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Installation shot from the exhibition "Ectopia" @ Rogaland Kunstsenter. Curated by Geir Haraldseth. jan 29 - march 1.
--Alison Wondersee/* Cover Art For Future Book--"THE CARNIVAL BARKER'S LAST SOUNDBITE"--Sketchin Release via OSWA (OneStrokeWaterArt) w/ Uniquely Re-Purposed Optic Playback "Brush" MRI (MysteryRepeatsItself)--The World's First 'Bowhammer' Cymbalom CD On A Selfie-Stick For San Francisco BayFlare Pareidolia (SciFi, Alien, Surreal, Mythic & Celestial Faces, Figures & Abstract Form-Streams--(Real-TimeSpace Existence Cloud-Uploaded? Quasi-Permanent) From Anchored Raft--L-H Sealift, R-H Snap
MAIN GALLLERY CURATION IN PROGRESS (From Thousands)
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08/04/2017 : Le Puy-Sainte-Réparade, Château La Coste : exposition Mountains and Seas (Ai Weiwei)
Installation shot from the exhibition "Ectopia" @ Rogaland Kunstsenter. Curated by Geir Haraldseth. jan 29 - march 1.
art rotterdam 2016, art fair, van nelle factory, detroit house, artist: ryan mendoza
A home from Detroit is being demolished and shipped in containers to Europe. The home will be reconstructed at the main entrance of Art Rotterdam so visitors can experience the impressive installation by visualartist Ryan Mendoza, a world première.
Genevieve Chua, born in 1984 in work Raised As a Pack of Wolves was Residency Programme at the Gyeonggi
Singapore, graduated with a Diploma in Fine Arts (Painting) from LASALLE College of the Arts, Singapore in 2004. Her works span a variety of mediums including drawing, photography and installation. Genevieve’s works possess distinctive aesthetic and recurring motifs of nature and female figures in dim light. Genevieve’s art explores the fear of the unknown.
For a young artist, Genevieve has exhibited extensively. Her solo exhibitions include As Brutal As (La Liberia Gallery, Singapore, 2007), Lost in the City: Full Moon and Foxes (National Museum of Singapore, 2009) and Child and the Beast (Objectifs Centre for Photography and Filmmaking, 2011). Genevieve has also exhibited overseas at ArtHK 2011 (AsiaOne ChanHampe Galleries, Hong Kong, 2011).
Genevieve was also selected to exhibit at the Singapore Biennale 2011 where she showcased Adinandra Belukar at the Old Kallang Airport. In 2009, her digital
commissioned for the M1 Singapore Fringe Festival. Other group exhibitions in which she has participated include CUT 2009: Figure, New Photography from Southeast Asia (Valentine Willie Fine Art, Kuala Lumpur, Malaysia, 2009), Next Wave Time Lapse (Federation Square, Melbourne, Australia, 2010) and Cross-Scape (Kumho Museum of Art, Seoul; Jeonbuk Museum of Art, Jeonju; Goeun Museum of Art, Busan, South Korea, 2011). Her work, After the Flood (2010), was sold by international auction house Sotheby’s and was exhibited at The Singapore Show: Future Proof (8Q Singapore Art Museum, 2012).
Genevieve constantly seeks to expand her practice and this has led her to participate in numerous residences locally and abroad. In 2010, she was selected for the BMW Young Asian Artist Series at the Singapore Tyler Print Institute and the Late Fall Residency at The Banff Centre in Calgary, Canada. In 2011, she took part in the GCC Creative
Creation Centre in Gyeonggi-do, South Korea and The Art Incubator at the Centre for Creative Communications in Shizuoka, Japan.
Performance ritual | Sagrado Feminino | Investigação | O corpo da mulher é sagrado, divino e deve ser respeitado #artista #artistavisual #orixas #costume #performanceritual #tantrismo #sangue #natural #terra #indios #performance #performanceart #fotografia #photography #naturegirl #sagradofeminino #liberdadedeexpressao #livre #amor #ventre #sagrado #imersao #artetextil #textileart #curitiba #RiodeJaneiro #artecontemporanea #contemporaryart #visualartist #art
Installation shot from the exhibition "Ectopia" @ Rogaland Kunstsenter. Curated by Geir Haraldseth. jan 29 - march 1.
