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ENG (electronoise group)
Radical free/spontaneous music/art ensemble, The Electronoise Group (ENG) founded in early 2006 by Japanese-American soundArtist, shotahirama. It is a group that are making concrete drone sounds with their free-improv expression and the ideas from "laptop" "noise" and "Art".
Using laptop, tape-operation, and tape-loop, generated guitar, the project ideal is to express the content of various psycho pathological conditions, especially depressive psychosis, and paranoia. And also making an art design, a photomontage with strong attention to Dada and Bauhaus.
shotahirama is a Japanese-American concrete sound artist and also known as a photomontage artist, inspired by Dada and Bauhaus. Most people also know him under the name ENG (electronoise group) or JANDEATH. He uses laptop and sinewave generator, some tape-operation and tape-loops, or some kind of machine, making concrete-noise-drone or a power electronics.
He has been documented on a number of projects, each revealing new facets of his wide-ranging and unique talents on both laptop and tape-operation. He has recorded and performed with Zbigniew Karkowski (mego/subrosa), Toshiji Mikawa (ex-incapacitants, Hijokaidan), ASTRO (Ant-Zen), Adachi Tomomi (Tzadik), Kelly Churko (Canada), Justice Yeldham (Australia) and more...
ダダイズムの既成の秩序や常識に対する、否定、攻撃、破壊といった思想や バウハウスに見られる合理主義的・機能主義的な芸術に強く興味を持ち、 電子機材を用いたノイズコンクレート、持続音響な作品制作、またその演出、表現への応用可能性、方法を探る電子音響グループ、ENG (electronoise group)を２００６年に結成した音響家、shotahirama（平間翔太。1984年アメリカ、ニューヨーク生まれ）。ス ペイン、バルセロナからのアルバムリリースを始めこれまでに２つのオリジナルアルバム（"Barcelona"、"Kollaps"）、４曲の楽曲提供と、そのリリース活動は頻繁である。また坂本龍一 のラジオ番組 J−WAVE「RADIO SAKAMOTO」にてルーマニア人の女性SSW、Monookaとのコラボ曲、"Fruhling"がO.A.された事により実現されたイギリス、ロンドンを中心に行われた"Dada Lives Tour"など、ヨーロッパでのリリースからライブ、サウンドインスタレーションまで精力的な活動を続ける。
２００８年にはshotahirama単独のソロ活動となるJANDEATHを始動。ポーランドのハーシュノイズアーティスト、zbigniew karkowski (mego)や、MERZBOWと共に日本のジャパノイズシーンを牽引するToshiji Mikawa (incapacitants)、ASTRO (Hiroshi Hasegawa)、Adachi Tomomi (Tzadik)、Pain Jerkなどの数々のノイジシャンとのライブを行う。産業主義を連想させる金属音や破壊音的電子音響に、２台のElektronを扱い現代音楽のシンボルであるリズムをクリックならぬポイントに置き換え、複雑なシーケンスに溶け込ませたPointilism Musicを提案する。また自身が開発したプログラムソフト、R systemにてそのリズムストラクチャーが持つミニマリズムをそのまま具象化、映像化するライブもJANDEATHではおなじみの光景である。同じ年、兼ねてから共演を熱望していた東京の最新デジタルクリエーションコレクティブ、SOUPのメインアクト、MICLO DIETとのデュエットとなるMICLODEATHも実現。
Cal Lyall
www.myspace.com/hermetictindrum
Currently active in Japan's free improvisation scene and member of drone-psych trio Tetragrammaton, ecstatic choral unit Jahiliyyah, electro-acoustic duo Missing Man Foundation and avant disco unit FDF (with Kumiko Okamura). Other projects include Golden Parabola, Palimpsest (with Kelly Churko), Auraboris (duo with TOMO from Tetragrammaton), Laptop Orchestra, Aktion Directe (with Akira Yamamichi and Masatsugu Hattori), Nikkasen (with Mitsuru Tabata, Tatsuhisa Yamamoto and Kelly Churko), zycOs (with Masatsugu Hattori, Keigo Iwami, and Kouzou Komori), Electroacoustic Jazz Quartet (with Peter Slade, Akira Yamamichi and Jimanica) while also performing as a solo artist with distinctive artists such as Tetuzi Akiyama, Chie Mukai, L?K?O, Samm Bennett, Coppe', Hideo Ikegami, Yasumune Morishige, Yoshio Otani, Yoshio Machida, Damo Suzuki and many more.
Irregularly manages the Subvalent record label and soundispatch imprint / collective and quite regularly mismanages the monthly event Test Tone at Super Deluxe in Nishi-Azabu (Tokyo).
Taishin Inoue
Is a Japanese sound artist, and he was born in Tokyo on September 21, 1981. He lived in the suburbs in Osaka from 3 years old to 19 years old. Now, he is making an electronic music, movie, drawing, magazine, living in the music studio in koenji Tokyo. And he also organize an electronic music event, "ORASP". It is a coined word which connects the initial of “Organic-Reaction Around Spiral-Process”. Orasp includes the image which organic energy circulates through the inner side and outside of the image space produced from the sequence distribution which whirls spirally. ORASP mainly focus on electronica, IDM, ambient, noise, drone, breakcore, minimal techno, abstract hiphop, sonic dub, contemporary music, an acoustic sound, improvised music, experimental jazz, original musical instrument, band, and DJ perform.
ORASP主宰。東京都在住。ORASPとは“Organic-Reaction Around Spiral-Process”の頭文字を取った造語。 ジャンルという区分を越えて紡がれるその一貫性は革新的フィルターとして空間を彩る。主宰である彼の音はまさに、螺旋状に展開するエネルギー体に他ならず、フロアによる有機反応へと回答を託す。大気の振動を手に取るように操られた音塊は詩的にエモーションを掻き立て、その圧倒的存在感から命の息吹すら香るだろう。好意を具現化したような彼の好奇心は広く深く、ただひたすらにピュアな存在として、電子音楽を中心に、ドローイング、映像など多岐に渡り活動を展開中。
Kelly Churko
Kelly Churko was born in Moose Jaw, Canada in 1977 and has been based in Japan since 2001. In addition to solo performances, he also plays in Hospital (w/ Ben Wilson, Masa Anzai, Chris Kelly), Ossuary (w/ Sotoyama Akira, Ito Keita), Almost Transparent Blue (w/ Masa Anzai, Skye Brooks), AKBK, Guilty Connector, Lethal Firetrap, Palimpsest (w/ Cal Lyall), Nikka-sen (w/ Tabata Mitsuru, Cal Lyall, Yamamoto Tatsuhisa), Toque (w/ Tim Olive), Fujii Satoko Orchestra, etc. He also has collaborated live or on recording with Government Alpha, Astro, Zbigniew Karkowski, Bastard Noise, Ilios, Paal Nilssen-Love, Jason Mears, Harris Eisenstadt, and plays regularly with Japanese improvisers including Tamura Natsuki, Kawai Shinobu, Iwami Keigo, Ikezawa Ryusaku, Kamimura Taiichi, Matsumoto Kenichi, Nakamura Kenji, Ando Akihiko, Saito "Shacho" Ryoichi and more.
Blackphone 666
www.geocities.jp/made_in_nakano/index.html
Using Japanese old school black phone and some other electronics, Blackphone666 makes a power electronics sound and most people known him as a real Japanese harsh noise artist. Since 2007, Blackphone666 established "Discord Proving Ground" with Direct Lightning Stroke (bug-noise artist using TV), mainly focus on actiosnim, electric wave and electricity performing art.
黒電話を配備した"HAZARD TELEPHONE SYSTEM"で多様なノイズエレクトロニクスを実戦する、極電式黒電話六百六十六型。'02年から不定期にライブ活動を開始。録音物は'07年までに数作存在するが、現在は沈黙中。 '07年より、十数台のTVを遣いバグノイズを発生させる"DLS"と共に、テクノ〜ノイズまで広範囲の電子音楽をテーマにした"Discord Proving Ground"というイベントを企画・運営している
Daisuke Kitabayashi
www.myspace.com/falteringperformanceband
Daisuke Kitabayashi is a founder of the japanese improvising emsemble Faltering Performance Band (FPB), established in 2008. Already in the late 1990´s Daisuke started experimenting with preparations on the guitar, influenced by the ideas of Keith Rowe. In the beginning of the 2007´s he has been a member of shotahirama's ENG/electronoise group. Since then Daisuke is exclusively playing the "table top guitar" - as a soloist, in FPB and in various other groups.
event information:
Edition NIkO website
shotahirama website
photo by ken hirama
ENG (electronoise group)
Radical free/spontaneous music/art ensemble, The Electronoise Group (ENG) founded in early 2006 by Japanese-American soundArtist, shotahirama. It is a group that are making concrete drone sounds with their free-improv expression and the ideas from "laptop" "noise" and "Art".
Using laptop, tape-operation, and tape-loop, generated guitar, the project ideal is to express the content of various psycho pathological conditions, especially depressive psychosis, and paranoia. And also making an art design, a photomontage with strong attention to Dada and Bauhaus.
shotahirama is a Japanese-American concrete sound artist and also known as a photomontage artist, inspired by Dada and Bauhaus. Most people also know him under the name ENG (electronoise group) or JANDEATH. He uses laptop and sinewave generator, some tape-operation and tape-loops, or some kind of machine, making concrete-noise-drone or a power electronics.
He has been documented on a number of projects, each revealing new facets of his wide-ranging and unique talents on both laptop and tape-operation. He has recorded and performed with Zbigniew Karkowski (mego/subrosa), Toshiji Mikawa (ex-incapacitants, Hijokaidan), ASTRO (Ant-Zen), Adachi Tomomi (Tzadik), Kelly Churko (Canada), Justice Yeldham (Australia) and more...
ダダイズムの既成の秩序や常識に対する、否定、攻撃、破壊といった思想や バウハウスに見られる合理主義的・機能主義的な芸術に強く興味を持ち、 電子機材を用いたノイズコンクレート、持続音響な作品制作、またその演出、表現への応用可能性、方法を探る電子音響グループ、ENG (electronoise group)を２００６年に結成した音響家、shotahirama（平間翔太。1984年アメリカ、ニューヨーク生まれ）。ス ペイン、バルセロナからのアルバムリリースを始めこれまでに２つのオリジナルアルバム（"Barcelona"、"Kollaps"）、４曲の楽曲提供と、そのリリース活動は頻繁である。また坂本龍一 のラジオ番組 J−WAVE「RADIO SAKAMOTO」にてルーマニア人の女性SSW、Monookaとのコラボ曲、"Fruhling"がO.A.された事により実現されたイギリス、ロンドンを中心に行われた"Dada Lives Tour"など、ヨーロッパでのリリースからライブ、サウンドインスタレーションまで精力的な活動を続ける。
２００８年にはshotahirama単独のソロ活動となるJANDEATHを始動。ポーランドのハーシュノイズアーティスト、zbigniew karkowski (mego)や、MERZBOWと共に日本のジャパノイズシーンを牽引するToshiji Mikawa (incapacitants)、ASTRO (Hiroshi Hasegawa)、Adachi Tomomi (Tzadik)、Pain Jerkなどの数々のノイジシャンとのライブを行う。産業主義を連想させる金属音や破壊音的電子音響に、２台のElektronを扱い現代音楽のシンボルであるリズムをクリックならぬポイントに置き換え、複雑なシーケンスに溶け込ませたPointilism Musicを提案する。また自身が開発したプログラムソフト、R systemにてそのリズムストラクチャーが持つミニマリズムをそのまま具象化、映像化するライブもJANDEATHではおなじみの光景である。同じ年、兼ねてから共演を熱望していた東京の最新デジタルクリエーションコレクティブ、SOUPのメインアクト、MICLO DIETとのデュエットとなるMICLODEATHも実現。
Cal Lyall
www.myspace.com/hermetictindrum
Currently active in Japan's free improvisation scene and member of drone-psych trio Tetragrammaton, ecstatic choral unit Jahiliyyah, electro-acoustic duo Missing Man Foundation and avant disco unit FDF (with Kumiko Okamura). Other projects include Golden Parabola, Palimpsest (with Kelly Churko), Auraboris (duo with TOMO from Tetragrammaton), Laptop Orchestra, Aktion Directe (with Akira Yamamichi and Masatsugu Hattori), Nikkasen (with Mitsuru Tabata, Tatsuhisa Yamamoto and Kelly Churko), zycOs (with Masatsugu Hattori, Keigo Iwami, and Kouzou Komori), Electroacoustic Jazz Quartet (with Peter Slade, Akira Yamamichi and Jimanica) while also performing as a solo artist with distinctive artists such as Tetuzi Akiyama, Chie Mukai, L?K?O, Samm Bennett, Coppe', Hideo Ikegami, Yasumune Morishige, Yoshio Otani, Yoshio Machida, Damo Suzuki and many more.
Irregularly manages the Subvalent record label and soundispatch imprint / collective and quite regularly mismanages the monthly event Test Tone at Super Deluxe in Nishi-Azabu (Tokyo).
Taishin Inoue
Is a Japanese sound artist, and he was born in Tokyo on September 21, 1981. He lived in the suburbs in Osaka from 3 years old to 19 years old. Now, he is making an electronic music, movie, drawing, magazine, living in the music studio in koenji Tokyo. And he also organize an electronic music event, "ORASP". It is a coined word which connects the initial of “Organic-Reaction Around Spiral-Process”. Orasp includes the image which organic energy circulates through the inner side and outside of the image space produced from the sequence distribution which whirls spirally. ORASP mainly focus on electronica, IDM, ambient, noise, drone, breakcore, minimal techno, abstract hiphop, sonic dub, contemporary music, an acoustic sound, improvised music, experimental jazz, original musical instrument, band, and DJ perform.
ORASP主宰。東京都在住。ORASPとは“Organic-Reaction Around Spiral-Process”の頭文字を取った造語。 ジャンルという区分を越えて紡がれるその一貫性は革新的フィルターとして空間を彩る。主宰である彼の音はまさに、螺旋状に展開するエネルギー体に他ならず、フロアによる有機反応へと回答を託す。大気の振動を手に取るように操られた音塊は詩的にエモーションを掻き立て、その圧倒的存在感から命の息吹すら香るだろう。好意を具現化したような彼の好奇心は広く深く、ただひたすらにピュアな存在として、電子音楽を中心に、ドローイング、映像など多岐に渡り活動を展開中。
Kelly Churko
Kelly Churko was born in Moose Jaw, Canada in 1977 and has been based in Japan since 2001. In addition to solo performances, he also plays in Hospital (w/ Ben Wilson, Masa Anzai, Chris Kelly), Ossuary (w/ Sotoyama Akira, Ito Keita), Almost Transparent Blue (w/ Masa Anzai, Skye Brooks), AKBK, Guilty Connector, Lethal Firetrap, Palimpsest (w/ Cal Lyall), Nikka-sen (w/ Tabata Mitsuru, Cal Lyall, Yamamoto Tatsuhisa), Toque (w/ Tim Olive), Fujii Satoko Orchestra, etc. He also has collaborated live or on recording with Government Alpha, Astro, Zbigniew Karkowski, Bastard Noise, Ilios, Paal Nilssen-Love, Jason Mears, Harris Eisenstadt, and plays regularly with Japanese improvisers including Tamura Natsuki, Kawai Shinobu, Iwami Keigo, Ikezawa Ryusaku, Kamimura Taiichi, Matsumoto Kenichi, Nakamura Kenji, Ando Akihiko, Saito "Shacho" Ryoichi and more.
Blackphone 666
www.geocities.jp/made_in_nakano/index.html
Using Japanese old school black phone and some other electronics, Blackphone666 makes a power electronics sound and most people known him as a real Japanese harsh noise artist. Since 2007, Blackphone666 established "Discord Proving Ground" with Direct Lightning Stroke (bug-noise artist using TV), mainly focus on actiosnim, electric wave and electricity performing art.
黒電話を配備した"HAZARD TELEPHONE SYSTEM"で多様なノイズエレクトロニクスを実戦する、極電式黒電話六百六十六型。'02年から不定期にライブ活動を開始。録音物は'07年までに数作存在するが、現在は沈黙中。 '07年より、十数台のTVを遣いバグノイズを発生させる"DLS"と共に、テクノ〜ノイズまで広範囲の電子音楽をテーマにした"Discord Proving Ground"というイベントを企画・運営している
Daisuke Kitabayashi
www.myspace.com/falteringperformanceband
Daisuke Kitabayashi is a founder of the japanese improvising emsemble Faltering Performance Band (FPB), established in 2008. Already in the late 1990´s Daisuke started experimenting with preparations on the guitar, influenced by the ideas of Keith Rowe. In the beginning of the 2007´s he has been a member of shotahirama's ENG/electronoise group. Since then Daisuke is exclusively playing the "table top guitar" - as a soloist, in FPB and in various other groups.
event information:
Edition NIkO website
shotahirama website
photo by ken hirama
November 7, 2018 at 7:00pmtil 9:00pm at George Orwell Pub
A curated series of national and international artists’ shorts reflecting the festival theme of Lifespans including future of visions of AR, the start of a revolution, and the future of dance.
Featuring Gina Czarnecki, Jeremy Bailey, Floris Kaayk, Francois Knoetze, Mike Pelletier, Benny Nemerofsky Ramsay, Liat Berdugo and Emily Martinez, Keiichi Matsuda, Bex Ilsley, Mary Maggic Tsang.
Full screening notes:
Gina Czarnecki, Infected (2001) 8 mins.
Infected is a film about the nature of the physical body in the context of future technological possibilities, seen through dance and digitally manipulated imagery. The new bio-engineered body is still an sexual, organic, stark, brutal, pounding system. It is beautiful, repulsive, indulgent, curious, emotional, un/controlled, breeding, changing… Is this a futuristic vision of the human body infiltrated and changed, ‘infected’ by biotechnology? Or is the reverse happening? Is the human body, the warm-blooded body of sinews and emotions, corrupting the ‘pure light’ of technology? Infected features Scottish dance artist, Iona Kewney, and a specially commissioned score by Fennesz.
Floris Kaayk, The Order Electrus (2005) 7 mins. 35 sec.
The Order Electrus is a fictional documentary which shows Floris Kaayk’s imaginary world of industrialised nature, situated in a derelict area of the Ruhr in Germany. Due to overcapacity in production systems, many factories in Germany were forced to close down. Over the course of many years these derelict industrial areas became a breeding ground for an electrical insects species, also called the Order Electrus. These insects evolved through the merging of nature and technology.
