wtorek, 14 października 2014

Public Address for O.M.I.A.M.H.

 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
PUBLIC ADDRESS
Hommage à Speaker

Music program accompanying "One Mind In A Million Heads" by Konrad Smoleński
 
Framework: Volkspaleis
Venue: Zuiderstrandtheater, Scheveningen, The Hague, The Netherlands
Organizer: West
Dates: 18/10/2014 - 16/11/2014
 

18/10/2014
 
19.00: Opening of the exhibition by Konrad Smoleński
21.00: Wolf Eyes - concert
22.00: Cut Hands - concert
23.00: Brutaż - DJ sets
 
19/10/2014
 
16.00: Michał Libera - opening lecture about loudspeakers and propaganda
17.00: Kyle Devine - acousmatic lecture on social history of loudspeakers
20.00: Lionel Marchetti - lecture on Art of Loudspeakers
20.30: Lionel Marchetti - solo concert
21.00: Eliane Radigue - acousmatic music concert incl. early feedback works (diffused by Lionel Marchetti)
 
24/10/2014
 
12.00: Nic Collins - workshops on DIY speakers and osciallators (free subscription)
21.00: Eli Keszler - concert, variation on L-Carrier project
22.00: Mark Bain - vibrational architecture performance, The Archisonic
 
25/10/2014
 
12.00: Nic Collins - workshops on DIY speakers and osciallators (free subscription)
20.00: Nic Collins, Kees Tazelaar - panel discussion
21.00: Nic Collins with Workshop Group - performance of "Rainforest IV" by David Tudor
 
01/11/2014
 
Kannonnenvoer Night (co-curated by Anne Wellmer, Justin Bennett and Matteo Marangoni)
 
from 21.00 on: overlapping performances of
 
02/11/2014
 
20.00: Juan Cantizzani - performance "Spatial Perception Studies"
21.00: Diktat - unplugged
 
08/11/2014
 
20.00: Anton Lukoszevieze - concert (incl. pieces by Zbigniew Karkowski, Alvin Lucier, George Brecht and others)
21.30: Spat'Sonore - concert of acoustically spatialized instrumental music
 
09/11/2014
 
20.00: Michał Libera - lecture on amplification before 20th Century
21.00: Aleks Kolkowski - lecture and presentation about early 20th Century amplification
22.00: Aleks Kolkowski and Spat'Sonore play Luigi Russolo
 
16/11/2014
 
20.00: Tres - Blackout performance
21.00: Tony Di Napoli - stones performance
 
*
 
film lounge for the duration of the exhibition
incl. 
Walter Rutmann, "Wochenende" (1930), Maya Deren, "A Study in Choreography for Camera" (1945), Yasujirō Ozu, "Tokyo Story" (1953), Samuel Beckett, "Film" (1965), Bruce Nauman, "Walking with Contraposto" (1968), Mauricio Kagel "Blue's Blue" (1981), Black Audio Film Collective, "Seven Songs for Malcolm X" (1993), Reynold Reynolds, "Drowning Room" (2000).


***

Five weekends of performances, presentations, lectures and screenings – all dedicated to the loudspeaker; its raise and fall, its art and politics, its electricity and non-current shapes.

Loudspeaker is one of the thrillingly convincing examples of culture turned into second nature. It is everywhere. Visible or not, rough or cased, black or transparent. Most of the voices we hear, most of the music we know, most of the noise we miss – it is all coming from the loudspeaker. Its relevance is almost imperceptible. Neutral unless distorted, perhaps because of its modest features – disattachement of sound from its source. And making it louder.

Right behind the loudness and volume, the rootless and disattached character of the loudspeaker sound, there are its vibrant socio-political features. The voices audible to the masses, delivery of the message to virtually anyone, its reach and altering of the signal, noisy or clear – and on the other end: its extreme intimacy, previously unknown closeness and detail of the voices and murmurs, much more touching and penetrating than the intimacy of the mouth, bringing our heroes to where they cannot go – to us. We owe it all to the loudspeaker.

*
The program is designed to face the extremes of the loudspeaker and gradually go from one to the other. From maximum volume and electricity, from overwhelming fill and reach to no electricity at all, almost complete silence and acoustic ways of amplifying sound.