Pull your chair a little closer. Today we're following a road where the signs are written in bass clefs and the streetlights flicker in blue notes. The destination is the celebration of a fellow they called Guru.
Some people arrive like unexpected fireworks in the daytime. Others come in through the side door carrying a notebook. Guru was one of those. His voice never seemed to be trying to outrun anybody. It moved the way an old bike moves across the city—steady enough that you could count the spin. He had that rare gift of sounding calm while saying things that stayed with you for years.
You know, rap music and jazz have always shared a family resemblance. One grew up in smoky clubs, the other on concrete corners. Both know what it means to improvise when life doesn't hand you the melody you were hoping for. Jazz asks a question with a trumpet. Hip-hop answers it with a turntable.
Then along came “Jazzmatazz Vol. 1.”
Now there's a record that doesn't behave like it belongs to any one neighborhood. It's less interested in crossing genres than in reminding you they used to live on the same block. Guru invited real jazz musicians into the room, not as decoration, not as museum pieces, but as conversation partners. The beats don't push the saxophone out of the way, and the horns don't look down their noses at the drum machine. Everybody gets a chair at the table. Guru's rhymes sit in the pocket with remarkable patience. He understood that confidence doesn't always have to raise its voice. His delivery leaves space for the music to breathe, and the music rewards him by becoming something bigger than accompaniment. It's collaboration in the oldest sense of the word.
There are albums that sound like they were built in a laboratory. “Jazzmatazz Vol. 1” sounds like it wandered into a late-night rehearsal where nobody wanted to leave because the conversation was too good. The grooves roll along without hurry. The bass lines feel lived in. The guest musicians aren't there to prove a point; they're there because the tune asked them to show up. Oh me oh my that track “Le Bien, Le Mal” along with the exquisite french rapper MC Solaar is one magistral one:
“L'homme qui prend le microphone se nomme Solaar
Maître de la rime urbaine accompagné des comparses de Gang Starr
À Paris en France comme dans la Rome antique
Imite le maître, mate le mythe comme Spartacus limite les mecs
Qui millimètre après millimètre jettent l′intellect à des kilomètres
It's your turn, Guru”
Listening to it now, what strikes me isn't that it predicted the future. Plenty of records get credit for that. It's that it trusted the past enough not to fear it. The album says yesterday and tomorrow can share the same microphone if they're willing to listen to each other.
Funny thing about roads. You spend your life singing about them, walking them, trying to find where they lead. Most of them don't remember your name. But every once in a while, one does.
Over in Montpellier, France, there's a little stretch of pavement called Allée Guru. Imagine that. A man who spent his career making records about knowledge, rhythm, and self-possession ends up becoming a street himself. That's about as fitting a memorial as you could ask for. Streets don't ask for applause. They just keep carrying people forward. Every day somebody walks across his name without realizing they're following a path laid down by a voice that believed music could be wiser than noise. The choice of Montpellier wasn't random. The city has a long-standing appreciation for hip-hop culture and jazz, and local officials described Guru as an artist whose work transcended genres and generations. France overall has a larger hip-hop culture than you might expect, starting rapping in French already in the early 80’s. But that is another story.
Guru himself had a quality you don't find often in popular music. He sounded like a man who believed words ought to earn their place. No wasted syllables. No unnecessary fireworks. Just observation, rhythm, and a quiet certainty that truth can travel farther than volume.
Every now and then an artist reminds us that music isn't really about categories. Folk, jazz, blues, rap, yeah they're all trying to answer the same old questions: Who are we? Where are we headed? Who's walking beside us? Guru asked those questions with a voice as cool as midnight and as grounded as the first note from an upright bass.