Mike Pelletier, Still Life (2017) 4 mins. 7 sec.
“This animation combines my interest of contemporary technological forms with the more classical form of still life painting. What attracts me to still life paintings is how the paintings can study the form of their subject but also reveal much about how they are made. The quality and materiality of paint exist on equal footing with the study of light, color and form. I took inspiration from the term “still life” itself, by focusing on the idea of stillness. I also took inspiration from how the term is expressed in French as “Nature Morte,” which can be literally translated to dead nature. In this animation the stillness, unnaturalness and deadness of these virtual objects becomes the focus of the piece.”
Liat Berdugo and Emily Martinez, Making You (2016) 7 mins. 32 sec.
“Anxious to Make is the collaborative practice of Liat Berdugo and Emily Martinez, two commissioning bodies. Our focus is on the so-called “sharing economy” and the contemporary artists “anxiety to make” in the accelerationist, neoliberal economic landscape. While Anxious to Make’s physical existence takes many shifting forms, it often manifests as a series of video commissions, downloads, online generators, workshops, net art interventions, and sweepstakes. Anxious to Make believes in absurdist extremes as way to examine contemporary realities. Our work has appeared recently in The Wrong Biennale, Transmediale (Berlin, DE), Yerba Buena Center for the Arts, MoMA PS1, V2_ Institute for the Unstable Media, WRO Media Art Biennale and The Luminary (St. Louis, MO).”
Keiichi Matsuda, Hyper-Reality (2016) 6 mins. 15 sec.
Our physical and virtual realities are becoming increasingly intertwined. Technologies such as VR, augmented reality, wearables, and the internet of things are pointing to a world where technology will envelop every aspect of our lives. It will be the glue between every interaction and experience, offering amazing possibilities, while also controlling the way we understand the world. Hyper-Reality attempts to explore this exciting but dangerous trajectory. It was crowdfunded, and shot on location in Medellín, Colombia, and presents a provocative and kaleidoscopic new vision of the future, where physical and virtual realities have merged, and the city is saturated in media. It is the latest work in an ongoing research-by-design project by Keiichi Matsuda.
Francois Knoetze, Core Dump (2018) 11 mins. 45 sec.
Core Dump explores the place of screens in global and localised politics and history, looking specifically at the contradiction of Silicon Valley’s techno-utopianism and its impact on the low-tech manufacturing bases of Africa. The project comprises a series of performances, projection-mapping video installations, and interviews that draw from audiovisual archives, early African cinema and the daily life of the cities of Dakar and Kinshasa. These two cities represent both the origin points of mineral extraction for materials used in the production of technology, and the end points at which certain African countries become dumping grounds for electronic waste from Europe and the USA which is then often repaired, re-purposed and reused. In contrast to the spectacle of technological singularity and the Western myth of progress, Core Dump considers the connections, disruptions and contradictions inherent in these ideas, through conflicting designations of value and waste.
Bex Ilsley, Codex (2016) 3 mins. 30 sec.
Bex Ilsley is an artist based in Coventry. Her practice explores the nature of body and personality in virtual, physical, and psychological spaces. Fantasy, performativity, objecthood and paradox are used as a lens through which to examine the authenticity of these structures. Codex was filmed in April 2016 in Grand Rapids, Michigan, USA, on The Moon, a multidisciplinary arts space. It was produced In collaboration with Los Angeles based videographer Bokeh Monster and INTERSPACE, a student arts organisation from Kendall College of Art and Design. The film is a re-interpretation of a specific illustration from Luigi Serafini’s 1981 book Codex Seraphinianus, updated as a music video for the social media age. Music: King Gizzard & The Lizard Wizard – ‘Work This Time’
Jeremy Bailey, Transhuman Dance Recital (2007) 6 mins. 29 sec.
“From this point forward I dedicate myself to finding better ways for humans to dance.” – Famous New Media Artist Jeremy Bailey
Mary Maggic Tsang, Egstrogen Farms (2015) 1 min.
Egstrogen Farms is a tactical media project that addresses the domestication of women’s reproductive abilities by the biotech industry, including hormonal therapies in the assisted reproductive technology (ART) sector. Presented as a fictional company, a parodic diversion of exchanges between species, Egstrogen Farms markets genetically modified eggs that produce a “cocktail of gonadotropins” to allow women to ovulate as frequently as chickens do. Inspired by the work of collectives such as subRosa or Critical Art Ensemble, Egstrogen Farms delivers a critique on the current commercialization of reproduction and expands the symbol of the egg as a therapeutic, nutritional and reproductive matrix.
Benny Nemerofsky Ramsay, A Short History of My Art Practice (2016) 15 mins. 17 sec.
In answer to the question, what is it that you do? – perennially asked of contemporary artists – Nemerofsky summarises fifteen years of professional practice in fifteen minutes, describing and re-embodying key artworks in his sound- and video-centric work.
Image Credit: Kathryn Rattray Photography
November 7, 2018 at 7:00pmtil 9:00pm at George Orwell Pub
A curated series of national and international artists’ shorts reflecting the festival theme of Lifespans including future of visions of AR, the start of a revolution, and the future of dance.
Featuring Gina Czarnecki, Jeremy Bailey, Floris Kaayk, Francois Knoetze, Mike Pelletier, Benny Nemerofsky Ramsay, Liat Berdugo and Emily Martinez, Keiichi Matsuda, Bex Ilsley, Mary Maggic Tsang.
Full screening notes:
Gina Czarnecki, Infected (2001) 8 mins.
Infected is a film about the nature of the physical body in the context of future technological possibilities, seen through dance and digitally manipulated imagery. The new bio-engineered body is still an sexual, organic, stark, brutal, pounding system. It is beautiful, repulsive, indulgent, curious, emotional, un/controlled, breeding, changing… Is this a futuristic vision of the human body infiltrated and changed, ‘infected’ by biotechnology? Or is the reverse happening? Is the human body, the warm-blooded body of sinews and emotions, corrupting the ‘pure light’ of technology? Infected features Scottish dance artist, Iona Kewney, and a specially commissioned score by Fennesz.
Floris Kaayk, The Order Electrus (2005) 7 mins. 35 sec.
The Order Electrus is a fictional documentary which shows Floris Kaayk’s imaginary world of industrialised nature, situated in a derelict area of the Ruhr in Germany. Due to overcapacity in production systems, many factories in Germany were forced to close down. Over the course of many years these derelict industrial areas became a breeding ground for an electrical insects species, also called the Order Electrus. These insects evolved through the merging of nature and technology.
Mike Pelletier, Still Life (2017) 4 mins. 7 sec.
“This animation combines my interest of contemporary technological forms with the more classical form of still life painting. What attracts me to still life paintings is how the paintings can study the form of their subject but also reveal much about how they are made. The quality and materiality of paint exist on equal footing with the study of light, color and form. I took inspiration from the term “still life” itself, by focusing on the idea of stillness. I also took inspiration from how the term is expressed in French as “Nature Morte,” which can be literally translated to dead nature. In this animation the stillness, unnaturalness and deadness of these virtual objects becomes the focus of the piece.”
Liat Berdugo and Emily Martinez, Making You (2016) 7 mins. 32 sec.
“Anxious to Make is the collaborative practice of Liat Berdugo and Emily Martinez, two commissioning bodies. Our focus is on the so-called “sharing economy” and the contemporary artists “anxiety to make” in the accelerationist, neoliberal economic landscape. While Anxious to Make’s physical existence takes many shifting forms, it often manifests as a series of video commissions, downloads, online generators, workshops, net art interventions, and sweepstakes. Anxious to Make believes in absurdist extremes as way to examine contemporary realities. Our work has appeared recently in The Wrong Biennale, Transmediale (Berlin, DE), Yerba Buena Center for the Arts, MoMA PS1, V2_ Institute for the Unstable Media, WRO Media Art Biennale and The Luminary (St. Louis, MO).”
Keiichi Matsuda, Hyper-Reality (2016) 6 mins. 15 sec.
Our physical and virtual realities are becoming increasingly intertwined. Technologies such as VR, augmented reality, wearables, and the internet of things are pointing to a world where technology will envelop every aspect of our lives. It will be the glue between every interaction and experience, offering amazing possibilities, while also controlling the way we understand the world. Hyper-Reality attempts to explore this exciting but dangerous trajectory. It was crowdfunded, and shot on location in Medellín, Colombia, and presents a provocative and kaleidoscopic new vision of the future, where physical and virtual realities have merged, and the city is saturated in media. It is the latest work in an ongoing research-by-design project by Keiichi Matsuda.
Francois Knoetze, Core Dump (2018) 11 mins. 45 sec.
Core Dump explores the place of screens in global and localised politics and history, looking specifically at the contradiction of Silicon Valley’s techno-utopianism and its impact on the low-tech manufacturing bases of Africa. The project comprises a series of performances, projection-mapping video installations, and interviews that draw from audiovisual archives, early African cinema and the daily life of the cities of Dakar and Kinshasa. These two cities represent both the origin points of mineral extraction for materials used in the production of technology, and the end points at which certain African countries become dumping grounds for electronic waste from Europe and the USA which is then often repaired, re-purposed and reused. In contrast to the spectacle of technological singularity and the Western myth of progress, Core Dump considers the connections, disruptions and contradictions inherent in these ideas, through conflicting designations of value and waste.
Bex Ilsley, Codex (2016) 3 mins. 30 sec.
Bex Ilsley is an artist based in Coventry. Her practice explores the nature of body and personality in virtual, physical, and psychological spaces. Fantasy, performativity, objecthood and paradox are used as a lens through which to examine the authenticity of these structures. Codex was filmed in April 2016 in Grand Rapids, Michigan, USA, on The Moon, a multidisciplinary arts space. It was produced In collaboration with Los Angeles based videographer Bokeh Monster and INTERSPACE, a student arts organisation from Kendall College of Art and Design. The film is a re-interpretation of a specific illustration from Luigi Serafini’s 1981 book Codex Seraphinianus, updated as a music video for the social media age. Music: King Gizzard & The Lizard Wizard – ‘Work This Time’
Jeremy Bailey, Transhuman Dance Recital (2007) 6 mins. 29 sec.
“From this point forward I dedicate myself to finding better ways for humans to dance.” – Famous New Media Artist Jeremy Bailey
Mary Maggic Tsang, Egstrogen Farms (2015) 1 min.
Egstrogen Farms is a tactical media project that addresses the domestication of women’s reproductive abilities by the biotech industry, including hormonal therapies in the assisted reproductive technology (ART) sector. Presented as a fictional company, a parodic diversion of exchanges between species, Egstrogen Farms markets genetically modified eggs that produce a “cocktail of gonadotropins” to allow women to ovulate as frequently as chickens do. Inspired by the work of collectives such as subRosa or Critical Art Ensemble, Egstrogen Farms delivers a critique on the current commercialization of reproduction and expands the symbol of the egg as a therapeutic, nutritional and reproductive matrix.
Benny Nemerofsky Ramsay, A Short History of My Art Practice (2016) 15 mins. 17 sec.
In answer to the question, what is it that you do? – perennially asked of contemporary artists – Nemerofsky summarises fifteen years of professional practice in fifteen minutes, describing and re-embodying key artworks in his sound- and video-centric work.
Image Credit: Kathryn Rattray Photography
«Transonic
Transonic special ElBel’s
Electronic music concerts + debate/round table on running a music label today
+ launch of the platform for the electronic music in Wallonia-Brussels ElBel’s
Transonic is a new series of events launched by Transcultures in collaboration with le manège.mons, devoted to the diversity of electronic cultures mixing concerts, performances, installations and debates. This Transonic event hosted by City Sonic + Cap Sonic will focus on the young electronic music scene and its issues in Wallonia-Brussels; ElBel’s, new platform for the electronic music in Wallonia-Brussels initiated by the Minister of Culture of the French speaking Community of Belgium, Fadila Lanaan, will be launched on this occasion.
18h00 : Debate/round table : Why-how to run a music label when the music industry is collapsing?
With the participation of representatives of various independent labels in Wallonia-Brussels (Vlek, Spank me more, Stilll, Sub Rosa, Transonic label,…) and professionals of the music industry. (moderated by Philippe Franck, coordinator of ElBel’s, director of Transcultures)
20h00 : Three electro concerts made in Wallonia-Brussels
Jerôme Deuson / aMute
Laurent Delforge aka Squeaky Lobster
Gauthier Keyaerts aka the Aktivist»
CitySonic - Festival des Arts Sonores
IN: www.citysonic.be/index.php/en/Categorie-Menu/transonic.html
Round table participants:
- Mediathèque de Mons (Philippe Meunier)
- Vlek Records (Julien Fournier)
- Transcultures (Philippe Frank)
- Spank Me More Records (Cyrille de Haes)
- Transonic Records, ex-SubRosa (Gauthier Keyaerts)
CitySonic
a sound arts festival in Mons, Belgium
Grand Abattoirs, Mons, Belgium, 10/09/2011
ENG (electronoise group)
Radical free/spontaneous music/art ensemble, The Electronoise Group (ENG) founded in early 2006 by Japanese-American soundArtist, shotahirama. It is a group that are making concrete drone sounds with their free-improv expression and the ideas from "laptop" "noise" and "Art".
Using laptop, tape-operation, and tape-loop, generated guitar, the project ideal is to express the content of various psycho pathological conditions, especially depressive psychosis, and paranoia. And also making an art design, a photomontage with strong attention to Dada and Bauhaus.
shotahirama is a Japanese-American concrete sound artist and also known as a photomontage artist, inspired by Dada and Bauhaus. Most people also know him under the name ENG (electronoise group) or JANDEATH. He uses laptop and sinewave generator, some tape-operation and tape-loops, or some kind of machine, making concrete-noise-drone or a power electronics.
He has been documented on a number of projects, each revealing new facets of his wide-ranging and unique talents on both laptop and tape-operation. He has recorded and performed with Zbigniew Karkowski (mego/subrosa), Toshiji Mikawa (ex-incapacitants, Hijokaidan), ASTRO (Ant-Zen), Adachi Tomomi (Tzadik), Kelly Churko (Canada), Justice Yeldham (Australia) and more...
ダダイズムの既成の秩序や常識に対する、否定、攻撃、破壊といった思想や バウハウスに見られる合理主義的・機能主義的な芸術に強く興味を持ち、 電子機材を用いたノイズコンクレート、持続音響な作品制作、またその演出、表現への応用可能性、方法を探る電子音響グループ、ENG (electronoise group)を２００６年に結成した音響家、shotahirama（平間翔太。1984年アメリカ、ニューヨーク生まれ）。ス ペイン、バルセロナからのアルバムリリースを始めこれまでに２つのオリジナルアルバム（"Barcelona"、"Kollaps"）、４曲の楽曲提供と、そのリリース活動は頻繁である。また坂本龍一 のラジオ番組 J−WAVE「RADIO SAKAMOTO」にてルーマニア人の女性SSW、Monookaとのコラボ曲、"Fruhling"がO.A.された事により実現されたイギリス、ロンドンを中心に行われた"Dada Lives Tour"など、ヨーロッパでのリリースからライブ、サウンドインスタレーションまで精力的な活動を続ける。
２００８年にはshotahirama単独のソロ活動となるJANDEATHを始動。ポーランドのハーシュノイズアーティスト、zbigniew karkowski (mego)や、MERZBOWと共に日本のジャパノイズシーンを牽引するToshiji Mikawa (incapacitants)、ASTRO (Hiroshi Hasegawa)、Adachi Tomomi (Tzadik)、Pain Jerkなどの数々のノイジシャンとのライブを行う。産業主義を連想させる金属音や破壊音的電子音響に、２台のElektronを扱い現代音楽のシンボルであるリズムをクリックならぬポイントに置き換え、複雑なシーケンスに溶け込ませたPointilism Musicを提案する。また自身が開発したプログラムソフト、R systemにてそのリズムストラクチャーが持つミニマリズムをそのまま具象化、映像化するライブもJANDEATHではおなじみの光景である。同じ年、兼ねてから共演を熱望していた東京の最新デジタルクリエーションコレクティブ、SOUPのメインアクト、MICLO DIETとのデュエットとなるMICLODEATHも実現。
Cal Lyall
www.myspace.com/hermetictindrum
Currently active in Japan's free improvisation scene and member of drone-psych trio Tetragrammaton, ecstatic choral unit Jahiliyyah, electro-acoustic duo Missing Man Foundation and avant disco unit FDF (with Kumiko Okamura). Other projects include Golden Parabola, Palimpsest (with Kelly Churko), Auraboris (duo with TOMO from Tetragrammaton), Laptop Orchestra, Aktion Directe (with Akira Yamamichi and Masatsugu Hattori), Nikkasen (with Mitsuru Tabata, Tatsuhisa Yamamoto and Kelly Churko), zycOs (with Masatsugu Hattori, Keigo Iwami, and Kouzou Komori), Electroacoustic Jazz Quartet (with Peter Slade, Akira Yamamichi and Jimanica) while also performing as a solo artist with distinctive artists such as Tetuzi Akiyama, Chie Mukai, L?K?O, Samm Bennett, Coppe', Hideo Ikegami, Yasumune Morishige, Yoshio Otani, Yoshio Machida, Damo Suzuki and many more.
Irregularly manages the Subvalent record label and soundispatch imprint / collective and quite regularly mismanages the monthly event Test Tone at Super Deluxe in Nishi-Azabu (Tokyo).
Taishin Inoue
Is a Japanese sound artist, and he was born in Tokyo on September 21, 1981. He lived in the suburbs in Osaka from 3 years old to 19 years old. Now, he is making an electronic music, movie, drawing, magazine, living in the music studio in koenji Tokyo. And he also organize an electronic music event, "ORASP". It is a coined word which connects the initial of “Organic-Reaction Around Spiral-Process”. Orasp includes the image which organic energy circulates through the inner side and outside of the image space produced from the sequence distribution which whirls spirally. ORASP mainly focus on electronica, IDM, ambient, noise, drone, breakcore, minimal techno, abstract hiphop, sonic dub, contemporary music, an acoustic sound, improvised music, experimental jazz, original musical instrument, band, and DJ perform.
