11 01 2009
#2035

Bagpipes at age 17.


2035-1.jpg

Or... how black metal ruined my life

09 01 2009
#2034

Khanate... ahh the memories

Khanate in the studio playing "German Dental work" from one of their DVD's, i don’t know about most bands but when your own fans in your own studio are covering their ears when you are playing maybe its time to play something else

05 01 2009
#2033

VITAL NOISE

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VITAL WEEKLY
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number 659
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week 1
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Vital Weekly, the webcast: we offering a weekly webcast, freely to download. This can be regarded as the audio-supplement to Vital Weekly. Presented as a radioprogramm with excerpts of just some of the CDs (no vinyl or MP3) reviewed. It will remain on the site for a limited period (most likely 2-4 weeks). Download the file to your MP3 player and enjoy!
complete tracklist here: http://www.vitalweekly.net/podcast.html

KTL - IV (CD by Editions Mego)
ANTHONY PATERAS & ROBIN FOX - END OF DAZE (CD by Editions Mego)
SUM OF R (CD by UTech Records)
All of KTL's previous work was commissioned for theatre and film, but this new one is not. KTL stands for Kindertotenlieder and is the ongoing collaboration between Sunn 0)))'s Stephen O'Malley on guitar and Peter Rehberg on computer and synthesizer. On two tracks they receive help from Atsuo on drums (on 'Paratrooper') and gong (on 'Natural Trouble'). KTL is one of those supergroups, the seventies term for well-known people collaborating, but in the case of KTL its probably much more serious. 'IV' was recorded and produced by Jim O'Rourke in Tokyo and once again its one hell of a beast. Wall of sound was never better defined, but having said that, KTL isn't just about noise. Perhaps, come to think of it, not about noise at all. Surely its loud, but unlike so many other noise music this is also about detail. This isn't some muddy sound thrown on tape which is loud but without depth, this is has sonic richness. Lengthy pieces of endless walls of guitar sounds, while Rehberg's computer also sounds like a rocking machine. Not carefully processed sounds, but loud sounds, clicks, drones, hiss and machines humming on end. Very powerful stuff this KTL, even when they pull back in volume, such as in 'Eternal Winter' or the opening of 'Benbbet' or the sheer silence of 'Natural Trouble'. When its all open its mayhem such as in the landmark piece 'Paratrooper'. A refined example for all aspiring noise makers who would want to try their hands at making good noise music. Must be frustrating, because its unlikely it will be as good as this.
Although something entirely different, something similar can be said of the third Editions Mego release by Anthony Pateras and Robin Fox, who this time operate as a laptop duo, and leave their usual instruments at home. Perhaps some of the sound material they play around here was made during the previous concerts, and they add some ARP 2500 synthesizers sounds which they recorded at the studio of Worm in Rotterdam. Here too it would be too easy to say we are dealing with noise, and yes, this is 'loud' music, but it is, like KTL, by no means one of those pointless exercises in feedback. There are moments of quietness, such as in 'Hyperpole', the following piece after the sheer noise attack of 'Lung Butter Blues' - its the same side of the noise coin. Whereas most noise is generated through improvisation, but more in the sense of not knowing what to do, these skilled improvisers know how to improvise, and this time it is with a set of acoustic and electronic sounds playing from their computers along with synthesizers sounds. The hasty changing sounds doesn't sound like at all like KTL, yet its surely noise too. More improvised, more based in serious avant-garde music, yet loud and forceful, this is another damn fine disc.
Normally I wouldn't go on with a CD that has nothing to do with these two, but there is a connection to be made. Behind Sum Of R we find Reto Mäder (bass guitar, strings, electronics, piano, effects), Christoph Hess (manipulated turntables, also known as Stotter Int.) and Roger Ziegler (harmonium, effects). If you look at that, then what does Mego have to do with it? Sum Of R play also forceful music, noise even, but also have their quiet moments. More KTL than Fox/Pateras, and that's where my little problem comes in with this disc. Whereas KTL seems to have so much clarity and detail, the noise drones put on by Sum Of R are a bit more muddy, a bit more clouded and less refined. They start out their pieces through relatively 'easy' drones, but once everything has come in place, things seem to explode, effects are in full use, and then the refined details are gone. Surely this is not a bad release at all, but right after the two Editions Mego (and why does noise come in this amount in the darkest days of the year? It made me wonder), this is the weaker brother. What I did like was the addition of the manipulated turntable, as this added a strange, rhythmic component to the music. Throughout I thought this was a fine work too, nothing wrong with it, well, except that it could have been better produced. Next time in Japan, gentlemen. (FdW)
Address: http://www.editionsmego.com
Address: http://www.utechrecords.com