So if you've got the sun burning in your head and your body stretching out ahead of you, give “Jazzmatazz Vol 1.” another spin. Some records ask you to listen. This one invites you to stay awhile.
ink, watercolor on paper
contact ibarraloana@gmail.com
Performance ritual "Sagrado Feminino" | Investigação | O corpo da mulher é sagrado, divino e deve ser respeitado #artista #artistavisual #orixas #costume #performanceritual #tantrismo #sangue #natural #terra #indios #performance #performanceart #fotografia #photography #naturegirl #sagradofeminino #liberdadedeexpressao #livre #amor #ventre #sagrado #imersao #artetextil #textileart #curitiba #RiodeJaneiro #artecontemporanea #contemporaryart #visualartist #art
"Nacer" 19cm
Acrylic on cork
instagram loanaibarra
facebook www.facebook.com/LIM.LoanaIbarraMazari
contact ibarraloana@gmail.com
Good evening, night owls, dreamers, insomniacs, and those from the wrong side of tomorrow. Today we celebrate one of my absolute favorites in the game, a painter. Not the kind who put a fresh coat on your porch railing. I’m writing about the ones who paint with the stuff that's harder to come by: longing, fear, desire, the strange electricity that crackles between life and death.
Egon Schiele mi amor.
Now Schiele came out of Vienna, back when the century was changing its clothes. The old empires were still standing, but if you listened carefully you could hear the floorboards creaking. Horses pulled carriages through streets already haunted by automobiles. Freud was peering into dreams while composers were teaching music new ways to be restless. It was a town full of mirrors, and Schiele walked through every one of them. He was born in 1890 and didn't stay long. Gone before he turned twenty-nine. Some people spend eighty years learning how to tell the truth. Schiele figured out a way to do it in less than three decades, though the truth he found wasn't always easy to look at.
His paintings and drawings don't sit still. The bodies twist. Hands reach like roots searching for water. Faces seem to have just received news they can't quite understand. Looking at a Schiele portrait is a little like catching your reflection in a train window at midnight and realizing the stranger staring back knows more about you than you'd like.
He studied under the long shadow of Gustav Klimt, but shadows don't hold a man like Schiele for very long. Klimt painted gold and ornament, worlds draped in velvet. Schiele stripped things down until all that remained was nerve and bone and yearning. It's the difference between a cathedral bell and a wire humming in the wind.
The authorities didn't know what to make of him. That's usually a sign an artist is onto something. His work scandalized people. Some called it indecent. Others called it disturbing. They weren't entirely wrong. Schiele seemed determined to paint what polite society spent its days trying not to think about: loneliness, desire, mortality, the awkward miracle of having a body at all.
You know, there are artists who paint people as they wish they were remembered. Schiele painted them as they feared they might actually be.
Then came 1918. Influenza swept across the world like an invisible storm. It carried away millions. Schiele's wife died while expecting their child. Three days later, Schiele followed. Twenty-eight years old. The kind of ending that makes you wonder whether some candles burn brighter because they know they won't burn long.
But the pictures stayed: thanks Schiele! And that's the thing about art. A century passes. Empires disappear. Borders move. Languages change their shoes. Yet somewhere a young painter stands in front of an Egon Schiele drawing and feels the same jolt that people felt when the ink was still fresh. A nervous line across a sheet of paper. A tilted shoulder. A pair of eyes that refuse to look away. Somewhere between elegance and collapse, beauty and discomfort, Schiele found a frequency that's still broadcasting. And if you happen to catch that signal late at night, don't be surprised if it sounds a little like your own heartbeat.
ink, watercolor on paper
contact ibarraloana@gmail.com
Performance ritual "Sagrado Feminino" | Investigação | O corpo da mulher é sagrado, divino e deve ser respeitado #artista #artistavisual #orixas #costume #performanceritual #tantrismo #sangue #natural #terra #indios #performance #performanceart #fotografia #photography #naturegirl #sagradofeminino #liberdadedeexpressao #livre #amor #ventre #sagrado #imersao #artetextil #textileart #curitiba #RiodeJaneiro #artecontemporanea #contemporaryart #visualartist #art
art rotterdam 2016, art fair, van nelle factory, detroit house, artist: ryan mendoza
A home from Detroit is being demolished and shipped in containers to Europe. The home will be reconstructed at the main entrance of Art Rotterdam so visitors can experience the impressive installation by visualartist Ryan Mendoza, a world première.