ORASP主宰。東京都在住。ORASPとは“Organic-Reaction Around Spiral-Process”の頭文字を取った造語。 ジャンルという区分を越えて紡がれるその一貫性は革新的フィルターとして空間を彩る。主宰である彼の音はまさに、螺旋状に展開するエネルギー体に他ならず、フロアによる有機反応へと回答を託す。大気の振動を手に取るように操られた音塊は詩的にエモーションを掻き立て、その圧倒的存在感から命の息吹すら香るだろう。好意を具現化したような彼の好奇心は広く深く、ただひたすらにピュアな存在として、電子音楽を中心に、ドローイング、映像など多岐に渡り活動を展開中。
Kelly Churko
Kelly Churko was born in Moose Jaw, Canada in 1977 and has been based in Japan since 2001. In addition to solo performances, he also plays in Hospital (w/ Ben Wilson, Masa Anzai, Chris Kelly), Ossuary (w/ Sotoyama Akira, Ito Keita), Almost Transparent Blue (w/ Masa Anzai, Skye Brooks), AKBK, Guilty Connector, Lethal Firetrap, Palimpsest (w/ Cal Lyall), Nikka-sen (w/ Tabata Mitsuru, Cal Lyall, Yamamoto Tatsuhisa), Toque (w/ Tim Olive), Fujii Satoko Orchestra, etc. He also has collaborated live or on recording with Government Alpha, Astro, Zbigniew Karkowski, Bastard Noise, Ilios, Paal Nilssen-Love, Jason Mears, Harris Eisenstadt, and plays regularly with Japanese improvisers including Tamura Natsuki, Kawai Shinobu, Iwami Keigo, Ikezawa Ryusaku, Kamimura Taiichi, Matsumoto Kenichi, Nakamura Kenji, Ando Akihiko, Saito "Shacho" Ryoichi and more.
Blackphone 666
www.geocities.jp/made_in_nakano/index.html
Using Japanese old school black phone and some other electronics, Blackphone666 makes a power electronics sound and most people known him as a real Japanese harsh noise artist. Since 2007, Blackphone666 established "Discord Proving Ground" with Direct Lightning Stroke (bug-noise artist using TV), mainly focus on actiosnim, electric wave and electricity performing art.
黒電話を配備した"HAZARD TELEPHONE SYSTEM"で多様なノイズエレクトロニクスを実戦する、極電式黒電話六百六十六型。'02年から不定期にライブ活動を開始。録音物は'07年までに数作存在するが、現在は沈黙中。 '07年より、十数台のTVを遣いバグノイズを発生させる"DLS"と共に、テクノ〜ノイズまで広範囲の電子音楽をテーマにした"Discord Proving Ground"というイベントを企画・運営している
Daisuke Kitabayashi
www.myspace.com/falteringperformanceband
Daisuke Kitabayashi is a founder of the japanese improvising emsemble Faltering Performance Band (FPB), established in 2008. Already in the late 1990´s Daisuke started experimenting with preparations on the guitar, influenced by the ideas of Keith Rowe. In the beginning of the 2007´s he has been a member of shotahirama's ENG/electronoise group. Since then Daisuke is exclusively playing the "table top guitar" - as a soloist, in FPB and in various other groups.
event information:
Edition NIkO website
shotahirama website
photo by ken hirama
November 7, 2018 at 7:00pmtil 9:00pm at George Orwell Pub
A curated series of national and international artists’ shorts reflecting the festival theme of Lifespans including future of visions of AR, the start of a revolution, and the future of dance.
Featuring Gina Czarnecki, Jeremy Bailey, Floris Kaayk, Francois Knoetze, Mike Pelletier, Benny Nemerofsky Ramsay, Liat Berdugo and Emily Martinez, Keiichi Matsuda, Bex Ilsley, Mary Maggic Tsang.
Full screening notes:
Gina Czarnecki, Infected (2001) 8 mins.
Infected is a film about the nature of the physical body in the context of future technological possibilities, seen through dance and digitally manipulated imagery. The new bio-engineered body is still an sexual, organic, stark, brutal, pounding system. It is beautiful, repulsive, indulgent, curious, emotional, un/controlled, breeding, changing… Is this a futuristic vision of the human body infiltrated and changed, ‘infected’ by biotechnology? Or is the reverse happening? Is the human body, the warm-blooded body of sinews and emotions, corrupting the ‘pure light’ of technology? Infected features Scottish dance artist, Iona Kewney, and a specially commissioned score by Fennesz.
Floris Kaayk, The Order Electrus (2005) 7 mins. 35 sec.
The Order Electrus is a fictional documentary which shows Floris Kaayk’s imaginary world of industrialised nature, situated in a derelict area of the Ruhr in Germany. Due to overcapacity in production systems, many factories in Germany were forced to close down. Over the course of many years these derelict industrial areas became a breeding ground for an electrical insects species, also called the Order Electrus. These insects evolved through the merging of nature and technology.
Mike Pelletier, Still Life (2017) 4 mins. 7 sec.
“This animation combines my interest of contemporary technological forms with the more classical form of still life painting. What attracts me to still life paintings is how the paintings can study the form of their subject but also reveal much about how they are made. The quality and materiality of paint exist on equal footing with the study of light, color and form. I took inspiration from the term “still life” itself, by focusing on the idea of stillness. I also took inspiration from how the term is expressed in French as “Nature Morte,” which can be literally translated to dead nature. In this animation the stillness, unnaturalness and deadness of these virtual objects becomes the focus of the piece.”
Liat Berdugo and Emily Martinez, Making You (2016) 7 mins. 32 sec.
“Anxious to Make is the collaborative practice of Liat Berdugo and Emily Martinez, two commissioning bodies. Our focus is on the so-called “sharing economy” and the contemporary artists “anxiety to make” in the accelerationist, neoliberal economic landscape. While Anxious to Make’s physical existence takes many shifting forms, it often manifests as a series of video commissions, downloads, online generators, workshops, net art interventions, and sweepstakes. Anxious to Make believes in absurdist extremes as way to examine contemporary realities. Our work has appeared recently in The Wrong Biennale, Transmediale (Berlin, DE), Yerba Buena Center for the Arts, MoMA PS1, V2_ Institute for the Unstable Media, WRO Media Art Biennale and The Luminary (St. Louis, MO).”
Keiichi Matsuda, Hyper-Reality (2016) 6 mins. 15 sec.
Our physical and virtual realities are becoming increasingly intertwined. Technologies such as VR, augmented reality, wearables, and the internet of things are pointing to a world where technology will envelop every aspect of our lives. It will be the glue between every interaction and experience, offering amazing possibilities, while also controlling the way we understand the world. Hyper-Reality attempts to explore this exciting but dangerous trajectory. It was crowdfunded, and shot on location in Medellín, Colombia, and presents a provocative and kaleidoscopic new vision of the future, where physical and virtual realities have merged, and the city is saturated in media. It is the latest work in an ongoing research-by-design project by Keiichi Matsuda.
Francois Knoetze, Core Dump (2018) 11 mins. 45 sec.
Core Dump explores the place of screens in global and localised politics and history, looking specifically at the contradiction of Silicon Valley’s techno-utopianism and its impact on the low-tech manufacturing bases of Africa. The project comprises a series of performances, projection-mapping video installations, and interviews that draw from audiovisual archives, early African cinema and the daily life of the cities of Dakar and Kinshasa. These two cities represent both the origin points of mineral extraction for materials used in the production of technology, and the end points at which certain African countries become dumping grounds for electronic waste from Europe and the USA which is then often repaired, re-purposed and reused. In contrast to the spectacle of technological singularity and the Western myth of progress, Core Dump considers the connections, disruptions and contradictions inherent in these ideas, through conflicting designations of value and waste.
Bex Ilsley, Codex (2016) 3 mins. 30 sec.
Bex Ilsley is an artist based in Coventry. Her practice explores the nature of body and personality in virtual, physical, and psychological spaces. Fantasy, performativity, objecthood and paradox are used as a lens through which to examine the authenticity of these structures. Codex was filmed in April 2016 in Grand Rapids, Michigan, USA, on The Moon, a multidisciplinary arts space. It was produced In collaboration with Los Angeles based videographer Bokeh Monster and INTERSPACE, a student arts organisation from Kendall College of Art and Design. The film is a re-interpretation of a specific illustration from Luigi Serafini’s 1981 book Codex Seraphinianus, updated as a music video for the social media age. Music: King Gizzard & The Lizard Wizard – ‘Work This Time’
Jeremy Bailey, Transhuman Dance Recital (2007) 6 mins. 29 sec.
“From this point forward I dedicate myself to finding better ways for humans to dance.” – Famous New Media Artist Jeremy Bailey
Mary Maggic Tsang, Egstrogen Farms (2015) 1 min.
Egstrogen Farms is a tactical media project that addresses the domestication of women’s reproductive abilities by the biotech industry, including hormonal therapies in the assisted reproductive technology (ART) sector. Presented as a fictional company, a parodic diversion of exchanges between species, Egstrogen Farms markets genetically modified eggs that produce a “cocktail of gonadotropins” to allow women to ovulate as frequently as chickens do. Inspired by the work of collectives such as subRosa or Critical Art Ensemble, Egstrogen Farms delivers a critique on the current commercialization of reproduction and expands the symbol of the egg as a therapeutic, nutritional and reproductive matrix.
Benny Nemerofsky Ramsay, A Short History of My Art Practice (2016) 15 mins. 17 sec.
In answer to the question, what is it that you do? – perennially asked of contemporary artists – Nemerofsky summarises fifteen years of professional practice in fifteen minutes, describing and re-embodying key artworks in his sound- and video-centric work.
Image Credit: Kathryn Rattray Photography
November 7, 2018 at 7:00pmtil 9:00pm at George Orwell Pub
A curated series of national and international artists’ shorts reflecting the festival theme of Lifespans including future of visions of AR, the start of a revolution, and the future of dance.
Featuring Gina Czarnecki, Jeremy Bailey, Floris Kaayk, Francois Knoetze, Mike Pelletier, Benny Nemerofsky Ramsay, Liat Berdugo and Emily Martinez, Keiichi Matsuda, Bex Ilsley, Mary Maggic Tsang.
Full screening notes:
Gina Czarnecki, Infected (2001) 8 mins.
Infected is a film about the nature of the physical body in the context of future technological possibilities, seen through dance and digitally manipulated imagery. The new bio-engineered body is still an sexual, organic, stark, brutal, pounding system. It is beautiful, repulsive, indulgent, curious, emotional, un/controlled, breeding, changing… Is this a futuristic vision of the human body infiltrated and changed, ‘infected’ by biotechnology? Or is the reverse happening? Is the human body, the warm-blooded body of sinews and emotions, corrupting the ‘pure light’ of technology? Infected features Scottish dance artist, Iona Kewney, and a specially commissioned score by Fennesz.
Floris Kaayk, The Order Electrus (2005) 7 mins. 35 sec.
The Order Electrus is a fictional documentary which shows Floris Kaayk’s imaginary world of industrialised nature, situated in a derelict area of the Ruhr in Germany. Due to overcapacity in production systems, many factories in Germany were forced to close down. Over the course of many years these derelict industrial areas became a breeding ground for an electrical insects species, also called the Order Electrus. These insects evolved through the merging of nature and technology.
Mike Pelletier, Still Life (2017) 4 mins. 7 sec.
“This animation combines my interest of contemporary technological forms with the more classical form of still life painting. What attracts me to still life paintings is how the paintings can study the form of their subject but also reveal much about how they are made. The quality and materiality of paint exist on equal footing with the study of light, color and form. I took inspiration from the term “still life” itself, by focusing on the idea of stillness. I also took inspiration from how the term is expressed in French as “Nature Morte,” which can be literally translated to dead nature. In this animation the stillness, unnaturalness and deadness of these virtual objects becomes the focus of the piece.”
Liat Berdugo and Emily Martinez, Making You (2016) 7 mins. 32 sec.
“Anxious to Make is the collaborative practice of Liat Berdugo and Emily Martinez, two commissioning bodies. Our focus is on the so-called “sharing economy” and the contemporary artists “anxiety to make” in the accelerationist, neoliberal economic landscape. While Anxious to Make’s physical existence takes many shifting forms, it often manifests as a series of video commissions, downloads, online generators, workshops, net art interventions, and sweepstakes. Anxious to Make believes in absurdist extremes as way to examine contemporary realities. Our work has appeared recently in The Wrong Biennale, Transmediale (Berlin, DE), Yerba Buena Center for the Arts, MoMA PS1, V2_ Institute for the Unstable Media, WRO Media Art Biennale and The Luminary (St. Louis, MO).”
Keiichi Matsuda, Hyper-Reality (2016) 6 mins. 15 sec.
Our physical and virtual realities are becoming increasingly intertwined. Technologies such as VR, augmented reality, wearables, and the internet of things are pointing to a world where technology will envelop every aspect of our lives. It will be the glue between every interaction and experience, offering amazing possibilities, while also controlling the way we understand the world. Hyper-Reality attempts to explore this exciting but dangerous trajectory. It was crowdfunded, and shot on location in Medellín, Colombia, and presents a provocative and kaleidoscopic new vision of the future, where physical and virtual realities have merged, and the city is saturated in media. It is the latest work in an ongoing research-by-design project by Keiichi Matsuda.
Francois Knoetze, Core Dump (2018) 11 mins. 45 sec.
Core Dump explores the place of screens in global and localised politics and history, looking specifically at the contradiction of Silicon Valley’s techno-utopianism and its impact on the low-tech manufacturing bases of Africa. The project comprises a series of performances, projection-mapping video installations, and interviews that draw from audiovisual archives, early African cinema and the daily life of the cities of Dakar and Kinshasa. These two cities represent both the origin points of mineral extraction for materials used in the production of technology, and the end points at which certain African countries become dumping grounds for electronic waste from Europe and the USA which is then often repaired, re-purposed and reused. In contrast to the spectacle of technological singularity and the Western myth of progress, Core Dump considers the connections, disruptions and contradictions inherent in these ideas, through conflicting designations of value and waste.
Bex Ilsley, Codex (2016) 3 mins. 30 sec.
Bex Ilsley is an artist based in Coventry. Her practice explores the nature of body and personality in virtual, physical, and psychological spaces. Fantasy, performativity, objecthood and paradox are used as a lens through which to examine the authenticity of these structures. Codex was filmed in April 2016 in Grand Rapids, Michigan, USA, on The Moon, a multidisciplinary arts space. It was produced In collaboration with Los Angeles based videographer Bokeh Monster and INTERSPACE, a student arts organisation from Kendall College of Art and Design. The film is a re-interpretation of a specific illustration from Luigi Serafini’s 1981 book Codex Seraphinianus, updated as a music video for the social media age. Music: King Gizzard & The Lizard Wizard – ‘Work This Time’
Jeremy Bailey, Transhuman Dance Recital (2007) 6 mins. 29 sec.
“From this point forward I dedicate myself to finding better ways for humans to dance.” – Famous New Media Artist Jeremy Bailey
Mary Maggic Tsang, Egstrogen Farms (2015) 1 min.
Egstrogen Farms is a tactical media project that addresses the domestication of women’s reproductive abilities by the biotech industry, including hormonal therapies in the assisted reproductive technology (ART) sector. Presented as a fictional company, a parodic diversion of exchanges between species, Egstrogen Farms markets genetically modified eggs that produce a “cocktail of gonadotropins” to allow women to ovulate as frequently as chickens do. Inspired by the work of collectives such as subRosa or Critical Art Ensemble, Egstrogen Farms delivers a critique on the current commercialization of reproduction and expands the symbol of the egg as a therapeutic, nutritional and reproductive matrix.
Benny Nemerofsky Ramsay, A Short History of My Art Practice (2016) 15 mins. 17 sec.
In answer to the question, what is it that you do? – perennially asked of contemporary artists – Nemerofsky summarises fifteen years of professional practice in fifteen minutes, describing and re-embodying key artworks in his sound- and video-centric work.
Image Credit: Kathryn Rattray Photography
November 7, 2018 at 7:00pmtil 9:00pm at George Orwell Pub
A curated series of national and international artists’ shorts reflecting the festival theme of Lifespans including future of visions of AR, the start of a revolution, and the future of dance.
Featuring Gina Czarnecki, Jeremy Bailey, Floris Kaayk, Francois Knoetze, Mike Pelletier, Benny Nemerofsky Ramsay, Liat Berdugo and Emily Martinez, Keiichi Matsuda, Bex Ilsley, Mary Maggic Tsang.
Full screening notes:
Gina Czarnecki, Infected (2001) 8 mins.
Infected is a film about the nature of the physical body in the context of future technological possibilities, seen through dance and digitally manipulated imagery. The new bio-engineered body is still an sexual, organic, stark, brutal, pounding system. It is beautiful, repulsive, indulgent, curious, emotional, un/controlled, breeding, changing… Is this a futuristic vision of the human body infiltrated and changed, ‘infected’ by biotechnology? Or is the reverse happening? Is the human body, the warm-blooded body of sinews and emotions, corrupting the ‘pure light’ of technology? Infected features Scottish dance artist, Iona Kewney, and a specially commissioned score by Fennesz.
Floris Kaayk, The Order Electrus (2005) 7 mins. 35 sec.
The Order Electrus is a fictional documentary which shows Floris Kaayk’s imaginary world of industrialised nature, situated in a derelict area of the Ruhr in Germany. Due to overcapacity in production systems, many factories in Germany were forced to close down. Over the course of many years these derelict industrial areas became a breeding ground for an electrical insects species, also called the Order Electrus. These insects evolved through the merging of nature and technology.
Mike Pelletier, Still Life (2017) 4 mins. 7 sec.
“This animation combines my interest of contemporary technological forms with the more classical form of still life painting. What attracts me to still life paintings is how the paintings can study the form of their subject but also reveal much about how they are made. The quality and materiality of paint exist on equal footing with the study of light, color and form. I took inspiration from the term “still life” itself, by focusing on the idea of stillness. I also took inspiration from how the term is expressed in French as “Nature Morte,” which can be literally translated to dead nature. In this animation the stillness, unnaturalness and deadness of these virtual objects becomes the focus of the piece.”
Liat Berdugo and Emily Martinez, Making You (2016) 7 mins. 32 sec.
“Anxious to Make is the collaborative practice of Liat Berdugo and Emily Martinez, two commissioning bodies. Our focus is on the so-called “sharing economy” and the contemporary artists “anxiety to make” in the accelerationist, neoliberal economic landscape. While Anxious to Make’s physical existence takes many shifting forms, it often manifests as a series of video commissions, downloads, online generators, workshops, net art interventions, and sweepstakes. Anxious to Make believes in absurdist extremes as way to examine contemporary realities. Our work has appeared recently in The Wrong Biennale, Transmediale (Berlin, DE), Yerba Buena Center for the Arts, MoMA PS1, V2_ Institute for the Unstable Media, WRO Media Art Biennale and The Luminary (St. Louis, MO).”