The program will kick off on the opening weekend of “O.M.I.A.M.H.” with diabolical and monstrous side of the loudspeaker. Outrageously wild Wolf Eyes will be followed by a legendary William Bennett as Cut Hands and end up in an experimental / rave party by a Warsaw based international DJ collective Brutaż. Saturday night performances will be accompanied by Sunday lectures on social history of loudspeaker (Kyle Devine) and art of loudspeaker (Lionel Marchetti) as well as screenings of propaganda films dealing with the principal functions of the loudspeaker and diffusion of acousmatic compositions by Lionel Marchetti and Eliane Radigue.

Second weekend will put loudspeaker and electricity in the context of architecture. Spectacular project of Mark Bain is a sonification of the vibrations of architecture by the use of seismographic sensors making them audible to the audience. Eli Keszler will perform his drum kit amplified by piano strings connected to walls and motors. Internationally acclaimed hacking virtuoso Nic Collins will give a two day workshop introducing a DIY ways to construct speakers as well as work with a group of volunteers on a performance of the famous “Rainforest IV” by David Tudor – a composition stemming from an idea of each speaker having its very own sound.

Third weekend will host a number of artists presenting projects dealing mostly with mobility and portability of speakers. BMB con. will prepare a special program designed for the theatre filled with Konrad Smoleński's O.M.I.A.M.H. sculpture. Anne Wellmer will perform her adapted version of „Rondzingen” for a vocalizing demolition ball. Matteo Marangoni and Dieter Vandoren will premiere a number of his new audio-creatures to be handed to and experimented with by the audience. Finally, a Dutch-French collective Diktat will disseminate in Smoleński's sculpture with their dictaphones, walkmans and portable tape recorders fully unplugged – and as always accompanied by Jean Borde's doublebass.

Fourth weekend will mark a departure from electrical means of amplifying sound. Gradually. A worldwide known and appreciated cellist Anton Lukoszevieze will give a special recital for amplified cello – from Micro 1 by Takehisa Kosugi and his groundbreaking duo piece with a noise enfant terrible Zbigniew Karkowski to Alvin Lucier's cello and vases piece making use of the resonances of the instrument in the enclosed chamber of the latters. Spat'Sonore is a French collective performing their acoustically amplified instruments by the use of long and entangled horns. They will be mirrored by a lecture presentation by Aleks Kolkowski introducing his collection of early-20th Century horns and tubes used for amplification of sound. Together they will perform Luigi Russolo's “Awakening of the City”.

Finally, the closing of the exhibition will be undertaken by Tres via his Blackout performance. He will be gradually switching off consequent sonic dimensions of the room. Starting from part of Smoleński's sculpture and going through sounding systems of the theatre – ventilation, lightning, heating and many more. Once the loudspeakers are switched off and maximum possible silence is reached the program will terminate at fully acoustic Tony di Napoli performance playing variety of stones, including the 250 million years old sounding litophones.

***

Film program for the duration of the exhibition:

Self-mythological, black and white depictions of incomprehensible strength – selection of films as a starter and an opening of the Volkspaleis experience. Sometimes only a premonition of an unclear intensity, sometimes a display of full integrity bended to an unknown territory, often prime movements and always primordial forces, handsome and free, forming new landscapes and new radiation – Stubborn classicisim of a walking posture caught tightly between the walls (Bruce Nauman), blinded weekend in the 30. in Germany (Walter Rutmann), feasting with a fish underwater (Reynold Reynolds). Since they all articulate uneasy and higher (or lower) intelligence, there is no direct link between the selected movies just as there is no straight connection between them and „One Mind In A Million Heads” or even „Public Address”. Not straighter then the ones between a starter and a main dish.

