View allAll Photos Tagged Dissonant
We are as clouds that veil the midnight moon;
How restlessly they speed, and gleam, and quiver,
Streaking the darkness radiantly! -- yet soon
Night closes round, and they are lost for ever.
Or like forgotten lyres, whose dissonant strings
Give various response to each varying blast,
To whose frail frame no second motion brings
One mood or modulation like the last.
We rest. -- A dream has power to poison sleep;
We rise. -- One wandering thought pollutes the day;
We feel, conceive or reason; laugh or weep;
Embrace fond woe, or cast our cares away:
It is the same! -- For, be it joy or sorrow,
The path of its departure still is free:
Man's yesterday may ne'er be like his morrow;
Nought may endure but Mutability
--Shelley
2008 Acrylic on canvas 36 x 24 inches "Strawberry Fields" is an original, signed acrylic painting on a gallery-wrapped canvas by artist Michael Arnold. The painting was inspired the movie “Across the Universe.” I wanted the larger than life red strawberries to pop against the bright yellow background. The pop art painting easily reminds us of the Beatles song "Strawberry Fields Forever", which was written by John Lennon. After the fourth verse, the song fades out and fades in again to dissonant melodies with Lennon saying, "cranberry sauce" but was misheard by many Paul is dead theorists as Lennon saying, "I buried Paul". Purchase Price $500
Hair -MU-photography=
Dynamite Dames Photography
It was a creed written into the founding documents that declared the destiny of a nation.
Yes we can.
It was whispered by slaves and abolitionists as they blazed a trail toward freedom.
Yes we can. Yes we can.
It was sung by immigrants as they struck out from distant shores
and pioneers who pushed westward against an unforgiving wilderness.
Yes we can. Yes we can.
It was the call of workers who organized;
women who reached for the ballots;
a President who chose the moon as our new frontier;
and a King who took us to the mountain-top and pointed the way to the Promised Land.
Yes we can to justice and equality.
(yes we can, yes we can, yes we can, yes we can…)
Yes we can to opportunity and prosperity.
Yes we can to opportunity and prosperity.
Yes we can heal this nation.
Yes we can repair this world.
Yes we can. Si Se Puede
(yes we can, yes we can, yes we can, yes we can…)
We know the battle ahead will be long,
but always remember that no matter what obstacles stand in our way,
nothing can stand in the way of the power of millions of voices calling for change.
We want change!
(We want change! We want change! We want change…)
We have been told we cannot do this by a chorus of cynics who will only grow louder and more dissonant.
We’ve been asked to pause for a reality check.
We’ve been warned against offering the people of this nation false hope.
But in the unlikely story that is America, there has never been anything false about hope. We want change!
(We want change! I want change! We want change! I want change…)
The hopes of the little girl who goes to a crumbling school in Dillon are the same as the dreams of the boy who learns on the streets of LA;
we will remember that there is something happening in America;
that we are not as divided as our politics suggests;
that we are one people;
we are one nation;
and together, we will begin the next great chapter in America’s story with three words that will ring from coast to coast;
from sea to shining sea - Yes. We. Can.
(yes we can, yes we can, yes we can, yes we can, yes we can, yes we can, yes we can, yes we can…)
Pontefract 5-piece Glass Caves are building a feverish and faithful following through busking original material and heavy gigging throughout the North of England. In a short number of months the band have shifted thousands of their tracks on the streets and online, along with selling out notable venues in Leeds, York and their hometown. They have supported the likes of Metronomy, Dry The River and The Sunshine Underground on the northern legs of national tours and are set for more big dates in 2013.
Glass Caves fuse agitated rhythms, yo-yoing guitars and dissonant keyboard sounds with vocals that splinter then soar through their songs. They come at you like a band channelling the spirit of American alternative bands, such as Local Natives and Fleet Foxes, through a very British filter to produce perfectly formed morsels of ballsy alt-rock.
Dissonant Nation
CD demo #2
Dissonant est un jeune trio (« formation basique et mythique du rock » comme le dit leur bio) qui a vu le jour a Aubagne il y a un peu plus d’un an et comprend Lucas Martinez (chant guitare), Loic Sanchez (basse) Mathieu Aimon (batterie). A force d’entendre parler en bien d’eux par Thierry de l’Escale Saint Michel j’ai fini par aller voir ce groupe, dont le plus vieux n’a pas encore 20 ans), sur la scène du Cabaret Aléatoire ou il dissipèrent mes doutes d’un set court et nerveux expédié avec précision et plaisir avant qu’ils ne remballent leur matériel pour aller jouer (en tête d’affiche cette fois) a Aubagne justement le même soir. Cette démo 4 titres live qui s’ils continuent à bruler les étapes comme ca est peut être déjà complètement obsolète, devrait vous convaincre que ce que je raconter (les plus sceptiques ont aussi le droit a 2 bonus vidéo en live – filmés juste comme il le faut – à couper le souffle). On y retrouve dans un patchwork d’images de nombreux morceaux dont ces 4 titres déjà entêtants. Vinyl avec et dans lequel ils rendent hommage a Sonic Youth (influence parfaitement assumée), UFO qui par certains cotes fait un peu penser a Shrink (qui pourraient être leur grand freres), Kim leur sautillant mini tube avec un chant aboyé (a la Rogers Sisters) et son refrain déjà célèbre « I got sex with my guitar », et pour finir le plus calme Piece of Shit, titre que n’aurait pas renier les Gasolheads … Dissonant Nation qui affiche ouvertement son intention de « tout tenter pour ne rien regretter » a tout pour devenir grand, voire très grand. En tout cas tant qu’il y a aura des fans de rock n’roll.
Using a dissonant array of printed and patterned textiles, San Francisco artist and Fashioning Cascadia Artist-in-Residence, (June 10 - 21, 2014), Stephanie Syjuco, will work with participants to create limited edition line of garments that speak to ideas of: modern day camouflage; re-envisioned “ethnic” prints; and surveillance technology.
Born in the Philippines, Stephanie Syjuco received her MFA from Stanford University and BFA from the San Francisco Art Institute. Her work has been shown nationally and internationally, and included in exhibitions at MoMA/P.S.1, the Whitney Museum of American Art, SFMOMA, ZKM Center for Art and Technology, Germany; Z33 Space for Contemporary Art, Belgium; UniversalStudios Gallery Beijing; The Contemporary Arts Museum Houston; and the California Biennial at the Orange County Museum of Art, among others. In 2007 she led counterfeiting workshops in Istanbul and in 2009 contributed proxy sculptures for MOMA/P.S.1’s joint exhibition, “1969.” She has taught at Stanford University, The California College of the Arts, The San Francisco Art Institute, Mills College, Carnegie Mellon University, and currently, is on the faculty at the University of California at Berkeley as an Assistant Professor in Sculpture. A recipient of a 2009 Joan Mitchell Painters and Sculptors Award, she lives and works in San Francisco.
Photos by Sarah Meadows '08.
Originally this song was entitled "Why don't you challenge the boundaries of rock music by playing harsh furious dissonant guitar noise music with lyrics exclusively about death and sex and pretend like you are making some kind of original statement about the relation between the two and therefore expressing the pain and confusion of modern society, and then become a rock critic and write about your own band under a different name but not before you move to New York or LA or Chicago or some sufficiently urban area and live in a bad part of town while still receiving checks from your parents who were probably liberals and didn't let you watch enough violence on TV and so you never got it out of your system, and then go to law school like everybody else."
.
When rummaging through the clutter in his basement, reclusive inventor Frank Walker occasionally runs across a nostalgic memento from his past.
The Esoteric Abundance Response Squad (or E.A.R.S.), a precursor of sorts to the later Optimist Program, was initially conceived for outreach and recruitment by the secretive PlusUltra organization. Over time, the duties of the small but highly skilled cadre of “Esoteers” (so named for their expertise in esoteric lore, science, technology, and phenomena) came to include the design, operation, and maintenance of an advanced cryogenic research and development center located [REDACTED].
Today the primary purpose of E.A.R.S. involves maintaining a manageable balance of “esoteric abundance” (which might be loosely defined as “fun and weirdness” or “zaniness”) at identified nodal points or trans-dimensional vortices, the vortices being an unfortunate side effect of Nicola Tesla’s early experiments in cross-dimensional travel which allows dissonant energy from the Tomorrowland Dimension to “leak” across dimensional barriers.
“I wonder what became of Addie Ventura,” Frank mused. “She was a swell chum… back in the days when we actually used phrases like ‘swell chum.’”
(Find out what happened to Addie by following @adventurelandexplorersclub on Instagram. Learn more about PlusUltra, Tomorrowland, and Frank by following @plusultrasydney on Instagram)
21 August - A Doll A Day 2024
The proverbs of Solomon. A wise son maketh a glad father: but a foolish son is the heaviness of his mother.
Proverbs 10:1 King James Version
for me, the organ is the suitable instrument to realize the music of the orgy-mysteries-theater. my music makes use of long drawn-out tones, uses sound blocks, cluster arrangements, roaring tutti- structures, tonal and dissonant up to noise superposition. everything that strings, woodwinds, brass and synthesizers do in an orchestra, i can do through the organ. at the same time i can produce shrill sounds and meditative tonal arrangements. i can revel in keys as well as wedge myself in dissonances. the force of the birth of galaxies reminds me of the sounds of spheres that permeate the universe.
Credit: Ferry Nielsen
Let a bear robbed of her whelps meet a man, rather than a fool in his folly.
Proverbs 17:12 King James Version
“It's a song that you danced to in high school, It's a moon you tried to bring down , On a four-in-the-morning drive through the streets of town”
Come On, Come On: Mary Chapin Carpenter, Come On, Come On
This quiet ballad of Mary Chapin Carpenter’s is the title track to her break out album- and closes up the CD… it also blew me away the first time I sat down to listen to it. Mary Chapin is one of the few “country” artists that I listen to, and I consider her more folk than anything. And I listen to her because she writes her own music, and she always presents an emotional side of music- she’s always managing to tap into things on deeper levels.
In this song she’s speaking of the nostalgic memories that we have from our youth- the search to tap into those and re-live those. I find that as my daughter is nearing her high school graduation, I am really getting to be a bit more nostalgic. I remember the last few weeks of school (under ten weeks now!!), and I remember the excitement surrounding it all.
This haunting ballad always calls out to me; the use of the choir in the back ground- the dissonant acoustic guitar and piano, dancing back and forth really call the listener into the song. I am forever in love with Mary Chapin for creating this song!
*** Artist Notes ***
Capturing the feeling of driving around at four o’clock in the morning.
Lyrics:
Some people remember the first time
Some can't forget the last
Some just select what they want to from the past
It's a song that you danced to in high school
It's a moon you tried to bring down
On a four-in-the-morning drive through the streets of town
Come on come on, it's getting late now
Come on come on, take my hand
Come on come on, you just have to whisper
Come on come on, I will understand
It's a photograph taken in Paris, at the end of the honeymoon
In 1948, late in the month of June
Your parents smile for the camera in sienna shades of light
Now you're older than they were then that summer night
Come on come on, it's getting late now
Come on come on, take my hand
Come on come on, you just have to whisper
Come on come on, I will understand
It's a need you never get used to, so fierce and so confused
It's a loss you never get over the first time you lose
And tonight I am thinking of someone, seventeen years ago
We rode in his daddy's car down the river road
Come on come on, it's getting late now
Come on come on, take my hand
Come on come on, you just have to whisper
Come on come on, I will understand
Come on come on, it's getting late now
Come on come on, take my hand
Come on come on, you just have to whisper
Come on come on, I will understand
Come on come on
Memory work has an ethical as well as an historical dimension. I contributed the entry entitled memory work to Wikipedia. The catalyst for this layered image was Freud's influential paper (1901 [1914]) entitled Forgetting of Proper Names in Psychopathology of Everyday Life. In it Freud examined the psychological process of forgetting the name of the artist who painted the Orvieto ceiling when his conscious thinking process was abruptly interrupted by memories of the recent suicide of one of his patients who had an incurable sexual disorder. He forget Signorelli's proper name during this conversation with a stranger while traveling in Herzegovina. They had been discussing the Turks in Bosnia and Herzegovina when Freud's thoughts turned to contemporary [racist] beliefs surrounding the sexual moeurs of Turks who allegedly valued sexual pleasure over life itself. From there Freud thought of Death and Sexuality. As one theme interrupted and replaced the other, he associated the series Signorelli. Botticelli, Boltraffio, Trafoi and could not recollect the proper name.
This is significant to me as it reveals unchallenged western prejudices about the East at the turn of the century.
Layers include a .jpg of Renaissance artist Luca Signorelli's (1445 - 1523) masterpiece, the massive frescoes of the Last Judgment (1499-1503) in Orvieto Cathedral. The copyright on his work has expired since he passed away more than 70 years ago.
There is a topographical map of Bosnia and Herzegovina, a small iinsert of Freud's museum which is itself th subject of controversy as rrevealed in Derrida's book Archives Fever (1996). The uppermost layer is the diagram from the Freud's article explaining how he made a Freudian slip.
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See also Forgetting 2.0" It isn’t the willful forgetting that interests me, as much as the unconscious forgetting of those names, things, places, dates, events, reasons and consequences that are dissonant with a certain way of seeing and existing in the world. The act of choosing to forget is a form of remembering . . . a gesture of forgiveness, healing, detachment, withdrawal, cowardice or mere convenience.
Memory work entails an ethical act of revisiting the past to avoid repeating errors in the future, to illuminate unchallenged assumptions that contributed to distorted histories.
The Great Flood of the virtual archives has inundated users with a tsunami of words. I am attempting to use emerging technical tools of the semantic web to make it easier for other users at all levels to hyperlink names, things, places, dates, events, reasons and consequences to reliable and/or frequently cited sources in subject areas where I have been an active teacher, learner and researcher.
These compilations are found in one of the main search engines along with other posts and articles proposing an argument from the opposite end of the ideological spectrum.
A Rune based symbol meaning "PEACE" - I don't know what hot blooded viking back in the day cared about peace, well peace under their own terms and thinking i guess, which could be very different to today's concept of peace? But its nice to know that perhaps the inclusion of such a symbol reveals a different side to the Viking pysche' that may be different to what we have been lead to believe?
This Symbol is made up of what appears to be a "R" ("Raidho) backwards and joined with a "B" .
When an "R" is placed backwards (Merkstave) it then means: Crisis, rigidity, stasis, injustice, irrationality. Disruption, dislocation, demotion, delusion, possibly a death.
Therefore, possibly the combination of a backward "R" and a "B" binds both life and death, where new life comes from death and visa versa, or it speaks of the after life, though Viking burials have included weapons, as life after death was considered no different to live on earth some times?
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This is very similar to the BLUETOOTH symbol people are undoubtably familiar with?
"The word Bluetooth is an anglicised version of Danish Blåtand, the epithet of the tenth-century king Harald I of Denmark and parts of Norway who united dissonant Danish tribes into a single kingdom. The implication is that Bluetooth does the same with communications protocols, uniting them into one universal standard.
The Bluetooth logo is a bind rune merging the Younger Futhark runes H-rune (Hagall) and Runic letter berkanan.svg (Bjarkan) , Harald's initials."
- taken from wikipedia.
YYZ (song) - Wikipedia, the free encyclopedia:
>One of the better known bits of trivia about the song is that its introduction, in the odd time signature of 5/4, plays out the letters “Y-Y-Z” in Morse Code (-.--/-.--/--..) YYZ is the airport code for Toronto Pearson International Airport in Toronto, the city where Rush was formed during the late 1960s (Neil Peart once said, “It’s always a happy day when YYZ appears on our luggage tags!”). The initial guitar riff also plays out the YYZ code using the dissonant interval of the tritone, playing a tritone lower than the starting pitch during each 16th note. The synthesizer melody played above it is a rare example of the Locrian mode.
***
Jesus Christ, I'm a nerd.
Als je het Mat 34 treinstel in Utrecht recht van voren op de kiek zet, dan is de rechtse glazen wand een dissonant, dus zetten we de linkse muur ook maar rechts, maar dan is alleen weer zo alleen, dus maken we er maar 2 van.............. en krijg je dit :-)
Het meest linkse kwart van de foto is origineel, de ander 3 kwart delen zijn een kopie en 2 daarvan gespiegelt, behalve dan de Scharfenbergkoppeling en het raam met de ruitwisser.
Alle overige delen die gespiegelt zijn ( het mannetje, de bordjes "Heren" etc. ) heb ik zo gelaten vanwege de symetrie in de foto.
St Mary, Creeting St Mary, Suffolk
This little hilltop church is one of the most familiar of sights to Suffolk travellers, rising like a small castle to the north of the A14. At one time there was another church, All Saints, in the same churchyard, which would have looked even more dramatic if dual carriageways had existed in those days. But the old church came down after a storm in 1800, and they built a north transept onto St Mary to accommodate the parishioners. When St Mary underwent a large scale and extravagant restoration in the late 19th Century, an aisle was added to the north side, and no trace of the transept remains.
The tower close-up is a fine sight, its bellstage and battlements crisp from their 1885 rebuilding. The chancel was also rebuilt at this time, and you step into what is almost completely a late 19th Century space. The 15th Century font has been moved into the space beneath the tower, as if not to distract from all things late Victorian. But the overwhelming impression is of what is one of the best collections of Kempe & Co glass in all East Anglia. There are figures of Saints, Old Testament Prophets and Patriarchs, and in the north aisle an excellent Annunciation and figures of St George and St Alban which show that the company could still hold its head up in the early decades of the 20th Century.