05 01 2009
#2032

KLAT in Paris

Galerie Laurent Godin

KLAT
Ex caligine, nova insigna : anaphoros | Gegenschein
10 janvier - 07 février 2009
vernissage le samedi 10 janvier
special guest : Stephen O'Malley - Performance à 20h
{Fichier:"cid:957448D01C86$1C386C3A$2A5AE02A@maxprog"}
Ex caligine, nova insigna : anaphoros | Gegenschein (2008) est la première exposition monographique en France du groupe Klat, et seulement la deuxième exposition en galerie de ce collectif d'artistes romands (après One for the Money, Two for the Show, à la galerie Francesca Pia, Bern, 2001). Pourtant, Klat n'en est pas à son premier coup d'essai. Klat a commencé a travailler il y a bientôt quinze ans, alors que ses membres étaient encore adolescents et autodidactes, fait assez rare dans le monde de l'art pour le souligner. Klat comptabilise aujourd'hui plus d'une cinquantaine d'expositions, tous formats confondus, et a même représenté la Suisse dans des manifestations internationales à deux reprises (2e Biennale de Montreal, Palais du commerce, 2000 ; Biennale Internationale de Pusan, Corée, 2002).

Il se trouve que très tôt dans sa carrière, Klat a décidé d'investir de manière quasi-exclusive le domaine « public » de l'art, en opposition à celui « privé » que représenteraient les galeries. Il n'est pas tant question ici d'un refus du marché et des valeurs qui lui sont associées, que d'une volonté de concentrer leur critique sur les institutions culturelles publiques - du musée municipal aux espaces culturels alternatifs. Bien que souvent acerbe et teintée d'ironie, cette « critique » n'est jamais cynique. Klat, c'est avant tout une manière d'occuper un territoire, d'y travailler, d'y vivre le mieux possible et, surtout, le plus librement.

Invité en 1997 par Lionel Bovier et Christophe Cherix à Forde, lieu d'exposition alternatif dont ils reprendront la programmation l'année suivante, Klat décide d'investir pendant 24 heures un terrain vague caché par des palissades de chantier. Ouvert durant le temps de cette « performance » (Klat 1440'), l'espace d'exposition, situé au deuxième étage et qui a été vidé pour l'occasion, devient un simple lieu d'observation d'où il est possible de voir, de l'autre côté de la rue, une bande d'ados camper en pleine ville, dormir, écouter de la musique, recevoir des amis, griller des saucisses.

Pour une exposition monographique au Mamco en 1999, Klat démonte la série de salles qui lui était imparties et reconstruit, à partir du bois récupéré, une gigantesque maison de poupée sur roulettes qui sert d'écrin à une énorme collection de fanzines punk et anarchistes d'époque. Il y installe également un bureau avec une photocopieuse, un ordinateur, et anime tous les jours cet « info kiosk » improvisé au sein du musée, invitant les spectateurs à photocopier les fanzines qui les intéressent ou à fabriquer les leurs. Simultanément, à Forde, Klat présente une sélection d'oeuvres pour le moins « difficiles», voir inmontrables, trouvées dans les réserves du Mamco. On y trouve un Condo délirant (avant que sa peinture ne revienne au goût du jour), un John Saint-Bernard (une farce orchestrée par le génial Colin De Land), ou encore une toile parsemee de peluches signé Charlemagne Palestine. Presentees Sur un plan incliné, chaque oeuvre est éclairée, tour à tour, quelques secondes, avant de replonger dans l'obscurité (Gimme 5, Mamco, et 15° Plan B, Forde, 1999).