Performance ritual "Sagrado Feminino" | Investigação | O corpo da mulher é sagrado, divino e deve ser respeitado #artista #artistavisual #orixas #costume #performanceritual #tantrismo #sangue #natural #terra #indios #performance #performanceart #fotografia #photography #naturegirl #sagradofeminino #liberdadedeexpressao #livre #amor #ventre #sagrado #imersao #artetextil #textileart #curitiba #RiodeJaneiro #artecontemporanea #contemporaryart #visualartist #art
A Glitch “Èride (Ἔρις) ~ Ètude VII”
by ™℗®© Louis M o n t i e l
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#visualartists #glitchart #glitch #glitché #pixelsorting #glitchartistscollective #glitchvideo #datamosh #digitalglitch #videoglitch #hyperspektiv #minimalart #videoart #dfkt #pixelsorter #artistsvisual #glitchartoninstagram #glitchartscollective #glitcharts #glitchartistcommunity #glitchartwork #error #glitchartists #glitchartcommunity #glitchartistcollective #glitchartist #pixelsortingart #proceduralart #creativecodeart #glitchportrait
A Glitch "Erzulie (Ερζούλι) ~ Ètude IV”
by ™℗®© Louis M o n t i e l
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#visualartists #glitchart #glitch #glitché #pixelsorting #glitchartistscollective #glitchvideo #datamosh #digitalglitch #videoglitch #hyperspektiv #minimalart #videoart #dfkt #pixelsorter #artistsvisual #glitchartoninstagram #glitchartscollective #glitcharts #glitchartistcommunity #glitchartwork #error #glitchartists #glitchartcommunity #glitchartistcollective #glitchartist #pixelsortingart #proceduralart #creativecodeart #glitchportrait
(for English scroll down)
* Survival AIDS Mummification Transformation *
Neuen Gesellschaft für bildende Kunst (nGbK)
Berlin - 16. Februar 2014
Eine Performance von Hunter Reynolds
In Zusammenarbeit mit Goran Tomcic
Mitwirkende: Goran Tomcic | Rik Mayda | Frank Merz | Marcelo Alves
Seit 1999 hat Hunter Reynolds über 25 "Mumifizierungen" in ganz Europa und den Vereinigten Staaten durchgeführt. In Verbindung mit der aktuellen Ausstellung LOVE AIDS RIOT SEX II in der Neuen Gesellschaft für bildende Kunst (nGbK), Berlin, hat Reynolds die "Survival AIDS Mummification Transformation" performt.
Diese seltenen Performances sind körperlich und emotional zermürbend und gleichzeitig inspirierend - sie evozieren sowohl Wiedergeburt als auch Wiederauferstehung. Seit über zwanzig Jahren nutzt Reynolds Fotografie, Performance und Installation, um seine Erfahrungen als HIV-positiver schwuler Mann auszudrücken. Bei der Gestaltung der Mumienhaut wird er mit Goran Tomcic zusammenarbeiten.
Goran Tomcic ist ein Künstler und Schriftsteller. Er wurde 1964 im ehemaligen Jugoslawien geboren, ist kroatischer und US-amerikanischer Staatsbürger und lebt und arbeitet derzeit in Berlin. Er hat einen MA in Curatorial Studies vom Center for Curatorial Studies am Bard College (1996). Seit 2000 stellt er seine Kunst international aus und ist Empfänger des Pollock-Krasner-Stipendiums (2007). Seine Gedichte und Kunstkritiken wurden seit Mitte der 80er Jahre international veröffentlicht.
Hunter Reynolds ist bildender Künstler, AIDS-Aktivist und Mitglied von Visual AIDS Artist. Er war ein frühes Mitglied von ACT UP New York und war 1989 Mitbegründer von Art Positive, einer ACT-UP-Affinitätsgruppe zur Bekämpfung von Homophobie und Zensur in der Kunst. Reynolds' Arbeiten beschäftigen sich mit Fragen der Geschlechtsidentität, der politischen, sozialen und sexuellen Geschichte, mit Trauer und Verlust, Überleben, Hoffnung und Heilung. Einige seiner bekanntesten Performance-Projekte sind "The Patina du Prey's Memorial Dress"; die Dokumentation über Reynolds Memorial Dress war Teil von LOVE AIDS RIOT SEX I (nGbK, Nov 2013 - Jan, 2014), "The Drag Pose Series", "Blood Spot Series" und "Mummification Series". Er hat an großen Performance-Projekten wie "The Banquet" mit Chrysanne Stathacos und "I-Dea - The Goddess" mit Maxine Henryson mitgearbeitet.