Keiichi Matsuda, Hyper-Reality (2016) 6 mins. 15 sec.
Our physical and virtual realities are becoming increasingly intertwined. Technologies such as VR, augmented reality, wearables, and the internet of things are pointing to a world where technology will envelop every aspect of our lives. It will be the glue between every interaction and experience, offering amazing possibilities, while also controlling the way we understand the world. Hyper-Reality attempts to explore this exciting but dangerous trajectory. It was crowdfunded, and shot on location in Medellín, Colombia, and presents a provocative and kaleidoscopic new vision of the future, where physical and virtual realities have merged, and the city is saturated in media. It is the latest work in an ongoing research-by-design project by Keiichi Matsuda.
Francois Knoetze, Core Dump (2018) 11 mins. 45 sec.
Core Dump explores the place of screens in global and localised politics and history, looking specifically at the contradiction of Silicon Valley’s techno-utopianism and its impact on the low-tech manufacturing bases of Africa. The project comprises a series of performances, projection-mapping video installations, and interviews that draw from audiovisual archives, early African cinema and the daily life of the cities of Dakar and Kinshasa. These two cities represent both the origin points of mineral extraction for materials used in the production of technology, and the end points at which certain African countries become dumping grounds for electronic waste from Europe and the USA which is then often repaired, re-purposed and reused. In contrast to the spectacle of technological singularity and the Western myth of progress, Core Dump considers the connections, disruptions and contradictions inherent in these ideas, through conflicting designations of value and waste.
Bex Ilsley, Codex (2016) 3 mins. 30 sec.
Bex Ilsley is an artist based in Coventry. Her practice explores the nature of body and personality in virtual, physical, and psychological spaces. Fantasy, performativity, objecthood and paradox are used as a lens through which to examine the authenticity of these structures. Codex was filmed in April 2016 in Grand Rapids, Michigan, USA, on The Moon, a multidisciplinary arts space. It was produced In collaboration with Los Angeles based videographer Bokeh Monster and INTERSPACE, a student arts organisation from Kendall College of Art and Design. The film is a re-interpretation of a specific illustration from Luigi Serafini’s 1981 book Codex Seraphinianus, updated as a music video for the social media age. Music: King Gizzard & The Lizard Wizard – ‘Work This Time’
Jeremy Bailey, Transhuman Dance Recital (2007) 6 mins. 29 sec.
“From this point forward I dedicate myself to finding better ways for humans to dance.” – Famous New Media Artist Jeremy Bailey
Mary Maggic Tsang, Egstrogen Farms (2015) 1 min.
Egstrogen Farms is a tactical media project that addresses the domestication of women’s reproductive abilities by the biotech industry, including hormonal therapies in the assisted reproductive technology (ART) sector. Presented as a fictional company, a parodic diversion of exchanges between species, Egstrogen Farms markets genetically modified eggs that produce a “cocktail of gonadotropins” to allow women to ovulate as frequently as chickens do. Inspired by the work of collectives such as subRosa or Critical Art Ensemble, Egstrogen Farms delivers a critique on the current commercialization of reproduction and expands the symbol of the egg as a therapeutic, nutritional and reproductive matrix.
Benny Nemerofsky Ramsay, A Short History of My Art Practice (2016) 15 mins. 17 sec.
In answer to the question, what is it that you do? – perennially asked of contemporary artists – Nemerofsky summarises fifteen years of professional practice in fifteen minutes, describing and re-embodying key artworks in his sound- and video-centric work.
Image Credit: Kathryn Rattray Photography
Écouter le podcast "Rectangle Store Day 2015" sur Mixcloud :
www.mixcloud.com/marcwathieu/rectangle-store-day-2015/
Depuis 2014, Rectangle tend son micro aux meilleurs disquaires du royaume et respire pour vous le parfum du vinyle. Quoi de neuf dans nos boutiques ? Que devient le disque ? Commentaires et coups de coeur par des passionnés d’objets sonores identifiés.
Pour ce Rectangle Store Day, neuf disquaires de Wallonie et de Bruxelles nous racontent qui ils sont et nous proposent leur choix musical noir-jaune-rouge, en prélude à notre semaine belge.
Un catalogue de fêlés de musique aux accents magnifiques, avec :
Veals & Geeks | 8A Rue des Grands Carmes 1000 Bruxelles
Carnaby Records | 5 Place Saint Pholien 4020 Liège
Jukebox | 38 Rue Haut Marcelle 5000 Namur
Arlequin | 7 rue du chêne 1000 Bruxelles
Doctor Vinyl | 1 Rue De La Grande Ile 1000 Bruxelles
Établissements Vansippe | 29 Avenue Wanderpepen 7130 Binche
Le Livre aux trésors | 27/A Place Xavier-Neujean 4000 Liège
Imagine | 27 Rue de Marchienne 6000 Charleroi
Lido Music | 45 Rue des Croisiers 5000 Namur
Ce que vous entendrez :
It It Anita : NPR
It It Anita (Honest House, 2014)
Mountain Bike : Cigogne
Mountain Bike (Humpty Dumpty Records, 2014)
Vacation : Vacation Opus II (Live)
Sad Strange Man (Dexon, 1993)
The Kids : No Monarchy
No Monarchy EP (Fontana, 1978)
Pas De Deux : Lits Jumeaux
Cardiocleptomanie (Minimal Wave, 2011)
Vincent Cahay : Générique Du Film
Alleluia (Veals & Geeks Records, 2015)
Typh Barrow : Gangsta's Paradise
Visions (Doo Wap Records, 2014)
Antoine Goudeseune : Come Together
Abbey Road (Autoproduction, 2014)
Digital Dance : Sinking Tanker
Total Erasement (Subrosa, 2014)
Dans le générique de l'émission, les plus cinglés d'entre vous auront peut-être reconnu (outre Mademoiselle Nineteen, la délicieuse speakerine de Radio Rectangle) un montage des titres suivants :
Raxola : Wait For The War | Raxola (Philips, 1978)
MC5 : Rambling Rose | Kick Out The Jams (Elektra, 1969)
MC5 : Kick Out The Jams | Kick Out The Jams (Elektra, 1969)
Ska Cubano : Bembé For Chango | Ska Cubano (Casino Sounds, 2004)
Andy Partridge : The History of Rock'n'Roll | Ambition - The Cherry Red Story Volume One (Cherry Red, 1991)
Bonne écoute !
Crédits : interviews réalisées par Dick Tomasovic (Le livre aux trésors), Laszlo Kovacs (Doctor Vinyl) et Marc Wathieu (Veels & Geeks, Arlequin, Juke Box, Lido Music, Carnaby Records, Imagine, Établissements Vansippe). Montage et réalisation : Marc Wathieu.
November 7, 2018 at 7:00pmtil 9:00pm at George Orwell Pub
A curated series of national and international artists’ shorts reflecting the festival theme of Lifespans including future of visions of AR, the start of a revolution, and the future of dance.
Featuring Gina Czarnecki, Jeremy Bailey, Floris Kaayk, Francois Knoetze, Mike Pelletier, Benny Nemerofsky Ramsay, Liat Berdugo and Emily Martinez, Keiichi Matsuda, Bex Ilsley, Mary Maggic Tsang.
Full screening notes:
Gina Czarnecki, Infected (2001) 8 mins.
Infected is a film about the nature of the physical body in the context of future technological possibilities, seen through dance and digitally manipulated imagery. The new bio-engineered body is still an sexual, organic, stark, brutal, pounding system. It is beautiful, repulsive, indulgent, curious, emotional, un/controlled, breeding, changing… Is this a futuristic vision of the human body infiltrated and changed, ‘infected’ by biotechnology? Or is the reverse happening? Is the human body, the warm-blooded body of sinews and emotions, corrupting the ‘pure light’ of technology? Infected features Scottish dance artist, Iona Kewney, and a specially commissioned score by Fennesz.
Floris Kaayk, The Order Electrus (2005) 7 mins. 35 sec.
The Order Electrus is a fictional documentary which shows Floris Kaayk’s imaginary world of industrialised nature, situated in a derelict area of the Ruhr in Germany. Due to overcapacity in production systems, many factories in Germany were forced to close down. Over the course of many years these derelict industrial areas became a breeding ground for an electrical insects species, also called the Order Electrus. These insects evolved through the merging of nature and technology.
Mike Pelletier, Still Life (2017) 4 mins. 7 sec.
“This animation combines my interest of contemporary technological forms with the more classical form of still life painting. What attracts me to still life paintings is how the paintings can study the form of their subject but also reveal much about how they are made. The quality and materiality of paint exist on equal footing with the study of light, color and form. I took inspiration from the term “still life” itself, by focusing on the idea of stillness. I also took inspiration from how the term is expressed in French as “Nature Morte,” which can be literally translated to dead nature. In this animation the stillness, unnaturalness and deadness of these virtual objects becomes the focus of the piece.”
Liat Berdugo and Emily Martinez, Making You (2016) 7 mins. 32 sec.
“Anxious to Make is the collaborative practice of Liat Berdugo and Emily Martinez, two commissioning bodies. Our focus is on the so-called “sharing economy” and the contemporary artists “anxiety to make” in the accelerationist, neoliberal economic landscape. While Anxious to Make’s physical existence takes many shifting forms, it often manifests as a series of video commissions, downloads, online generators, workshops, net art interventions, and sweepstakes. Anxious to Make believes in absurdist extremes as way to examine contemporary realities. Our work has appeared recently in The Wrong Biennale, Transmediale (Berlin, DE), Yerba Buena Center for the Arts, MoMA PS1, V2_ Institute for the Unstable Media, WRO Media Art Biennale and The Luminary (St. Louis, MO).”
Keiichi Matsuda, Hyper-Reality (2016) 6 mins. 15 sec.
Our physical and virtual realities are becoming increasingly intertwined. Technologies such as VR, augmented reality, wearables, and the internet of things are pointing to a world where technology will envelop every aspect of our lives. It will be the glue between every interaction and experience, offering amazing possibilities, while also controlling the way we understand the world. Hyper-Reality attempts to explore this exciting but dangerous trajectory. It was crowdfunded, and shot on location in Medellín, Colombia, and presents a provocative and kaleidoscopic new vision of the future, where physical and virtual realities have merged, and the city is saturated in media. It is the latest work in an ongoing research-by-design project by Keiichi Matsuda.
Francois Knoetze, Core Dump (2018) 11 mins. 45 sec.
Core Dump explores the place of screens in global and localised politics and history, looking specifically at the contradiction of Silicon Valley’s techno-utopianism and its impact on the low-tech manufacturing bases of Africa. The project comprises a series of performances, projection-mapping video installations, and interviews that draw from audiovisual archives, early African cinema and the daily life of the cities of Dakar and Kinshasa. These two cities represent both the origin points of mineral extraction for materials used in the production of technology, and the end points at which certain African countries become dumping grounds for electronic waste from Europe and the USA which is then often repaired, re-purposed and reused. In contrast to the spectacle of technological singularity and the Western myth of progress, Core Dump considers the connections, disruptions and contradictions inherent in these ideas, through conflicting designations of value and waste.
Bex Ilsley, Codex (2016) 3 mins. 30 sec.
Bex Ilsley is an artist based in Coventry. Her practice explores the nature of body and personality in virtual, physical, and psychological spaces. Fantasy, performativity, objecthood and paradox are used as a lens through which to examine the authenticity of these structures. Codex was filmed in April 2016 in Grand Rapids, Michigan, USA, on The Moon, a multidisciplinary arts space. It was produced In collaboration with Los Angeles based videographer Bokeh Monster and INTERSPACE, a student arts organisation from Kendall College of Art and Design. The film is a re-interpretation of a specific illustration from Luigi Serafini’s 1981 book Codex Seraphinianus, updated as a music video for the social media age. Music: King Gizzard & The Lizard Wizard – ‘Work This Time’
Jeremy Bailey, Transhuman Dance Recital (2007) 6 mins. 29 sec.
“From this point forward I dedicate myself to finding better ways for humans to dance.” – Famous New Media Artist Jeremy Bailey
Mary Maggic Tsang, Egstrogen Farms (2015) 1 min.
Egstrogen Farms is a tactical media project that addresses the domestication of women’s reproductive abilities by the biotech industry, including hormonal therapies in the assisted reproductive technology (ART) sector. Presented as a fictional company, a parodic diversion of exchanges between species, Egstrogen Farms markets genetically modified eggs that produce a “cocktail of gonadotropins” to allow women to ovulate as frequently as chickens do. Inspired by the work of collectives such as subRosa or Critical Art Ensemble, Egstrogen Farms delivers a critique on the current commercialization of reproduction and expands the symbol of the egg as a therapeutic, nutritional and reproductive matrix.
Benny Nemerofsky Ramsay, A Short History of My Art Practice (2016) 15 mins. 17 sec.
In answer to the question, what is it that you do? – perennially asked of contemporary artists – Nemerofsky summarises fifteen years of professional practice in fifteen minutes, describing and re-embodying key artworks in his sound- and video-centric work.
Image Credit: Kathryn Rattray Photography
November 7, 2018 at 7:00pmtil 9:00pm at George Orwell Pub
A curated series of national and international artists’ shorts reflecting the festival theme of Lifespans including future of visions of AR, the start of a revolution, and the future of dance.
Featuring Gina Czarnecki, Jeremy Bailey, Floris Kaayk, Francois Knoetze, Mike Pelletier, Benny Nemerofsky Ramsay, Liat Berdugo and Emily Martinez, Keiichi Matsuda, Bex Ilsley, Mary Maggic Tsang.
Full screening notes:
Gina Czarnecki, Infected (2001) 8 mins.
Infected is a film about the nature of the physical body in the context of future technological possibilities, seen through dance and digitally manipulated imagery. The new bio-engineered body is still an sexual, organic, stark, brutal, pounding system. It is beautiful, repulsive, indulgent, curious, emotional, un/controlled, breeding, changing… Is this a futuristic vision of the human body infiltrated and changed, ‘infected’ by biotechnology? Or is the reverse happening? Is the human body, the warm-blooded body of sinews and emotions, corrupting the ‘pure light’ of technology? Infected features Scottish dance artist, Iona Kewney, and a specially commissioned score by Fennesz.
Floris Kaayk, The Order Electrus (2005) 7 mins. 35 sec.
The Order Electrus is a fictional documentary which shows Floris Kaayk’s imaginary world of industrialised nature, situated in a derelict area of the Ruhr in Germany. Due to overcapacity in production systems, many factories in Germany were forced to close down. Over the course of many years these derelict industrial areas became a breeding ground for an electrical insects species, also called the Order Electrus. These insects evolved through the merging of nature and technology.
Mike Pelletier, Still Life (2017) 4 mins. 7 sec.
“This animation combines my interest of contemporary technological forms with the more classical form of still life painting. What attracts me to still life paintings is how the paintings can study the form of their subject but also reveal much about how they are made. The quality and materiality of paint exist on equal footing with the study of light, color and form. I took inspiration from the term “still life” itself, by focusing on the idea of stillness. I also took inspiration from how the term is expressed in French as “Nature Morte,” which can be literally translated to dead nature. In this animation the stillness, unnaturalness and deadness of these virtual objects becomes the focus of the piece.”
Liat Berdugo and Emily Martinez, Making You (2016) 7 mins. 32 sec.
“Anxious to Make is the collaborative practice of Liat Berdugo and Emily Martinez, two commissioning bodies. Our focus is on the so-called “sharing economy” and the contemporary artists “anxiety to make” in the accelerationist, neoliberal economic landscape. While Anxious to Make’s physical existence takes many shifting forms, it often manifests as a series of video commissions, downloads, online generators, workshops, net art interventions, and sweepstakes. Anxious to Make believes in absurdist extremes as way to examine contemporary realities. Our work has appeared recently in The Wrong Biennale, Transmediale (Berlin, DE), Yerba Buena Center for the Arts, MoMA PS1, V2_ Institute for the Unstable Media, WRO Media Art Biennale and The Luminary (St. Louis, MO).”
Keiichi Matsuda, Hyper-Reality (2016) 6 mins. 15 sec.
Our physical and virtual realities are becoming increasingly intertwined. Technologies such as VR, augmented reality, wearables, and the internet of things are pointing to a world where technology will envelop every aspect of our lives. It will be the glue between every interaction and experience, offering amazing possibilities, while also controlling the way we understand the world. Hyper-Reality attempts to explore this exciting but dangerous trajectory. It was crowdfunded, and shot on location in Medellín, Colombia, and presents a provocative and kaleidoscopic new vision of the future, where physical and virtual realities have merged, and the city is saturated in media. It is the latest work in an ongoing research-by-design project by Keiichi Matsuda.
Francois Knoetze, Core Dump (2018) 11 mins. 45 sec.
Core Dump explores the place of screens in global and localised politics and history, looking specifically at the contradiction of Silicon Valley’s techno-utopianism and its impact on the low-tech manufacturing bases of Africa. The project comprises a series of performances, projection-mapping video installations, and interviews that draw from audiovisual archives, early African cinema and the daily life of the cities of Dakar and Kinshasa. These two cities represent both the origin points of mineral extraction for materials used in the production of technology, and the end points at which certain African countries become dumping grounds for electronic waste from Europe and the USA which is then often repaired, re-purposed and reused. In contrast to the spectacle of technological singularity and the Western myth of progress, Core Dump considers the connections, disruptions and contradictions inherent in these ideas, through conflicting designations of value and waste.
Bex Ilsley, Codex (2016) 3 mins. 30 sec.
Bex Ilsley is an artist based in Coventry. Her practice explores the nature of body and personality in virtual, physical, and psychological spaces. Fantasy, performativity, objecthood and paradox are used as a lens through which to examine the authenticity of these structures. Codex was filmed in April 2016 in Grand Rapids, Michigan, USA, on The Moon, a multidisciplinary arts space. It was produced In collaboration with Los Angeles based videographer Bokeh Monster and INTERSPACE, a student arts organisation from Kendall College of Art and Design. The film is a re-interpretation of a specific illustration from Luigi Serafini’s 1981 book Codex Seraphinianus, updated as a music video for the social media age. Music: King Gizzard & The Lizard Wizard – ‘Work This Time’
Jeremy Bailey, Transhuman Dance Recital (2007) 6 mins. 29 sec.
