wtorek, 9 czerwca 2015



Raphael Rogiński
John Coltrane and Langston Hughes
African mystic music

Official release concert: 16/06/2015, Pardon To Tu 20.30
CD will be available at promotional price

1. Blue Train
2. Equinox
3. Lonnie's Lament
4. Walkers With The Dawn
5. Mr. P. C.
6. Countdown
7. The Negro Speaks Of Rivers
8. Grand Central
9. Seraphic Light
10. Naima

Guitars by Raphael Rogiński
Voice by Natalia Przybysz

Compositions by John Coltrane (1-3, 5-6, 8-10) and Raphael Rogiński (4, 7)
Poems by Langston Hughes

Recorded by Zofia Moruś
Mastered by Sebastian Witkowski
Produced by Michal Libera
Cover art work by Aleksandra Waliszewska
Layout by Piotr Bukowski

Published by Bôlt Records
Distributed by Monotype Records

Populista is a CD series curated by Michal Libera for Bôlt Records

poniedziałek, 1 czerwca 2015

Voice-over | Prague Quadriennale

Michał Libera & Wojtek Ziemilski

Prague Quadriennale
Charles Bridge, Prague

People reading out loud, together, on the street.

Such a simple form of collective demonstration. Perhaps the purest way of expressing common will and the most basic strategy of claiming the space. Being together, acting together and wanting together - naivety to the extent of being suspicious if not embarrassing. And rare.

It did happen, in Poznań. People stood together and they read. Nothing more. It was a public reading of the text of Rodrigo Garcia’s performance "Golgotha Picnic" and a protest against censorship. But these readings were also a claiming of a space, and a performative gesture of speaking-to-possess. At the same time, the taking over was executed as a theatrical performance with the use of the most ephemeral tool - voice.

The disturbance in the public sphere by an act so modest seems symptomatic. It reveals the background of the question "who owns the public space". How does the space become owned, even possessed and fixed with content? What are the strategies of spreading the message and reaching the others? And who are the others? How efficient - performative if you like - can people get with their voices? Can they reach universality? Can voice strategies become universal?

"Voice-over", a city tour and a live presentation, will form a two-chapter performative tale on owning, possessing and appropriating the space. The execution by Wojtek Ziemilski and Michał Libera will use techniques of reenactment, impersonation, playback and different forms of electrical and acoustical amplification to highlight the importance and ambiguity of the voice in claiming the space. Playing with the idea of voice as the ultimate human property, a signature and a proof of reality, they will explore the agency of the speakers (in the double meaning of the term). Referring to the neutrality and transparency of the air – voice's medium – they will deal with the politics and proxemics of open spaces.

The walk in the city will relate to owning and possessing and take as its stage one of the most crowded spots in Prague - the square in front of St. Salvador church. Can we take any of the Golgotha Picnic Poznań voice strategies and use them in this particular environment? Once in the conference space, this question will become a more private and intimate one.

sobota, 16 maja 2015

CALVINO in Torun | Sluchalnia

CALVINO opera & radio play
in framework of SŁUCHALNIA

curated by Małgorzata Burzyńska

CSW Znaki Czasu 

21.00: DOMINIK KARSKI / PAWEŁ KRZACZKOWSKI, Między nimi a wiecznością nie było więcej niż minuta i pół

Concept inspired by Italo Calvino: Dominik Karski, Paweł Krzaczkowski, Michał Libera
Music: Dominik Karski
Libretto: Paweł Krzaczkowski
Performance: Flute O'Clock
Tape: Alessandro Facchini, Wiktor Milczarek
Scenography: Paweł Modzelewski
Voice: Paweł Krzaczkowski 

more here

22.00: _KELO & MICHAŁ LIBERA, Invisible City

Live mix of recordings and composition by _Kelo & Michał Libera 

Composition is based on text by Italo Calvino adapted by Michał Libera and read by Cédric Degrange, Roberta Deambrosi, Barbara Kinga Majewska, Daniel Muzyczuk, Léna Pellandini-Simányi, Agnieszka Tarasiuk, Cédric Van Der Poel, Wojtek Ziemilski, Wojtek Zrałek-Kossakowski.

