supervising Bay Area craftsman Keith Carey, Chessa succeeded in recreating for the first time Russolo’s earliest intonarumori orchestra, originally unveiled in Milan in the Summer of 1913 (16 instruments—8 noise families of 1-3 instruments each, in various registers).
    [Show full text]
  • Aa Sschmmettrroossppecctivve Charlemagne Palestine
    Aa Sschmmettrroossppecctivve Charlemagne Palestine Subtitle ― Artist(s) Charlemagne Palestine Authors Michel Baudson, Xavier Garcia Bardón Exhibitions ‘Aa Sschmmettrroossppecctivve’, BOZAR, Brussels, 18 May 2018 - 26 August 2018 en 1000 pictures and documents from the work and life of ISBN 978 94 9232 186 2 Charlemagne Palestine explode from the pages of the Release May 2018 book, superimposed in ‘strumming’ layers, weaving the Imprint MER. Paper Kunsthalle & historical & present, works & performance, private & public BOZAR Books into a tightly knit sschmmettrroobookk. Texts by Michel Language(s) EN Baudson and Xavier Garcia Bardón. Format 30 cm × 30 cm Volume 132 pages Cover Softcover Illustrations CMYK + B&W Design Studio Luc Derycke Retail €35.00 Printrun 500 + 32 22 (0) 9 329 31 Pauline Scharmann [email protected] L, 9000 Ghent, Belgium MER. Paper Kunsthalle Burgstraat 18 www.merpaperkunsthalle.org MER. Aa Sschmmettrroossppecctivve CharlemagneCharlemagne Palestine’s Palestine’s Bear Bear Mitzvah Mitzvah in in Meshugahland Meshugahland, ,The The Jewish Jewish Museum, Museum, New New York, York, NY, NY, 3 3 March March –– 66 AugustAugust 20172017 in the Henry LeLe BœufBœuf Hall,Hall, asas initiallyinitially Palestine atat thethe startstart ofof the 1970s,the 1970s, as as fashionfashion – – that that he he had had long long since since art,art, which which he he recently recently described, described, not not proposed, sprang from this same shownshown atat thethe CentreCentre forfor FineFine Arts,Arts, andand “turned“turned [his] [his] back back on on the the minimalist minimalist withoutwithout a a sense sense of of humour, humour, as as “Gesa “Gesa-- THETHE JOYOUSJOYOUS RE-ENTRY preference, since it reminded him of inin otherother momentsmoments ofof thethe researchresearch hehe climateclimate and and the the reductive reductive currents” currents” mmttkkunsttMeshuggahhLaandttttt”.mmttkkunsttMeshuggahhLaandttttt”.
    [Show full text]
  • A DIFFERENT WAY to MOVE Minimalismes, New York, 1960-1980
    PRESS KIT A DIFFERENT WAY TO MOVE Minimalismes, New York, 1960-1980 CARRÉ D’ART-NÎMES 7 APRIL- 17 SEPT. 2017 1973, détail d’un diptyque réalisé en 2010. Photo © 1973 / 2010 Babette Mangolte. Courtesy de l’artiste & Broadway 1602. Babette Mangolte. Courtesy de l’artiste & Broadway Photo © 1973 / 2010 1973, détail d’un diptyque réalisé en 2010. 1973, détail d’un diptyque réalisé en 2010. Photo © 1973 / 2010 Babette Mangolte. Courtesy de l’artiste & Broadway 1602. Babette Mangolte. Courtesy de l’artiste & Broadway Photo © 1973 / 2010 1973, détail d’un diptyque réalisé en 2010. Trisha Brown, Woman walking down a ladder, walking down a ladder, Woman Brown, Trisha Trisha Brown, Woman walking down a ladder, walking down a ladder, Woman Brown, Trisha Babette Mangolte, Babette Mangolte, Place de la Maison Carrée. 30000 Nîmes. France. Téléphone : 00 33 4 66 76 35 70. Fax : 00 33 4 66 76 35 85 E-mail : [email protected] PRESS KIT Musée d’art contemporain de Nîmes A DIFFERENT WAY TO MOVE MINIMALISMES. NEW-YORK 1960-1980 Carré d'Art - Nîmes Museum of Contemporary Art Exhibition from 7 April until 17 September 2017 Curator: Marcella Lista An exhibition celebrating the 40th anniversary of the Centre Pompidou Contents Press Release Presentation of the exhibition Exhibition Catalogue List of exhibited works Images Lectures and performances relating to the exhibition Practical informations Upcoming Exhibition Press officer : Delphine Verrières-Gaultier - Carré d'Art Tél : +33 (0)4 66 76 35 77 - E-mail : [email protected] Press Release A DIFFERENT WAY TO MOVE MINIMALISMES. NEW-YORK 1960-1980 Place de la Maison Carrée.
    [Show full text]