The westernmost window in the north aisle strikes the only dissonant note in this sea of Kempe, and a fine dissonance it is. It an important work by Brian Thomas, depicting the Adoration of the Shepherds. It dates from 1950, an early date for such modernist figurativeness, still looking back to the expressionism of stained glass artists like Leonard Walker, with one eye forward to the Festival of Britain joy and simplicity of the likes of Harry Stammers and Moira Forsythe. The subject is always a powerful one in rural backwaters like Creeting St Mary. At about the same time as Thomas was making this work, he received one of the great stained glass commissions of the second half of the 20th Century, to create a vast scheme of windows for the bombed out church of St Nicholas in Great Yarmouth, the largest parish church in England. To see his work here on such an intimate and human scale is a rare privilege.
Stepping back outside, the best feature of the exterior is the excellent 15th Century porch, one of several in this part of central Suffolk. A surprise in it is the Norman doorway, which is perhaps the only survival of the earliest church on this site. A plaque inside the porch records that the modern figure of the Blessed Virgin was given in memory of Canon Harry Fleetwood, who for 45 years never failed to teach the Faith in this church. Fleetwood's infant son, Christopher, is buried beneath a cross to the south of the church.
The war memorial outside the porch faces prominently out across the valley of the infant River Gipping, but back inside the church are brass reminders of lives lost in the Great War. One is to two brothers of Harry Fleetwood's wife, William James and Douglas James. Both in their early twenties, they were killed in the hell of the Battle of Loos in September 1915, just five days apart. The Battle of Loos, it will be remembered, was the occasion on which poison gas was first used, by both sides.
Another brass plaque remembers George Groom, an appropriately-named sergeant in the Royal Horse Artillery. He was killed in the even more infamous Battle of the Somme in July 1916, and is buried at Heilly Cemetery near Mericourt l'Abbé to the east of Albert on the Somme battlefield.
Bey Ler Bey Trio invite Erwan Keravec
Espace Croix-Baragnon, Toulouse
Mars 2017
Toutes les photos... de Bey Ler Bey Trio
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A light in the present chaos
In large cities where daily chaos is present, art modifies vibrations.
Light through music penetrates subtle layers of the city and the people who live there, transforming the dissonant tunes into lightness.
Light Man symbolizes the musical inspiration that makes the city chaotic in harmonious fluidity.
Particular feelings and sensations enter a sensory, hypnotic and surreal rhythm.
This is a short film video clip for the song MUSIC ES UN VOYAGE
which is part of the album THE ENJOYNER by LUIS REYS, a Brazilian musician residing in Australia.
Recorded in the city of São Paulo
CAST
Luis Reys - Light Man
Paula Salles – Ballerina
Fernanda Sanches – Balloon girl
Versuspot – Graffiti Writer
Draws - Graffiti Writer
Directed and written : Fernanda Brito Gaia
Cinematographer: Fernanda Brito Gaia
Edition: Mario Costa
Production: Soul Gaia
Post-Production: Macieira Filmes
SONG
Guitars and Acoustics: Luis Reys
Drums: Will Glaser
Bass: Matthew Read
Saxophone: Alex Hitchcock
Poem: Nina Miranda
Recorded by Joshua Mitchell at City University of London
Mixed by Dave Darlington at Bass Hit, New York City
Produced by Drew Crawford
to watch the full clip go to:
www.youtube.com/watch?v=i8udaqjl5VM
#music #shortfilm #videoclipe
Using a dissonant array of printed and patterned textiles, San Francisco artist and Fashioning Cascadia Artist-in-Residence, (June 10 - 21, 2014), Stephanie Syjuco, will work with participants to create limited edition line of garments that speak to ideas of: modern day camouflage; re-envisioned “ethnic” prints; and surveillance technology.
Born in the Philippines, Stephanie Syjuco received her MFA from Stanford University and BFA from the San Francisco Art Institute. Her work has been shown nationally and internationally, and included in exhibitions at MoMA/P.S.1, the Whitney Museum of American Art, SFMOMA, ZKM Center for Art and Technology, Germany; Z33 Space for Contemporary Art, Belgium; UniversalStudios Gallery Beijing; The Contemporary Arts Museum Houston; and the California Biennial at the Orange County Museum of Art, among others. In 2007 she led counterfeiting workshops in Istanbul and in 2009 contributed proxy sculptures for MOMA/P.S.1’s joint exhibition, “1969.” She has taught at Stanford University, The California College of the Arts, The San Francisco Art Institute, Mills College, Carnegie Mellon University, and currently, is on the faculty at the University of California at Berkeley as an Assistant Professor in Sculpture. A recipient of a 2009 Joan Mitchell Painters and Sculptors Award, she lives and works in San Francisco.
Photos by Sarah Meadows '08.
opere di Max Ferrigno:
Max Ferrigno was born in Casale Monferrato on 14th November 1977.
He started work as an interior decorator straight after obtaining his artistic diploma, by doing so he managed to keep a strong link with art. In his little art studio, for thirteen years, shaped the fantasies of his numerous clients. He drew trompe-l'oeil for shops and apartments, backdrops for theatrical agencies, made sets for Gardaland, Eurodisney, Mini Italia, Cow Boy Guest. He travelled a lot. At the same time his first part of his artistic path took shape: a long series of works dedicated to Mexico to Afica and to South America concentrated on 'burro', a donkey that symbolises the renewal of the social, cultural and historical view of the world.
But it was in 2005 that his artistic sensibility received a strong tremor, so strong that it redefined everything he had created up to that moment. He started watching the old Japanese cartoons again, to listen to TV theme tunes. Suddenly the echoes of the childish memory became the font of an explosion of ideas and projects. And this is how the 'popsurrealist' phase of Max Ferrigno began, where the characters of the cartoons, the 'merendine' and the toys of a generation become 'live actors' in his works through a triumph of vivid colours, intense and dissonant. A language that seems to be destined for children but that in reality it is aimed at adults.
What strikes, in fact, is the expressive power that comes through his canvas: emotions, states of mind, smells and flavours.
In November 2010 he exhibited his first important collection in Milan 'Les Sucreries' , a success that called for the attention of many critics and fans of popsurrealism.
Max Ferrigno è nato a Casale Monferrato il 14 Novembre 1977.
Comincia a lavorare come decoratore subito dopo aver conseguito l diploma artistico, riuscendo così a manternere
un forte legame con l’arte. Nel suo piccolo laboratorio artistico, per tredici anni, da’ forma alle fantasie
dei suoi sempre piu’ numerosi clienti.Disegna trompe – l’oeil per negozi e appartamenti, fondali per le agenzie teatrali,
realizza scenografie per Gardaland, Eurodisney, MiniItalia, Cow Boy Guest. Viaggia moltissimo.
Parallelamente prende forma la prima parte del suo percorso artistico: una lunga serie di lavori dedicati al Messico,
all’Africa e al Sudamerica,incentrati sul “burro”, l’asino simbolo della speranza di rinnovamento del panorama sociale,
culturale e storico del mondo.
Ma è nel 2005 che la sua sensibilità artistica subisce una forte scossa, talmente forte da definire tutto cio’ che aveva
creato fino a quel momento “passato”. Riprende a guardare i vecchi cartoni animati giapponesi, ad ascoltare le sigle tv.
Improvvisamente gli echi della memoria infantile diventano la sorgente di un'esplosione di idee e di progetti.
Inizia così la fase “popsurrealista” di Max Ferrigno, dove i personaggi dei cartoni animati, le merendine
ed i giochi di una generazione diventano “attori attivi” nelle sueopere in un tripudio di colori accesi, intensi e dissonanti.
Un linguaggio che sembra destinato ai bambini ma che in realta’ è rivolto agli adulti..
Cio’ che colpisce, infatti, è la forza espressiva che trapela dalle sue tele: emozioni, stadi d’animo, profumi e sapori.
Nel novembre del 2010 espone la sua prima importante collezione a Milano “Les Sucreries”,
un successo che richiama l’attenzione di molti critici e appassionati di popsurrealismo.
per info: www.arte20group.com
"Una escultura haciéndose" con June Crespo. Foto de María Eugenia Serrano Díez.
INSCRIPCIÓN
DIRIGIDO POR SELINA BLASCO
Destinado a cualquier persona interesada en el arte actual. No es necesario ningún conocimiento previo
Inscripción a partir del 15 de enero
Para la asistencia a alguna conferencia suelta el acceso es libre hasta completar aforo
Abordamos un nuevo curso desde esta pregunta, una duda que llegó con la modernidad, hace mucho, muchísimo tiempo. Sorprendentemente, en la sociedad de híper consumo en la que vivimos, sigue ahí, sin agotarse. La usamos como arma y como escudo, como refugio también. La manipulamos y la manoseamos. Algunas veces, la hemos lanzado desde la incredulidad (porque, no nos engañemos, quien pregunta piensa que la respuesta es no), pero nunca desde la suspicacia. Confiamos en el arte, y sobre todo en lo que tiene de enigma. Por eso la respuesta no tiene por qué ser un sí, ni queremos convencer a nadie de nada. La respuesta es que no hay o, más bien, que no lo sabemos, que no tenemos ni idea.
Así que, lo dicho, seguimos instaladas en la pregunta, y en esta edición pensamos en otra vuelta de tuerca. ¿Y si en vez de plantear que hay un determinado tipo de arte que damos por supuesto que es difícil de definir como tal, derribamos las certezas con las que nos acercamos al arte que lleva ahí toda la vida? Presuponer un arte que requiere explicación implica establecer una división entre quien duda y quien tiene las respuestas. Vamos a intentar algo menos categórico. Pensar las prácticas que se asocian a disciplinas asentadas (el dibujo, la pintura, la escultura, los sonidos musicales o el diseño), a soportes, lugares de exposición y públicos que parecen naturales pero, ojo, pensándolo todo desde el aquí y el ahora. Sentirlo como una urgencia renovada. Lo que nos intriga es lo presuntamente evidente.
Este curso no tiene título, pero podría ser algo relacionado con el deseo de doblar los haceres del arte. El arte de doblar: un curso de origami.
El CA2M desarrolla una línea de actividades de formación en arte y pensamiento contemporáneos enmarcadas dentro de la tradición de las universidades populares especialmente dirigidas a público joven y adulto. En estos cursos se abordan algunos de los planteamientos fundamentales para entender e interpretar el arte actual, para pensar en él. Estas actividades constan de dos partes: una primera consistente en la presentación de un tema por un invitado seguida por otra en la que se abre el debate para que los asistentes tomen la palabra. Las sesiones presenciales se complementan con el trabajo personal de cada asistente en relación a textos que serán entregados antes de cada una de las sesiones del curso.
14 FEBRERO
La pintura es misteriosa
Selina Blasco
Siguiendo el hilo de la observación de Ángel González García de que es mejor pintar sin tener ni idea, nos preguntamos: ¿cómo habría que tratar con la pintura? En la charla vamos a intentarlo desde ese no saber, pero situándonos en otro lugar, el de la ignorancia de quien no hace, de quien no pinta nada. Vamos a preguntar a las personas que pintan para ver qué es lo que averiguamos. Ya tenemos una respuesta, y nos gusta tanto que es la que hemos elegido como título de la charla. La cosa promete. También vamos a ingeniárnoslas para construir la narración de este ejercicio de investigación sobre el terreno, de trabajo de campo. La pintura quiere ser tratada.
Selina Blasco es profesora de Historia del arte en la facultad de Bellas Artes de la Universidad Complutense de Madrid
21 FEBRERO
Dibujo y cultura visual contemporánea. Una aproximación desde la práctica artística
Azucena Vieites
El trabajo de Azucena Vieites se ha desarrollado en torno a las técnicas y los procesos gráficos de la expresión, acercándose a la cultura visual contemporánea a través del dibujo o la serigrafía. La multiplicidad, el fragmento o la repetición como ruptura con respecto a la imagen absoluta y las formas lineales de narración o el carácter efímero de la obra se ponen de manifiesto como aspectos relevantes en su producción. A partir de algunos ejemplos de su propia práctica y de otras piezas de diversos artistas, elaboradas en esta misma línea, reflexionaremos en esta charla sobre el dibujo como una forma de representación y conocimiento del entorno que nos rodea en relación a un momento del presente.
Asimismo, se tratará de relacionar los ejemplos propuestos con algunas cuestiones planteadas por la realizadora alemana Ulrike Ottinger; esta artista trabaja en cada una de sus películas con la intención de encontrar una forma adecuada que tiene que ver con los colores, con el tiempo, con la estructura dramática y con la manera de unir las imágenes.
Azucena Vieites es artista y profesora en las facultades de Bellas Artes de Madrid y de Salamanca. Entre sus exposiciones individuales destacan Woollen Body, galería Carreras Múgica (Bilbao, 2015) y Tableau Vivant, Museo Reina Sofía (Madrid, 2013).
28 FEBRERO
Un carpintero amateur
Carlos Granados
Me gusta pensar ideas y hacer cosas. Pasar de la cabeza a la mano. Y de la mano a la cabeza. De artista conceptual a carpintero ¿Acaso tienen algo que ver el arte y la carpintería? Duchamp dijo que había que viajar sólo con un cepillo de dientes, sin carga. Cuando estudié artes, mis referentes eran este tipo de artistas, tipos que trabajaban con las ideas. Ahora trabajo con el cepillo de desbastar que usaba mi abuelo y al hacerlo pienso en su práctica. De repente me veo acumulando, trabajando la madera, haciendo. Me gustan los proyectos que me llevan mucho tiempo. Hay una frase que dice mi amigo Ángel: mide dos veces, corta una. Esto creo que resume muy bien el trabajo del carpintero. Oficio minucioso, paciente y lento. Y que quede bien.
Carlos Granados es uno de los responsables del Departamento de Educación del CA2M
7 MARZO
Historias silenciadas, sonidos olvidados
José Luis Espejo y Andrea Zarza
¿Cómo se posicionan las personas en el espacio público con sonido? En torno a esta pregunta es posible plantear relatos centrados en el trabajo de los herreros, las campanas y las sirenas, las cencerradas, la protesta, los carnavales y ritos que si no son distintos, al menos son paralelos a aquellos que vertebran la historia de la música y del arte. El sonido, el ruido, el rumor de una comunidad enfurecida y el repiquiqueteo del trabajo son argumentos disonantes, de calado casi arqueológico, a los de la historiografía oficial. En Charivaria, una exposición comisariada por José Luis Espejo y Andrea Zarza en CentroCentro Cibeles entre octubre de 2017 y enero de 2018, se reunieron trabajos que plantean estos conocimientos transferidos, en muchos casos, oralmente o por alegorías, que han sido minorizados por disciplinas académicas. Artistas como Grupal Crew Collective, que toman los sonidos de las fiestas de colectivos sin identidades consagradas, o Cuidadoras de Sonidos, Rafael SMP o Vivian Caccuri, que dan voz a los habitantes de barrios destruidos por el avance de la modernidad, y Xabier Erkizia, que con su estudio sobre la cultura del carro de bueyes, agudiza el oído hacia un sonido desplazado por la hegemonía de lo urbano, tienen claro que sus trabajos amplían nuestra concepción del arte. Los archivos, sonoros y escritos permiten rescatar historias silenciadas y sonidos olvidados para replantear genealogías del arte sonoro o de la música. Un despliegue de contenidos enigmáticos sorprende al visitante y rarifican el espacio de la galería.
Andrea Zarza es archivera y licenciada en filosofía. Trabaja como comisaria en el archivo sonoro de la British Library y su sello discográfico Mana Records, llevado junto con Matthew Kent, se dedica a publicar obras que se encuentran en la intersección del sonido contemporáneo y de archivo.
José Luis Espejo es parte del equipo de la Radio Reina Sofía, Mediateletipos y el Máster de Industria Musical y Estudios Sonoros en la Universidad Carlos III de Madrid. Ha desarrollado proyectos de comisariado en Madrid y en Donostia-San Sebastián 2016.
14 MARZO
Un reclamo de sensualidad
Elena Alonso
La puesta en valor de la artesanía y la lucha contra su desaparición no es una novedad. Ya en los inicios del s. XX, la práctica artesanal se planteaba como la estrategia revolucionaria contra la industralización y el capitalismo, posicionándose contra una imparable deshumanización de la producción y el trabajo. Asignándole atributos como resistencia, habilidad, autenticidad, benevolencia o autodeterminación, se pretendía, más de un siglo atrás, aplacar la desaparición del “hacer” con las manos por la producción en masa.
Hoy, frente a la revolución digital y el capitalismo tardío, asistimos a un revival retorcido de estos deseos y problemáticas. El conflicto desemboca en un reclamo de sensualidad desde el cual se vuelve a aludir a la artesanía como exploración de las relaciones “encuerpadas”, la materialidad, el afecto, la ecología, lo local o la inteligencia sensible. Pero se plantean muchas preguntas... ¿Qué tiene de contemporáneo la práctica artesanal? ¿Qué lugar encuentra en el sistema actual? ¿Qué sentido tiene como resistencia? ¿Cual es el impulso vital que nos aferra a ella?
En esta sesión veremos ejemplos de artistas y diseñadores contemporáneos cuyos procesos de trabajo están íntimamente ligados a lo artesanal, centrándonos en la materialidad de sus objetos y el carácter afectivo de su producción. Un acercamiento al Arte y el Diseño para pensar sobre el sentido de lo artesanal en la actualidad, lo anacrónico o ineludible de este tipo de prácticas o el mercado del Arte como terreno para mantenerlas. Cuestiones que en definitiva podrían responder también a la pregunta ¿Por qué se sigue pintando o dibujando?
Elena Alonso desarrolla su trabajo principalmente mediante el dibujo, relacionándolo con otras disciplinas como la arquitectura, la artesanía o el diseño, y prestando especial atención a las relaciones de afectividad con el entorno. Recientemente ha expuesto de manera individual en Matadero Madrid, Museo ABC y Espacio Valverde.