Il est difficile d'imaginer l'importance du rôle qu'a joué Klat en Suisse romande depuis plus de dix ans. A travers ses travaux d'artistes, ses activités curatoriales ou les différents lieux publics qu'il a animés, les liens que ce collectif n'a cessé de tisser et continue de renouveler entre différentes scènes, différents milieux culturels et différentes générations, sont comparables aux réseaux mis en place par John Armleder et le groupe Ecart vingt ans auparavant. A force de construire des maisons, des lieux de travail et de réflexions, de repos et de fête, Klat a réussi à faire de la scène romande un territoire ludique, ouvert, intelligent, et habitable par tous.

Ex caligine, nova insigna : anaphoros | Gegenschein est, au sein de l'oeuvre de Klat, un des rares ensemble autonome, conçu indépendamment de son contexte d'exposition. Ce qui n'empêche pas cette installation, comme toutes celles de Klat auparavant, de susciter son lot de rencontres fortuites et de collaborations. Ex caligine, ... était destinée a être montrée à New York dans une manifestation de groupe qui a finalement été annulée, avant d'être exposée quelques heures seulement au Shark, dernier lieu public, mi bar mi espace d'exposition, a être animé par les Klat à Genève. Il se trouve que Laurent Godin passait par là...

Fabrice Stroun
Commissaire d'exposition et critique d'art
(1ère exposition, : Ketchup, Forde, 1998 ; réalisée sur une invitation du groupe Klat)

Stephen O'Malley est le fondateur du groupe SUNN O))), qui durant la dernière décennie a exploré les capacités d'extension minimaliste/maximaliste du son, et ses corrélations avec les cultures de métal underground comme le Black, le Death et le Doom Métal.
O'Malley a déjà travaillé avec des artistes dans le cadre d'installations en galerie, dont le sculpteur américain Néo-goth Banks Violette, le plasticien italien Nico Vascellari, et dans le cas présent, le collectif suisse KLAT.
L'aspect physique de la conception sonore de O'Malley se concrétise avec des éléments structuraux et sculpturaux, apportant ainsi à l'espace d'exposition une réinterprétation du poids, de la masse, de la présence et de la force gravitationnelle du son.

-----------------------------------------------------------

Ex caligine, nova insigna : anaphoros | Gegenschein (2008) is the Klat group's first monographic exhibition in France and only the second gallery
exhibition (after "One for the Money, Two for the Show" at the Francesca Pia gallery in Berne, 2001). Yet this group of artists from French-speaking Switzerland are not novices. Klat started out almost fifteen years ago, when its members were still self-taught teens--a rare enough event in the art world to be noteworthy. Today Klat has totted up over fifty exhibitions in all formats and twice represented Switzerland at international events (2nd Montreal Biennial, Palais du Commerce, 2000; International Pusan Biennial, Korea, 2002).

Klat decided from an early stage to almost exclusively inhabit the "public" art realm, as opposed to the "private" one represented by galleries--not so much in order to reject the market and its associated values as to focus their criticism on public cultural institutions, from city museums to alternative cultural spaces. Though frequently caustic and tinged with irony, this "criticism" is never cynical. Klat is first and foremost a way of occupying the ground, of living and working in it as effectively and above all as freely as possible

In 1997, when invited by Lionel Bovier and Christopher Cherix to Forde, an alternative exhibition space which they went on to program the following year, Klat decided to take over a wasteland hidden by construction site hoardings for 24 hours. The exhibition space on the second floor, emptied for the occasion and open for the duration of this "performance" ("Klat 1440'"), became a simple observation post from which to look out onto the other side of the street and watch a gang of teenagers camping out in the city, sleeping, listening to music, hanging out with friends and cooking sausages.