“From this point forward I dedicate myself to finding better ways for humans to dance.” – Famous New Media Artist Jeremy Bailey
Mary Maggic Tsang, Egstrogen Farms (2015) 1 min.
Egstrogen Farms is a tactical media project that addresses the domestication of women’s reproductive abilities by the biotech industry, including hormonal therapies in the assisted reproductive technology (ART) sector. Presented as a fictional company, a parodic diversion of exchanges between species, Egstrogen Farms markets genetically modified eggs that produce a “cocktail of gonadotropins” to allow women to ovulate as frequently as chickens do. Inspired by the work of collectives such as subRosa or Critical Art Ensemble, Egstrogen Farms delivers a critique on the current commercialization of reproduction and expands the symbol of the egg as a therapeutic, nutritional and reproductive matrix.
Benny Nemerofsky Ramsay, A Short History of My Art Practice (2016) 15 mins. 17 sec.
In answer to the question, what is it that you do? – perennially asked of contemporary artists – Nemerofsky summarises fifteen years of professional practice in fifteen minutes, describing and re-embodying key artworks in his sound- and video-centric work.
Image Credit: Kathryn Rattray Photography
November 7, 2018 at 7:00pmtil 9:00pm at George Orwell Pub
A curated series of national and international artists’ shorts reflecting the festival theme of Lifespans including future of visions of AR, the start of a revolution, and the future of dance.
Featuring Gina Czarnecki, Jeremy Bailey, Floris Kaayk, Francois Knoetze, Mike Pelletier, Benny Nemerofsky Ramsay, Liat Berdugo and Emily Martinez, Keiichi Matsuda, Bex Ilsley, Mary Maggic Tsang.
Full screening notes:
Gina Czarnecki, Infected (2001) 8 mins.
Infected is a film about the nature of the physical body in the context of future technological possibilities, seen through dance and digitally manipulated imagery. The new bio-engineered body is still an sexual, organic, stark, brutal, pounding system. It is beautiful, repulsive, indulgent, curious, emotional, un/controlled, breeding, changing… Is this a futuristic vision of the human body infiltrated and changed, ‘infected’ by biotechnology? Or is the reverse happening? Is the human body, the warm-blooded body of sinews and emotions, corrupting the ‘pure light’ of technology? Infected features Scottish dance artist, Iona Kewney, and a specially commissioned score by Fennesz.
Floris Kaayk, The Order Electrus (2005) 7 mins. 35 sec.
The Order Electrus is a fictional documentary which shows Floris Kaayk’s imaginary world of industrialised nature, situated in a derelict area of the Ruhr in Germany. Due to overcapacity in production systems, many factories in Germany were forced to close down. Over the course of many years these derelict industrial areas became a breeding ground for an electrical insects species, also called the Order Electrus. These insects evolved through the merging of nature and technology.
Mike Pelletier, Still Life (2017) 4 mins. 7 sec.
“This animation combines my interest of contemporary technological forms with the more classical form of still life painting. What attracts me to still life paintings is how the paintings can study the form of their subject but also reveal much about how they are made. The quality and materiality of paint exist on equal footing with the study of light, color and form. I took inspiration from the term “still life” itself, by focusing on the idea of stillness. I also took inspiration from how the term is expressed in French as “Nature Morte,” which can be literally translated to dead nature. In this animation the stillness, unnaturalness and deadness of these virtual objects becomes the focus of the piece.”
Liat Berdugo and Emily Martinez, Making You (2016) 7 mins. 32 sec.
“Anxious to Make is the collaborative practice of Liat Berdugo and Emily Martinez, two commissioning bodies. Our focus is on the so-called “sharing economy” and the contemporary artists “anxiety to make” in the accelerationist, neoliberal economic landscape. While Anxious to Make’s physical existence takes many shifting forms, it often manifests as a series of video commissions, downloads, online generators, workshops, net art interventions, and sweepstakes. Anxious to Make believes in absurdist extremes as way to examine contemporary realities. Our work has appeared recently in The Wrong Biennale, Transmediale (Berlin, DE), Yerba Buena Center for the Arts, MoMA PS1, V2_ Institute for the Unstable Media, WRO Media Art Biennale and The Luminary (St. Louis, MO).”
Keiichi Matsuda, Hyper-Reality (2016) 6 mins. 15 sec.
Our physical and virtual realities are becoming increasingly intertwined. Technologies such as VR, augmented reality, wearables, and the internet of things are pointing to a world where technology will envelop every aspect of our lives. It will be the glue between every interaction and experience, offering amazing possibilities, while also controlling the way we understand the world. Hyper-Reality attempts to explore this exciting but dangerous trajectory. It was crowdfunded, and shot on location in Medellín, Colombia, and presents a provocative and kaleidoscopic new vision of the future, where physical and virtual realities have merged, and the city is saturated in media. It is the latest work in an ongoing research-by-design project by Keiichi Matsuda.
Francois Knoetze, Core Dump (2018) 11 mins. 45 sec.
Core Dump explores the place of screens in global and localised politics and history, looking specifically at the contradiction of Silicon Valley’s techno-utopianism and its impact on the low-tech manufacturing bases of Africa. The project comprises a series of performances, projection-mapping video installations, and interviews that draw from audiovisual archives, early African cinema and the daily life of the cities of Dakar and Kinshasa. These two cities represent both the origin points of mineral extraction for materials used in the production of technology, and the end points at which certain African countries become dumping grounds for electronic waste from Europe and the USA which is then often repaired, re-purposed and reused. In contrast to the spectacle of technological singularity and the Western myth of progress, Core Dump considers the connections, disruptions and contradictions inherent in these ideas, through conflicting designations of value and waste.
Bex Ilsley, Codex (2016) 3 mins. 30 sec.
Bex Ilsley is an artist based in Coventry. Her practice explores the nature of body and personality in virtual, physical, and psychological spaces. Fantasy, performativity, objecthood and paradox are used as a lens through which to examine the authenticity of these structures. Codex was filmed in April 2016 in Grand Rapids, Michigan, USA, on The Moon, a multidisciplinary arts space. It was produced In collaboration with Los Angeles based videographer Bokeh Monster and INTERSPACE, a student arts organisation from Kendall College of Art and Design. The film is a re-interpretation of a specific illustration from Luigi Serafini’s 1981 book Codex Seraphinianus, updated as a music video for the social media age. Music: King Gizzard & The Lizard Wizard – ‘Work This Time’
Jeremy Bailey, Transhuman Dance Recital (2007) 6 mins. 29 sec.
“From this point forward I dedicate myself to finding better ways for humans to dance.” – Famous New Media Artist Jeremy Bailey
Mary Maggic Tsang, Egstrogen Farms (2015) 1 min.
Egstrogen Farms is a tactical media project that addresses the domestication of women’s reproductive abilities by the biotech industry, including hormonal therapies in the assisted reproductive technology (ART) sector. Presented as a fictional company, a parodic diversion of exchanges between species, Egstrogen Farms markets genetically modified eggs that produce a “cocktail of gonadotropins” to allow women to ovulate as frequently as chickens do. Inspired by the work of collectives such as subRosa or Critical Art Ensemble, Egstrogen Farms delivers a critique on the current commercialization of reproduction and expands the symbol of the egg as a therapeutic, nutritional and reproductive matrix.
Benny Nemerofsky Ramsay, A Short History of My Art Practice (2016) 15 mins. 17 sec.
In answer to the question, what is it that you do? – perennially asked of contemporary artists – Nemerofsky summarises fifteen years of professional practice in fifteen minutes, describing and re-embodying key artworks in his sound- and video-centric work.
Image Credit: Kathryn Rattray Photography
«Transonic
Transonic special ElBel’s
Electronic music concerts + debate/round table on running a music label today
+ launch of the platform for the electronic music in Wallonia-Brussels ElBel’s
Transonic is a new series of events launched by Transcultures in collaboration with le manège.mons, devoted to the diversity of electronic cultures mixing concerts, performances, installations and debates. This Transonic event hosted by City Sonic + Cap Sonic will focus on the young electronic music scene and its issues in Wallonia-Brussels; ElBel’s, new platform for the electronic music in Wallonia-Brussels initiated by the Minister of Culture of the French speaking Community of Belgium, Fadila Lanaan, will be launched on this occasion.
18h00 : Debate/round table : Why-how to run a music label when the music industry is collapsing?
With the participation of representatives of various independent labels in Wallonia-Brussels (Vlek, Spank me more, Stilll, Sub Rosa, Transonic label,…) and professionals of the music industry. (moderated by Philippe Franck, coordinator of ElBel’s, director of Transcultures)
20h00 : Three electro concerts made in Wallonia-Brussels
Jerôme Deuson / aMute
Laurent Delforge aka Squeaky Lobster
Gauthier Keyaerts aka the Aktivist»
CitySonic - Festival des Arts Sonores
IN: www.citysonic.be/index.php/en/Categorie-Menu/transonic.html
Round table participants (left to right):
- Mediathèque de Mons (Philippe Meunier)
- Vlek Records (Julien Fournier)
- Transcultures (Philippe Frank)
- Spank Me More Records (Cyrille de Haes)
- Transonic Records, ex-SubRosa (Gauthier Keyaerts)
CitySonic
a sound arts festival in Mons, Belgium
Grand Abattoirs, Mons, Belgium, 10/09/2011
Le 29 novembre 2016 la programmation est officiellement annoncée : Aerosmith, Agnostic Front, Airbourne, Alcest, Alestorm, Alter Bridge, Animals as Leaders, Apocalyptica, Arkhon Infaustus, Autopsy, Avatar, Baroness, Behemoth, Belphegor, Betraying the Martyrs, Beyond Creation, Blood Ceremony, Blue Öyster Cult, Bongripper, Booze & Glory (en), The Bouncing Souls, Bright Curse, Candiria (en), Carcariass, Frank Carter & The Rattlesnakes (en), Chelsea Grin, Clutch, Comeback Kid, Coroner, Corvus Corax, Crippled Black Phoenix (en), Cryptopsy, Crypt Sermon (de), The Damned, The Dead Daisies (en), Deafheaven, Deathcode Society, Decapitated, The Decline!, Deep Purple, Deez Nuts (de), Déluge, DevilDriver, The Devil Wears Prada, Devin Townsend Project, The Dillinger Escape Plan, Dødheimsgard, D.R.I., Electric Wizard, Emperor, Emptiness, Equilibrium, Ereb Altor, Evergrey, Every Time I Die, Exhumed, Five Finger Death Punch, Ghost Bath (de), Ghoul (en), Harm Done, Hate Eternal, Hawkwind, Helmet, Hirax, Igorrr, Ill Niño, In Flames, Inglorious, Insanity Alert, Integrity, Jorn, Komintern Sect, Kreator, Krisiun, Leftöver Crack, Linkin Park, Los Disidentes del Sucio Motel, Marduk, Mars Red Sky, Metal Church, Ministry, Monarque, Monkey3, Monolithe, Monster Magnet, Mortuary, Motionless in White, Myrath, Nails, The New Roses (de), Jared James Nichols (en), Noothgrush (de), Northlane, Nostromo, No Turning Back (de), Obituary, Of Mice & Men, Opeth, Pain of Salvation, Pentagram, Perturbator, Phil Campbell and the Bastard Sons, Powerwolf, Pretty Maids, Primitive Man (de), Primus, Prong, Prophets of Rage, Queensrÿche, Les Ramoneurs de Menhirs[35], Rancid, Ray Brower, Red Fang, Regarde les hommes tomber, Rob Zombie, Sabaton, Sanctuary, Saxon, Scour[Note 1], Seven Sisters of Sleep, SHVPES (en), Sick of Stupidity, Sidilarsen, Skepticism, Skindred, Slayer, Slo Burn, Slydigs, Soilwork, Steel Panther, SubRosa, Suicidal Tendencies, Tagada Jones, Textures, The True Black Dawn, Trapped Under Ice (en), Trap Them (de), Trust, Turisas, Týr, Ufomammut, Ugly Kid Joe, Ultra Vomit, Valkyrja (en), Verbal Razors, Verdun, The Vintage Caravan (en), Vodun, Vortex of End, WAKRAT (en), Wardruna, W.A.S.P., While She Sleeps, Chelsea Wolfe, Wormed (en), Zeke
Philip Glass . Steve Reich . Terry Riley
CD :
Philip Glass . Steve Reich . Terry Riley
Early American Minimalism
Walls Of Sound II
Ulrich Krieger
Sub Rosa
SR218
Produced by Marcus Weibel
Mastered by Thomas Köner
Postcard :
Pantone 218
Dreich
Use Hearing Protection
GMA
November 7, 2018 at 7:00pmtil 9:00pm at George Orwell Pub
A curated series of national and international artists’ shorts reflecting the festival theme of Lifespans including future of visions of AR, the start of a revolution, and the future of dance.
Featuring Gina Czarnecki, Jeremy Bailey, Floris Kaayk, Francois Knoetze, Mike Pelletier, Benny Nemerofsky Ramsay, Liat Berdugo and Emily Martinez, Keiichi Matsuda, Bex Ilsley, Mary Maggic Tsang.
Full screening notes:
Gina Czarnecki, Infected (2001) 8 mins.
Infected is a film about the nature of the physical body in the context of future technological possibilities, seen through dance and digitally manipulated imagery. The new bio-engineered body is still an sexual, organic, stark, brutal, pounding system. It is beautiful, repulsive, indulgent, curious, emotional, un/controlled, breeding, changing… Is this a futuristic vision of the human body infiltrated and changed, ‘infected’ by biotechnology? Or is the reverse happening? Is the human body, the warm-blooded body of sinews and emotions, corrupting the ‘pure light’ of technology? Infected features Scottish dance artist, Iona Kewney, and a specially commissioned score by Fennesz.
Floris Kaayk, The Order Electrus (2005) 7 mins. 35 sec.
The Order Electrus is a fictional documentary which shows Floris Kaayk’s imaginary world of industrialised nature, situated in a derelict area of the Ruhr in Germany. Due to overcapacity in production systems, many factories in Germany were forced to close down. Over the course of many years these derelict industrial areas became a breeding ground for an electrical insects species, also called the Order Electrus. These insects evolved through the merging of nature and technology.
Mike Pelletier, Still Life (2017) 4 mins. 7 sec.
“This animation combines my interest of contemporary technological forms with the more classical form of still life painting. What attracts me to still life paintings is how the paintings can study the form of their subject but also reveal much about how they are made. The quality and materiality of paint exist on equal footing with the study of light, color and form. I took inspiration from the term “still life” itself, by focusing on the idea of stillness. I also took inspiration from how the term is expressed in French as “Nature Morte,” which can be literally translated to dead nature. In this animation the stillness, unnaturalness and deadness of these virtual objects becomes the focus of the piece.”
Liat Berdugo and Emily Martinez, Making You (2016) 7 mins. 32 sec.
“Anxious to Make is the collaborative practice of Liat Berdugo and Emily Martinez, two commissioning bodies. Our focus is on the so-called “sharing economy” and the contemporary artists “anxiety to make” in the accelerationist, neoliberal economic landscape. While Anxious to Make’s physical existence takes many shifting forms, it often manifests as a series of video commissions, downloads, online generators, workshops, net art interventions, and sweepstakes. Anxious to Make believes in absurdist extremes as way to examine contemporary realities. Our work has appeared recently in The Wrong Biennale, Transmediale (Berlin, DE), Yerba Buena Center for the Arts, MoMA PS1, V2_ Institute for the Unstable Media, WRO Media Art Biennale and The Luminary (St. Louis, MO).”
Keiichi Matsuda, Hyper-Reality (2016) 6 mins. 15 sec.
Our physical and virtual realities are becoming increasingly intertwined. Technologies such as VR, augmented reality, wearables, and the internet of things are pointing to a world where technology will envelop every aspect of our lives. It will be the glue between every interaction and experience, offering amazing possibilities, while also controlling the way we understand the world. Hyper-Reality attempts to explore this exciting but dangerous trajectory. It was crowdfunded, and shot on location in Medellín, Colombia, and presents a provocative and kaleidoscopic new vision of the future, where physical and virtual realities have merged, and the city is saturated in media. It is the latest work in an ongoing research-by-design project by Keiichi Matsuda.
Francois Knoetze, Core Dump (2018) 11 mins. 45 sec.
Core Dump explores the place of screens in global and localised politics and history, looking specifically at the contradiction of Silicon Valley’s techno-utopianism and its impact on the low-tech manufacturing bases of Africa. The project comprises a series of performances, projection-mapping video installations, and interviews that draw from audiovisual archives, early African cinema and the daily life of the cities of Dakar and Kinshasa. These two cities represent both the origin points of mineral extraction for materials used in the production of technology, and the end points at which certain African countries become dumping grounds for electronic waste from Europe and the USA which is then often repaired, re-purposed and reused. In contrast to the spectacle of technological singularity and the Western myth of progress, Core Dump considers the connections, disruptions and contradictions inherent in these ideas, through conflicting designations of value and waste.
Bex Ilsley, Codex (2016) 3 mins. 30 sec.
Bex Ilsley is an artist based in Coventry. Her practice explores the nature of body and personality in virtual, physical, and psychological spaces. Fantasy, performativity, objecthood and paradox are used as a lens through which to examine the authenticity of these structures. Codex was filmed in April 2016 in Grand Rapids, Michigan, USA, on The Moon, a multidisciplinary arts space. It was produced In collaboration with Los Angeles based videographer Bokeh Monster and INTERSPACE, a student arts organisation from Kendall College of Art and Design. The film is a re-interpretation of a specific illustration from Luigi Serafini’s 1981 book Codex Seraphinianus, updated as a music video for the social media age. Music: King Gizzard & The Lizard Wizard – ‘Work This Time’
Jeremy Bailey, Transhuman Dance Recital (2007) 6 mins. 29 sec.
“From this point forward I dedicate myself to finding better ways for humans to dance.” – Famous New Media Artist Jeremy Bailey
Mary Maggic Tsang, Egstrogen Farms (2015) 1 min.
Egstrogen Farms is a tactical media project that addresses the domestication of women’s reproductive abilities by the biotech industry, including hormonal therapies in the assisted reproductive technology (ART) sector. Presented as a fictional company, a parodic diversion of exchanges between species, Egstrogen Farms markets genetically modified eggs that produce a “cocktail of gonadotropins” to allow women to ovulate as frequently as chickens do. Inspired by the work of collectives such as subRosa or Critical Art Ensemble, Egstrogen Farms delivers a critique on the current commercialization of reproduction and expands the symbol of the egg as a therapeutic, nutritional and reproductive matrix.