21 MARZO
Háztelo tú y házselo a otrxs
Javier Pérez Iglesias y Marta van Tartwijk
Las autoediciones han dado voz a quienes han sentido que tenían algo que decir al margen de los canales establecidos. Por eso hay una tradición en el uso de los fanzines entre comunidades queer, anarquismos, feminismos…
Los artistas descubrieron hace ya mucho que un libro podía ser una pieza artística y hasta aquí hemos llegado con una producción cada vez más variada de publicaciones.
Hay un encuentro entre lo autoeditado (o editado en los márgenes) y la intencionalidad artística que desborda la idea tradicional de libro que ha sido paradigma en bibliotecas y librerías.
Nosotras actuamos en las bibliotecas de dos instituciones muy institucionales, el museo y la academia, pero que tratan de potenciar su porosidad, explorar sus grietas y conectarse con lo que pasa en las calles.
Los libros ya no son lo que eran… Las bibliotecas tampoco.
Javier Pérez Iglesias es biblioactivista, charlaperformadora, curadora de lecturas, mala catalogadora y peor clasificadora
Marta van Tartwijk es entre otras cosas artista a tiempo parcial, bibliotecaria vocacional, autoeditora de fotocopiadora, ingeniera de laberintos bibliográficos, desordenadora de fanzines y catalizadora de meriendas literarias.
4 ABRIL
Una escultura haciéndose
June Crespo
Planteo una sesión para pensar sobre los aspectos propios de la escultura, compartiendo trabajos que desde diferentes medios abordan lo escultórico. Me interesa una escultura haciéndose, la negociación entre sujeto y objeto que se da en su proceso y como es el primer encuentro con ella. Acercarme a ella, rodearla, alejarme y mantenerme imantada. Desde su superficie a su cuerpo, contorno e imagen.
¿Cómo me afecta?¿Qué resonancia física genera en mi?¿Donde me mira?¿Qué movimiento y coreografía provoca? ¿Cómo activa el espacio?
June Crespo vive en Bilbao, donde se licenció en Bellas Artes en 2005. Trabaja y expone también en otros contextos internacionales, centrando su práctica en el terreno de la escultura.
11 ABRIL
Aquí no hay un sólo lugar que no nos vea
Rafael Sánchez-Mateos Paniagua
Museo del Prado: coto reservado de eruditos, redil de turistas un poco decepcionados por no poder hacerse selfis con Velázquez, niños a los que hay que explicar de qué alta cultura somos súbditos ignorantes. Perdidos, abrumados y un poco desmaravillados ante las obras del arte de ayer, entre cuyos santos, reyes y vírgenes es tan difícil encontrar un pueblo al que desear pertenecer. Pensamos que todo ya estaría dicho, clarificado, catalogado y periclitado, después de haberle dedicado una lujosa y privilegiada atención que hoy no puede resultar más que anacrónica o complacientemente legitimadora del contexto en el que han ido a parar. No obstante las obras, en la medida en que siguen siendo accesibles a la experiencia, son radicalmente contemporáneas de quien se encuentra con ellas. Se nos ofrecen a los sentidos para que cada cual pueda reconocer, reflejar o refractar un sentido nuevo, no prescrito. Esperan acaso adoptar nuevas vidas, impulsadas por la memoria y la imaginación que aún pueden excitar en nosotros. Siempre abiertos a lo imprevisto de la experiencia -individual o colectiva- que todavía es posible hacer, pese a todo contexto sacralizador de la institución museo y sus vigilantes de dentro y afuera. Lo importante sería intentar intensificar, revivificar y reorganizar el espacio de la atención, la aisthesis y la percepción -tan descuidado en su propia forma material y tan asediado por la modernización que hemos hecho- con el fin de renovar la experiencia de un arte hoy tan extraño como suculento, desde la generosidad de los que se acercan a algo desconocido y se (re)descubren al ser observados por la propia obra que contemplan.
Rafael Sánchez-Mateos Paniagua es artista, profesor e investigador.
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We tackle a new course from this question, a doubt that came with the modernity, it does a lot of, a lot of time. Surprisingly, in the society of híper I consume in the one through that we live, it continues there, without becoming exhausted. We use it like weapon and as I shield, as I shelter also. We manipulate it and handle it. Sometimes, we have thrown it from the incredulity (because, we do not deceive ourselves, who asks thinks that the answer is not), but never from the suspicion. We trust in the art, and especially in what it has of puzzler. That's why the answer does not have why to be yes, we do not even want to convince anybody in anything. The answer is that there is not or, rather, that we do not know it, that we do not have it does not even design.
So, the above mentioned, we remain installed in the question, and in this edition we think about another nut return. And if instead of raising that there is a certain type of art that we give surely it is difficult to define as such, we knock down the certainties with which we approach the art that takes there the whole life? To presuppose an art that needs explanation implies establishing a division between the one who doubts and the one who has the answers. We are going to try something less categorical. To think the practices that collaborate to placed disciplines (the drawing, the painting, the sculpture, the musical sounds or the design), to supports, places of exhibition and public that seem natural but, eye, thinking everything from here and now. To feel it like a renewed urgency. What intrigues us is supposedly clearly.
This course has no title, but it might be something related to the desire to double the haceres of the art. The art of turning: an origami course.
The CA2M develops a line of activities of formation in contemporary art and thought framed inside the tradition of the popular universities especially directed to young and adult public. In these courses there are tackled some of the fundamental expositions to understand and to interpret the current art, to think about him. These activities consist of two parts: the first one consistent of the presentation of a topic for a guest continued by other one in the one that opens the debate to herself so that the assistants take the word. The meetings attend them they complement each other with the personal work of every assistant as regards texts that will be delivered before each of the meetings of the course.
ON FEBRUARY 14
The painting is mysterious
Selina Blasco
Following the thread of the observation of Ángel González García of which it is better to do without having not even idea, we wonder: how would it be necessary to treat with the painting? In the chat we are going to try it from not knowing that one, but being located in another place, that of the ignorance of the one who does not do, of whom nothing does. We are going to ask the persons who do to see what is what we find out. We already have an answer, and we like so much that it is the one that we have elected as a title of the chat. The thing promises. Also we are going to manage them to construct the story of this exercise of investigation on the area, of field work. The painting wants to be treated.
Selina Blasco is an Art history teacher in the faculty of Fine arts of the Complutense University of Madrid
ON FEBRUARY 21
Drawing and contemporary visual culture. An approach from the artistic practice
Lily Vieites
The work of Lily Vieites has developed concerning the skills and the graphic processes of the expression, approaching the contemporary visual culture across the drawing or the serigraphy. The multiplicity, the fragment or the repetition like rupture with regard to the absolute image and the linear forms of story or the ephemeral character of the work are revealed like excellent aspects in its production. From some examples of our own practice and of other pieces of diverse artists, prepared in the same line, we will reflect in this chat on the drawing like a form of representation and knowledge of the environment that surrounds us as regards a moment of the present.
Also, it will be a question of relating the examples proposed with some questions raised by the German realizadora Ulrike Ottinger; this artist is employed at each of its movies with the intention of finding a suitable form that has to do with the colors, with the time, with the dramatic structure and with the way of joining the images.
Lily Vieites is an artist and teacher in the faculties of Fine arts of Madrid and of Salamanca. Between its individual exhibitions Woollen Body emphasizes, gallery Careers Múgica (Bilbao, 2015) and Tableau Vivant, Museum Queen Sophia (Madrid, 2013).
ON FEBRUARY 28
A carpenter amateur
Carlos Granados
I like thinking ideas and doing things. To go on from the head to the hand. And of the hand to the head. Of conceptual artist to carpenter: Perhaps the art and the carpentry have something to do? Duchamp said that it was necessary to travel only with a toothbrush, without load. When I studied arts, my modality was this type of artists, types that were working with the ideas. Now I work with the brush of refining that my grandfather was using and on having done it think about its practice. Suddenly I meet accumulating, working the wood, doing. I like the projects that take a lot of time to me. There is a phrase that says my friendly Angel: it measures two times, cuts one. This I believe that he sums very well the work of the carpenter up. Meticulous, patient and slow office. And that suits.
Carlos Granados is one of the persons in charge of the Department of Education of the CA2M
ON MARCH 7
Silenced histories, forgotten sounds
José Luis Espejo and Andrea Zarza
How posicionan the persons in the public space with sound? Concerning this question it is possible to raise histories centred on the work of the blacksmiths, the bells and the sirens, the charivaris, the protest, the carnivals and rites that if they are not different, at least are parallel to those that support the history of the music and of the art. The sound, the noise, the rumor of an incensed community and the repiquiqueteo of the work are dissonant arguments, of almost archaeological openwork, to those of the official historiography. In Charivaria, an exhibition comisariada for José Luis Espejo and Andrea Zarza in CentroCentro Cibeles between October, 2017 and January, 2018, there met works that raise this transferred knowledge, in many cases, orally or for allegories, which have been minorizados for academic disciplines. Artists as Group Crew Collective, who take the sounds of the holidays of groups without consecrated, or Careful Sound identities, Rafael SMP or Vivian Caccuri, who give voice to the inhabitants of quarters destroyed by the advance of the modernity, and Xabier Erkizia, which with its study on the culture of the car of oxen, sharpens the ear towards a sound displaced by the hegemony of the urban thing, are sure that its works extend our conception of the art. The files, sonorous and written allow to rescue silenced histories and sounds forgotten to restate genealogy of the sonorous art or of the music. A deployment of enigmatic contents surprises the visitor and they rarefy the space of the gallery.
Andrea Zarza is archivera and Bachelor of philosophy. It is employed like police station at the sonorous file of British Library and its record stamp Flows with Records, taken together with Matthew Kent, devotes itself to publish works that are in the intersection of the contemporary sound and of file.
José Luis Espejo is a part of the team of the Radio Queen Sophia, Mediateletipos and the Master's degree of Musical Industry and Sonorous Studies in the University Carlos III of Madrid. It has developed commission projects in Madrid and in Donostia-San 2016.
ON MARCH 14
A sensuality claim
Helen Alonso
The putting in value of the craft and the struggle against its disappearance is not an innovation. Already in the beginnings of the XXth century, the handmade practice was appearing like the revolutionary strategy against the industralización and the capitalism, posicionándose against an unstoppable dehumanization of the production and the work. Assigning attributes to him like resistance, skill, authenticity, benevolence or self-determination, one was trying, more than one century, to appease behind the disappearance of “doing” with the hands for the production in mass.
Today, opposite to the digital revolution and the late capitalism, we attend to revival twisted of these desires and problematic. The conflict ends in a claim of sensuality from which it turns to allude to the craft as exploration of the relations "encuerpadas", the materiality, the affection, the ecology, the local thing or the sensitive intelligence. But many questions appear... What does the handmade practice have of contemporary? What place does it find in the current system? What sense does it take as a resistance? Which is the vital impulse that grasps us to her?
In this meeting we will see examples of artists and contemporary designers whose work processes are intimately tied to the handmade thing, centring on the materiality of its objects and the affective character of its production. An approach to the Art and the Design to think about the sense of the handmade thing at present, the anachronistic or unavoidable of this type of practices or the market of the Art like area to maintain them. Questions that finally they might answer also to the question: Why does it keep on doing or drawing?
Helen Alonso develops its work principally by means of the drawing, relating it to other disciplines like the architecture, the craft or the design, and paying special attention to the affectivity relations with the environment. Recently it has exhibited in an individual way in Slaughterhouse Madrid, Museum ABC and Space Valverde.
ON MARCH 21
Do it to yourself you and do it to him to otrxs
Javier Pérez Iglesias and Marta van Tartwijk
The desktop publishings have given voice to those who have felt that they had something that to say to the margin of the established channels. That's why there is a tradition in the use of the fanzines between communities queer, anarchisms, feminismos …
The artists discovered it already does much that a book could be an artistic piece and so far we have come with a more and more changed publications production.
There is a meeting between the autopublished thing (or edited in the margins) and the artistic premeditation that exceeds the traditional idea of book that has been a paradigm in libraries and bookstores.
We act in the libraries of two very institutional institutions, the museum and the academy, but that try to promote its porosity, explore its cracks and get connected with what it happens in the streets.
The books are already not what there were … The libraries either.
Javier Pérez Iglesias is biblioactivista, charlaperformadora, healer of readings, bad catalogadora and worse sorter
Marta van Tartwijk is between other things a part-time artist, vocational librarian, autopublisher of copier, engineer of bibliographical labyrinths, desordenadora of fanzines and catalytic of literary snacks.
ON APRIL 4
A sculpture being done
June Crespo
I raise a meeting to think about the proper aspects of the sculpture, sharing works that from different means tackle the sculptural thing. I am interested in a sculpture being done, the negotiation between subject and object that happens in its process and as it is the first meeting with her. To approach her, to surround it, to move away and to be supported imantada. From its surface to its body, outline and image.
How does it affect me? What physical resonance does it generate in me? Where does it look at me? What movement and choreography does it provoke? How does it activate the space?
June Crespo lives in Bilbao, where he graduated in Fine arts in 2005. It works and exhibits also in other international contexts, centring its practice in the field of the sculpture.
ON APRIL 11
There is no only one place that does not see us
Rafael Sánchez-Mateos Paniagua
Prado Museum: reserved preserve of scholars, fold of tourists a little disappointed for not being able to do selfis with Velázquez, children to whom it is necessary to explain of what high culture we are ignorant subjects. Lost, overwhelmed and little desmaravillados before the yesterday works of art, between which saints, kings and virgins it is so difficult to find a village to which to want to belong. We think that everything it would be already said, clarified, catalogued and periclitado, after having dedicated a luxurious and privileged attention that today cannot prove any more than anachronistic or complaisantly legitimadora of the context in the one that they have gone to stop. Nevertheless the works, as they keep on being accessible to the experience, are radically contemporary of the one who meets them. They offer us to themselves to the senses so that everyone could recognize, reflect or refract a new, not prescribed sense. They hope to adopt perhaps new lives impelled by the memory and the imagination that they can still excite in us. Always opened to the unforeseen of the experience - individual or collective - that it is still possible to do, in spite of everything context sacralizador of the institution museum and its observers of inside and out. The important thing would be to try to intensify, revivify and to reorganize the space of the attention, the aisthesis and the perception - so neglected in their own form material and so besieged by the modernization that we have done - in order to renew the experience of an art today so strangely as succulent, from the generosity of those who approach something unknown and (re) they discover on having been observed by the proper work that they contemplate.
American composer John Cage (1912-92) was a celebrated pioneer of electronic and `chance’ music. On BALTIC’s Level 1, as part of AV Festival 08’s opening gala, one of his most famous performances was recreated for the first time in the UK. The original Variations VII took place at 9 Evenings: Theatre & Engineering in the 69th Regiment Armory in New York, in October 1966. Cage intended the work to transform the building into a broadcast space.
Alongside, radios and televisions collecting sounds, there were 10 phone lines connected to city locations including a dog pound and the New York Times press room. Other microphones were attached to household appliances such as a juicer and a blender. There were also Geiger counters and short wave radios. Photoelectric cells triggered different sound sources off and on as the performers moved around. The aim, said Cage, was to “go fishing” for sounds.
AV Festival 08 staged an entirely new version of the work, performed by an exceptional ensemble, led by Atau Tanaka and Newcastle duo :zoviet*france:, who joined by special guests.
Biography:
Atau Tanaka’s early inspiration came upon meeting John Cage during his Norton Lectures at Harvard, informing his re-creation of Cage’s Variations VII which has been performed across Europe. He creates musical instruments using bio-sensor interfaces and mobile technologies, and seeks out the continued place of the artist in democratized digital forms. His work has been presented at Ars Electronica, SFMOMA, Eyebeam, V2, ICC, and ZKM. He has been artistic ambassador for Apple, researcher for Sony CSL, artistic co-director of STEIM, and director of Culture Lab Newcastle. He leads a major European Research Council (ERC) project on gesture and music at Goldsmiths Digital Studios in London.
:Zoviet*France: is a prolific music group from Newcastle upon Tyne in north east England. While often dissonant and made of industrial textures, their music also falls into the ambient music category. Formed in 1980, and remaining largely anonymous, the group has had a number of members; presently it consists of co-founder Ben Ponton and Mark Warren.
Their music often consists of droning textures set against fractured rhythms and fleeting dissonant melodies and their earlier recordings have been described as "evoking a cross between musique concrète and tribal music". Neglected sound sources are frequently used, such as obscure radio broadcasts, toy instruments, and field recordings, often heavily processed or looped. Over time, they have increasingly added electronic elements but without adopting computer based composition techniques.
Credit:
Produced by AV Festival 08 in collaboration with BALTIC, in association with the John Cage Trust, Julie Martin/Experiments in Art and Technology and the Daniel Langlois Foundation.
St Mary, Creeting St Mary, Suffolk
This little hilltop church is one of the most familiar of sights to Suffolk travellers, rising like a small castle to the north of the A14. At one time there was another church, All Saints, in the same churchyard, which would have looked even more dramatic if dual carriageways had existed in those days. But the old church came down after a storm in 1800, and they built a north transept onto St Mary to accommodate the parishioners. When St Mary underwent a large scale and extravagant restoration in the late 19th Century, an aisle was added to the north side, and no trace of the transept remains.
The tower close-up is a fine sight, its bellstage and battlements crisp from their 1885 rebuilding. The chancel was also rebuilt at this time, and you step into what is almost completely a late 19th Century space. The 15th Century font has been moved into the space beneath the tower, as if not to distract from all things late Victorian. But the overwhelming impression is of what is one of the best collections of Kempe & Co glass in all East Anglia. There are figures of Saints, Old Testament Prophets and Patriarchs, and in the north aisle an excellent Annunciation and figures of St George and St Alban which show that the company could still hold its head up in the early decades of the 20th Century.