środa, 8 października 2014

Calvino in Chiasso

 
 
 
Calvino performative or fake or whatever reading goes to Chiasso
 
Gwenfestival
11/10/2014
23.30
in Chiasso (SUI) Magazzini FFS
or
live streaming in Gwenradio
 
Alessandro Facchini, Michał Libera, Wiktor Milczarek
live act to be followed by Souvenir de Tanger and Facial Index
 
as well as later on this year, one more incarnation of a Calvino project - release of CD recorded with Rinus van Alebeek this summer in Calabria (part of Populista series, accompanied by a first official CD realese by Komuna// Warszawa and Tartini Project with Karolina Ossowska, Mikołaj Pałosz and Ralf Meinz.
 
more soon
 
 
 
 
 
 

poniedziałek, 6 października 2014

JOANNA HALSZKA SOKOŁOWSKA Msza




















JOANNA HALSZKA SOKOŁOWSKA
Msza

BR R006


1. I Am What I Am
2. A Rose Is A Rose
3. What's In The Name I
4. Elohim
5. What's In The Name II
6. " "
 

Composed by Joanna Halszka Sokołowska

Libretto by Michał Libera

All instruments performed by Joanna Halszka Sokołowska

except

Piano by Jerzy Rogiewicz

Leading voices by Joanna Halszka Sokołowska
Additional voices by Joanna Piwowar-Antosiewicz, Marta Piwowar, Marta Grofik-Pechel, Grzegorz Uzdański, Grażyna Soczewka
Speaking voices by James Brennan and Michał Libera

 
Released by Bôłt Records
Distributed by Monotype Rec. and Bęc Zmiana
 
The starting point was John Barton Wolgamot's poem „In Sara Mencken, Christ and Beethoven there were men and women”. The starting point was Robert Ashley's composition „In Sara Mencken, Christ and Beethoven there were men and women”. The starting point was bringing thousands of people together. Everyone equal, nobody playing secondary role; all organized into sections, every section being a variant of another. The difference is in names, like in the airport, or art world, or facebook, or disco, or Bible. What brings these people together? What is the new entity they form? What is there between Sara Powell Hardt and Claud Henri de Saint-Simon? Luigi Pirandello and Jane Austen?

We take Wolgamot as a soothsayer of facebook, disco and mass – environments of the descension of God. There is Gertruda Stein waiting for him, trusting that everything can be found in names. There is Ludwig van Beethoven completing his “most successful piece”. There is Rainer Maria Rilke translating his “Notes on the Melody of Things”. There is a choir laying on the floor – bringing God down. And they are all informed by numerological methods, scientific statistics and cabalistic interpretation of the Tree of Life. And they are all framed by a disco ball.

AVANT AVANT GARDE Vinyl


 
GAMUT INC.
Ex Machina
 
released by Bôłt Records and Satelita  
 
Final step of Avant Avant Garde Project
 
Music machines designed by Gerhard Kern (Carillon, BoJow, Fisharmonia)
Performed and composed by Gamut Inc.
 
In distribution of Monotype Rec. soon
Promotional option goes together with Glissando #24 - details soon 
 
 
 

wtorek, 23 września 2014

SMUTAZ















SMUTAZ
01/10/2014
Eufemia
21.00

Alessandro Facchini + Piotr Kurek + Michał Libera
21.00 - 22.30: solos
22.30: trio

After a groundbreaking success of a legendary 2013 Smutaż and even more advanterous and profound editions in early 2014, we decided to continue: October opens with funeral songs, chants and marches from different regions of Europe accompanied by their noises - with all sorts of articulations and misarticulations. And a touch of anxiety that brought together they may induce grand transformations in funeral trends all around the world. Die faster!

czwartek, 4 września 2014

SPLIT Exhibition & Tape

 

SPLIT
 
Konrad Smoleński
with
mattin, Gregory Whitehead and Jack Sutton
 
West, Den Haag
06/09/2014 - 11/10/2014
 
Exhibition and cassette release
Press release of the gallery below
 
To be followed in October by an exhibition presenting new work of Konrad Smoleński O.M.I.A.M.H
and an additonal program of "Hommage to Loudspeaker"
with
Mark Bain, Justin Bennett, George Brecht, Brutaż, Cut Hands, Nic Collins, Kyle Devine, Diktat, Eli Keszler, Alek Kolkowski, Alvin Lucier, Anton Lukoszevieze, Lionel Marchetti, Tony Di Napoli, Eliane Radigue, Spat'Sonore, Anne Wellmer, Tres and more 
 
more details soon
 
In collaboration with acclaimed Polish artist Konrad Smoleński and Michel Libera, West Den Haag proudly presents The End of Radio, Judge, and Fly by Smoleński in Split. An exhibition that follows the tradition of musicians’ splits on vinyl and cassette tapes.
 