Hunter Reynolds wurde mit zahlreichen Stipendien und Aufenthaltsgenehmigungen ausgezeichnet, darunter mehrere Pollock-Krasner-Preise. Er hat zahlreiche Einzelausstellungen gehabt, darunter: PPOW Gallery, Participant Inc., Hallwalls, Buffalo, NY; White Columns, New York, NY; Artist Space, New York, NY; Simon Watson Gallery, New York, NY; Creative Time, New York, NY; Momenta, Brooklyn, NY; Bernard Toale Gallery, Boston, MA; ICA Boston, Boston, MA; Yerba Buena Center for the Arts, San Francisco, CA; nGbK Berlin, Deutschland; und documenta, Kassel, Deutschland. Seine Werke befinden sich in zahlreichen öffentlichen und privaten Sammlungen, darunter das Chicago Art Institute, Yale und das Addison Andover. Die Fales Library and Special Collections/New York University hat kürzlich die Archive von Hunter Reynolds für ihre Downtown Collection erworben. Er wird von der PPOW Gallery vertreten.
"Kunst war schon immer eines der Mittel, die ich eingesetzt habe, um mich selbst und andere zu heilen und Ordnung in das Chaos meines Lebens zu bringen, indem ich nicht nur die Geschichte durch die Kunst erzählte, sondern mich selbst im Prozess des Schaffens verwandelte, indem ich sie nutzte, um mein Leben neu zu gestalten, Hoffnung und Schönheit zu finden und den Wunsch, lebendig zu sein." - Hunter Reynolds –
www.ppowgallery.com/artists/estate-of-hunter-reynolds#tab...
www.ppowgallery.com/exhibitions/hunter-reynolds2#tab:thum...
archiv.ngbk.de/projekte/love-aids-riot-sex-2/
____________________________________________________
* Survival AIDS Mummification Transformation *
New Society for Fine Arts (nGbK), Berlin - February 16, 2014
A performance by Hunter Reynolds
In collaboration with Goran Tomcic
Contributors: Goran Tomcic | Rik Mayda | Frank Merz | Marcelo Alves
Since 1999, Hunter Reynolds has performed over 25 "mummifications" throughout Europe and the United States. In conjunction with the current exhibition LOVE AIDS RIOT SEX II at the Neue Gesellschaft für bildende Kunst (nGbK), Berlin, Reynolds has performed the "Survival AIDS Mummification Transformation".
These rare performances are physically and emotionally grueling yet inspiring - evoking both rebirth and resurrection. For over twenty years, Reynolds has used photography, performance and installation to express his experiences as an HIV-positive gay man. He will be collaborating with Goran Tomcic on the design of the mummy skin.
Goran Tomcic is an artist and writer. He was born in 1964 in the former Yugoslavia, is a Croatian and US citizen and currently lives and works in Berlin. He holds an MA in Curatorial Studies from the Center for Curatorial Studies at Bard College (1996). He has exhibited his art internationally since 2000 and is a recipient of the Pollock-Krasner Fellowship (2007). His poetry and art criticism have been published internationally since the mid-1980s.
Hunter Reynolds is a visual artist, AIDS activist and member of Visual AIDS Artist. He was an early member of ACT UP New York and in 1989 co-founded Art Positive, an ACT UP affinity group to combat homophobia and censorship in the arts. Reynolds' work deals with issues of gender identity, political, social and sexual history, grief and loss, survival, hope and healing. Some of his best known performance projects include "The Patina du Prey's Memorial Dress"; the documentary about Reynolds Memorial Dress was part of LOVE AIDS RIOT SEX I (nGbK, Nov 2013 - Jan, 2014), "The Drag Pose Series", "Blood Spot Series" and "Mummification Series". He has collaborated on major performance projects such as "The Banquet" with Chrysanne Stathacos and "I-Dea - The Goddess" with Maxine Henryson.