The westernmost window in the north aisle strikes the only dissonant note in this sea of Kempe, and a fine dissonance it is. It an important work by Brian Thomas, depicting the Adoration of the Shepherds. It dates from 1950, an early date for such modernist figurativeness, still looking back to the expressionism of stained glass artists like Leonard Walker, with one eye forward to the Festival of Britain joy and simplicity of the likes of Harry Stammers and Moira Forsythe. The subject is always a powerful one in rural backwaters like Creeting St Mary. At about the same time as Thomas was making this work, he received one of the great stained glass commissions of the second half of the 20th Century, to create a vast scheme of windows for the bombed out church of St Nicholas in Great Yarmouth, the largest parish church in England. To see his work here on such an intimate and human scale is a rare privilege.
Stepping back outside, the best feature of the exterior is the excellent 15th Century porch, one of several in this part of central Suffolk. A surprise in it is the Norman doorway, which is perhaps the only survival of the earliest church on this site. A plaque inside the porch records that the modern figure of the Blessed Virgin was given in memory of Canon Harry Fleetwood, who for 45 years never failed to teach the Faith in this church. Fleetwood's infant son, Christopher, is buried beneath a cross to the south of the church.
The war memorial outside the porch faces prominently out across the valley of the infant River Gipping, but back inside the church are brass reminders of lives lost in the Great War. One is to two brothers of Harry Fleetwood's wife, William James and Douglas James. Both in their early twenties, they were killed in the hell of the Battle of Loos in September 1915, just five days apart. The Battle of Loos, it will be remembered, was the occasion on which poison gas was first used, by both sides.
Another brass plaque remembers George Groom, an appropriately-named sergeant in the Royal Horse Artillery. He was killed in the even more infamous Battle of the Somme in July 1916, and is buried at Heilly Cemetery near Mericourt l'Abbé to the east of Albert on the Somme battlefield.
We found this old organ years ago in a flea market, and decided to give her a proper home. My 4-year-old can get her to squeak out a few clanging notes by standing on a pedal with each foot and pumping "stairmaster style"!
What I would give to know the history of this once magnificent instrument- Was she the pride and joy of a small, stately congregation, called upon to play hundreds upon hundreds of old hymns? Or did she accompany silent films with the often dissonant tunes of suspense?
Like Lord Byron said, "Oh! there is an organ playing in the street - a waltz too! I must leave off to listen."
I can almost hear it? Can you?
Holy cow -- that big round thing at the end of the bumper looks like a Federal Q electromechanical siren!
So far, I don't think I've heard them use it. I only recall hearing the electronic siren (those square black speakers in the bumper). The old Crown rigs they used to run when I was a kid had mechanical sirens, and there was no mistaking a fire truck for anything else.
The air horn has a deep, dissonant tone that really gets your attention.
Aussicht während der Fahrt mit dem P.ostauto von L.inthal auf den Klausenpass vom
Kanton Glarus in den Kanton U.ri in der Schweiz :
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Kirche Linthal ( Gotteshaus reformiert - Baujahr Neubau 1782 - Chiuche church église temple chiesa ) im Dorf Linthal im Kanton Glarus der Schweiz
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Kirche Linthal
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- Baujahr : 1782
- Erste Erwähung :
- Besonderes :
- O.rgel : 2
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Die Kirche Linthal steht in Linthal im Kanton Glarus in der Schweiz
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Die reformierte Kirche Linthal wurde 1782 erbaut. Ihre Vorgängerin aus dem Jahre 1.6.0.0
stand im E.nnetlinth ( in einem anderen Quartier des heutigen Dorfs Linthal ) und wurde
1.7.8.1 von H.ochwasserfluten teilweise zerstört.
Der Neubau war ein Gemeinschaftswerk der Dorfbevölkerung. Alle männlichen Kirchge-
nossen von 16 bis 60 Jahren, insgesamt 301 Mann, mussten 54 Frondiensttage leisten.
1.8.8.3 wurde die Kirche umgebaut und im C.hor eine O.rgel eingefügt. Die Renovation
von 1.9.8.2 brachte eine zweite O.rgel.
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.
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Die erste reformierte Kirche
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.
.
Reformierte Gottesdienste wurden in der k.atholischen Kirche in Linthal von Fridolin
Brunner, reformierter Pfarrer in B.etschwanden, von 1.5.4.3 bis 1.5.5.6 gehalten. Da die
k.atholischen Linthaler keinen Priester für ihre Gemeinde mehr finden konnten, hatten
sie beschlossen, Pfarrer Brunner zu bitten, auch ihre Gemeinde zu betreuen.
Brunners Nachfolger in B.etschwanden, Matthias Bodmer, war weniger geschickt in
seiner Äusserungen als sein Vorgänger und griff den k.atholischen Glauben an. Seine
Bemerkungen lösten einen Protest aus, der zum Ende der friedlichen Benutzung der
Kirche von beiden Konfessionen führte.
Ab 1.5.5.6 mussten die Reformierten wieder nach B.etschwanden in die Predigt. Darum
fragte die grössere reformierte Dorfgemeinschaft in Linthal 1.5.9.5 bei der Tagsatzung an,
ob man nicht auf dem Gebiet ihres Dorfes eine eigene Kirche bauen durfte.
Da aber der Landesvertrag vom 21. N.ovember 1.5.3.2 Linthal „ausschliesslich für den
k.ath. Kultus beanspruchte“, wurde der Antrag abgewiesen. Um die eigene Kirche in der
Nähe des Dorfes doch noch bauen zu können, wurde im Jahr 1.6.0.0 am anderen L.inth-
u.fer, im E.nnetlinth, auf dem Gebiet des Nachbardorfes R.üti eine reformierte Kirche er-
stellt.
Im Jahr 1.7.8.1 wurde vor allem der K.irchturm vom H.ochwasser der damals noch nicht
kanalisierten L.inth unterspült, dass er, wie ein Zeitgenosse berichtet, „in der N.acht fast
um die Hälfte einstürzte, wodurch ein G.löckgen heruntergesunken und verloren ge-
gangen.“
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Der heutige Bau
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.
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Auf höher gelegenem B.oden nun im D.orfkern selber wurde die neue Kirche als Gemein-
schaftswerk errichtet. Die „Obrigkeit von Glarus“, die S.tadt und das Land Z.ürich, M.ühl-
h.ausen, S.chaffhausen und N.euenburg S.tadt und Land trugen finanziell Wesentliches
zum Bau bei. Ende A.pril 1.7.8.2 wurde der E.ckstein gelegt, und am 4. D.ezember des-
selben Jahres konnte die Kirche eingeweiht werden.
Der ursprüngliche Bau wurde 1.8.8.2 unter Beibehaltung des originalen Grundrisses we-
sentlich verändert. Im Protokoll der Baukommission jener Zeit ist zu lesen: In erster Linie
müsse der D.achstuhl des L.anghauses abgebrochen und umgeändert werden, ... wenn
man mit Sicherheit vorgehen wolle. ...
Dann seien die etwas herausgedrückten S.eitenmauern des L.anghauses wieder in
möglichst richtige Flucht zu bringen und das ganze L.anghaus mit einem circa 1 Meter
hohen Mauerwerk zu erhöhen, um die neue D.ecke, resp. G.ewölbe, in eine gefällige
Form zu bringen."
Um Platz für eine O.rgel zu schaffen, wurde die C.hornische an der V.orderwand der
Kirche ausgebrochen und ein eigens für die O.rgel erstellter Anbau errichtet. Möglicher-
weise befand sich die K.anzel an der V.orderwand und musste bei diesem Umbau an
die N.ordwand versetzt werden.
1.9.8.2 wurde die Kirche restauriert. Die Veränderungen im K.irchenraum, die während
100 Jahren seit der letzten Renovation gemacht wurden, wurden rückgängiggemacht,
und der I.nnenraum entspricht heute weitgehend dem Bild nach der Renovation von
1.8.8.2.
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O.rgeln => K.uhn - O.rgel 1.8.8.2
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.
.
Die erste Orgel wurde beim U.mbau der Kirche 1.8.8.2 erstellt. Um Platz für die O.rgel
zu schaffen, wurde die Chornische an der V.orderwand der Kirche ausgebrochen und ein
eigens für die O.rgel erstellter A.nbau errichtet.
„Das als Opus 52 von Johann Nepomuk K.uhn erbaute Werk ist mit mechanischen Kegel-
laden versehen. Dieses W.indladensystem wurde etwa von 1.8.5.0 bis 1.9.3.5 gebaut.
Heute wird allgemein anerkannt, dass das System der S.chleiflade musikalisch mehr
befriedigt. Daher werden heute keine Kegelladen mehr gebaut.“
Der O.rgelexperte Jakob Kobelt, M.itlödi GL, schreibt in seinem Gutachten vom 24. J.uli
1.9.8.0: Die spätromantische K.egelladenorgel ist „ein für die Region einzigartiges Zeugnis
der O.rgelbaukunst der 2. Hälfte des 19. Jahrhunderts im originalen Zustand ... Auch ge-
samtschweizerisch sind Instrumente dieser Art nur noch vereinzelt unverändert erhalten.“
Schon 1.9.0.7 schreibt Theodor Buss in seinem Bericht über die O.rgeln im Glarnerland,
dass man in Linthal bereits nach 20 Jahren mit dem K.uhn - O.rgel nicht glücklich war.
Er meint, die O.rgel sei zum grössten Teil ein mangelhaftes Instrument. Gutachten der
Erbauerfirma K.uhn, M.ännedorf, von 1.9.6.6, 1.9.7.5 und später auch 1.9.8.0 kamen zum
Schluss: Alles in allem eine für den Organisten und die singende Gemeinde höchst uner-
freuliche Situation.
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Mathis-Orgel 1975
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Für das immer anfälliger gewordene Instrument wurde 1.9.7.5 eine K.leinorgel von O.rgel-
bau M.athis für Fr. 73'500 vorne rechts aufgestellt. 1.9.8.4, beim Bau der heutigen O.rgel,
wurde dieses Instrument gegen eine Gutschrift von Fr. 70'000 von O.rgelbau M.athis
zurückgenommen. Es befindet sich heute in der M.issione c.atholica in Z.ürich.
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M.athis - O.rgel 1.9.8.4
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Nach der Kirchenrenovation 1.9.8.2 wurde unter Beratung durch Hans - Beat H.änggi,
N.iederurnen GL, eine von Niklaus Stengele intonierte O.rgel von O.rgelbau M.athis auf
der E.mpore eingebaut. Für das Gehäuse wurde Massivholz von einer U.lme aus Linthal
verwendet. Ihre Entfernung hatte einige Jahre zuvor im Dorf für Diskussionen gesorgt, die
sich nun beruhigten.
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Die G.locken
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.
1. G.locke: Die grösste G.locke erklingt heute auf den Ton -cis'- und wurde in A.arau von
I. H. Bar + Gewis im B.aujahr der Kirche 1.7.8.2 gegossen. Diese G.locke wurde 1.9.6.9
von einem vertieften d' auf ein erhöhtes cis' gestimmt.
Die Inschrift trägt die Namen der damaligen Kirchenräte und des Pfarrers: Hr Johann Jakob
Steussi, Hr Joachim Dürst, Hr Haubtman Thomas Steussi, Hr Thomas Steussi, Hr Fridolin
Legler, Kirchenvogt [Kassier], Hr Landvogt Melchior Steussi, Johann Rudolf Kubli, Pfarrer.
3. und 4. (+5. G.locke): Diese drei G.locken wurden bei der Renovation der Kirche 1.8.8.2,
bzw. 1.8.8.3 von der Firma Gebrüder R.üetschi in A.arau gegossen.
Die 3. Glocke ist die Grösste dieser drei Glocken und ist auf fis' gestimmt. Sie trägt die
Inschrift: "Ehre sei Gott in der Höhe."
Die 4. G.locke ist heute die kleinste G.locke mit dem Ton a'. "Friede auf Erden" lautet
ihre Inschrift.
Die 5. G.locke, ein Fehlguss, mit dem Ton e" wurde 1.9.6.9 stillgelegt, hängt aber noch
im T.urm. Sie verkündet den dritten Teil der W.eihnachtsbotschaft des E.ngels, näm-
lich: "An den Menschen ein Wohlgefallen".
2. G.locke Die 1.9.6.9 auch von der Glockengiesserei H. Rüetschi A.G, A.arau, gegoss-
ene G.locke wiegt 1.0.5.0 kg und ist auf den Ton e' gestimmt. Auf einer Seite steht ein
Bild des Johannes, des Schreibers der Offenbarung, und auf der anderen Seite ist:
Evangelische Kirchgemeinde Linthal 1.9.6.9.
Am oberen Rand steht in grossen L.ettern das letzte B.ibelwort aus Offenbarung 22,20:
"ICH KOMME BALD. AMEN, JA KOMM, HERR JESU!"
Mit der Umstimmung der grossen G.locke und das Hinzufügen der 2. G.locke mit den
Ton e' im Jahr 1.9.6.9 wandelte sich das Geläute vom verbogenen Akkord d'/fis'/a'/e'
zum heutigen Idealmotiv oder Pfingstmotiv cis'/e'/fis'/a'.
Andere Stimmungsmöglichkeiten wurden 1.9.6.8 - 1.9.6.9 vom Glockenexperte Wilhelm
Joos, K.ilchberg Z.H, dem lokalen Kirchenrat und der G.lockengiesserei Rüetschi, A.arau
A.G, diskutiert. Der Entscheid für das heutige Motiv wurde unter Berücksichtigung des
Geläuts der k.atholischen Kirche Linthals gefällt, damit das Geläut der reformierten Kirche
das der k.atholischen weder wiederholt noch dissonant dazu wirkt.
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( BeschriebKircheLinthal KircheLinthal AlbumKirchenundKapellenimKantonGlarus
KantonGlarus KircheKantonGlarus AlbumKircheKantonGlarus Kirche Church Eglise
Chiuche Chiuchli Iglesia Kirke Kirkko Εκκλησία Chiesa 教会 Kerk Kościół Igreja
Церковь Schweiz Suisse Switzerland Svizzera Suissa Swiss Sveitsi Sviss スイス
Zwitserland Sveits Szwajcaria Suíça Suiza )
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Ausflug Z.ürichs.ee und K.l.ausenpass mit M.utter am Freitag den 11. September 2009
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Mit dem Z.ug von B.ern nach Z.ürich und S.paziergang durch Z.ürich zur S.chiff - L.ändte
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Leider das S.chiff v.erpasst , also wieder zurück mit dem T.ram zum B.ahnh.of und der S - B.ahn nach U.etikon
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Von U.etikon mit dem D.ampfs.chiff S.tadt R.appersw.il nach S.chmerikon
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Von S.chmerikon mit dem Z.ug über Z.iegelb.rücke nach L.int.hal im K.anton G.larus
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Von L.int.hal mit dem P.osta.uto über den K.l.ausenp.ass nach F.lüelen im K.anton U.ri
.
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Weiter mit dem Z.ug zurück nach B.ern
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Hurni090911 AlbumZZZZ090911AusflugZ.ürichs.eeK.l.ausenp.ass KantonGlarus
E - Mail : chrigu.hurni@bluemail.ch
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Letzte Aktualisierung - Ergänzung des Textes : 141222
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NIF
A barred window and weahtered wall in Italian summer sun, Siena.
This photograph of a small section of an otherwise nondescript wall along a Siena, Italy street was triggered, I suppose, by my fascination with patterns, textures, and forms — and by how they come together. You might not know it from the photograph, but the sun was very bright a the time. When I looked at the result later on, I first realized that color played virtually no role in the photograph and that I had more control over that light with a monochrome rendition.
As is often typical of me, I did not even note what the building was. (I might be able to figure it out from some other photographs, but it may not be important.) Part of what I like about the subject is the the perfect symmetry and form of the lines on the wall and the square window is dissonant with the weathered and peeling wall surface and the slightly bent grate over the mysterious window.
G Dan Mitchell is a California photographer and visual opportunist. His book, “California’s Fall Color: A Photographer’s Guide to Autumn in the Sierra” is available from Heyday Books, Amazon, and directly from G Dan Mitchell.
St Mary, Creeting St Mary, Suffolk
This little hilltop church is one of the most familiar of sights to Suffolk travellers, rising like a small castle to the north of the A14. At one time there was another church, All Saints, in the same churchyard, which would have looked even more dramatic if dual carriageways had existed in those days. But the old church came down after a storm in 1800, and they built a north transept onto St Mary to accommodate the parishioners. When St Mary underwent a large scale and extravagant restoration in the late 19th Century, an aisle was added to the north side, and no trace of the transept remains.
The tower close-up is a fine sight, its bellstage and battlements crisp from their 1885 rebuilding. The chancel was also rebuilt at this time, and you step into what is almost completely a late 19th Century space. The 15th Century font has been moved into the space beneath the tower, as if not to distract from all things late Victorian. But the overwhelming impression is of what is one of the best collections of Kempe & Co glass in all East Anglia. There are figures of Saints, Old Testament Prophets and Patriarchs, and in the north aisle an excellent Annunciation and figures of St George and St Alban which show that the company could still hold its head up in the early decades of the 20th Century.
The westernmost window in the north aisle strikes the only dissonant note in this sea of Kempe, and a fine dissonance it is. It an important work by Brian Thomas, depicting the Adoration of the Shepherds. It dates from 1950, an early date for such modernist figurativeness, still looking back to the expressionism of stained glass artists like Leonard Walker, with one eye forward to the Festival of Britain joy and simplicity of the likes of Harry Stammers and Moira Forsythe. The subject is always a powerful one in rural backwaters like Creeting St Mary. At about the same time as Thomas was making this work, he received one of the great stained glass commissions of the second half of the 20th Century, to create a vast scheme of windows for the bombed out church of St Nicholas in Great Yarmouth, the largest parish church in England. To see his work here on such an intimate and human scale is a rare privilege.