Benny Nemerofsky Ramsay, A Short History of My Art Practice (2016) 15 mins. 17 sec.
In answer to the question, what is it that you do? – perennially asked of contemporary artists – Nemerofsky summarises fifteen years of professional practice in fifteen minutes, describing and re-embodying key artworks in his sound- and video-centric work.
Image Credit: Kathryn Rattray Photography
November 7, 2018 at 7:00pmtil 9:00pm at George Orwell Pub
A curated series of national and international artists’ shorts reflecting the festival theme of Lifespans including future of visions of AR, the start of a revolution, and the future of dance.
Featuring Gina Czarnecki, Jeremy Bailey, Floris Kaayk, Francois Knoetze, Mike Pelletier, Benny Nemerofsky Ramsay, Liat Berdugo and Emily Martinez, Keiichi Matsuda, Bex Ilsley, Mary Maggic Tsang.
Full screening notes:
Gina Czarnecki, Infected (2001) 8 mins.
Infected is a film about the nature of the physical body in the context of future technological possibilities, seen through dance and digitally manipulated imagery. The new bio-engineered body is still an sexual, organic, stark, brutal, pounding system. It is beautiful, repulsive, indulgent, curious, emotional, un/controlled, breeding, changing… Is this a futuristic vision of the human body infiltrated and changed, ‘infected’ by biotechnology? Or is the reverse happening? Is the human body, the warm-blooded body of sinews and emotions, corrupting the ‘pure light’ of technology? Infected features Scottish dance artist, Iona Kewney, and a specially commissioned score by Fennesz.
Floris Kaayk, The Order Electrus (2005) 7 mins. 35 sec.
The Order Electrus is a fictional documentary which shows Floris Kaayk’s imaginary world of industrialised nature, situated in a derelict area of the Ruhr in Germany. Due to overcapacity in production systems, many factories in Germany were forced to close down. Over the course of many years these derelict industrial areas became a breeding ground for an electrical insects species, also called the Order Electrus. These insects evolved through the merging of nature and technology.
Mike Pelletier, Still Life (2017) 4 mins. 7 sec.
“This animation combines my interest of contemporary technological forms with the more classical form of still life painting. What attracts me to still life paintings is how the paintings can study the form of their subject but also reveal much about how they are made. The quality and materiality of paint exist on equal footing with the study of light, color and form. I took inspiration from the term “still life” itself, by focusing on the idea of stillness. I also took inspiration from how the term is expressed in French as “Nature Morte,” which can be literally translated to dead nature. In this animation the stillness, unnaturalness and deadness of these virtual objects becomes the focus of the piece.”
Liat Berdugo and Emily Martinez, Making You (2016) 7 mins. 32 sec.
“Anxious to Make is the collaborative practice of Liat Berdugo and Emily Martinez, two commissioning bodies. Our focus is on the so-called “sharing economy” and the contemporary artists “anxiety to make” in the accelerationist, neoliberal economic landscape. While Anxious to Make’s physical existence takes many shifting forms, it often manifests as a series of video commissions, downloads, online generators, workshops, net art interventions, and sweepstakes. Anxious to Make believes in absurdist extremes as way to examine contemporary realities. Our work has appeared recently in The Wrong Biennale, Transmediale (Berlin, DE), Yerba Buena Center for the Arts, MoMA PS1, V2_ Institute for the Unstable Media, WRO Media Art Biennale and The Luminary (St. Louis, MO).”
Keiichi Matsuda, Hyper-Reality (2016) 6 mins. 15 sec.
Our physical and virtual realities are becoming increasingly intertwined. Technologies such as VR, augmented reality, wearables, and the internet of things are pointing to a world where technology will envelop every aspect of our lives. It will be the glue between every interaction and experience, offering amazing possibilities, while also controlling the way we understand the world. Hyper-Reality attempts to explore this exciting but dangerous trajectory. It was crowdfunded, and shot on location in Medellín, Colombia, and presents a provocative and kaleidoscopic new vision of the future, where physical and virtual realities have merged, and the city is saturated in media. It is the latest work in an ongoing research-by-design project by Keiichi Matsuda.
Francois Knoetze, Core Dump (2018) 11 mins. 45 sec.
Core Dump explores the place of screens in global and localised politics and history, looking specifically at the contradiction of Silicon Valley’s techno-utopianism and its impact on the low-tech manufacturing bases of Africa. The project comprises a series of performances, projection-mapping video installations, and interviews that draw from audiovisual archives, early African cinema and the daily life of the cities of Dakar and Kinshasa. These two cities represent both the origin points of mineral extraction for materials used in the production of technology, and the end points at which certain African countries become dumping grounds for electronic waste from Europe and the USA which is then often repaired, re-purposed and reused. In contrast to the spectacle of technological singularity and the Western myth of progress, Core Dump considers the connections, disruptions and contradictions inherent in these ideas, through conflicting designations of value and waste.
Bex Ilsley, Codex (2016) 3 mins. 30 sec.
Bex Ilsley is an artist based in Coventry. Her practice explores the nature of body and personality in virtual, physical, and psychological spaces. Fantasy, performativity, objecthood and paradox are used as a lens through which to examine the authenticity of these structures. Codex was filmed in April 2016 in Grand Rapids, Michigan, USA, on The Moon, a multidisciplinary arts space. It was produced In collaboration with Los Angeles based videographer Bokeh Monster and INTERSPACE, a student arts organisation from Kendall College of Art and Design. The film is a re-interpretation of a specific illustration from Luigi Serafini’s 1981 book Codex Seraphinianus, updated as a music video for the social media age. Music: King Gizzard & The Lizard Wizard – ‘Work This Time’
Jeremy Bailey, Transhuman Dance Recital (2007) 6 mins. 29 sec.
“From this point forward I dedicate myself to finding better ways for humans to dance.” – Famous New Media Artist Jeremy Bailey
Mary Maggic Tsang, Egstrogen Farms (2015) 1 min.
Egstrogen Farms is a tactical media project that addresses the domestication of women’s reproductive abilities by the biotech industry, including hormonal therapies in the assisted reproductive technology (ART) sector. Presented as a fictional company, a parodic diversion of exchanges between species, Egstrogen Farms markets genetically modified eggs that produce a “cocktail of gonadotropins” to allow women to ovulate as frequently as chickens do. Inspired by the work of collectives such as subRosa or Critical Art Ensemble, Egstrogen Farms delivers a critique on the current commercialization of reproduction and expands the symbol of the egg as a therapeutic, nutritional and reproductive matrix.
Benny Nemerofsky Ramsay, A Short History of My Art Practice (2016) 15 mins. 17 sec.
In answer to the question, what is it that you do? – perennially asked of contemporary artists – Nemerofsky summarises fifteen years of professional practice in fifteen minutes, describing and re-embodying key artworks in his sound- and video-centric work.
Image Credit: Kathryn Rattray Photography
November 7, 2018 at 7:00pmtil 9:00pm at George Orwell Pub
A curated series of national and international artists’ shorts reflecting the festival theme of Lifespans including future of visions of AR, the start of a revolution, and the future of dance.
Featuring Gina Czarnecki, Jeremy Bailey, Floris Kaayk, Francois Knoetze, Mike Pelletier, Benny Nemerofsky Ramsay, Liat Berdugo and Emily Martinez, Keiichi Matsuda, Bex Ilsley, Mary Maggic Tsang.
Full screening notes:
Gina Czarnecki, Infected (2001) 8 mins.
Infected is a film about the nature of the physical body in the context of future technological possibilities, seen through dance and digitally manipulated imagery. The new bio-engineered body is still an sexual, organic, stark, brutal, pounding system. It is beautiful, repulsive, indulgent, curious, emotional, un/controlled, breeding, changing… Is this a futuristic vision of the human body infiltrated and changed, ‘infected’ by biotechnology? Or is the reverse happening? Is the human body, the warm-blooded body of sinews and emotions, corrupting the ‘pure light’ of technology? Infected features Scottish dance artist, Iona Kewney, and a specially commissioned score by Fennesz.
Floris Kaayk, The Order Electrus (2005) 7 mins. 35 sec.
The Order Electrus is a fictional documentary which shows Floris Kaayk’s imaginary world of industrialised nature, situated in a derelict area of the Ruhr in Germany. Due to overcapacity in production systems, many factories in Germany were forced to close down. Over the course of many years these derelict industrial areas became a breeding ground for an electrical insects species, also called the Order Electrus. These insects evolved through the merging of nature and technology.
Mike Pelletier, Still Life (2017) 4 mins. 7 sec.
“This animation combines my interest of contemporary technological forms with the more classical form of still life painting. What attracts me to still life paintings is how the paintings can study the form of their subject but also reveal much about how they are made. The quality and materiality of paint exist on equal footing with the study of light, color and form. I took inspiration from the term “still life” itself, by focusing on the idea of stillness. I also took inspiration from how the term is expressed in French as “Nature Morte,” which can be literally translated to dead nature. In this animation the stillness, unnaturalness and deadness of these virtual objects becomes the focus of the piece.”
Liat Berdugo and Emily Martinez, Making You (2016) 7 mins. 32 sec.
“Anxious to Make is the collaborative practice of Liat Berdugo and Emily Martinez, two commissioning bodies. Our focus is on the so-called “sharing economy” and the contemporary artists “anxiety to make” in the accelerationist, neoliberal economic landscape. While Anxious to Make’s physical existence takes many shifting forms, it often manifests as a series of video commissions, downloads, online generators, workshops, net art interventions, and sweepstakes. Anxious to Make believes in absurdist extremes as way to examine contemporary realities. Our work has appeared recently in The Wrong Biennale, Transmediale (Berlin, DE), Yerba Buena Center for the Arts, MoMA PS1, V2_ Institute for the Unstable Media, WRO Media Art Biennale and The Luminary (St. Louis, MO).”
Keiichi Matsuda, Hyper-Reality (2016) 6 mins. 15 sec.
Our physical and virtual realities are becoming increasingly intertwined. Technologies such as VR, augmented reality, wearables, and the internet of things are pointing to a world where technology will envelop every aspect of our lives. It will be the glue between every interaction and experience, offering amazing possibilities, while also controlling the way we understand the world. Hyper-Reality attempts to explore this exciting but dangerous trajectory. It was crowdfunded, and shot on location in Medellín, Colombia, and presents a provocative and kaleidoscopic new vision of the future, where physical and virtual realities have merged, and the city is saturated in media. It is the latest work in an ongoing research-by-design project by Keiichi Matsuda.
Francois Knoetze, Core Dump (2018) 11 mins. 45 sec.
Core Dump explores the place of screens in global and localised politics and history, looking specifically at the contradiction of Silicon Valley’s techno-utopianism and its impact on the low-tech manufacturing bases of Africa. The project comprises a series of performances, projection-mapping video installations, and interviews that draw from audiovisual archives, early African cinema and the daily life of the cities of Dakar and Kinshasa. These two cities represent both the origin points of mineral extraction for materials used in the production of technology, and the end points at which certain African countries become dumping grounds for electronic waste from Europe and the USA which is then often repaired, re-purposed and reused. In contrast to the spectacle of technological singularity and the Western myth of progress, Core Dump considers the connections, disruptions and contradictions inherent in these ideas, through conflicting designations of value and waste.
Bex Ilsley, Codex (2016) 3 mins. 30 sec.
Bex Ilsley is an artist based in Coventry. Her practice explores the nature of body and personality in virtual, physical, and psychological spaces. Fantasy, performativity, objecthood and paradox are used as a lens through which to examine the authenticity of these structures. Codex was filmed in April 2016 in Grand Rapids, Michigan, USA, on The Moon, a multidisciplinary arts space. It was produced In collaboration with Los Angeles based videographer Bokeh Monster and INTERSPACE, a student arts organisation from Kendall College of Art and Design. The film is a re-interpretation of a specific illustration from Luigi Serafini’s 1981 book Codex Seraphinianus, updated as a music video for the social media age. Music: King Gizzard & The Lizard Wizard – ‘Work This Time’
Jeremy Bailey, Transhuman Dance Recital (2007) 6 mins. 29 sec.
“From this point forward I dedicate myself to finding better ways for humans to dance.” – Famous New Media Artist Jeremy Bailey
Mary Maggic Tsang, Egstrogen Farms (2015) 1 min.
Egstrogen Farms is a tactical media project that addresses the domestication of women’s reproductive abilities by the biotech industry, including hormonal therapies in the assisted reproductive technology (ART) sector. Presented as a fictional company, a parodic diversion of exchanges between species, Egstrogen Farms markets genetically modified eggs that produce a “cocktail of gonadotropins” to allow women to ovulate as frequently as chickens do. Inspired by the work of collectives such as subRosa or Critical Art Ensemble, Egstrogen Farms delivers a critique on the current commercialization of reproduction and expands the symbol of the egg as a therapeutic, nutritional and reproductive matrix.
Benny Nemerofsky Ramsay, A Short History of My Art Practice (2016) 15 mins. 17 sec.
In answer to the question, what is it that you do? – perennially asked of contemporary artists – Nemerofsky summarises fifteen years of professional practice in fifteen minutes, describing and re-embodying key artworks in his sound- and video-centric work.
Image Credit: Kathryn Rattray Photography
Écouter le podcast "Rectangle Store Day 2015" sur Mixcloud :
www.mixcloud.com/marcwathieu/rectangle-store-day-2015/
Depuis 2014, Rectangle tend son micro aux meilleurs disquaires du royaume et respire pour vous le parfum du vinyle. Quoi de neuf dans nos boutiques ? Que devient le disque ? Commentaires et coups de coeur par des passionnés d’objets sonores identifiés.
Pour ce Rectangle Store Day, neuf disquaires de Wallonie et de Bruxelles nous racontent qui ils sont et nous proposent leur choix musical noir-jaune-rouge, en prélude à notre semaine belge.
Un catalogue de fêlés de musique aux accents magnifiques, avec :
Veals & Geeks | 8A Rue des Grands Carmes 1000 Bruxelles
Carnaby Records | 5 Place Saint Pholien 4020 Liège
Jukebox | 38 Rue Haut Marcelle 5000 Namur
Arlequin | 7 rue du chêne 1000 Bruxelles
Doctor Vinyl | 1 Rue De La Grande Ile 1000 Bruxelles
Établissements Vansippe | 29 Avenue Wanderpepen 7130 Binche
Le Livre aux trésors | 27/A Place Xavier-Neujean 4000 Liège
Imagine | 27 Rue de Marchienne 6000 Charleroi
Lido Music | 45 Rue des Croisiers 5000 Namur
Ce que vous entendrez :
It It Anita : NPR
It It Anita (Honest House, 2014)
Mountain Bike : Cigogne
Mountain Bike (Humpty Dumpty Records, 2014)
Vacation : Vacation Opus II (Live)
Sad Strange Man (Dexon, 1993)
The Kids : No Monarchy
No Monarchy EP (Fontana, 1978)
Pas De Deux : Lits Jumeaux
Cardiocleptomanie (Minimal Wave, 2011)
Vincent Cahay : Générique Du Film
Alleluia (Veals & Geeks Records, 2015)
Typh Barrow : Gangsta's Paradise
Visions (Doo Wap Records, 2014)
Antoine Goudeseune : Come Together
Abbey Road (Autoproduction, 2014)
Digital Dance : Sinking Tanker
Total Erasement (Subrosa, 2014)
Dans le générique de l'émission, les plus cinglés d'entre vous auront peut-être reconnu (outre Mademoiselle Nineteen, la délicieuse speakerine de Radio Rectangle) un montage des titres suivants :
Raxola : Wait For The War | Raxola (Philips, 1978)
MC5 : Rambling Rose | Kick Out The Jams (Elektra, 1969)
MC5 : Kick Out The Jams | Kick Out The Jams (Elektra, 1969)
Ska Cubano : Bembé For Chango | Ska Cubano (Casino Sounds, 2004)
Andy Partridge : The History of Rock'n'Roll | Ambition - The Cherry Red Story Volume One (Cherry Red, 1991)
Bonne écoute !
Crédits : interviews réalisées par Dick Tomasovic (Le livre aux trésors), Laszlo Kovacs (Doctor Vinyl) et Marc Wathieu (Veels & Geeks, Arlequin, Juke Box, Lido Music, Carnaby Records, Imagine, Établissements Vansippe). Montage et réalisation : Marc Wathieu.
November 7, 2018 at 7:00pmtil 9:00pm at George Orwell Pub
A curated series of national and international artists’ shorts reflecting the festival theme of Lifespans including future of visions of AR, the start of a revolution, and the future of dance.
Featuring Gina Czarnecki, Jeremy Bailey, Floris Kaayk, Francois Knoetze, Mike Pelletier, Benny Nemerofsky Ramsay, Liat Berdugo and Emily Martinez, Keiichi Matsuda, Bex Ilsley, Mary Maggic Tsang.
Full screening notes:
Gina Czarnecki, Infected (2001) 8 mins.
Infected is a film about the nature of the physical body in the context of future technological possibilities, seen through dance and digitally manipulated imagery. The new bio-engineered body is still an sexual, organic, stark, brutal, pounding system. It is beautiful, repulsive, indulgent, curious, emotional, un/controlled, breeding, changing… Is this a futuristic vision of the human body infiltrated and changed, ‘infected’ by biotechnology? Or is the reverse happening? Is the human body, the warm-blooded body of sinews and emotions, corrupting the ‘pure light’ of technology? Infected features Scottish dance artist, Iona Kewney, and a specially commissioned score by Fennesz.
Floris Kaayk, The Order Electrus (2005) 7 mins. 35 sec.
The Order Electrus is a fictional documentary which shows Floris Kaayk’s imaginary world of industrialised nature, situated in a derelict area of the Ruhr in Germany. Due to overcapacity in production systems, many factories in Germany were forced to close down. Over the course of many years these derelict industrial areas became a breeding ground for an electrical insects species, also called the Order Electrus. These insects evolved through the merging of nature and technology.
Mike Pelletier, Still Life (2017) 4 mins. 7 sec.