Hunter Reynolds has been awarded numerous grants and residencies, including several Pollock-Krasner awards. He has had numerous solo exhibitions including: PPOW Gallery, Participant Inc, Hallwalls, Buffalo, NY; White Columns, New York, NY; Artist Space, New York, NY; Simon Watson Gallery, New York, NY; Creative Time, New York, NY; Momenta, Brooklyn, NY; Bernard Toale Gallery, Boston, MA; ICA Boston, Boston, MA; Yerba Buena Center for the Arts, San Francisco, CA; nGbK Berlin, Germany; and documenta, Kassel, Germany. His work is in numerous public and private collections, including the Chicago Art Institute, Yale, and the Addison Andover. The Fales Library and Special Collections/New York University recently acquired Hunter Reynolds' archives for their Downtown Collection. He is represented by PPOW Gallery.
"Art has always been one of the tools I have used to heal myself and others and bring order to the chaos of my life, not only telling the story through art, but transforming myself in the process of creating, using it to reshape my life, finding hope and beauty and the desire to be alive." - Hunter Reynolds –
www.ppowgallery.com/artists/estate-of-hunter-reynolds#tab...
www.ppowgallery.com/exhibitions/hunter-reynolds2#tab:thum...
Fire. Not the kind that sets off the smoke alarm, although there are moments when this music might do that too. I'm talking about the fire that starts somewhere down in the rhythm section, travels up through the bass, catches hold of the drums, and eventually finds its way into a saxophone. And when that happens, you might want to listen. That saxophone belongs to Jessie Evans.
Jessie Evans is one of those musicians who makes the usual categories feel a little unnecessary. Punk musician, saxophonist, singer, electronic artist, cabaret performer, no-wave survivor, dark-wave traveller, rhythm explorer, yeah, you can use all those words and still not quite catch her.
She came out of the California underground, playing saxophone with the all-female punk band Subtonix, then became part of The Vanishing, a band that understood very early that a synthesizer and a saxophone could make a room feel considerably darker. There was punk in there, certainly, and deathrock, and no-wave, but also something theatrical and strangely seductive.
Then came Autonervous, her collaboration with Bettina Köster of Malaria!, and the music moved further into electronic territory. The machinery became more important. The rhythms became colder and more mechanical, while the saxophone remained this wonderfully physical thing floating through the circuitry.
And that's one of the interesting things about Jessie Evans. She has never seemed particularly interested in choosing between the machine and the body. She wants both. She wants the synthesizer and the sweat. The drum machine and the hips. The cold electronic pulse and the hot breath of a saxophone.
Then, in 2009, she made Is It Fire?, her first solo album, and suddenly all those different parts of her musical history began talking to one another. And they had a lot to say.
The record was made between Berlin and Mexico, and you can almost hear the geography in it. Berlin brings the shadows, the electronics, the punk history, the nightclub atmosphere. Mexico brings heat, colour, percussion, brass, movement and a different sense of rhythm. Somewhere between the two places, Jessie Evans found her own little musical border town. And there's no border control. Everything gets through. Afrobeat gets through. Mambo gets through. Funk gets through. Cabaret gets through. Electronics get through. Punk gets through. And the saxophone, naturally, doesn't even bother showing its passport.
Is It Fire? is an album that refuses to stand still. Even when the music is dark, there's movement underneath it. Even when the electronics sound cold, there's something warm happening in the rhythm.
The title asks a question. Is It Fire?
Well, you can spend eleven songs trying to answer it.
Take “Scientist of Love.” Now, love has always been a dangerous field of research. There have been laboratories, theories, experiments, field studies. Most of them have ended badly. Jessie Evans simply adds a saxophone to the experiment. “Scientist of Love” sounds like somebody who has been studying desire under controlled conditions and has finally decided that controlled conditions are overrated. Then there's “Class Magic,” which brings out the cabaret side of Evans. But this isn't polite cabaret. This is cabaret after punk has broken into the dressing room, stolen the lipstick and plugged a synthesizer into the wall. And then comes “Let Me On,” and “Blood and Silver” which might be the clearest example of what makes the record so irresistible. There's funk in the bones of it. The rhythm is physical. Evans's voice is commanding but playful, and the saxophone moves around the groove rather than simply sitting on top of it. It's music that doesn't ask whether you want to dance. It assumes you will. And that brings us to something important about Jessie Evans: she has always understood that darkness and dance music aren't opposites. In fact, they make excellent companions. Think about the history of the nightclub. People have been dancing in dark rooms for a very long time. The darkness gives you permission. You can become somebody else for a few hours. You can wear black. You can wear silver. You can wear something you would never wear in daylight. And Jessie Evans seems perfectly at home in that world. Her music has the atmosphere of a gothic club, but somebody has opened the doors and let tropical air blow in.