For a Mamco monographic exhibition in 1999, Klat dismantled the series of rooms allotted to them and used the wood to build a gigantic doll's house on wheels that served as a showcase for a massive collection of contemporary punk and anarchist fanzines. The group also set up an office containing a photocopier and a computer and manned this improvised "information kiosk" every day, inviting viewers to photocopy the fanzines they were interested in or else to make their own. Simultaneously, Klat presented a selection of "difficult"--to say the least--or even unshowable works found in the Mamco reserve collections, notably a far-out Condo (before his painting became popular again), a John Saint-Bernard (a farce orchestrated by the marvellous Collin de Land) or a pile of soft toys signed Charlemagne Palestine. Installed on a slant, each work was lit in turn for a few seconds before being plunged back into obscurity. ("Gimme 5", Mamco, and "15° Plan B", Forde, 1999).

It is hard to imagine the importance of the role Klat has played in French-speaking Switzerland for over ten years. Through its artists' work, curatorial activities and the various public spaces it has animated, the links the group has consistently forged and revived between different generations, cultural worlds and scenes can be compared with the networks established by John Armleder and the group Ecart twenty years earlier. By building houses and spaces in which to work, think, rest and party, Klat has managed to make the scene in French-speaking Switzerland a fun, open, clever space inhabitable by all.

Ex caligine, nova insigna: anaphoros ?Gegenschein is one of the few autonomous works in Klat's corpus, conceived independently from its
exhibition context. This doesn't stop it, like all Klat's other installations, from provoking its share of chance meetings and collaborations. "Ex caligine, nova insigna: anaphoros ?Gegenschein" was originally going to be shown in New York in a group event that was then cancelled, before being shown for just a few hours at the Shark, the latest public exhibition space-cum-bar animated by Klat in Geneva. Where Laurent Godin just happened to be passing by...

Fabrice Stroun
Exhibition curator and art critic
(1st exhibition: "Ketchup", Forde, 1998, invited by the group Klat).

Stephen O'Malley is a founding member of the group SUNN O))), who have for the past decade explored sounds capacity of minimalism/maximalism as well as fusions with such underground metal cultures as Black, Death and Doom Metal. O'Malley has worked together with visual artists in gallery installation work, most notably with the American New Gothic sculptor, Banks Violette, the Italian artist Nico Vascellari, and here with the Swiss arts collaborative KLAT. The physical aspect of O'Malley's sound design solidifies with elements of structural and sculpture, bringing a reinterpretation of sound's weight, mass, presence and gravity to space.

http://www.klat.ch/

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Informations et images disponibles sur demande.
Information and images available upon request.
Virginie Jacquet : virginie@laurentgodin.com - tel 33 1 42 71 10 66
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Galerie Laurent Godin
T +33 (0)1 42 71 10 66
5, rue du grenier Saint-Lazare
75003 Paris - FR
http://www.laurentgodin.com
-------------------
PHILIPPE DURAND - OFFSHORE 3
22 novembre 2008 - 03 janvier 2009

KLAT
Ex caligine, nova insigna : anaphoros | Gegenschein
10 janvier - 07 février 2009

MIKA ROTTENBERG
19 février - 28 mars 2009

ALEKSANDRA MIR
4 avril - 9 mai 2009

04 01 2009
#2031

nuns have fun


2031-1.jpg

04 01 2009
#2029
02 01 2009
#2026

OREN vs JAPAN


2026-1.jpg

Thursday 8 January
Oren Ambarchi & Jim O'Rourke duo
+
Haino Keiji solo
+
Oren Ambarchi/Jim O'Rourke/Haino Keiji Trio
@ Playhouse,
Kitakyushu Performing Arts Center (River Walk 6F)
Kitakyushu
Japan

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