“This animation combines my interest of contemporary technological forms with the more classical form of still life painting. What attracts me to still life paintings is how the paintings can study the form of their subject but also reveal much about how they are made. The quality and materiality of paint exist on equal footing with the study of light, color and form. I took inspiration from the term “still life” itself, by focusing on the idea of stillness. I also took inspiration from how the term is expressed in French as “Nature Morte,” which can be literally translated to dead nature. In this animation the stillness, unnaturalness and deadness of these virtual objects becomes the focus of the piece.”
Liat Berdugo and Emily Martinez, Making You (2016) 7 mins. 32 sec.
“Anxious to Make is the collaborative practice of Liat Berdugo and Emily Martinez, two commissioning bodies. Our focus is on the so-called “sharing economy” and the contemporary artists “anxiety to make” in the accelerationist, neoliberal economic landscape. While Anxious to Make’s physical existence takes many shifting forms, it often manifests as a series of video commissions, downloads, online generators, workshops, net art interventions, and sweepstakes. Anxious to Make believes in absurdist extremes as way to examine contemporary realities. Our work has appeared recently in The Wrong Biennale, Transmediale (Berlin, DE), Yerba Buena Center for the Arts, MoMA PS1, V2_ Institute for the Unstable Media, WRO Media Art Biennale and The Luminary (St. Louis, MO).”
Keiichi Matsuda, Hyper-Reality (2016) 6 mins. 15 sec.
Our physical and virtual realities are becoming increasingly intertwined. Technologies such as VR, augmented reality, wearables, and the internet of things are pointing to a world where technology will envelop every aspect of our lives. It will be the glue between every interaction and experience, offering amazing possibilities, while also controlling the way we understand the world. Hyper-Reality attempts to explore this exciting but dangerous trajectory. It was crowdfunded, and shot on location in Medellín, Colombia, and presents a provocative and kaleidoscopic new vision of the future, where physical and virtual realities have merged, and the city is saturated in media. It is the latest work in an ongoing research-by-design project by Keiichi Matsuda.
Francois Knoetze, Core Dump (2018) 11 mins. 45 sec.
Core Dump explores the place of screens in global and localised politics and history, looking specifically at the contradiction of Silicon Valley’s techno-utopianism and its impact on the low-tech manufacturing bases of Africa. The project comprises a series of performances, projection-mapping video installations, and interviews that draw from audiovisual archives, early African cinema and the daily life of the cities of Dakar and Kinshasa. These two cities represent both the origin points of mineral extraction for materials used in the production of technology, and the end points at which certain African countries become dumping grounds for electronic waste from Europe and the USA which is then often repaired, re-purposed and reused. In contrast to the spectacle of technological singularity and the Western myth of progress, Core Dump considers the connections, disruptions and contradictions inherent in these ideas, through conflicting designations of value and waste.
Bex Ilsley, Codex (2016) 3 mins. 30 sec.
Bex Ilsley is an artist based in Coventry. Her practice explores the nature of body and personality in virtual, physical, and psychological spaces. Fantasy, performativity, objecthood and paradox are used as a lens through which to examine the authenticity of these structures. Codex was filmed in April 2016 in Grand Rapids, Michigan, USA, on The Moon, a multidisciplinary arts space. It was produced In collaboration with Los Angeles based videographer Bokeh Monster and INTERSPACE, a student arts organisation from Kendall College of Art and Design. The film is a re-interpretation of a specific illustration from Luigi Serafini’s 1981 book Codex Seraphinianus, updated as a music video for the social media age. Music: King Gizzard & The Lizard Wizard – ‘Work This Time’
Jeremy Bailey, Transhuman Dance Recital (2007) 6 mins. 29 sec.
“From this point forward I dedicate myself to finding better ways for humans to dance.” – Famous New Media Artist Jeremy Bailey
Mary Maggic Tsang, Egstrogen Farms (2015) 1 min.
Egstrogen Farms is a tactical media project that addresses the domestication of women’s reproductive abilities by the biotech industry, including hormonal therapies in the assisted reproductive technology (ART) sector. Presented as a fictional company, a parodic diversion of exchanges between species, Egstrogen Farms markets genetically modified eggs that produce a “cocktail of gonadotropins” to allow women to ovulate as frequently as chickens do. Inspired by the work of collectives such as subRosa or Critical Art Ensemble, Egstrogen Farms delivers a critique on the current commercialization of reproduction and expands the symbol of the egg as a therapeutic, nutritional and reproductive matrix.
Benny Nemerofsky Ramsay, A Short History of My Art Practice (2016) 15 mins. 17 sec.
In answer to the question, what is it that you do? – perennially asked of contemporary artists – Nemerofsky summarises fifteen years of professional practice in fifteen minutes, describing and re-embodying key artworks in his sound- and video-centric work.
Image Credit: Kathryn Rattray Photography
Écouter le podcast "Rectangle Store Day 2015" sur Mixcloud :
www.mixcloud.com/marcwathieu/rectangle-store-day-2015/
Depuis 2014, Rectangle tend son micro aux meilleurs disquaires du royaume et respire pour vous le parfum du vinyle. Quoi de neuf dans nos boutiques ? Que devient le disque ? Commentaires et coups de coeur par des passionnés d’objets sonores identifiés.
Pour ce Rectangle Store Day, neuf disquaires de Wallonie et de Bruxelles nous racontent qui ils sont et nous proposent leur choix musical noir-jaune-rouge, en prélude à notre semaine belge.
Un catalogue de fêlés de musique aux accents magnifiques, avec :
Veals & Geeks | 8A Rue des Grands Carmes 1000 Bruxelles
Carnaby Records | 5 Place Saint Pholien 4020 Liège
Jukebox | 38 Rue Haut Marcelle 5000 Namur
Arlequin | 7 rue du chêne 1000 Bruxelles
Doctor Vinyl | 1 Rue De La Grande Ile 1000 Bruxelles
Établissements Vansippe | 29 Avenue Wanderpepen 7130 Binche
Le Livre aux trésors | 27/A Place Xavier-Neujean 4000 Liège
Imagine | 27 Rue de Marchienne 6000 Charleroi
Lido Music | 45 Rue des Croisiers 5000 Namur
Ce que vous entendrez :
It It Anita : NPR
It It Anita (Honest House, 2014)
Mountain Bike : Cigogne
Mountain Bike (Humpty Dumpty Records, 2014)
Vacation : Vacation Opus II (Live)
Sad Strange Man (Dexon, 1993)
The Kids : No Monarchy
No Monarchy EP (Fontana, 1978)
Pas De Deux : Lits Jumeaux
Cardiocleptomanie (Minimal Wave, 2011)
Vincent Cahay : Générique Du Film
Alleluia (Veals & Geeks Records, 2015)
Typh Barrow : Gangsta's Paradise
Visions (Doo Wap Records, 2014)
Antoine Goudeseune : Come Together
Abbey Road (Autoproduction, 2014)
Digital Dance : Sinking Tanker
Total Erasement (Subrosa, 2014)
Dans le générique de l'émission, les plus cinglés d'entre vous auront peut-être reconnu (outre Mademoiselle Nineteen, la délicieuse speakerine de Radio Rectangle) un montage des titres suivants :
Raxola : Wait For The War | Raxola (Philips, 1978)
MC5 : Rambling Rose | Kick Out The Jams (Elektra, 1969)
MC5 : Kick Out The Jams | Kick Out The Jams (Elektra, 1969)
Ska Cubano : Bembé For Chango | Ska Cubano (Casino Sounds, 2004)
Andy Partridge : The History of Rock'n'Roll | Ambition - The Cherry Red Story Volume One (Cherry Red, 1991)
Bonne écoute !
Crédits : interviews réalisées par Dick Tomasovic (Le livre aux trésors), Laszlo Kovacs (Doctor Vinyl) et Marc Wathieu (Veels & Geeks, Arlequin, Juke Box, Lido Music, Carnaby Records, Imagine, Établissements Vansippe). Montage et réalisation : Marc Wathieu.
November 7, 2018 at 7:00pmtil 9:00pm at George Orwell Pub
A curated series of national and international artists’ shorts reflecting the festival theme of Lifespans including future of visions of AR, the start of a revolution, and the future of dance.
Featuring Gina Czarnecki, Jeremy Bailey, Floris Kaayk, Francois Knoetze, Mike Pelletier, Benny Nemerofsky Ramsay, Liat Berdugo and Emily Martinez, Keiichi Matsuda, Bex Ilsley, Mary Maggic Tsang.
Full screening notes:
Gina Czarnecki, Infected (2001) 8 mins.
Infected is a film about the nature of the physical body in the context of future technological possibilities, seen through dance and digitally manipulated imagery. The new bio-engineered body is still an sexual, organic, stark, brutal, pounding system. It is beautiful, repulsive, indulgent, curious, emotional, un/controlled, breeding, changing… Is this a futuristic vision of the human body infiltrated and changed, ‘infected’ by biotechnology? Or is the reverse happening? Is the human body, the warm-blooded body of sinews and emotions, corrupting the ‘pure light’ of technology? Infected features Scottish dance artist, Iona Kewney, and a specially commissioned score by Fennesz.
Floris Kaayk, The Order Electrus (2005) 7 mins. 35 sec.
The Order Electrus is a fictional documentary which shows Floris Kaayk’s imaginary world of industrialised nature, situated in a derelict area of the Ruhr in Germany. Due to overcapacity in production systems, many factories in Germany were forced to close down. Over the course of many years these derelict industrial areas became a breeding ground for an electrical insects species, also called the Order Electrus. These insects evolved through the merging of nature and technology.
Mike Pelletier, Still Life (2017) 4 mins. 7 sec.
“This animation combines my interest of contemporary technological forms with the more classical form of still life painting. What attracts me to still life paintings is how the paintings can study the form of their subject but also reveal much about how they are made. The quality and materiality of paint exist on equal footing with the study of light, color and form. I took inspiration from the term “still life” itself, by focusing on the idea of stillness. I also took inspiration from how the term is expressed in French as “Nature Morte,” which can be literally translated to dead nature. In this animation the stillness, unnaturalness and deadness of these virtual objects becomes the focus of the piece.”
Liat Berdugo and Emily Martinez, Making You (2016) 7 mins. 32 sec.
“Anxious to Make is the collaborative practice of Liat Berdugo and Emily Martinez, two commissioning bodies. Our focus is on the so-called “sharing economy” and the contemporary artists “anxiety to make” in the accelerationist, neoliberal economic landscape. While Anxious to Make’s physical existence takes many shifting forms, it often manifests as a series of video commissions, downloads, online generators, workshops, net art interventions, and sweepstakes. Anxious to Make believes in absurdist extremes as way to examine contemporary realities. Our work has appeared recently in The Wrong Biennale, Transmediale (Berlin, DE), Yerba Buena Center for the Arts, MoMA PS1, V2_ Institute for the Unstable Media, WRO Media Art Biennale and The Luminary (St. Louis, MO).”
Keiichi Matsuda, Hyper-Reality (2016) 6 mins. 15 sec.
Our physical and virtual realities are becoming increasingly intertwined. Technologies such as VR, augmented reality, wearables, and the internet of things are pointing to a world where technology will envelop every aspect of our lives. It will be the glue between every interaction and experience, offering amazing possibilities, while also controlling the way we understand the world. Hyper-Reality attempts to explore this exciting but dangerous trajectory. It was crowdfunded, and shot on location in Medellín, Colombia, and presents a provocative and kaleidoscopic new vision of the future, where physical and virtual realities have merged, and the city is saturated in media. It is the latest work in an ongoing research-by-design project by Keiichi Matsuda.
Francois Knoetze, Core Dump (2018) 11 mins. 45 sec.
Core Dump explores the place of screens in global and localised politics and history, looking specifically at the contradiction of Silicon Valley’s techno-utopianism and its impact on the low-tech manufacturing bases of Africa. The project comprises a series of performances, projection-mapping video installations, and interviews that draw from audiovisual archives, early African cinema and the daily life of the cities of Dakar and Kinshasa. These two cities represent both the origin points of mineral extraction for materials used in the production of technology, and the end points at which certain African countries become dumping grounds for electronic waste from Europe and the USA which is then often repaired, re-purposed and reused. In contrast to the spectacle of technological singularity and the Western myth of progress, Core Dump considers the connections, disruptions and contradictions inherent in these ideas, through conflicting designations of value and waste.
Bex Ilsley, Codex (2016) 3 mins. 30 sec.
Bex Ilsley is an artist based in Coventry. Her practice explores the nature of body and personality in virtual, physical, and psychological spaces. Fantasy, performativity, objecthood and paradox are used as a lens through which to examine the authenticity of these structures. Codex was filmed in April 2016 in Grand Rapids, Michigan, USA, on The Moon, a multidisciplinary arts space. It was produced In collaboration with Los Angeles based videographer Bokeh Monster and INTERSPACE, a student arts organisation from Kendall College of Art and Design. The film is a re-interpretation of a specific illustration from Luigi Serafini’s 1981 book Codex Seraphinianus, updated as a music video for the social media age. Music: King Gizzard & The Lizard Wizard – ‘Work This Time’
Jeremy Bailey, Transhuman Dance Recital (2007) 6 mins. 29 sec.
“From this point forward I dedicate myself to finding better ways for humans to dance.” – Famous New Media Artist Jeremy Bailey
Mary Maggic Tsang, Egstrogen Farms (2015) 1 min.
Egstrogen Farms is a tactical media project that addresses the domestication of women’s reproductive abilities by the biotech industry, including hormonal therapies in the assisted reproductive technology (ART) sector. Presented as a fictional company, a parodic diversion of exchanges between species, Egstrogen Farms markets genetically modified eggs that produce a “cocktail of gonadotropins” to allow women to ovulate as frequently as chickens do. Inspired by the work of collectives such as subRosa or Critical Art Ensemble, Egstrogen Farms delivers a critique on the current commercialization of reproduction and expands the symbol of the egg as a therapeutic, nutritional and reproductive matrix.
Benny Nemerofsky Ramsay, A Short History of My Art Practice (2016) 15 mins. 17 sec.
In answer to the question, what is it that you do? – perennially asked of contemporary artists – Nemerofsky summarises fifteen years of professional practice in fifteen minutes, describing and re-embodying key artworks in his sound- and video-centric work.
Image Credit: Kathryn Rattray Photography
Folds And Rhizomes For Gilles Deleuze
CD :
Mouse On Mars . Scanner . Oval . Main . Tobias Hazan + David Shea
Folds And Rhizomes For Gilles Deleuze
Utopian Diaries
Sub Rosa
SR99
Postcard :
Gilles Deleuze
Félix Guattari
Mille Plateaux
Collection 'Critique'
Les Éditions De Minuit
1980
Use Hearing Protection
GMA
08.04.-11.04.2015 Doom Over Leipzig V w/ Acid Witch, Amenra, Botanist, Eagle Twin, Floor, Helms Alee, Kayo Dot, Minsk, Monarch!, Russian Circles, SubRosa, Tombstones, Uzala, Year Of No Light
11.04. 2015 w/ SubRosa, Monarch!, Year Of No Light, Amenra
Pics: Alexander Klich
Please do not use without permission
WASHINGTON, DC: SubRosa opens for Boris at the 9:30 Club. Saturday, August 2, 2014. © Brandon Wu / for WAMU 88.5's Bandwidth.
08.04.-11.04.2015 Doom Over Leipzig V w/ Acid Witch, Amenra, Botanist, Eagle Twin, Floor, Helms Alee, Kayo Dot, Minsk, Monarch!, Russian Circles, SubRosa, Tombstones, Uzala, Year Of No Light
11.04. 2015 w/ SubRosa, Monarch!, Year Of No Light, Amenra
Pics: Alexander Klich
Please do not use without permission
November 7, 2018 at 7:00pmtil 9:00pm at George Orwell Pub
A curated series of national and international artists’ shorts reflecting the festival theme of Lifespans including future of visions of AR, the start of a revolution, and the future of dance.
Featuring Gina Czarnecki, Jeremy Bailey, Floris Kaayk, Francois Knoetze, Mike Pelletier, Benny Nemerofsky Ramsay, Liat Berdugo and Emily Martinez, Keiichi Matsuda, Bex Ilsley, Mary Maggic Tsang.
Full screening notes:
Gina Czarnecki, Infected (2001) 8 mins.
Infected is a film about the nature of the physical body in the context of future technological possibilities, seen through dance and digitally manipulated imagery. The new bio-engineered body is still an sexual, organic, stark, brutal, pounding system. It is beautiful, repulsive, indulgent, curious, emotional, un/controlled, breeding, changing… Is this a futuristic vision of the human body infiltrated and changed, ‘infected’ by biotechnology? Or is the reverse happening? Is the human body, the warm-blooded body of sinews and emotions, corrupting the ‘pure light’ of technology? Infected features Scottish dance artist, Iona Kewney, and a specially commissioned score by Fennesz.
Floris Kaayk, The Order Electrus (2005) 7 mins. 35 sec.
The Order Electrus is a fictional documentary which shows Floris Kaayk’s imaginary world of industrialised nature, situated in a derelict area of the Ruhr in Germany. Due to overcapacity in production systems, many factories in Germany were forced to close down. Over the course of many years these derelict industrial areas became a breeding ground for an electrical insects species, also called the Order Electrus. These insects evolved through the merging of nature and technology.
Mike Pelletier, Still Life (2017) 4 mins. 7 sec.
“This animation combines my interest of contemporary technological forms with the more classical form of still life painting. What attracts me to still life paintings is how the paintings can study the form of their subject but also reveal much about how they are made. The quality and materiality of paint exist on equal footing with the study of light, color and form. I took inspiration from the term “still life” itself, by focusing on the idea of stillness. I also took inspiration from how the term is expressed in French as “Nature Morte,” which can be literally translated to dead nature. In this animation the stillness, unnaturalness and deadness of these virtual objects becomes the focus of the piece.”
Liat Berdugo and Emily Martinez, Making You (2016) 7 mins. 32 sec.
“Anxious to Make is the collaborative practice of Liat Berdugo and Emily Martinez, two commissioning bodies. Our focus is on the so-called “sharing economy” and the contemporary artists “anxiety to make” in the accelerationist, neoliberal economic landscape. While Anxious to Make’s physical existence takes many shifting forms, it often manifests as a series of video commissions, downloads, online generators, workshops, net art interventions, and sweepstakes. Anxious to Make believes in absurdist extremes as way to examine contemporary realities. Our work has appeared recently in The Wrong Biennale, Transmediale (Berlin, DE), Yerba Buena Center for the Arts, MoMA PS1, V2_ Institute for the Unstable Media, WRO Media Art Biennale and The Luminary (St. Louis, MO).”