There's a wonderful contradiction there. The music can be dark, but it isn't miserable. It can be strange, but it isn't inaccessible. It can be experimental, but it still knows what a beat is for.
And then there's that saxophone. The saxophone is an unusual instrument in electronic and gothic music. It carries too much history with it. Jazz, rhythm and blues, soul, funk, pop — you hear all those ghosts whenever someone picks one up. But Evans doesn't treat the saxophone like an antique. She makes it sound futuristic. Sometimes it comes across like a siren. Sometimes like a lover. Sometimes like an alarm from a spaceship that has just landed outside the club. And sometimes it sounds as though it has been drinking. Which is probably when it's at its best.
The musicians around her on Is It Fire? help create this peculiar atmosphere. Pepe Mogt, from the Nortec Collective, brings an electronic and rhythmic sensibility to the production, while musicians such as Budgie, Toby Dammit and Martin Wenk add their own histories and textures. It's a remarkable mixture. And perhaps that's why the record still feels unusual. It isn't trying to sound like one scene. It's the sound of somebody passing through several scenes and taking souvenirs. And the saxophone sticking out of the back.
If you've spent time with Evans's later music, you can also hear Is It Fire? as the beginning of a longer journey. With Glittermine, the colours become even brighter and the cast of collaborators becomes even more international. Steve Mackay, Jimi Tenor, King Khan, Warrior Queen and others enter the picture. The music becomes bigger without losing its underground character. Later, Evans's move to Brazil opens another chapter, bringing Brazilian rhythms, dub, tropical sounds and new collaborations into her world.
But Is It Fire? is where the map begins to make sense. Berlin on one side. Mexico on the other. Punk behind her. Electronic music ahead. And in the middle, Jessie Evans with a saxophone, trying to figure out how many different kinds of music can fit into one room. Quite a few, as it turns out.
There's also something about hearing this album on vinyl. You put the record on. The needle drops. There's that small moment before the music really begins, when the room is quiet and you hear the surface noise of the record. Then the rhythm arrives. And suddenly you're somewhere else. That's one of the great things about records. They can turn geography into furniture. Berlin can be in the living room. Mexico can be in the kitchen. A nightclub can appear in the hallway. And if the neighbours complain, well, perhaps they're simply not listening carefully enough.
Is It Fire? isn't perfect because it is tidy. It isn't perfect because every song fits neatly beside the next. It's interesting precisely because it doesn't. It's restless. It's sexy. It's peculiar. It's occasionally theatrical. It's sometimes wonderfully excessive. And it has a sense of humour about all that excess. Jessie Evans doesn't seem to believe that experimental music has to be serious all the time. Why shouldn't an electronic record make you dance?
So, is it fire?
The answer is: Yes.
Installation shot from the exhibition "Ectopia" @ Rogaland Kunstsenter. Curated by Geir Haraldseth. jan 29 - march 1.
art rotterdam 2016, art fair, van nelle factory, detroit house, artist: ryan mendoza
A home from Detroit is being demolished and shipped in containers to Europe. The home will be reconstructed at the main entrance of Art Rotterdam so visitors can experience the impressive installation by visualartist Ryan Mendoza, a world première.
Serving plate
silver, worn down by years
of hands that passed it from table to table
carrying bread, carrying stories, carrying silence.
Holding a face
objects forget their purpose
and remember something else entirely.
Caught in that quiet in-between
like the moment before a song begins
or just after it ends.
Scratched up good
little marks
little ghosts
like raindrops that never quite dried
reflection comes through anyway
not perfect
not clean.
Wearing soft
peach-colored
like an afternoon that doesn’t want to turn into evening.
Got something to say
hasn’t decided if the world’s ready to hear
it
maybe already said
it
now just listening for the echo.
Silver serving tray.
A Glitch “Rati-Mayavati (Ράτι-Μαγιαβάτι) ~ Ètude I”
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