more here

poniedziałek, 27 kwietnia 2015

Tony Di Napoli | Majątek

fot. Igor Omulecki

Tony Di Napoli - stones / litophones
08/05/2015, 22.00, Królikarnia, Warszawa

facebook event

Concert accompanying "Majątek" exhibition

Tony Di Napoli plays stones. The ordinary ones, found in random spaces, of unidentified origin and unspecified sound as well as precisely chosen ones which are selected, sculpted, tuned and finally turned into litophones. One of the oldest instruments in his case is made of limestone which is over 300 million years old. Small blocks of stone differ in size and shape what results in rigoriously various tones making his instrument a fully microtonal one. They don't sound like the stones we know. They sound like electronic compositions we might have heard. In his hands, they also come in close relation with the acoustics of space they sound in. And Królikarnia has got a lot to offer in this realm. 

czwartek, 9 kwietnia 2015

BOND | OFF-Biennale

Curatorial opera for the Opening of 41°N 93°W exhibition

Prepared for OFF-Biennale

Mazart Gallery
Elnök utca 1.

Objects: Celine Condorelli, Goldin + Senneby, Igor Krenz, Kazimir Malevich
Space: Robert Rumas
Sounds: Arturas Bumšteinas, Pierre Schaeffer, Edgar Varèse, Iannis Xenakis
Words: Daniel Muzyczuk, Michał Libera
Spirit: Michał Mendyk
Binding: Noviki

Daniel Muzyczuk says:

When two curators are handed with a tape they embark on a travel that would lead them through a series of questions that seems mock at the first glance. The seemingly dated medium is a proof of conspiracy that starts in the depths of manifestos of avanguarde artists, goes through catacombs electroacoustic studios and ends in apexes of abstraction based money flows. Their fellow travellers (artists: Celine Condorelli, Goldin + Senneby, Igor Krenz, Robert Rumas, Kazimir Malevich and composer: Arturas Bumsteins) supply them with hints that point to the hidden message of the tape itself and the recording technology as such. No need for corpses in this crime story. They are replaced with multitude of sparse information that questions the common meaning of abstraction and the way it turns into something concrete. Or is it the other way around?

The show is an opera. Libretto serves as the guided tour and music as one of the objects or architecture of the show. This ensemble points towards a renewed meaning of abstraction as uncannily unstable and political. The objective is to challenge the politicality of art by means of fiction and staging.

The exhibition shows four works that point towards something much larger then themselves. Two of them question the structure of field of art. Kazimir Malevich's Black Square on White 1985 is a copy, but not a work of art. It contains everything that was already in the original, and much more thanks to its secondary nature. Moreover it is not a piece of abstraction, because if we think about it as a painting it is depicting reality, that is an original. In this way it is based on a similar act that we can observe in the next piece.

Igor Krenz found a scientific book written in Polish titled Morfologia matematyczna w teledetekcji (Mathematical Morphology in Teledetection, 2010) and bought a pile of copies. The show then made its task the embodiment, in the form of sculptures and videos, of the diagrams, graphs, and images in the book. These images, extremely abstract for those not educated to decipher them, were given objective, material reality thanks to artistic practice. The videos were based on blurry images used to make points about teledetection, but their aesthetics had much in common with structural film. Based on the book’s diagrams, the sculptures were close to the geometrical, minimal, abstract art of the 1960s. Everything made the viewer feel like being in a familiar sort of art show (especially in a time of nostalgic revivals). But Krenz didn’t stop at this obvious stage: His pile of copies became “catalogues” that were resold at the exhibition. This operation self-reflexively pointed out the frequent illegibility of art writing and the hermeticism of art itself, as seen from the point of view of outsiders. This time figurative schemes were turned into pieces of abstract art by the sole materialization and act of presenting them in a specific context.

Celine Condorelli's piece Structure for communicating with the wind is a real obejct, a metaphor and a sound device. A piece of architecture that divides the space and creates a certain atmosphere. But it is something more: the curtain is a materialization of a passage from a word based music score by Cornelius Cardew.

This aspect leads to the final piece, a video by Goldin+Senneby The Discreet Charm. It stages a miniature theater piece on abstraction of banking system in an art gallery. The speaker frequently gives obvious suggestions that what he is actually discussing is in fact the creation of value in the artworld. The last piece serves as the introduction of the method.