Stepping back outside, the best feature of the exterior is the excellent 15th Century porch, one of several in this part of central Suffolk. A surprise in it is the Norman doorway, which is perhaps the only survival of the earliest church on this site. A plaque inside the porch records that the modern figure of the Blessed Virgin was given in memory of Canon Harry Fleetwood, who for 45 years never failed to teach the Faith in this church. Fleetwood's infant son, Christopher, is buried beneath a cross to the south of the church.
The war memorial outside the porch faces prominently out across the valley of the infant River Gipping, but back inside the church are brass reminders of lives lost in the Great War. One is to two brothers of Harry Fleetwood's wife, William James and Douglas James. Both in their early twenties, they were killed in the hell of the Battle of Loos in September 1915, just five days apart. The Battle of Loos, it will be remembered, was the occasion on which poison gas was first used, by both sides.
Another brass plaque remembers George Groom, an appropriately-named sergeant in the Royal Horse Artillery. He was killed in the even more infamous Battle of the Somme in July 1916, and is buried at Heilly Cemetery near Mericourt l'Abbé to the east of Albert on the Somme battlefield.
St Mary, Creeting St Mary, Suffolk
This little hilltop church is one of the most familiar of sights to Suffolk travellers, rising like a small castle to the north of the A14. At one time there was another church, All Saints, in the same churchyard, which would have looked even more dramatic if dual carriageways had existed in those days. But the old church came down after a storm in 1800, and they built a north transept onto St Mary to accommodate the parishioners. When St Mary underwent a large scale and extravagant restoration in the late 19th Century, an aisle was added to the north side, and no trace of the transept remains.
The tower close-up is a fine sight, its bellstage and battlements crisp from their 1885 rebuilding. The chancel was also rebuilt at this time, and you step into what is almost completely a late 19th Century space. The 15th Century font has been moved into the space beneath the tower, as if not to distract from all things late Victorian. But the overwhelming impression is of what is one of the best collections of Kempe & Co glass in all East Anglia. There are figures of Saints, Old Testament Prophets and Patriarchs, and in the north aisle an excellent Annunciation and figures of St George and St Alban which show that the company could still hold its head up in the early decades of the 20th Century.
The westernmost window in the north aisle strikes the only dissonant note in this sea of Kempe, and a fine dissonance it is. It an important work by Brian Thomas, depicting the Adoration of the Shepherds. It dates from 1950, an early date for such modernist figurativeness, still looking back to the expressionism of stained glass artists like Leonard Walker, with one eye forward to the Festival of Britain joy and simplicity of the likes of Harry Stammers and Moira Forsythe. The subject is always a powerful one in rural backwaters like Creeting St Mary. At about the same time as Thomas was making this work, he received one of the great stained glass commissions of the second half of the 20th Century, to create a vast scheme of windows for the bombed out church of St Nicholas in Great Yarmouth, the largest parish church in England. To see his work here on such an intimate and human scale is a rare privilege.
Stepping back outside, the best feature of the exterior is the excellent 15th Century porch, one of several in this part of central Suffolk. A surprise in it is the Norman doorway, which is perhaps the only survival of the earliest church on this site. A plaque inside the porch records that the modern figure of the Blessed Virgin was given in memory of Canon Harry Fleetwood, who for 45 years never failed to teach the Faith in this church. Fleetwood's infant son, Christopher, is buried beneath a cross to the south of the church.
The war memorial outside the porch faces prominently out across the valley of the infant River Gipping, but back inside the church are brass reminders of lives lost in the Great War. One is to two brothers of Harry Fleetwood's wife, William James and Douglas James. Both in their early twenties, they were killed in the hell of the Battle of Loos in September 1915, just five days apart. The Battle of Loos, it will be remembered, was the occasion on which poison gas was first used, by both sides.
Another brass plaque remembers George Groom, an appropriately-named sergeant in the Royal Horse Artillery. He was killed in the even more infamous Battle of the Somme in July 1916, and is buried at Heilly Cemetery near Mericourt l'Abbé to the east of Albert on the Somme battlefield.
1) existence of one without the other
2) communication
3) on earth as it is in
4) distinguishing whether to embrace with open arms or run away and hide.
---
Charcoal, Graphite and Acrylic on Canvas
36" x 60"
for me, the organ is the suitable instrument to realize the music of the orgy-mysteries-theater. my music makes use of long drawn-out tones, uses sound blocks, cluster arrangements, roaring tutti-structures, tonal and dissonant up to noise superposition. everything that strings, woodwinds, brass and synthesizers do in an orchestra, i can do through the organ. at the same time i can produce shrill sounds and meditative tonal arrangements. i can revel in keys as well as wedge myself in dissonances. the force of the birth of galaxies reminds me of the sounds of spheres that permeate the universe. the singing noises (or the music) that cause the orbits of the heavenly bodies reach us. the sonorous and rushing sound of the spherical harmony of the universe becomes audible. the firmament of Johannes Kepler, interspersed with radiant music, is perceived.
Credit: tom mesic
Using a dissonant array of printed and patterned textiles, San Francisco artist and Fashioning Cascadia Artist-in-Residence, (June 10 - 21, 2014), Stephanie Syjuco, will work with participants to create limited edition line of garments that speak to ideas of: modern day camouflage; re-envisioned “ethnic” prints; and surveillance technology.
Born in the Philippines, Stephanie Syjuco received her MFA from Stanford University and BFA from the San Francisco Art Institute. Her work has been shown nationally and internationally, and included in exhibitions at MoMA/P.S.1, the Whitney Museum of American Art, SFMOMA, ZKM Center for Art and Technology, Germany; Z33 Space for Contemporary Art, Belgium; UniversalStudios Gallery Beijing; The Contemporary Arts Museum Houston; and the California Biennial at the Orange County Museum of Art, among others. In 2007 she led counterfeiting workshops in Istanbul and in 2009 contributed proxy sculptures for MOMA/P.S.1’s joint exhibition, “1969.” She has taught at Stanford University, The California College of the Arts, The San Francisco Art Institute, Mills College, Carnegie Mellon University, and currently, is on the faculty at the University of California at Berkeley as an Assistant Professor in Sculpture. A recipient of a 2009 Joan Mitchell Painters and Sculptors Award, she lives and works in San Francisco.
Photos by Sarah Meadows '08.
St Mary, Creeting St Mary, Suffolk
This little hilltop church is one of the most familiar of sights to Suffolk travellers, rising like a small castle to the north of the A14. At one time there was another church, All Saints, in the same churchyard, which would have looked even more dramatic if dual carriageways had existed in those days. But the old church came down after a storm in 1800, and they built a north transept onto St Mary to accommodate the parishioners. When St Mary underwent a large scale and extravagant restoration in the late 19th Century, an aisle was added to the north side, and no trace of the transept remains.
The tower close-up is a fine sight, its bellstage and battlements crisp from their 1885 rebuilding. The chancel was also rebuilt at this time, and you step into what is almost completely a late 19th Century space. The 15th Century font has been moved into the space beneath the tower, as if not to distract from all things late Victorian. But the overwhelming impression is of what is one of the best collections of Kempe & Co glass in all East Anglia. There are figures of Saints, Old Testament Prophets and Patriarchs, and in the north aisle an excellent Annunciation and figures of St George and St Alban which show that the company could still hold its head up in the early decades of the 20th Century.
The westernmost window in the north aisle strikes the only dissonant note in this sea of Kempe, and a fine dissonance it is. It an important work by Brian Thomas, depicting the Adoration of the Shepherds. It dates from 1950, an early date for such modernist figurativeness, still looking back to the expressionism of stained glass artists like Leonard Walker, with one eye forward to the Festival of Britain joy and simplicity of the likes of Harry Stammers and Moira Forsythe. The subject is always a powerful one in rural backwaters like Creeting St Mary. At about the same time as Thomas was making this work, he received one of the great stained glass commissions of the second half of the 20th Century, to create a vast scheme of windows for the bombed out church of St Nicholas in Great Yarmouth, the largest parish church in England. To see his work here on such an intimate and human scale is a rare privilege.
Stepping back outside, the best feature of the exterior is the excellent 15th Century porch, one of several in this part of central Suffolk. A surprise in it is the Norman doorway, which is perhaps the only survival of the earliest church on this site. A plaque inside the porch records that the modern figure of the Blessed Virgin was given in memory of Canon Harry Fleetwood, who for 45 years never failed to teach the Faith in this church. Fleetwood's infant son, Christopher, is buried beneath a cross to the south of the church.
The war memorial outside the porch faces prominently out across the valley of the infant River Gipping, but back inside the church are brass reminders of lives lost in the Great War. One is to two brothers of Harry Fleetwood's wife, William James and Douglas James. Both in their early twenties, they were killed in the hell of the Battle of Loos in September 1915, just five days apart. The Battle of Loos, it will be remembered, was the occasion on which poison gas was first used, by both sides.
Another brass plaque remembers George Groom, an appropriately-named sergeant in the Royal Horse Artillery. He was killed in the even more infamous Battle of the Somme in July 1916, and is buried at Heilly Cemetery near Mericourt l'Abbé to the east of Albert on the Somme battlefield.
St Mary, Creeting St Mary, Suffolk
This little hilltop church is one of the most familiar of sights to Suffolk travellers, rising like a small castle to the north of the A14. At one time there was another church, All Saints, in the same churchyard, which would have looked even more dramatic if dual carriageways had existed in those days. But the old church came down after a storm in 1800, and they built a north transept onto St Mary to accommodate the parishioners. When St Mary underwent a large scale and extravagant restoration in the late 19th Century, an aisle was added to the north side, and no trace of the transept remains.
The tower close-up is a fine sight, its bellstage and battlements crisp from their 1885 rebuilding. The chancel was also rebuilt at this time, and you step into what is almost completely a late 19th Century space. The 15th Century font has been moved into the space beneath the tower, as if not to distract from all things late Victorian. But the overwhelming impression is of what is one of the best collections of Kempe & Co glass in all East Anglia. There are figures of Saints, Old Testament Prophets and Patriarchs, and in the north aisle an excellent Annunciation and figures of St George and St Alban which show that the company could still hold its head up in the early decades of the 20th Century.
The westernmost window in the north aisle strikes the only dissonant note in this sea of Kempe, and a fine dissonance it is. It an important work by Brian Thomas, depicting the Adoration of the Shepherds. It dates from 1950, an early date for such modernist figurativeness, still looking back to the expressionism of stained glass artists like Leonard Walker, with one eye forward to the Festival of Britain joy and simplicity of the likes of Harry Stammers and Moira Forsythe. The subject is always a powerful one in rural backwaters like Creeting St Mary. At about the same time as Thomas was making this work, he received one of the great stained glass commissions of the second half of the 20th Century, to create a vast scheme of windows for the bombed out church of St Nicholas in Great Yarmouth, the largest parish church in England. To see his work here on such an intimate and human scale is a rare privilege.
Stepping back outside, the best feature of the exterior is the excellent 15th Century porch, one of several in this part of central Suffolk. A surprise in it is the Norman doorway, which is perhaps the only survival of the earliest church on this site. A plaque inside the porch records that the modern figure of the Blessed Virgin was given in memory of Canon Harry Fleetwood, who for 45 years never failed to teach the Faith in this church. Fleetwood's infant son, Christopher, is buried beneath a cross to the south of the church.
The war memorial outside the porch faces prominently out across the valley of the infant River Gipping, but back inside the church are brass reminders of lives lost in the Great War. One is to two brothers of Harry Fleetwood's wife, William James and Douglas James. Both in their early twenties, they were killed in the hell of the Battle of Loos in September 1915, just five days apart. The Battle of Loos, it will be remembered, was the occasion on which poison gas was first used, by both sides.
Another brass plaque remembers George Groom, an appropriately-named sergeant in the Royal Horse Artillery. He was killed in the even more infamous Battle of the Somme in July 1916, and is buried at Heilly Cemetery near Mericourt l'Abbé to the east of Albert on the Somme battlefield.
...que ce n'est pas ton numéro mais ton MOTEUR qui compte !
When you feel small and gray, alone on the roads of life, remember… that it is not your number but your ENGINE which counts!
To see On Black !
100 years apart, two shopping malls set up examples of good and bad urbanism.
Built in a car-less city of 500.000 people (Naples) in 1887 and accessible on foot and horse only, Umberto’s shopping mall relied on the compactness and population density of the surrounding district for its market catch basin. A harmonious building in classical style embellishes the city centre close to the palace and other fine institutions. Density, compactness, foot accessibility and classical harmony - good Urbanism - are all found in this building.
Built in a city of 2 million (Toronto), with cars, railways, highways and subways in 1977, the Eaton shopping mall relies on a catch basin for its viability that is orders of magnitude larger than pedestrians or horses(?) could reach. It depends profoundly on all modern transportation means for its survival. As a modern building, it has none of the classical fine details, or “harmony”, and appears “messy”. All the signs and sins of bad Urbanism are there: Car, subway, and tram dependence, mega-shopping and dissonant architecture. Add to this the disruption of the street grid and the repudiation of Main Street (Younge) by not facing it and you have the makings of an anti-urbanist structure.
"Una escultura haciéndose" con June Crespo. Foto de María Eugenia Serrano Díez.
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Abordamos un nuevo curso desde esta pregunta, una duda que llegó con la modernidad, hace mucho, muchísimo tiempo. Sorprendentemente, en la sociedad de híper consumo en la que vivimos, sigue ahí, sin agotarse. La usamos como arma y como escudo, como refugio también. La manipulamos y la manoseamos. Algunas veces, la hemos lanzado desde la incredulidad (porque, no nos engañemos, quien pregunta piensa que la respuesta es no), pero nunca desde la suspicacia. Confiamos en el arte, y sobre todo en lo que tiene de enigma. Por eso la respuesta no tiene por qué ser un sí, ni queremos convencer a nadie de nada. La respuesta es que no hay o, más bien, que no lo sabemos, que no tenemos ni idea.
Así que, lo dicho, seguimos instaladas en la pregunta, y en esta edición pensamos en otra vuelta de tuerca. ¿Y si en vez de plantear que hay un determinado tipo de arte que damos por supuesto que es difícil de definir como tal, derribamos las certezas con las que nos acercamos al arte que lleva ahí toda la vida? Presuponer un arte que requiere explicación implica establecer una división entre quien duda y quien tiene las respuestas. Vamos a intentar algo menos categórico. Pensar las prácticas que se asocian a disciplinas asentadas (el dibujo, la pintura, la escultura, los sonidos musicales o el diseño), a soportes, lugares de exposición y públicos que parecen naturales pero, ojo, pensándolo todo desde el aquí y el ahora. Sentirlo como una urgencia renovada. Lo que nos intriga es lo presuntamente evidente.
Este curso no tiene título, pero podría ser algo relacionado con el deseo de doblar los haceres del arte. El arte de doblar: un curso de origami.
El CA2M desarrolla una línea de actividades de formación en arte y pensamiento contemporáneos enmarcadas dentro de la tradición de las universidades populares especialmente dirigidas a público joven y adulto. En estos cursos se abordan algunos de los planteamientos fundamentales para entender e interpretar el arte actual, para pensar en él. Estas actividades constan de dos partes: una primera consistente en la presentación de un tema por un invitado seguida por otra en la que se abre el debate para que los asistentes tomen la palabra. Las sesiones presenciales se complementan con el trabajo personal de cada asistente en relación a textos que serán entregados antes de cada una de las sesiones del curso.
14 FEBRERO
La pintura es misteriosa
Selina Blasco
Siguiendo el hilo de la observación de Ángel González García de que es mejor pintar sin tener ni idea, nos preguntamos: ¿cómo habría que tratar con la pintura? En la charla vamos a intentarlo desde ese no saber, pero situándonos en otro lugar, el de la ignorancia de quien no hace, de quien no pinta nada. Vamos a preguntar a las personas que pintan para ver qué es lo que averiguamos. Ya tenemos una respuesta, y nos gusta tanto que es la que hemos elegido como título de la charla. La cosa promete. También vamos a ingeniárnoslas para construir la narración de este ejercicio de investigación sobre el terreno, de trabajo de campo. La pintura quiere ser tratada.
Selina Blasco es profesora de Historia del arte en la facultad de Bellas Artes de la Universidad Complutense de Madrid
21 FEBRERO
Dibujo y cultura visual contemporánea. Una aproximación desde la práctica artística
Azucena Vieites
El trabajo de Azucena Vieites se ha desarrollado en torno a las técnicas y los procesos gráficos de la expresión, acercándose a la cultura visual contemporánea a través del dibujo o la serigrafía. La multiplicidad, el fragmento o la repetición como ruptura con respecto a la imagen absoluta y las formas lineales de narración o el carácter efímero de la obra se ponen de manifiesto como aspectos relevantes en su producción. A partir de algunos ejemplos de su propia práctica y de otras piezas de diversos artistas, elaboradas en esta misma línea, reflexionaremos en esta charla sobre el dibujo como una forma de representación y conocimiento del entorno que nos rodea en relación a un momento del presente.
Asimismo, se tratará de relacionar los ejemplos propuestos con algunas cuestiones planteadas por la realizadora alemana Ulrike Ottinger; esta artista trabaja en cada una de sus películas con la intención de encontrar una forma adecuada que tiene que ver con los colores, con el tiempo, con la estructura dramática y con la manera de unir las imágenes.
Azucena Vieites es artista y profesora en las facultades de Bellas Artes de Madrid y de Salamanca. Entre sus exposiciones individuales destacan Woollen Body, galería Carreras Múgica (Bilbao, 2015) y Tableau Vivant, Museo Reina Sofía (Madrid, 2013).