Smoleński eloquently works in visual and performance fields from photography to installation, video to happening, and sound to sculpture; often collaborating with other visual artists and musicians. In 2013, he represented Poland at the Venice Biennale with the monumental installation Everything Was Forever, Until It Was No More (2013). Two huge church bells were the starting point. Two walls of loudspeakers and sonorous objects made of metal sheets completed the work. In intervals, the installation created a visual and aural experience where delay and modification of the initial sound of the bells played a symphony.
 
Making the ‘split’ the focal point of the exhibition, Smoleński’s works are faced with their own Side B –recordings by American audio artist Gregory Whitehead, Basque noise artist mattin, and English trance-medium Jack Sutton. Together Smoleński’s works create a landscape of death and electricity, and all their reversals that the sonic level reveals.

As sociologist and music critic Michel Libera says about the works in Split, ‘I always feel I come too late for Konrad Smoleński's sculptures. Something always already had happened and what had been there to see is no longer there. Irreversibly. Perhaps this is because they so often act ‘the reverse’. The skulls with speakers in eye sockets. The microphones made for emitting sounds rather than catching them. The gagged Judge, in place of the sentencing one. In line with the scale and the enumeration and the noise of Smoleński’s sculptures, their reverse logic makes them an aftermath in a structural and not only metaphoric sense. To paraphrase Morton Feldman – his sculptures are not merely to be watched by us. More than that – they are not even watching us. They have watched something that we had missed’.
The B-side of the Split, art pieces and music has been left behind, replaced by recordings that are obscure, strong, and dead. These recordings are paired together to filter out and amplify some of the morbid frequencies in Smoleński's art.

The End of Radio is an installation of two hundred microphones, which emit field recordings of the street. Its B- side is As We Know, a live-to-radio chant by Gregory Whitehead utilizing infamous words of Donald Rumsfeld. Whereas Judge, a sculptural work made of bust made with weak materials held together by burnt tape, is paired with found footage of a medium contacting a dead airman by Jack Sutton from the Occult Voices series. The final coupling is found in Fly, and Tinnitus by mattin. As an audio installation Fly is made of a skull with speakers for eyes, whereas Tinnitus is one in a series of ten unreasoned aftermaths coming from nowhere and devastating our ears.

A new publication by Michel Libera will include a music cassette, where side A is determined by Smoleński’s works, side B audio works selected by Michal Libera.

The exhibition Split is the prelude to Volkspaleis 2014, for which Smoleński will create a new monumental specific installation in a theatre at the sea in Den Haag. More info: www.volkspaleis.org
 
 
 
 
 
 


sobota, 23 sierpnia 2014

Glissando #24: Avant Avant Garde

  
 
 
 
 
 














Glissando #24
Part of Avant Avant Garde
 
Premiere: September 1st
 
 
Including:

 
Michał Libera, Introducing Avant Avantgarde: There is no such thing as New Music
 
Michał Libera, Amplifying the sound: Technology of delivery - amplifiers, mutes and politics of volume


Pamela Granatowski, Projecting the sound: Listening to Axis Mundi

Ewa Kozik, Processing the sound: On more or less natural sound alterations

Antoni Michnik, Analyzing and visualizing the sound: Pre-phonographic analysis and reproduction of sound

Jan Topolski, Generating the tone: Stay tuned, keep temper

Barbara Bogunia, Automating the sound: Ars combinatoria and mystical automata


Maciej Sledziecki, Marion Wörle, Avant Avantgarde Instruments: We wonder why
 
and shorts by:
 
Aristotle, William Andrews, Francis Bacon, Johann Beckmann, Louis Bertrand Castel, Luciano Chessa, Alain Corbin, Florian Cramer, Marc Crunelle, John Curtis, Leonhard Euler, Michael John Gorman, William Arthur Griffiths, William Hayes, Herodotus, Christian Huygens, Athanasius Kircher, Jean Leurechon, Claude Levi-Strauss, Ramon Llull, David Lubman, Robin Maconie, Irina Metzler, Samuel Morland, Vladimir Odoevsky, Plutarch, Gianbattista della Porta, Iegor Reznikoff, Keith Rowe, Joseph Sauveur, Georgio de Sepibius, Giuseppe Tartini, E.M. Thompson, Lamberto Tronchin, John Tyndall, Steven Waller, Dan Warburton, Nicola Vicentino