Keiichi Matsuda, Hyper-Reality (2016) 6 mins. 15 sec.
Our physical and virtual realities are becoming increasingly intertwined. Technologies such as VR, augmented reality, wearables, and the internet of things are pointing to a world where technology will envelop every aspect of our lives. It will be the glue between every interaction and experience, offering amazing possibilities, while also controlling the way we understand the world. Hyper-Reality attempts to explore this exciting but dangerous trajectory. It was crowdfunded, and shot on location in Medellín, Colombia, and presents a provocative and kaleidoscopic new vision of the future, where physical and virtual realities have merged, and the city is saturated in media. It is the latest work in an ongoing research-by-design project by Keiichi Matsuda.
Francois Knoetze, Core Dump (2018) 11 mins. 45 sec.
Core Dump explores the place of screens in global and localised politics and history, looking specifically at the contradiction of Silicon Valley’s techno-utopianism and its impact on the low-tech manufacturing bases of Africa. The project comprises a series of performances, projection-mapping video installations, and interviews that draw from audiovisual archives, early African cinema and the daily life of the cities of Dakar and Kinshasa. These two cities represent both the origin points of mineral extraction for materials used in the production of technology, and the end points at which certain African countries become dumping grounds for electronic waste from Europe and the USA which is then often repaired, re-purposed and reused. In contrast to the spectacle of technological singularity and the Western myth of progress, Core Dump considers the connections, disruptions and contradictions inherent in these ideas, through conflicting designations of value and waste.
Bex Ilsley, Codex (2016) 3 mins. 30 sec.
Bex Ilsley is an artist based in Coventry. Her practice explores the nature of body and personality in virtual, physical, and psychological spaces. Fantasy, performativity, objecthood and paradox are used as a lens through which to examine the authenticity of these structures. Codex was filmed in April 2016 in Grand Rapids, Michigan, USA, on The Moon, a multidisciplinary arts space. It was produced In collaboration with Los Angeles based videographer Bokeh Monster and INTERSPACE, a student arts organisation from Kendall College of Art and Design. The film is a re-interpretation of a specific illustration from Luigi Serafini’s 1981 book Codex Seraphinianus, updated as a music video for the social media age. Music: King Gizzard & The Lizard Wizard – ‘Work This Time’
Jeremy Bailey, Transhuman Dance Recital (2007) 6 mins. 29 sec.
“From this point forward I dedicate myself to finding better ways for humans to dance.” – Famous New Media Artist Jeremy Bailey
Mary Maggic Tsang, Egstrogen Farms (2015) 1 min.
Egstrogen Farms is a tactical media project that addresses the domestication of women’s reproductive abilities by the biotech industry, including hormonal therapies in the assisted reproductive technology (ART) sector. Presented as a fictional company, a parodic diversion of exchanges between species, Egstrogen Farms markets genetically modified eggs that produce a “cocktail of gonadotropins” to allow women to ovulate as frequently as chickens do. Inspired by the work of collectives such as subRosa or Critical Art Ensemble, Egstrogen Farms delivers a critique on the current commercialization of reproduction and expands the symbol of the egg as a therapeutic, nutritional and reproductive matrix.
Benny Nemerofsky Ramsay, A Short History of My Art Practice (2016) 15 mins. 17 sec.
In answer to the question, what is it that you do? – perennially asked of contemporary artists – Nemerofsky summarises fifteen years of professional practice in fifteen minutes, describing and re-embodying key artworks in his sound- and video-centric work.
Image Credit: Kathryn Rattray Photography
One of the highlights of 2011 was a tour of the East Coast Tour with Osos do Banquette and Subrosa, 2 bands from Brazil that started in Florida and worked their way up through New York, Pennsylvania, New Jersey and Boston, MA.
ISO 1600, cloudy
Rote Rose Waldhausen
-
iA - intelligente Automatik ~ means "Easy Mode" with automatic senery recognition
Focal Length (35mm format) - 25 mm
-->> Click , click
© View LARGE on BLACK
or white, or grey
__ For your Eyes only ©
°°°
define: rosa, altrosa, old pink
altrosa, ein stärker gebrochenes Rosa, ein Rosaton, der leichte Grautöne hat.
antique pink,dusky pink, old pink
Symbolische Bedeutung: rosa Rose, rosarote Brille, think pink, Optimismus
Die Nuance „rosa“ gehört zum Purpur, es werden L- als auch die S-Zapfen erregt. Durch den hellen Ton sind auch M-Zapfen erregt. Die Komplementärfarbe ist ein frühlingshaftes Grün.
Der Farbton wird im Sinne von ‚optimistisch, erfreulich, positiv‘ genutzt, diese Deutung geht auf rosig beziehungsweise rosarot zurück.
Wendungen mit dieser Bedeutung sind „rosige Zeiten“, „ihm geht es nicht gerade rosig“ oder „alles durch eine rosa(rote) Brille sehen“. Der Übergang dieser Bedeutung von rosig auf den Farbton rosa ist vollzogen.
Rosa-liebende Menschen empfinden sich selbst als sanft und zart, und wünschen sich von anderen Schutz und Zuwendung. Man sagt ihnen einen Hang zu Kitsch nach.
sanft, ansprechbar, zugänglich, zurückhaltend
Schutzbedürftig
Rosa ist das Symbol für die Sanftheit.
Wer Rosa liebt, empfindet sich selbst als zart, wünscht sich von anderen Schutz und Zuwendung.
www.lebendigsein.de/psychologie/bedeutung-der-farben/
Aber: sub rosa
Latin, literally: under the rose; from the rose that, in ancient times, was hung over the council table, as a token of secrecy
= in secret, secretly, behind closed doors, in camera, in strict confidence,confidentially; privately.
These were conspiratorial times and what was spoken " sub rosa ", under the sign of the rose, was a secret.
Times, Sunday Times (2002)
lateinisch; »unter der Rose« (dem Sinnbild der Verschwiegenheit)
unter dem Siegel der Verschwiegenheit, im Vertrauen
Schon die alten Römer hängten bei geheimen Besprechungen eine Rose an die Decke, damit die Anwesenden über das Gesagte schwiegen.
Der Begriff basiert auf der Erzählung, dass Cupido dem Harpocrates, dem Gott der Verschwiegenheit, Rosen sandte und ihn darum bat, die Liebesaffäre seiner Mutter Venus geheim zu halten. Seit dem Mittelalter werden Beichtstühle aus demselben Grund mit geschnitzten Rosen verziert.
Lido Music (Isabelle Morimont), Namur, Belgium.
Écouter le podcast "Rectangle Store Day 2015" sur Mixcloud :
www.mixcloud.com/marcwathieu/rectangle-store-day-2015/
Depuis 2014, Rectangle tend son micro aux meilleurs disquaires du royaume et respire pour vous le parfum du vinyle. Quoi de neuf dans nos boutiques ? Que devient le disque ? Commentaires et coups de coeur par des passionnés d’objets sonores identifiés.
Pour ce Rectangle Store Day, neuf disquaires de Wallonie et de Bruxelles nous racontent qui ils sont et nous proposent leur choix musical noir-jaune-rouge, en prélude à notre semaine belge.
Un catalogue de fêlés de musique aux accents magnifiques, avec :
Veals & Geeks | 8A Rue des Grands Carmes 1000 Bruxelles
Carnaby Records | 5 Place Saint Pholien 4020 Liège
Jukebox | 38 Rue Haut Marcelle 5000 Namur
Arlequin | 7 rue du chêne 1000 Bruxelles
Doctor Vinyl | 1 Rue De La Grande Ile 1000 Bruxelles
Établissements Vansippe | 29 Avenue Wanderpepen 7130 Binche
Le Livre aux trésors | 27/A Place Xavier-Neujean 4000 Liège
Imagine | 27 Rue de Marchienne 6000 Charleroi
Lido Music | 45 Rue des Croisiers 5000 Namur
Ce que vous entendrez :
It It Anita : NPR
It It Anita (Honest House, 2014)
Mountain Bike : Cigogne
Mountain Bike (Humpty Dumpty Records, 2014)
Vacation : Vacation Opus II (Live)
Sad Strange Man (Dexon, 1993)
The Kids : No Monarchy
No Monarchy EP (Fontana, 1978)
Pas De Deux : Lits Jumeaux
Cardiocleptomanie (Minimal Wave, 2011)
Vincent Cahay : Générique Du Film
Alleluia (Veals & Geeks Records, 2015)
Typh Barrow : Gangsta's Paradise
Visions (Doo Wap Records, 2014)
Antoine Goudeseune : Come Together
Abbey Road (Autoproduction, 2014)
Digital Dance : Sinking Tanker
Total Erasement (Subrosa, 2014)
Dans le générique de l'émission, les plus cinglés d'entre vous auront peut-être reconnu (outre Mademoiselle Nineteen, la délicieuse speakerine de Radio Rectangle) un montage des titres suivants :
Raxola : Wait For The War | Raxola (Philips, 1978)
MC5 : Rambling Rose | Kick Out The Jams (Elektra, 1969)
MC5 : Kick Out The Jams | Kick Out The Jams (Elektra, 1969)
Ska Cubano : Bembé For Chango | Ska Cubano (Casino Sounds, 2004)
Andy Partridge : The History of Rock'n'Roll | Ambition - The Cherry Red Story Volume One (Cherry Red, 1991)
Bonne écoute !
Crédits : interviews réalisées par Dick Tomasovic (Le livre aux trésors), Laszlo Kovacs (Doctor Vinyl) et Marc Wathieu (Veels & Geeks, Arlequin, Juke Box, Lido Music, Carnaby Records, Imagine, Établissements Vansippe). Montage et réalisation : Marc Wathieu.
Great performance seen on the Stuttgart Street Art Festival in July 2022. Sponsored event by Subrosa bikes.
TANJA SELZER
"Subrosa"
September 8th - October 20th 2012
During Berlin Art Week (September 11th - 16th) the gallery's opening hours are from noon to 8 pm.
janinebeangallery, Torstraße 154, 10115 Berlin, www.janinebeangallery.com
live @ Hafenklang, Hamburg
October-03-2016
Digital harinezumi 4.0
german review here:
derohlsen.blogspot.de/2016/10/subrosa-und-sinistro-live-i...
（写真は転載）
mixi.jp/view_event.pl?id=44264695&comment_count=0&...
「オシャレの塊」と言っていました。
私だって行きたいよ！
でも、その日は・・・。
そうだ！N君、T君、N君、皆で一緒に清澄白河へ行こうじゃないか！！（嘘）
Arta, fancy going to this?
本当は人生最大のアナウンスが二つ、三つあるんですが、悲しいかな、なかなか自分たちの思うように出来ません。。もうすぐ３０代になるっていうのにね。。。皆さーん、そのうち度肝抜かすぞ〜。
今日は都議会議員選挙の投票に行ったので、研究室には行けなかった。途上国のデモクラシーを研究しているくせに、先進国で参政権を放棄するのはまずいので。けれど、魅力的な候補者がいなくて・・・。蝉の無く中、小学校の体育館で一票投じてきた。帰り道に前髪を切ってもらい、油そばを食べ、自宅マンションの前でアントニオ猪木に会った。やっぱり顎が立派だった。
＿＿＿＿
「サウンドガーデニング」
ヘッドフォーンコンセット
現代電子音楽 限定３５名
はじめに：
私たちは東京の中で最も静かで穏やかな場所、清澄庭園内の茶室でのユニークな音楽体験にご招待いたします。
サウンド・ガーデニングは実験的な現代音楽のショウ・ケースで、３名の作曲家/サウンドアーティストが、招かれ、第２回目の今回は、クミコ・オカムラ、クリストファー・チャールズ、そしてフィリップ・シャトランがそれぞれ３０分間のソロ・ヘッド・フォン・コンサートを行います。
公演の間では、 ヌーベルキュイジーヌの時代にローラン・ペリエによって開発された特別なシャンペン「ウルトラ・ブリュット」
をご賞味いただきます。このコンサートに必要な電力は、田口製作所が開発した移動式発電機によって供給される自然のエネルギー資源を使用いたします。３５席と限定されているため、午後、そして夜のセッションそれぞれ予約をお勧めします
日時：2009年7月15日（水）
第一部: 会場：14時30時 開演：15時00分 終演：17時30時
第二部：会場：18時 開演：18時25分 終演：20時15時
会場：清澄庭園、江東区清澄２・３丁目
アクセス:地下鉄大江戸線・半蔵門線「清澄白河」(E14･Z11)駅下車 徒歩3分
teien.tokyo-park.or.jp/contents/index033.html
料金： 第一部（午後）：2500円 (ソフトドリンク・拝観料込み）
第二部（夕方）：3000円 （シャンパン・飲み物・拝観料込み）
要予約、料金前払い： philippe@tokyo.com また電話の予約 090 8552 9995 （シャトラン・フィリップ）
PROGRAMME:
KUMIKO OKAMURA
PHILIPPE CHATELAIN
CHRISTOPHE CHARLES
KUMIKO OKAMURA, voice and guitar, 30 mn
PHILIPPE CHATELAIN, " les 3 genres ", voice/field recordings/ electronic, 30mn
CHRISTOPHE CHARLES, live electronic, 30 mn
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SOUND GARDENING # 2 _15th July 2009_english version
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introduction:
We invite you for a unique music experience in one of the most quiet and peaceful place of Tokyo, the tea house of Kyosumi garden.
Sound Gardening is a showcase of experimental and contemporary music, presenting each time 3 composers/sound artists.
The 2nd volume introduced the work of Kumiko Okamura, Christophe Charles and Philippe Chatelain, each one performing a solo 30 minutes headphones concert. Our partner Laurent-Perrier will offer a tasting of its delicate Ultra Brut champagne. The power for the concert is delivered by Taguchi-craft 's mobile solar system. Due to the limitation of 35 seats, reservation is required for the afternoon or evening session.
place: Kyosumi Teien, Kiyosumi 2 and 3-chome, Koto-ku, Tokyo
access: 3min walk from Kiyosumi-Shirakawa (Oedo & Hanzomon lines)
teien.tokyo-park.or.jp/en/kiyosumi/index.html
date: Wednesday, 2009 July 15th 1st session (afternoon) _ door open: 14h30 Start: 15h00 End : 17h30
2nd session (evening) _ door open: 18h00 Start: 18h25 End : 20h15
fee: _ 1st session : 2500 yens ( soft drinks and garden entrance included)
_ 2nd session : 3000 yens ( champagne, drinks and garden entrance included)
Reservation and advance payment required,
inquiry by email philippe@tokyo.com or phone 090 8552 9995 (Philippe Chatelain)
Power solar system by Taguchi-Craft
Champagne tasting by Laurent-Perrier (Ultra Brut)
PROGRAMME:
KUMIKO OKAMURA
PHILIPPE CHATELAIN
CHRISTOPHE CHARLES
KUMIKO OKAMURA, voice and guitar, 30 mn
Composer, Improviser.
Born in 1975 in Niigata, based in Tokyo.
Kumiko performs without a mission, and in no specific genre. There are neither conscious influences nor obvious sources of inspiration. The performance can be very wild or sensitive and delicate. It may sound optimistic or pessimistic and move into unexplored territory. It might value simplicity over complexity, and shifts the emphasis from what an artist 'makes' to the artist's creative practice, personality and actions.
www.intervall-audio.com/artists/okamura_kumiko.html
PHILIPPE CHATELAIN " les 3 genres ", 30mn, 2009
les 3 genres (the three levels), 30mn, 2009
Sound piece for spoken voices, field recordings et electronic sounds in french and japanese, translation: Yasuhiro Matshushita
the 3 levels is based on a recording of Gilles Deleuze lesson about Spinoza's three levels of knowledge. Using fragments of the recording,
the progression of the discourse goes through 3 different sound environment, 3 climates where the relation between sounds is made, untied and changed.
and change.
Born in France in 1971, Philippe Chatelain lives and works in Tokyo. He develops a transdiscipline research in the fields of video installation, process painting, digital drawing, and sound art. He has shown his works in several international art festivals, galleries and museums. In 2002, he has initiated the Laptop Orchestra and has collaborated with an international network of sound artists and musicians. Has performend in Japan, France, Holland, Korea, and the U.S. In 2007, P. Chatelain has received the innovation award from the Joan Miro Foundation for his project "Line, Surface, Noise".
http://www.philippechatelain.com laptoporchestra.net
CHRISTOPHE CHARLES, live electronic, 30 mn
I am trying to provide a music where past, present and future can be heard simultaneously, that is, where everything is given at once and where we can hear the primary chaos, the nothingness at the origin of all things.
(born Marseille-France 1964) works with found sounds, and makes compositions using computer programs, insisting on the autonomy of each sound and the absence of hierarchical structure. Currently Associate Professor at Musashino Art University (Tokyo), has released music ("undirected" series) on Mille Plateaux, Ritornell, Subrosa, Code, Cirque, Cross, X-tract, CCI, ICC, etc. Collaborations with Henning Christiansen, Shiomi Mieko, Chino Shuichi, Markus Popp, Hanno Yoshihiro/hoon, Kako Yuzo, Yamaguchi Katsuhiro, Yamamoto Keigo, Visual Brains, Osaka Takuro, Ishii Mitsutaka, Kazakura Sho, Osanai Mari, Ishikawa Fukurow, Salvanilla, etc.
TANJA SELZER
"Subrosa"
September 8th - October 20th 2012
During Berlin Art Week (September 11th - 16th) the gallery's opening hours are from noon to 8 pm.
janinebeangallery, Torstraße 154, 10115 Berlin, www.janinebeangallery.com
08.04.-11.04.2015 Doom Over Leipzig V w/ Acid Witch, Amenra, Botanist, Eagle Twin, Floor, Helms Alee, Kayo Dot, Minsk, Monarch!, Russian Circles, SubRosa, Tombstones, Uzala, Year Of No Light
11.04. 2015 w/ SubRosa, Monarch!, Year Of No Light, Amenra
Pics: Alexander Klich
Please do not use without permission
08.04.-11.04.2015 Doom Over Leipzig V w/ Acid Witch, Amenra, Botanist, Eagle Twin, Floor, Helms Alee, Kayo Dot, Minsk, Monarch!, Russian Circles, SubRosa, Tombstones, Uzala, Year Of No Light
11.04. 2015 w/ SubRosa, Monarch!, Year Of No Light, Amenra
Pics: Alexander Klich
Please do not use without permission