28 FEBRERO
Un carpintero amateur
Carlos Granados
Me gusta pensar ideas y hacer cosas. Pasar de la cabeza a la mano. Y de la mano a la cabeza. De artista conceptual a carpintero ¿Acaso tienen algo que ver el arte y la carpintería? Duchamp dijo que había que viajar sólo con un cepillo de dientes, sin carga. Cuando estudié artes, mis referentes eran este tipo de artistas, tipos que trabajaban con las ideas. Ahora trabajo con el cepillo de desbastar que usaba mi abuelo y al hacerlo pienso en su práctica. De repente me veo acumulando, trabajando la madera, haciendo. Me gustan los proyectos que me llevan mucho tiempo. Hay una frase que dice mi amigo Ángel: mide dos veces, corta una. Esto creo que resume muy bien el trabajo del carpintero. Oficio minucioso, paciente y lento. Y que quede bien.
Carlos Granados es uno de los responsables del Departamento de Educación del CA2M
7 MARZO
Historias silenciadas, sonidos olvidados
José Luis Espejo y Andrea Zarza
¿Cómo se posicionan las personas en el espacio público con sonido? En torno a esta pregunta es posible plantear relatos centrados en el trabajo de los herreros, las campanas y las sirenas, las cencerradas, la protesta, los carnavales y ritos que si no son distintos, al menos son paralelos a aquellos que vertebran la historia de la música y del arte. El sonido, el ruido, el rumor de una comunidad enfurecida y el repiquiqueteo del trabajo son argumentos disonantes, de calado casi arqueológico, a los de la historiografía oficial. En Charivaria, una exposición comisariada por José Luis Espejo y Andrea Zarza en CentroCentro Cibeles entre octubre de 2017 y enero de 2018, se reunieron trabajos que plantean estos conocimientos transferidos, en muchos casos, oralmente o por alegorías, que han sido minorizados por disciplinas académicas. Artistas como Grupal Crew Collective, que toman los sonidos de las fiestas de colectivos sin identidades consagradas, o Cuidadoras de Sonidos, Rafael SMP o Vivian Caccuri, que dan voz a los habitantes de barrios destruidos por el avance de la modernidad, y Xabier Erkizia, que con su estudio sobre la cultura del carro de bueyes, agudiza el oído hacia un sonido desplazado por la hegemonía de lo urbano, tienen claro que sus trabajos amplían nuestra concepción del arte. Los archivos, sonoros y escritos permiten rescatar historias silenciadas y sonidos olvidados para replantear genealogías del arte sonoro o de la música. Un despliegue de contenidos enigmáticos sorprende al visitante y rarifican el espacio de la galería.
Andrea Zarza es archivera y licenciada en filosofía. Trabaja como comisaria en el archivo sonoro de la British Library y su sello discográfico Mana Records, llevado junto con Matthew Kent, se dedica a publicar obras que se encuentran en la intersección del sonido contemporáneo y de archivo.
José Luis Espejo es parte del equipo de la Radio Reina Sofía, Mediateletipos y el Máster de Industria Musical y Estudios Sonoros en la Universidad Carlos III de Madrid. Ha desarrollado proyectos de comisariado en Madrid y en Donostia-San Sebastián 2016.
14 MARZO
Un reclamo de sensualidad
Elena Alonso
La puesta en valor de la artesanía y la lucha contra su desaparición no es una novedad. Ya en los inicios del s. XX, la práctica artesanal se planteaba como la estrategia revolucionaria contra la industralización y el capitalismo, posicionándose contra una imparable deshumanización de la producción y el trabajo. Asignándole atributos como resistencia, habilidad, autenticidad, benevolencia o autodeterminación, se pretendía, más de un siglo atrás, aplacar la desaparición del “hacer” con las manos por la producción en masa.
Hoy, frente a la revolución digital y el capitalismo tardío, asistimos a un revival retorcido de estos deseos y problemáticas. El conflicto desemboca en un reclamo de sensualidad desde el cual se vuelve a aludir a la artesanía como exploración de las relaciones “encuerpadas”, la materialidad, el afecto, la ecología, lo local o la inteligencia sensible. Pero se plantean muchas preguntas... ¿Qué tiene de contemporáneo la práctica artesanal? ¿Qué lugar encuentra en el sistema actual? ¿Qué sentido tiene como resistencia? ¿Cual es el impulso vital que nos aferra a ella?
En esta sesión veremos ejemplos de artistas y diseñadores contemporáneos cuyos procesos de trabajo están íntimamente ligados a lo artesanal, centrándonos en la materialidad de sus objetos y el carácter afectivo de su producción. Un acercamiento al Arte y el Diseño para pensar sobre el sentido de lo artesanal en la actualidad, lo anacrónico o ineludible de este tipo de prácticas o el mercado del Arte como terreno para mantenerlas. Cuestiones que en definitiva podrían responder también a la pregunta ¿Por qué se sigue pintando o dibujando?
Elena Alonso desarrolla su trabajo principalmente mediante el dibujo, relacionándolo con otras disciplinas como la arquitectura, la artesanía o el diseño, y prestando especial atención a las relaciones de afectividad con el entorno. Recientemente ha expuesto de manera individual en Matadero Madrid, Museo ABC y Espacio Valverde.
21 MARZO
Háztelo tú y házselo a otrxs
Javier Pérez Iglesias y Marta van Tartwijk
Las autoediciones han dado voz a quienes han sentido que tenían algo que decir al margen de los canales establecidos. Por eso hay una tradición en el uso de los fanzines entre comunidades queer, anarquismos, feminismos…
Los artistas descubrieron hace ya mucho que un libro podía ser una pieza artística y hasta aquí hemos llegado con una producción cada vez más variada de publicaciones.
Hay un encuentro entre lo autoeditado (o editado en los márgenes) y la intencionalidad artística que desborda la idea tradicional de libro que ha sido paradigma en bibliotecas y librerías.
Nosotras actuamos en las bibliotecas de dos instituciones muy institucionales, el museo y la academia, pero que tratan de potenciar su porosidad, explorar sus grietas y conectarse con lo que pasa en las calles.
Los libros ya no son lo que eran… Las bibliotecas tampoco.
Javier Pérez Iglesias es biblioactivista, charlaperformadora, curadora de lecturas, mala catalogadora y peor clasificadora
Marta van Tartwijk es entre otras cosas artista a tiempo parcial, bibliotecaria vocacional, autoeditora de fotocopiadora, ingeniera de laberintos bibliográficos, desordenadora de fanzines y catalizadora de meriendas literarias.
4 ABRIL
Una escultura haciéndose
June Crespo
Planteo una sesión para pensar sobre los aspectos propios de la escultura, compartiendo trabajos que desde diferentes medios abordan lo escultórico. Me interesa una escultura haciéndose, la negociación entre sujeto y objeto que se da en su proceso y como es el primer encuentro con ella. Acercarme a ella, rodearla, alejarme y mantenerme imantada. Desde su superficie a su cuerpo, contorno e imagen.
¿Cómo me afecta?¿Qué resonancia física genera en mi?¿Donde me mira?¿Qué movimiento y coreografía provoca? ¿Cómo activa el espacio?
June Crespo vive en Bilbao, donde se licenció en Bellas Artes en 2005. Trabaja y expone también en otros contextos internacionales, centrando su práctica en el terreno de la escultura.
11 ABRIL
Aquí no hay un sólo lugar que no nos vea
Rafael Sánchez-Mateos Paniagua
Museo del Prado: coto reservado de eruditos, redil de turistas un poco decepcionados por no poder hacerse selfis con Velázquez, niños a los que hay que explicar de qué alta cultura somos súbditos ignorantes. Perdidos, abrumados y un poco desmaravillados ante las obras del arte de ayer, entre cuyos santos, reyes y vírgenes es tan difícil encontrar un pueblo al que desear pertenecer. Pensamos que todo ya estaría dicho, clarificado, catalogado y periclitado, después de haberle dedicado una lujosa y privilegiada atención que hoy no puede resultar más que anacrónica o complacientemente legitimadora del contexto en el que han ido a parar. No obstante las obras, en la medida en que siguen siendo accesibles a la experiencia, son radicalmente contemporáneas de quien se encuentra con ellas. Se nos ofrecen a los sentidos para que cada cual pueda reconocer, reflejar o refractar un sentido nuevo, no prescrito. Esperan acaso adoptar nuevas vidas, impulsadas por la memoria y la imaginación que aún pueden excitar en nosotros. Siempre abiertos a lo imprevisto de la experiencia -individual o colectiva- que todavía es posible hacer, pese a todo contexto sacralizador de la institución museo y sus vigilantes de dentro y afuera. Lo importante sería intentar intensificar, revivificar y reorganizar el espacio de la atención, la aisthesis y la percepción -tan descuidado en su propia forma material y tan asediado por la modernización que hemos hecho- con el fin de renovar la experiencia de un arte hoy tan extraño como suculento, desde la generosidad de los que se acercan a algo desconocido y se (re)descubren al ser observados por la propia obra que contemplan.
Rafael Sánchez-Mateos Paniagua es artista, profesor e investigador.
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We tackle a new course from this question, a doubt that came with the modernity, it does a lot of, a lot of time. Surprisingly, in the society of híper I consume in the one through that we live, it continues there, without becoming exhausted. We use it like weapon and as I shield, as I shelter also. We manipulate it and handle it. Sometimes, we have thrown it from the incredulity (because, we do not deceive ourselves, who asks thinks that the answer is not), but never from the suspicion. We trust in the art, and especially in what it has of puzzler. That's why the answer does not have why to be yes, we do not even want to convince anybody in anything. The answer is that there is not or, rather, that we do not know it, that we do not have it does not even design.
So, the above mentioned, we remain installed in the question, and in this edition we think about another nut return. And if instead of raising that there is a certain type of art that we give surely it is difficult to define as such, we knock down the certainties with which we approach the art that takes there the whole life? To presuppose an art that needs explanation implies establishing a division between the one who doubts and the one who has the answers. We are going to try something less categorical. To think the practices that collaborate to placed disciplines (the drawing, the painting, the sculpture, the musical sounds or the design), to supports, places of exhibition and public that seem natural but, eye, thinking everything from here and now. To feel it like a renewed urgency. What intrigues us is supposedly clearly.
This course has no title, but it might be something related to the desire to double the haceres of the art. The art of turning: an origami course.
The CA2M develops a line of activities of formation in contemporary art and thought framed inside the tradition of the popular universities especially directed to young and adult public. In these courses there are tackled some of the fundamental expositions to understand and to interpret the current art, to think about him. These activities consist of two parts: the first one consistent of the presentation of a topic for a guest continued by other one in the one that opens the debate to herself so that the assistants take the word. The meetings attend them they complement each other with the personal work of every assistant as regards texts that will be delivered before each of the meetings of the course.
ON FEBRUARY 14
The painting is mysterious
Selina Blasco
Following the thread of the observation of Ángel González García of which it is better to do without having not even idea, we wonder: how would it be necessary to treat with the painting? In the chat we are going to try it from not knowing that one, but being located in another place, that of the ignorance of the one who does not do, of whom nothing does. We are going to ask the persons who do to see what is what we find out. We already have an answer, and we like so much that it is the one that we have elected as a title of the chat. The thing promises. Also we are going to manage them to construct the story of this exercise of investigation on the area, of field work. The painting wants to be treated.
Selina Blasco is an Art history teacher in the faculty of Fine arts of the Complutense University of Madrid
ON FEBRUARY 21
Drawing and contemporary visual culture. An approach from the artistic practice
Lily Vieites
The work of Lily Vieites has developed concerning the skills and the graphic processes of the expression, approaching the contemporary visual culture across the drawing or the serigraphy. The multiplicity, the fragment or the repetition like rupture with regard to the absolute image and the linear forms of story or the ephemeral character of the work are revealed like excellent aspects in its production. From some examples of our own practice and of other pieces of diverse artists, prepared in the same line, we will reflect in this chat on the drawing like a form of representation and knowledge of the environment that surrounds us as regards a moment of the present.
Also, it will be a question of relating the examples proposed with some questions raised by the German realizadora Ulrike Ottinger; this artist is employed at each of its movies with the intention of finding a suitable form that has to do with the colors, with the time, with the dramatic structure and with the way of joining the images.
Lily Vieites is an artist and teacher in the faculties of Fine arts of Madrid and of Salamanca. Between its individual exhibitions Woollen Body emphasizes, gallery Careers Múgica (Bilbao, 2015) and Tableau Vivant, Museum Queen Sophia (Madrid, 2013).
ON FEBRUARY 28
A carpenter amateur
Carlos Granados
I like thinking ideas and doing things. To go on from the head to the hand. And of the hand to the head. Of conceptual artist to carpenter: Perhaps the art and the carpentry have something to do? Duchamp said that it was necessary to travel only with a toothbrush, without load. When I studied arts, my modality was this type of artists, types that were working with the ideas. Now I work with the brush of refining that my grandfather was using and on having done it think about its practice. Suddenly I meet accumulating, working the wood, doing. I like the projects that take a lot of time to me. There is a phrase that says my friendly Angel: it measures two times, cuts one. This I believe that he sums very well the work of the carpenter up. Meticulous, patient and slow office. And that suits.
Carlos Granados is one of the persons in charge of the Department of Education of the CA2M
ON MARCH 7
Silenced histories, forgotten sounds
José Luis Espejo and Andrea Zarza
How posicionan the persons in the public space with sound? Concerning this question it is possible to raise histories centred on the work of the blacksmiths, the bells and the sirens, the charivaris, the protest, the carnivals and rites that if they are not different, at least are parallel to those that support the history of the music and of the art. The sound, the noise, the rumor of an incensed community and the repiquiqueteo of the work are dissonant arguments, of almost archaeological openwork, to those of the official historiography. In Charivaria, an exhibition comisariada for José Luis Espejo and Andrea Zarza in CentroCentro Cibeles between October, 2017 and January, 2018, there met works that raise this transferred knowledge, in many cases, orally or for allegories, which have been minorizados for academic disciplines. Artists as Group Crew Collective, who take the sounds of the holidays of groups without consecrated, or Careful Sound identities, Rafael SMP or Vivian Caccuri, who give voice to the inhabitants of quarters destroyed by the advance of the modernity, and Xabier Erkizia, which with its study on the culture of the car of oxen, sharpens the ear towards a sound displaced by the hegemony of the urban thing, are sure that its works extend our conception of the art. The files, sonorous and written allow to rescue silenced histories and sounds forgotten to restate genealogy of the sonorous art or of the music. A deployment of enigmatic contents surprises the visitor and they rarefy the space of the gallery.
Andrea Zarza is archivera and Bachelor of philosophy. It is employed like police station at the sonorous file of British Library and its record stamp Flows with Records, taken together with Matthew Kent, devotes itself to publish works that are in the intersection of the contemporary sound and of file.
José Luis Espejo is a part of the team of the Radio Queen Sophia, Mediateletipos and the Master's degree of Musical Industry and Sonorous Studies in the University Carlos III of Madrid. It has developed commission projects in Madrid and in Donostia-San 2016.
ON MARCH 14
A sensuality claim
Helen Alonso
The putting in value of the craft and the struggle against its disappearance is not an innovation. Already in the beginnings of the XXth century, the handmade practice was appearing like the revolutionary strategy against the industralización and the capitalism, posicionándose against an unstoppable dehumanization of the production and the work. Assigning attributes to him like resistance, skill, authenticity, benevolence or self-determination, one was trying, more than one century, to appease behind the disappearance of “doing” with the hands for the production in mass.
Today, opposite to the digital revolution and the late capitalism, we attend to revival twisted of these desires and problematic. The conflict ends in a claim of sensuality from which it turns to allude to the craft as exploration of the relations "encuerpadas", the materiality, the affection, the ecology, the local thing or the sensitive intelligence. But many questions appear... What does the handmade practice have of contemporary? What place does it find in the current system? What sense does it take as a resistance? Which is the vital impulse that grasps us to her?
In this meeting we will see examples of artists and contemporary designers whose work processes are intimately tied to the handmade thing, centring on the materiality of its objects and the affective character of its production. An approach to the Art and the Design to think about the sense of the handmade thing at present, the anachronistic or unavoidable of this type of practices or the market of the Art like area to maintain them. Questions that finally they might answer also to the question: Why does it keep on doing or drawing?
Helen Alonso develops its work principally by means of the drawing, relating it to other disciplines like the architecture, the craft or the design, and paying special attention to the affectivity relations with the environment. Recently it has exhibited in an individual way in Slaughterhouse Madrid, Museum ABC and Space Valverde.
ON MARCH 21
Do it to yourself you and do it to him to otrxs
Javier Pérez Iglesias and Marta van Tartwijk
The desktop publishings have given voice to those who have felt that they had something that to say to the margin of the established channels. That's why there is a tradition in the use of the fanzines between communities queer, anarchisms, feminismos …
The artists discovered it already does much that a book could be an artistic piece and so far we have come with a more and more changed publications production.
There is a meeting between the autopublished thing (or edited in the margins) and the artistic premeditation that exceeds the traditional idea of book that has been a paradigm in libraries and bookstores.
We act in the libraries of two very institutional institutions, the museum and the academy, but that try to promote its porosity, explore its cracks and get connected with what it happens in the streets.
The books are already not what there were … The libraries either.
Javier Pérez Iglesias is biblioactivista, charlaperformadora, healer of readings, bad catalogadora and worse sorter
Marta van Tartwijk is between other things a part-time artist, vocational librarian, autopublisher of copier, engineer of bibliographical labyrinths, desordenadora of fanzines and catalytic of literary snacks.
