czwartek, 9 kwietnia 2015

BOND | OFF-Biennale




















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

Prepared for OFF-Biennale

24-26/04/2015
Mazart Gallery
Elnök utca 1.
Budapest

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

POPULISTA (ONLINE) presents ENRIQUE IGLESIAS plays ENRIQUE IGLESIAS


















BR POP@2

Populista
presents
Enrique Iglesias
plays
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.

INVISIBLE CITY

 

Invisible City
_Kelo & Michał Libera
 
1. Cities & Memory 5: Warszawa
2. Trading Cities 4: Warszawa
3. Cities & Signs 2: Warszawa  

Recordings and composition by _Kelo and Michał Libera

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.

Art work by Thomas Hauri

It is no more than half a dozen of words. That will do to overwrite three tales of Italo Calvino’s invisible cities and contemplate Warszawa emerging. It instantly embraces Maurilia, Zirma and Ersilia. It makes their new geography. They reterritorialize. They distend and fit the turnpikes of Warszawa. We follow.

Bandcamp version
or a beautiful hard cover version with printed art work by Thomas Hauri and full adapter text of Italo Calvino to be purchased from Großer Lärm from 22nd of January

środa, 17 grudnia 2014

TYTO ALBA


















Tyto Alba. 
13 portraits of melancolics, birds and their co-hearing

Michal Libera with Martin Küchen and Ralf Meinz

Text, recordings, composition by Michal Libera
Saxophone by Martin Küchen
Sound design by Ralf Meinz

1. Michel Serres
2. WG Sebald
3. Philomela
4. Max Ernst
5. Alvin Lucier
6. Giorgio Agamben
7. Bedřich Smetana
8. Andean Solitaire
9. Auguste Rodin
10. Tyto Alba
11. Georges Perec
12. Wilhelm Heinrich Dove
13. Javier Marías

Sound essay, hörspiel, reading, electroacoustic music, plunderphonics, sound portraits, collection of songs or simply a sonic take on melancholia. Disposition or disease, melancholia is a rich psycho-territory full of apathy, depression, withdrawal, self-dismissal, hallucinations and alien voices. And hearing. In particular, suffering of the ears and peculiar way of listening related to it. In one of the footnotes in his essay „Stanzas”, Giorgio Agamben points out that the well known melancholic posture of a man leaning his head against the hand is actually an attempt to get away from suffering of his ringing ear. This observation bringing together melancholia and sound is the main coordinate of the piece's development. It departs from melancholic listening turning women into birds depicted in the opening chapter of WG Sebald's „Rings of Saturn”. The voice imperceptibly meanders between reading, commenting and distorting the tales ramifying the interpretations of the initial situation. It is accompanied by hundreds of samples from classical music to birds and saxophone playing by Martin Küchen.

POPULISTA presents ALVIN LUCIER




















Populista presents Rinus van Alebeek, Michał Libera play Alvin Lucier, Chambers

Composition by Rinus van Alebeek
Text adaptation by Michał Libera

Voices and recordings by Rinus van Alebeek, Michał Libera and Barbara Eramo

1. Trading Cities 1: Santa Eufemia D'Aspromonte
2. Cities & Names 5: Gioia Tauro
3. Cities & Eyes 1: Chòra tu Vùa
4. Thin Cities 5: Roghudi
5. Thin Cities 2: Catanzaro
6. Trading Cities 3: Rosarno
7. Continuous Cities 1: Ziia
8. Trading Cities 2: San Ferdinandea
9. Cities & The Dead 4: Caulonia

Rinus' words available here.
Rinus' audio teaser available here

The whole idea came from reading Italo Calvino's „Invisible Cities” while travelling among unknown cities of Calabria. The similarities have been striking. The book became a guide, Kublai Khan – an emperor of the land in the south of Italy and the idea – irrepresible urge to actually perform this similiarity. The original text by Calvino was overwritten with some information – including the names of towns – distorted, filtered and overdubbed by its local reflections. Armed with it, Rinus van Alebeek and Michał Libera set out for a dozen of excursions into Calabrian towns to recite, talk, read, listen, drink coffee, perform, play, record, play back... or: blow, bow, rub, explode, scrape, walk, ignore, talk, screw, dance, whistle, which are all suggestions of Alvin Lucier to make large and small resonant environments sound. The material recorded during these attempts to make invisible cities of Calabria sound was then composed by Rinus van Alebeek to form a road-audio-book.


One of three completely different albums intersecting in a territory of interpretation, overinterpretation and misinterpretation of music – beloved themes of Populista. Lucier and Ferrari albums may seem heterodoxical if not simply wrong, especially if compared with previous phonographic releases. Yet literally speaking, none of them violate the instructions of the scores and Populista is perversly proud to state that this time nothing forbidden by the composers have been done here. „Tautologos III” and „Chambers” are radically open forms, presuming a creative approach from the interpreters and this was taken seriously in search of the content that seems close to the music ideas of the composers. Tartini release is more of a classical Populista approach. It deliberately breaks the instructions given by the composer in the name of some other features introduced by the composer himself.

POPULISTA presents LUC FERRARI




















Populista presents Komuna// Warszawa plays Luc Ferrari Tautologos III

Violin by Julia Kubica
Viola by Wojciech Walczak 
Cello by Filip Rzytka
Voices and organ by Grzegorz Laszuk, Alina Gałązka, Michał Libera, Edyta Jarząb


Sound, recording by Ralf Meinz

Cover art work by Aleksandra Waliszewska
Layout by Piotr Bukowski
Recorded and premiered in Komuna// Warszawa

1. Overture
2. Act I
3. Act II
4. Act III
5. Coda

In 2011, the prose score of „Tauologos III”, served as framework for a chamber opera prepared in Komuna// Warszawa. Its core element consisted of three separate performances of a short fragment of Alfred Schnittke's String Trio. Violinist (Julia Kubica), violist (Wojciech Walczak) and cellist (Filip Rzytka) played their own parts of the given movement one after the other. Their performances were recorded live and finally overlapped and played back with no synchronization. The procedure was sprinkled and scattered by dance movements and lecture dealing with notions of division of labor in music informed by both sociological and musicological insights into the topic (references to Max Weber, Emile Durkheim, Jacques Attali and Christopher Small). Album release is an updated and re-recorded version of the performance and hopefully a self-explaining tautology as well.

*

One of three completely different albums intersecting in a territory of interpretation, overinterpretation and misinterpretation of music – beloved themes of Populista. Lucier and Ferrari albums may seem heterodoxical if not simply wrong, especially if compared with previous phonographic releases. Yet literally speaking, none of them violate the instructions of the scores and Populista is perversly proud to state that this time nothing forbidden by the composers have been done here. „Tautologos III” and „Chambers” are radically open forms, presuming a creative approach from the interpreters and this was taken seriously in search of the content that seems close to the music ideas of the composers. Tartini release is more of a classical Populista approach. It deliberately breaks the instructions given by the composer in the name of some other features introduced by the composer himself.