They are all becoming characters in a story that unfolds in an opera by Arturas Bumsteinas, Robert Rumas, Michał Libera and Daniel Muzyczuk. That tells a well known story of the 1958 Brussels Expo Philips Pavillion by Le Corbusier, Iannis Xenakis and Edgard Varese in a new way, which points towards the hidden objectives of the project and its unexpected and disastrous consequences which can be observed in such distant regions as economic debt policies and contemporary art discourses.

piątek, 20 lutego 2015

BILDUNG | "Majątek" Exhibition

Sound essay "Bildung" will be premiered as a sound installation at the opening of the exhibition "Majątek"

Królikarnia, Xawery Dunikowski Museum of Sculpture, Warsaw

15/03/2015, 18.00

Michał Libera - recordings, montage

Ralf Meinz - recordings, sound design
Tony di Napoli - performance on litophones

Curated collectively under direction of Agnieszka Tarasiuk
The team: Katarzyna Kucharska-Hornung, Karolina Puchała-Rojek, Krzysztof Pijarski, Jan Sowa, Michał Libera

One of the two features of "Majątek" exhibition is an extraordinary collection of sculptures developed by von Rose family in 1930-ies, in a small town of Eastern Prussia called Döhlau (now: Dylewo). Consisting mainly of Adolfo Wildt marbles, it was violently put to an end during World War II when the property was demolished and ruined. Sculptures remained underground for over 50 years until excavations by an archeological crew directed by Tomasz Mikocki were undertaken. What then became the collection of National Museum in Warsaw are sculptures distorted and disintegrated. Due to chemical processes some of them were turned into "sand" while others gained new colors and shapes. Most of the items seem nothing but random stones, others - oddments of once great pieces of art.

Looking at them - whether you call them stones, sculptures or remains just doesn't matter - the history seems at the same time continuing and mute. No recordings have survived WWII. More than that - it is barely possible that any of them had ever existed. We don't know the local soundscape of 1930-ies, past voices of the inhabitants are inevitably gone - everything there was to hear back then got disintegrated immediately, incomparably faster than the disintegration of the stones which proceeds until now.

It is disintegration where the voice and the stones meet at the same time becoming the topic of sound essay. "Bildung" consists exclusively of recordings of today's Döhlau remains, marble from "cave di marmo" in Carrara used by Adolfo Wildt, sculptures from "Majątek" exhibition and limestone of one of the first stone instruments ever - litophone. They are all brought together with the voice of Sibylle Friedberg, von Rose family descendent who is recollecting her past memories and reading fragments of philosophical texts. One of them comes from Immanuel Kant's "Critique of Judgement" which also delivered the essay's title. It is not easy to translate it in a word. "Bildung" means education in a sense originating from its Enlightenment axioms; it means shaping and integrity. It also means formation, not excluding its chemical connotation. All the meanings were of importance to Kant when he attempted to clear out his vision of art referring to salt crystallization. All of them are also fundamental for the exhibition bringing together art, historical fall of a social formation and disintegration of stone.

poniedziałek, 5 stycznia 2015



Enrique Iglesias
Enrique Iglesias
Rhythm Divine
Recorded live in Warsaw, 2nd of September 2000 at Gwardia Stadium, Warsaw
Mixed by Ralf Meinz
Produced by Odyssey
Layout by Piotr Bukowski
Published by Bôłt Records

Populista is a CD series dedicated to interpretation, misinterpretation and overinterpretation of music curated by Michał Libera for Bôłt Records. 

Populista online forms margin notes – irregular, quick and polemic. 

Enrique Iglesias plays Enrique Iglesias
A youtube found footage classic.
How many times did you give it a listen?
The original.
And the original.
Enough to have it as a new take on Echo and Narcissus?

Echo - the beautiful and the speechless. Repeating.
Narcissus - the beautiful and the appearing. Mirroring.

Their ancient conversation is well known.

Who's there?
Who's there?
Why do you run from me?
Why do you run from me?
Let's meet.
Let's meet.
May I die before what's mine is yours?
What's mine is yours?

Their recent interaction is known even better.

All I need is to look in your eyes.
Look in your eyes.
Say you'll be mine.
Be mine.
I will follow you wherever you may be.
You may be.

Some people ask if it is really him singing?
Well, I always wonder which version they mean.
Here comes one of them.