ON APRIL 4
A sculpture being done
June Crespo
I raise a meeting to think about the proper aspects of the sculpture, sharing works that from different means tackle the sculptural thing. I am interested in a sculpture being done, the negotiation between subject and object that happens in its process and as it is the first meeting with her. To approach her, to surround it, to move away and to be supported imantada. From its surface to its body, outline and image.
How does it affect me? What physical resonance does it generate in me? Where does it look at me? What movement and choreography does it provoke? How does it activate the space?
June Crespo lives in Bilbao, where he graduated in Fine arts in 2005. It works and exhibits also in other international contexts, centring its practice in the field of the sculpture.
ON APRIL 11
There is no only one place that does not see us
Rafael Sánchez-Mateos Paniagua
Prado Museum: reserved preserve of scholars, fold of tourists a little disappointed for not being able to do selfis with Velázquez, children to whom it is necessary to explain of what high culture we are ignorant subjects. Lost, overwhelmed and little desmaravillados before the yesterday works of art, between which saints, kings and virgins it is so difficult to find a village to which to want to belong. We think that everything it would be already said, clarified, catalogued and periclitado, after having dedicated a luxurious and privileged attention that today cannot prove any more than anachronistic or complaisantly legitimadora of the context in the one that they have gone to stop. Nevertheless the works, as they keep on being accessible to the experience, are radically contemporary of the one who meets them. They offer us to themselves to the senses so that everyone could recognize, reflect or refract a new, not prescribed sense. They hope to adopt perhaps new lives impelled by the memory and the imagination that they can still excite in us. Always opened to the unforeseen of the experience - individual or collective - that it is still possible to do, in spite of everything context sacralizador of the institution museum and its observers of inside and out. The important thing would be to try to intensify, revivify and to reorganize the space of the attention, the aisthesis and the perception - so neglected in their own form material and so besieged by the modernization that we have done - in order to renew the experience of an art today so strangely as succulent, from the generosity of those who approach something unknown and (re) they discover on having been observed by the proper work that they contemplate.
Cartaz feito para exposição que acontecerá no Porão Rock Clube, no começo do ano de 2007. Cada artista pegou uma banda. Eu, os Dissonantes.
Bey Ler Bey Trio invite Erwan Keravec
Espace Croix-Baragnon, Toulouse
Mars 2017
Toutes les photos... de Bey Ler Bey Trio
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for me, the organ is the suitable instrument to realize the music of the orgy-mysteries-theater. my music makes use of long drawn-out tones, uses sound blocks, cluster arrangements, roaring tutti-structures, tonal and dissonant up to noise superposition. everything that strings, woodwinds, brass and synthesizers do in an orchestra, i can do through the organ. at the same time i can produce shrill sounds and meditative tonal arrangements. i can revel in keys as well as wedge myself in dissonances. the force of the birth of galaxies reminds me of the sounds of spheres that permeate the universe. the singing noises (or the music) that cause the orbits of the heavenly bodies reach us. the sonorous and rushing sound of the spherical harmony of the universe becomes audible. the firmament of Johannes Kepler, interspersed with radiant music, is perceived.
Credit: tom mesic
St Mary, Creeting St Mary, Suffolk
This little hilltop church is one of the most familiar of sights to Suffolk travellers, rising like a small castle to the north of the A14. At one time there was another church, All Saints, in the same churchyard, which would have looked even more dramatic if dual carriageways had existed in those days. But the old church came down after a storm in 1800, and they built a north transept onto St Mary to accommodate the parishioners. When St Mary underwent a large scale and extravagant restoration in the late 19th Century, an aisle was added to the north side, and no trace of the transept remains.
The tower close-up is a fine sight, its bellstage and battlements crisp from their 1885 rebuilding. The chancel was also rebuilt at this time, and you step into what is almost completely a late 19th Century space. The 15th Century font has been moved into the space beneath the tower, as if not to distract from all things late Victorian. But the overwhelming impression is of what is one of the best collections of Kempe & Co glass in all East Anglia. There are figures of Saints, Old Testament Prophets and Patriarchs, and in the north aisle an excellent Annunciation and figures of St George and St Alban which show that the company could still hold its head up in the early decades of the 20th Century.
The westernmost window in the north aisle strikes the only dissonant note in this sea of Kempe, and a fine dissonance it is. It an important work by Brian Thomas, depicting the Adoration of the Shepherds. It dates from 1950, an early date for such modernist figurativeness, still looking back to the expressionism of stained glass artists like Leonard Walker, with one eye forward to the Festival of Britain joy and simplicity of the likes of Harry Stammers and Moira Forsythe. The subject is always a powerful one in rural backwaters like Creeting St Mary. At about the same time as Thomas was making this work, he received one of the great stained glass commissions of the second half of the 20th Century, to create a vast scheme of windows for the bombed out church of St Nicholas in Great Yarmouth, the largest parish church in England. To see his work here on such an intimate and human scale is a rare privilege.
Stepping back outside, the best feature of the exterior is the excellent 15th Century porch, one of several in this part of central Suffolk. A surprise in it is the Norman doorway, which is perhaps the only survival of the earliest church on this site. A plaque inside the porch records that the modern figure of the Blessed Virgin was given in memory of Canon Harry Fleetwood, who for 45 years never failed to teach the Faith in this church. Fleetwood's infant son, Christopher, is buried beneath a cross to the south of the church.
The war memorial outside the porch faces prominently out across the valley of the infant River Gipping, but back inside the church are brass reminders of lives lost in the Great War. One is to two brothers of Harry Fleetwood's wife, William James and Douglas James. Both in their early twenties, they were killed in the hell of the Battle of Loos in September 1915, just five days apart. The Battle of Loos, it will be remembered, was the occasion on which poison gas was first used, by both sides.
Another brass plaque remembers George Groom, an appropriately-named sergeant in the Royal Horse Artillery. He was killed in the even more infamous Battle of the Somme in July 1916, and is buried at Heilly Cemetery near Mericourt l'Abbé to the east of Albert on the Somme battlefield.
"Una escultura haciéndose" con June Crespo. Foto de María Eugenia Serrano Díez.
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Abordamos un nuevo curso desde esta pregunta, una duda que llegó con la modernidad, hace mucho, muchísimo tiempo. Sorprendentemente, en la sociedad de híper consumo en la que vivimos, sigue ahí, sin agotarse. La usamos como arma y como escudo, como refugio también. La manipulamos y la manoseamos. Algunas veces, la hemos lanzado desde la incredulidad (porque, no nos engañemos, quien pregunta piensa que la respuesta es no), pero nunca desde la suspicacia. Confiamos en el arte, y sobre todo en lo que tiene de enigma. Por eso la respuesta no tiene por qué ser un sí, ni queremos convencer a nadie de nada. La respuesta es que no hay o, más bien, que no lo sabemos, que no tenemos ni idea.
Así que, lo dicho, seguimos instaladas en la pregunta, y en esta edición pensamos en otra vuelta de tuerca. ¿Y si en vez de plantear que hay un determinado tipo de arte que damos por supuesto que es difícil de definir como tal, derribamos las certezas con las que nos acercamos al arte que lleva ahí toda la vida? Presuponer un arte que requiere explicación implica establecer una división entre quien duda y quien tiene las respuestas. Vamos a intentar algo menos categórico. Pensar las prácticas que se asocian a disciplinas asentadas (el dibujo, la pintura, la escultura, los sonidos musicales o el diseño), a soportes, lugares de exposición y públicos que parecen naturales pero, ojo, pensándolo todo desde el aquí y el ahora. Sentirlo como una urgencia renovada. Lo que nos intriga es lo presuntamente evidente.
Este curso no tiene título, pero podría ser algo relacionado con el deseo de doblar los haceres del arte. El arte de doblar: un curso de origami.
El CA2M desarrolla una línea de actividades de formación en arte y pensamiento contemporáneos enmarcadas dentro de la tradición de las universidades populares especialmente dirigidas a público joven y adulto. En estos cursos se abordan algunos de los planteamientos fundamentales para entender e interpretar el arte actual, para pensar en él. Estas actividades constan de dos partes: una primera consistente en la presentación de un tema por un invitado seguida por otra en la que se abre el debate para que los asistentes tomen la palabra. Las sesiones presenciales se complementan con el trabajo personal de cada asistente en relación a textos que serán entregados antes de cada una de las sesiones del curso.
14 FEBRERO
La pintura es misteriosa
Selina Blasco
Siguiendo el hilo de la observación de Ángel González García de que es mejor pintar sin tener ni idea, nos preguntamos: ¿cómo habría que tratar con la pintura? En la charla vamos a intentarlo desde ese no saber, pero situándonos en otro lugar, el de la ignorancia de quien no hace, de quien no pinta nada. Vamos a preguntar a las personas que pintan para ver qué es lo que averiguamos. Ya tenemos una respuesta, y nos gusta tanto que es la que hemos elegido como título de la charla. La cosa promete. También vamos a ingeniárnoslas para construir la narración de este ejercicio de investigación sobre el terreno, de trabajo de campo. La pintura quiere ser tratada.
Selina Blasco es profesora de Historia del arte en la facultad de Bellas Artes de la Universidad Complutense de Madrid
21 FEBRERO
Dibujo y cultura visual contemporánea. Una aproximación desde la práctica artística
Azucena Vieites
El trabajo de Azucena Vieites se ha desarrollado en torno a las técnicas y los procesos gráficos de la expresión, acercándose a la cultura visual contemporánea a través del dibujo o la serigrafía. La multiplicidad, el fragmento o la repetición como ruptura con respecto a la imagen absoluta y las formas lineales de narración o el carácter efímero de la obra se ponen de manifiesto como aspectos relevantes en su producción. A partir de algunos ejemplos de su propia práctica y de otras piezas de diversos artistas, elaboradas en esta misma línea, reflexionaremos en esta charla sobre el dibujo como una forma de representación y conocimiento del entorno que nos rodea en relación a un momento del presente.
Asimismo, se tratará de relacionar los ejemplos propuestos con algunas cuestiones planteadas por la realizadora alemana Ulrike Ottinger; esta artista trabaja en cada una de sus películas con la intención de encontrar una forma adecuada que tiene que ver con los colores, con el tiempo, con la estructura dramática y con la manera de unir las imágenes.
Azucena Vieites es artista y profesora en las facultades de Bellas Artes de Madrid y de Salamanca. Entre sus exposiciones individuales destacan Woollen Body, galería Carreras Múgica (Bilbao, 2015) y Tableau Vivant, Museo Reina Sofía (Madrid, 2013).
28 FEBRERO
Un carpintero amateur
Carlos Granados
Me gusta pensar ideas y hacer cosas. Pasar de la cabeza a la mano. Y de la mano a la cabeza. De artista conceptual a carpintero ¿Acaso tienen algo que ver el arte y la carpintería? Duchamp dijo que había que viajar sólo con un cepillo de dientes, sin carga. Cuando estudié artes, mis referentes eran este tipo de artistas, tipos que trabajaban con las ideas. Ahora trabajo con el cepillo de desbastar que usaba mi abuelo y al hacerlo pienso en su práctica. De repente me veo acumulando, trabajando la madera, haciendo. Me gustan los proyectos que me llevan mucho tiempo. Hay una frase que dice mi amigo Ángel: mide dos veces, corta una. Esto creo que resume muy bien el trabajo del carpintero. Oficio minucioso, paciente y lento. Y que quede bien.
Carlos Granados es uno de los responsables del Departamento de Educación del CA2M
7 MARZO
Historias silenciadas, sonidos olvidados
José Luis Espejo y Andrea Zarza
¿Cómo se posicionan las personas en el espacio público con sonido? En torno a esta pregunta es posible plantear relatos centrados en el trabajo de los herreros, las campanas y las sirenas, las cencerradas, la protesta, los carnavales y ritos que si no son distintos, al menos son paralelos a aquellos que vertebran la historia de la música y del arte. El sonido, el ruido, el rumor de una comunidad enfurecida y el repiquiqueteo del trabajo son argumentos disonantes, de calado casi arqueológico, a los de la historiografía oficial. En Charivaria, una exposición comisariada por José Luis Espejo y Andrea Zarza en CentroCentro Cibeles entre octubre de 2017 y enero de 2018, se reunieron trabajos que plantean estos conocimientos transferidos, en muchos casos, oralmente o por alegorías, que han sido minorizados por disciplinas académicas. Artistas como Grupal Crew Collective, que toman los sonidos de las fiestas de colectivos sin identidades consagradas, o Cuidadoras de Sonidos, Rafael SMP o Vivian Caccuri, que dan voz a los habitantes de barrios destruidos por el avance de la modernidad, y Xabier Erkizia, que con su estudio sobre la cultura del carro de bueyes, agudiza el oído hacia un sonido desplazado por la hegemonía de lo urbano, tienen claro que sus trabajos amplían nuestra concepción del arte. Los archivos, sonoros y escritos permiten rescatar historias silenciadas y sonidos olvidados para replantear genealogías del arte sonoro o de la música. Un despliegue de contenidos enigmáticos sorprende al visitante y rarifican el espacio de la galería.
Andrea Zarza es archivera y licenciada en filosofía. Trabaja como comisaria en el archivo sonoro de la British Library y su sello discográfico Mana Records, llevado junto con Matthew Kent, se dedica a publicar obras que se encuentran en la intersección del sonido contemporáneo y de archivo.
José Luis Espejo es parte del equipo de la Radio Reina Sofía, Mediateletipos y el Máster de Industria Musical y Estudios Sonoros en la Universidad Carlos III de Madrid. Ha desarrollado proyectos de comisariado en Madrid y en Donostia-San Sebastián 2016.
14 MARZO
Un reclamo de sensualidad
Elena Alonso
La puesta en valor de la artesanía y la lucha contra su desaparición no es una novedad. Ya en los inicios del s. XX, la práctica artesanal se planteaba como la estrategia revolucionaria contra la industralización y el capitalismo, posicionándose contra una imparable deshumanización de la producción y el trabajo. Asignándole atributos como resistencia, habilidad, autenticidad, benevolencia o autodeterminación, se pretendía, más de un siglo atrás, aplacar la desaparición del “hacer” con las manos por la producción en masa.
Hoy, frente a la revolución digital y el capitalismo tardío, asistimos a un revival retorcido de estos deseos y problemáticas. El conflicto desemboca en un reclamo de sensualidad desde el cual se vuelve a aludir a la artesanía como exploración de las relaciones “encuerpadas”, la materialidad, el afecto, la ecología, lo local o la inteligencia sensible. Pero se plantean muchas preguntas... ¿Qué tiene de contemporáneo la práctica artesanal? ¿Qué lugar encuentra en el sistema actual? ¿Qué sentido tiene como resistencia? ¿Cual es el impulso vital que nos aferra a ella?
En esta sesión veremos ejemplos de artistas y diseñadores contemporáneos cuyos procesos de trabajo están íntimamente ligados a lo artesanal, centrándonos en la materialidad de sus objetos y el carácter afectivo de su producción. Un acercamiento al Arte y el Diseño para pensar sobre el sentido de lo artesanal en la actualidad, lo anacrónico o ineludible de este tipo de prácticas o el mercado del Arte como terreno para mantenerlas. Cuestiones que en definitiva podrían responder también a la pregunta ¿Por qué se sigue pintando o dibujando?
Elena Alonso desarrolla su trabajo principalmente mediante el dibujo, relacionándolo con otras disciplinas como la arquitectura, la artesanía o el diseño, y prestando especial atención a las relaciones de afectividad con el entorno. Recientemente ha expuesto de manera individual en Matadero Madrid, Museo ABC y Espacio Valverde.
21 MARZO
Háztelo tú y házselo a otrxs
Javier Pérez Iglesias y Marta van Tartwijk
Las autoediciones han dado voz a quienes han sentido que tenían algo que decir al margen de los canales establecidos. Por eso hay una tradición en el uso de los fanzines entre comunidades queer, anarquismos, feminismos…
Los artistas descubrieron hace ya mucho que un libro podía ser una pieza artística y hasta aquí hemos llegado con una producción cada vez más variada de publicaciones.
Hay un encuentro entre lo autoeditado (o editado en los márgenes) y la intencionalidad artística que desborda la idea tradicional de libro que ha sido paradigma en bibliotecas y librerías.
Nosotras actuamos en las bibliotecas de dos instituciones muy institucionales, el museo y la academia, pero que tratan de potenciar su porosidad, explorar sus grietas y conectarse con lo que pasa en las calles.
Los libros ya no son lo que eran… Las bibliotecas tampoco.
Javier Pérez Iglesias es biblioactivista, charlaperformadora, curadora de lecturas, mala catalogadora y peor clasificadora
Marta van Tartwijk es entre otras cosas artista a tiempo parcial, bibliotecaria vocacional, autoeditora de fotocopiadora, ingeniera de laberintos bibliográficos, desordenadora de fanzines y catalizadora de meriendas literarias.
4 ABRIL
Una escultura haciéndose
June Crespo
Planteo una sesión para pensar sobre los aspectos propios de la escultura, compartiendo trabajos que desde diferentes medios abordan lo escultórico. Me interesa una escultura haciéndose, la negociación entre sujeto y objeto que se da en su proceso y como es el primer encuentro con ella. Acercarme a ella, rodearla, alejarme y mantenerme imantada. Desde su superficie a su cuerpo, contorno e imagen.
¿Cómo me afecta?¿Qué resonancia física genera en mi?¿Donde me mira?¿Qué movimiento y coreografía provoca? ¿Cómo activa el espacio?
June Crespo vive en Bilbao, donde se licenció en Bellas Artes en 2005. Trabaja y expone también en otros contextos internacionales, centrando su práctica en el terreno de la escultura.
11 ABRIL
Aquí no hay un sólo lugar que no nos vea
Rafael Sánchez-Mateos Paniagua
Museo del Prado: coto reservado de eruditos, redil de turistas un poco decepcionados por no poder hacerse selfis con Velázquez, niños a los que hay que explicar de qué alta cultura somos súbditos ignorantes. Perdidos, abrumados y un poco desmaravillados ante las obras del arte de ayer, entre cuyos santos, reyes y vírgenes es tan difícil encontrar un pueblo al que desear pertenecer. Pensamos que todo ya estaría dicho, clarificado, catalogado y periclitado, después de haberle dedicado una lujosa y privilegiada atención que hoy no puede resultar más que anacrónica o complacientemente legitimadora del contexto en el que han ido a parar. No obstante las obras, en la medida en que siguen siendo accesibles a la experiencia, son radicalmente contemporáneas de quien se encuentra con ellas. Se nos ofrecen a los sentidos para que cada cual pueda reconocer, reflejar o refractar un sentido nuevo, no prescrito. Esperan acaso adoptar nuevas vidas, impulsadas por la memoria y la imaginación que aún pueden excitar en nosotros. Siempre abiertos a lo imprevisto de la experiencia -individual o colectiva- que todavía es posible hacer, pese a todo contexto sacralizador de la institución museo y sus vigilantes de dentro y afuera. Lo importante sería intentar intensificar, revivificar y reorganizar el espacio de la atención, la aisthesis y la percepción -tan descuidado en su propia forma material y tan asediado por la modernización que hemos hecho- con el fin de renovar la experiencia de un arte hoy tan extraño como suculento, desde la generosidad de los que se acercan a algo desconocido y se (re)descubren al ser observados por la propia obra que contemplan.
Rafael Sánchez-Mateos Paniagua es artista, profesor e investigador.
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We tackle a new course from this question, a doubt that came with the modernity, it does a lot of, a lot of time. Surprisingly, in the society of híper I consume in the one through that we live, it continues there, without becoming exhausted. We use it like weapon and as I shield, as I shelter also. We manipulate it and handle it. Sometimes, we have thrown it from the incredulity (because, we do not deceive ourselves, who asks thinks that the answer is not), but never from the suspicion. We trust in the art, and especially in what it has of puzzler. That's why the answer does not have why to be yes, we do not even want to convince anybody in anything. The answer is that there is not or, rather, that we do not know it, that we do not have it does not even design.
So, the above mentioned, we remain installed in the question, and in this edition we think about another nut return. And if instead of raising that there is a certain type of art that we give surely it is difficult to define as such, we knock down the certainties with which we approach the art that takes there the whole life? To presuppose an art that needs explanation implies establishing a division between the one who doubts and the one who has the answers. We are going to try something less categorical. To think the practices that collaborate to placed disciplines (the drawing, the painting, the sculpture, the musical sounds or the design), to supports, places of exhibition and public that seem natural but, eye, thinking everything from here and now. To feel it like a renewed urgency. What intrigues us is supposedly clearly.
This course has no title, but it might be something related to the desire to double the haceres of the art. The art of turning: an origami course.
The CA2M develops a line of activities of formation in contemporary art and thought framed inside the tradition of the popular universities especially directed to young and adult public. In these courses there are tackled some of the fundamental expositions to understand and to interpret the current art, to think about him. These activities consist of two parts: the first one consistent of the presentation of a topic for a guest continued by other one in the one that opens the debate to herself so that the assistants take the word. The meetings attend them they complement each other with the personal work of every assistant as regards texts that will be delivered before each of the meetings of the course.
ON FEBRUARY 14
The painting is mysterious
Selina Blasco
Following the thread of the observation of Ángel González García of which it is better to do without having not even idea, we wonder: how would it be necessary to treat with the painting? In the chat we are going to try it from not knowing that one, but being located in another place, that of the ignorance of the one who does not do, of whom nothing does. We are going to ask the persons who do to see what is what we find out. We already have an answer, and we like so much that it is the one that we have elected as a title of the chat. The thing promises. Also we are going to manage them to construct the story of this exercise of investigation on the area, of field work. The painting wants to be treated.
Selina Blasco is an Art history teacher in the faculty of Fine arts of the Complutense University of Madrid
ON FEBRUARY 21
Drawing and contemporary visual culture. An approach from the artistic practice
Lily Vieites
The work of Lily Vieites has developed concerning the skills and the graphic processes of the expression, approaching the contemporary visual culture across the drawing or the serigraphy. The multiplicity, the fragment or the repetition like rupture with regard to the absolute image and the linear forms of story or the ephemeral character of the work are revealed like excellent aspects in its production. From some examples of our own practice and of other pieces of diverse artists, prepared in the same line, we will reflect in this chat on the drawing like a form of representation and knowledge of the environment that surrounds us as regards a moment of the present.
Also, it will be a question of relating the examples proposed with some questions raised by the German realizadora Ulrike Ottinger; this artist is employed at each of its movies with the intention of finding a suitable form that has to do with the colors, with the time, with the dramatic structure and with the way of joining the images.
Lily Vieites is an artist and teacher in the faculties of Fine arts of Madrid and of Salamanca. Between its individual exhibitions Woollen Body emphasizes, gallery Careers Múgica (Bilbao, 2015) and Tableau Vivant, Museum Queen Sophia (Madrid, 2013).
ON FEBRUARY 28
A carpenter amateur
Carlos Granados
I like thinking ideas and doing things. To go on from the head to the hand. And of the hand to the head. Of conceptual artist to carpenter: Perhaps the art and the carpentry have something to do? Duchamp said that it was necessary to travel only with a toothbrush, without load. When I studied arts, my modality was this type of artists, types that were working with the ideas. Now I work with the brush of refining that my grandfather was using and on having done it think about its practice. Suddenly I meet accumulating, working the wood, doing. I like the projects that take a lot of time to me. There is a phrase that says my friendly Angel: it measures two times, cuts one. This I believe that he sums very well the work of the carpenter up. Meticulous, patient and slow office. And that suits.
Carlos Granados is one of the persons in charge of the Department of Education of the CA2M
ON MARCH 7
Silenced histories, forgotten sounds
José Luis Espejo and Andrea Zarza
How posicionan the persons in the public space with sound? Concerning this question it is possible to raise histories centred on the work of the blacksmiths, the bells and the sirens, the charivaris, the protest, the carnivals and rites that if they are not different, at least are parallel to those that support the history of the music and of the art. The sound, the noise, the rumor of an incensed community and the repiquiqueteo of the work are dissonant arguments, of almost archaeological openwork, to those of the official historiography. In Charivaria, an exhibition comisariada for José Luis Espejo and Andrea Zarza in CentroCentro Cibeles between October, 2017 and January, 2018, there met works that raise this transferred knowledge, in many cases, orally or for allegories, which have been minorizados for academic disciplines. Artists as Group Crew Collective, who take the sounds of the holidays of groups without consecrated, or Careful Sound identities, Rafael SMP or Vivian Caccuri, who give voice to the inhabitants of quarters destroyed by the advance of the modernity, and Xabier Erkizia, which with its study on the culture of the car of oxen, sharpens the ear towards a sound displaced by the hegemony of the urban thing, are sure that its works extend our conception of the art. The files, sonorous and written allow to rescue silenced histories and sounds forgotten to restate genealogy of the sonorous art or of the music. A deployment of enigmatic contents surprises the visitor and they rarefy the space of the gallery.
Andrea Zarza is archivera and Bachelor of philosophy. It is employed like police station at the sonorous file of British Library and its record stamp Flows with Records, taken together with Matthew Kent, devotes itself to publish works that are in the intersection of the contemporary sound and of file.
José Luis Espejo is a part of the team of the Radio Queen Sophia, Mediateletipos and the Master's degree of Musical Industry and Sonorous Studies in the University Carlos III of Madrid. It has developed commission projects in Madrid and in Donostia-San 2016.
ON MARCH 14
A sensuality claim
Helen Alonso
The putting in value of the craft and the struggle against its disappearance is not an innovation. Already in the beginnings of the XXth century, the handmade practice was appearing like the revolutionary strategy against the industralización and the capitalism, posicionándose against an unstoppable dehumanization of the production and the work. Assigning attributes to him like resistance, skill, authenticity, benevolence or self-determination, one was trying, more than one century, to appease behind the disappearance of “doing” with the hands for the production in mass.
Today, opposite to the digital revolution and the late capitalism, we attend to revival twisted of these desires and problematic. The conflict ends in a claim of sensuality from which it turns to allude to the craft as exploration of the relations "encuerpadas", the materiality, the affection, the ecology, the local thing or the sensitive intelligence. But many questions appear... What does the handmade practice have of contemporary? What place does it find in the current system? What sense does it take as a resistance? Which is the vital impulse that grasps us to her?
In this meeting we will see examples of artists and contemporary designers whose work processes are intimately tied to the handmade thing, centring on the materiality of its objects and the affective character of its production. An approach to the Art and the Design to think about the sense of the handmade thing at present, the anachronistic or unavoidable of this type of practices or the market of the Art like area to maintain them. Questions that finally they might answer also to the question: Why does it keep on doing or drawing?
Helen Alonso develops its work principally by means of the drawing, relating it to other disciplines like the architecture, the craft or the design, and paying special attention to the affectivity relations with the environment. Recently it has exhibited in an individual way in Slaughterhouse Madrid, Museum ABC and Space Valverde.
ON MARCH 21
Do it to yourself you and do it to him to otrxs
Javier Pérez Iglesias and Marta van Tartwijk
The desktop publishings have given voice to those who have felt that they had something that to say to the margin of the established channels. That's why there is a tradition in the use of the fanzines between communities queer, anarchisms, feminismos …
The artists discovered it already does much that a book could be an artistic piece and so far we have come with a more and more changed publications production.
There is a meeting between the autopublished thing (or edited in the margins) and the artistic premeditation that exceeds the traditional idea of book that has been a paradigm in libraries and bookstores.
We act in the libraries of two very institutional institutions, the museum and the academy, but that try to promote its porosity, explore its cracks and get connected with what it happens in the streets.
The books are already not what there were … The libraries either.
Javier Pérez Iglesias is biblioactivista, charlaperformadora, healer of readings, bad catalogadora and worse sorter
Marta van Tartwijk is between other things a part-time artist, vocational librarian, autopublisher of copier, engineer of bibliographical labyrinths, desordenadora of fanzines and catalytic of literary snacks.
ON APRIL 4
A sculpture being done
June Crespo
I raise a meeting to think about the proper aspects of the sculpture, sharing works that from different means tackle the sculptural thing. I am interested in a sculpture being done, the negotiation between subject and object that happens in its process and as it is the first meeting with her. To approach her, to surround it, to move away and to be supported imantada. From its surface to its body, outline and image.
How does it affect me? What physical resonance does it generate in me? Where does it look at me? What movement and choreography does it provoke? How does it activate the space?
June Crespo lives in Bilbao, where he graduated in Fine arts in 2005. It works and exhibits also in other international contexts, centring its practice in the field of the sculpture.
ON APRIL 11
There is no only one place that does not see us
Rafael Sánchez-Mateos Paniagua
Prado Museum: reserved preserve of scholars, fold of tourists a little disappointed for not being able to do selfis with Velázquez, children to whom it is necessary to explain of what high culture we are ignorant subjects. Lost, overwhelmed and little desmaravillados before the yesterday works of art, between which saints, kings and virgins it is so difficult to find a village to which to want to belong. We think that everything it would be already said, clarified, catalogued and periclitado, after having dedicated a luxurious and privileged attention that today cannot prove any more than anachronistic or complaisantly legitimadora of the context in the one that they have gone to stop. Nevertheless the works, as they keep on being accessible to the experience, are radically contemporary of the one who meets them. They offer us to themselves to the senses so that everyone could recognize, reflect or refract a new, not prescribed sense. They hope to adopt perhaps new lives impelled by the memory and the imagination that they can still excite in us. Always opened to the unforeseen of the experience - individual or collective - that it is still possible to do, in spite of everything context sacralizador of the institution museum and its observers of inside and out. The important thing would be to try to intensify, revivify and to reorganize the space of the attention, the aisthesis and the perception - so neglected in their own form material and so besieged by the modernization that we have done - in order to renew the experience of an art today so strangely as succulent, from the generosity of those who approach something unknown and (re) they discover on having been observed by the proper work that they contemplate.
Playing a bit with dissonant cycles.
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Details of the “And Now For Something Completely Different Tour” with a four-band line of experimental/avant-garde bands headed by VIRUS have been announced today. Joining the cult Norwegians will be fellow countrymen VULTURE INDUSTRIES and KRAKOW along with the MONDVOLLAND from the Netherlands. Confirmed dates on the December tour as follows and anyone interested in booking the two remaining dates should contact bjornar@propulsionmusic.no:
Fri 07 Dec: Willemeen , Arnhem (NL)
Sat 08 Dec: Ferrailleur, Nantes (FR)
Sun 09 Dec: Glazart, Paris (FR)
Mon 10 Dec: Markthalle, Hamburg (DE)
Tue 11 Dec: The Underworld, London (UK)
Wed 12 Dec: TBC
Thu 13 Dec: Orto Bar, Ljubljana (SLO)
Fri 14 Dec: Gaswerk Kulturzentrum, Winterthur (CH)
Sat 15 Dec: TBC
VIRUS was formed in 2000 by guitarist / singer Carl-Michael “Czral” Eide (AURA NOIR, former / founder member of ULVER, SATYRICON, DØDHEIMSGARD, CADAVER etc., along with bass player extraordinaire Petter “Plenum” Berntsen (AUDIOPAIN) and drummer Einar “Einz” Sjursø (LAMENTED SOULS, INFERNÖ,ex BEYOND DAWN), with the intention of taking key elements of Czral’s former avant-garde black metal band VED BUENS ENDE further into weirdness and farther from metal. Through three critically acclaimed album releases Czral’s unique dissonant guitar flavour and song writing has fascinated, puzzled and ensnared listeners worldwide, not least thanks to the live performances (as a 5-piece) the band have undertaken since early 2011, including Sonisphere, Brutal Assault, Hole In The Sky, Aurora Infernalis etc.
VIRUS is also set to release a mini album to coincide with the tour. Titled “Oblivion Clock”, the album runs at over thirty minutes and features four new track and three bonus tracks that until now have only been available on extremely limited releases. At the same time band will also be releasing a new vinyl edition of their sophomore album “The Black Flux”. “Oblivion Clock”, together with a new line of VIRUS merchandise, will be available as a digifile CD on the tour, and is also already available to pre-order from virulentmusic.bigcartel.com along with the “Black Flux” vinyl. More information about VIRUS can be found on the band’s website at virusnorway.com/
The other three bands on the tour all bring their own very individual interpretations of the eclectic experimental/avant-garde genre. VULTURE INDUSTRIES, whose style tends towards the more progressive and extreme, are fronted by Bjornar Nilsen, known for his manic theatrical performances which garner praise for the band wherever they appear. They have just signed with Season of Mist for the release of their third-full length album, and will be debuting new material during the tour. More information on VULTURE INDUSTRIES can be found the band’s website at www.vulture-industries.net/
KRAKOW, whose second full-length album “diin” was released on Dark Essence Records in September, could fit equally well within the post-rock, metal and stoner rock genres with a sound that ranges from dark, evocative and mesmerizing to fast, aggressive and heavy. They recently added KAMPFAR drummer Ask Ty Arctander to their line up. More information about KRAKOW can be found on the band’s website at www.krakowofficial.com/
Rounding off the line up is MONDVOLLAND, who bring touches of Black Folk metal deeply rooted in ancient myths and traditions of the Eastern Netherlands to their music. The release of their “Pestvogel” EP earlier this year showed that MONDVOLLAND was embarking on a different route from their debut full-length “d’Olde Roop”, with the intention of breathing new life into the somewhat staid Pagan/Folk scene. More information about MONDVOLLAND can be found on the band’s website at www.mondvolland.com/
As part of his wooing offensive my future maternal grandfather bought my future grandmother a postcard album and undertook to send her a card every day until it was full. The album, with flyleaf dedication in my grandfather's hand and dated 1903, remains in the family's possession. This card, "postally used" as the collectors say, on Friday 2nd March 1906, struck a dissonant note among the tinted local views and soppy-sentimental Edwardian kitsch which formed the rest of the album's contents. The menfolk of my grandmother's family, from Frampton Cotterell, were almost all miners and I can only assume that she kept this photo of a local pit because some of the miners in the picture were relatives. Yes, some of these roughnecks may have been kinsfolk of mine.
As a fairly keen student of the Bristol Coalfield, and of local history generally, I was familiar with all the published photographs of Frog Lane Colliery, Coalpit Heath, but I had never seen this one reproduced. A modestly important discovery then. I thought it deserved to be published, and it has now appeared in a couple of books, including one just published to commemorate the 60th anniversary of the mine's closure.
The first recorded event in the mine's history was the death of one of its sinkers in July 1853. Authorities differ, but the oval shafts seem to have been sunk to a depth of around 660ft. The winding shaft was 9ft 6ins X 6ft 6ins and the pumping shaft six inches narrower. The timber headstocks we see here ...I love timber headstocks... date from a remodelling of the surface in 1888. The mine eventually came to be spread over three sites; Mays Hill, to the east , was equipped with a Guibal fan and, later, a Capell fan for ventilation, and an 18th-century shaft at Nibley, to the north, was used for additional pumping. There was a connection to both the Great Western and Midland Railways.
The colliery survived to be taken into NCB ownership. Exhaustion of reserves and the increased difficulty of keeping the mine dry once the neighbouring Parkfield Colliery ceased production in 1936, led to closure in 1949. It was the last deep mine in the Gloucestershire part of the Coalfield, although the NCB started a drift mine at Harry Stoke which operated until 1963. The pumping engine house we see here, and the headstocks, were still present in a photograph of the derelict site taken in 1951. See also next photo...