Yesterday we experience one of the most immersive experience with the collaboration between Mexican electronic composer Murcof and AntiVJ‘s Simon Geilfus at Berlin Atonal. With large, semi-transparent screens, they create a fully immersive environment in which microscopic particles, geometric grids and organic elements are mapped in wondrous 3D perspective to the sound of ambient and droning electronica. As amateurs pics I took with my iphone will not make justice to the show, I have collected some professional pics from this collaboration that already last 4 years (2009).
‘Schwarz oder weiß, es ist mir gleich. Es gibt keine Farben in diesem blauen Reich’ Joris Van de Moortel @ Künstlerhaus Bethanien, January 17th, 2013
Joris Van de Moortel is concerned with architecture as an important medium of our mental and physical experiences of space. Besides musical performances, he creates assemblages, which often resemble stage sets or the remains of a performance. For his generally large-scale installation works, Van de Moortel uses pedestals, walls and boxes or a number of things that seem to have been found by chance: towels, musical instruments, door leaves, a single window, or an old cooking pot are combined into unpretentious artefacts, which seem to bear their own, expansive dynamics within them. The artist bundles, ties, screws, and then shuts up his work in wooden or acrylic glass cases, or he has them hang from the ceiling in bin-bags. His environments – often in conjunction with musical performances – are inspired by found situations and often they have no clearly defined beginning, middle or end. Thus, the artist often ‘recycles’ the work at the end of an exhibition by destroying it, and constructing a new work with the help of the resultant junk. In this way, the “undoing” in Van de Moortel’s work becomes an important aspect of the “doing”.
Joris Van de Moortel is a grantee of the Flemish Government in Künstlerhaus Bethanien. As the 17th of January were also Open Studios at Bethanien, this last picture is an installation in his studio.
The video below correspond to the last 25 seconds of the performance that accompanied the exhibition-installation… all is blue…
EXHIBITION: 18.01. – 10.02.2013. Tue – Sun: 2 – 7pm. Admission free.
The WordPress.com stats helper monkeys prepared a 2012 annual report for this blog.
Here’s an excerpt:
600 people reached the top of Mt. Everest in 2012. This blog got about 5,700 views in 2012. If every person who reached the top of Mt. Everest viewed this blog, it would have taken 10 years to get that many views.
With the audio-visual triptych MindBox Christian Graupner & partners created an audience reactive installation and an electro acoustic music instrument using the body of a ‘one armed bandit’ as an user interface. MindBox is a part of the work cycle H.RP [Humatic Re-Performing].
The installation attracts visitors’ senses offering a joyful gambling- game around musical, choreographical and cinematographical elements as dance & beat-boxing. The latter expression describes a form of vocal percussion from which the installation derives its title. MindBox is a triple-channel ‘media catapult’ to be touched. The arm and buttons of the modified fruit machine function as a tactile interface to the actions of a filmed character whose vocal- & movement clusters can be re-composed and re-performed by the audience.
MindBox is an artistic collaboration between: Christian Graupner (GER) – Humatic, inventor, media artist, director, composer; Roberto Zappalà (IT) – performer, choreographer; Norbert Schnell (FR) – IRCAM Centre Pompidou, interactive music & sound design; Nils Peters (DE) – Humatic, system developer and software artist.
FeeedBack 5 *public prototype & casting module – Christian Graupner (DE) & Alan Gleeson (IE)
FB5pp demonstrates the evolving audio features of the pipelined multi-screen media installation FeeedBack 5.
One by one, female visitors are invited to put on headphones and to wear a “prepared” electric guitar. In doing this they accept to play the main role in an intense re-performance, by becoming a experienced feedback guitar player and creating their own rich soundscape .
A smartphone and additional sensors are mounted on the guitar to transmit accurate 3D motion and position data to an external system which provides a reactive real-time soundtrack giving direct response to players activity and creating a close-to-real simulation. Surrounding visitors can observe the player becoming one with the instrument in swaying movements but are not able to listen to the spectacular soundtrack.
In addition to being a standalone sound installation FB5pp fires the imagination for the pipelined multi-channel / multi-user audiovisual work FeeedBack 5 (http://fb5.humatic.net). The setup serves for casting and test shootings that will develop to the complex piece which will be realized in early 2013.
Concept and Realisation: Christian Graupner (Humatic) & Alan Gleeson. Guitar Feedback Footage: Blacky Schwarz-Ruszczynski, Project Partner: Dr. Prof. Werner Jauk, Universität Graz, Android: Control Software: Nils Peters ( Humatic). Additional Technical Support: Servando Barreiro & Jo Frgmt Gyrs
Zunge lösen | Releasing the tongue – Christian Kesten (DE)
zunge lösen by Christian Kesten consists of the following elements: (fine) slaps of the tongue on the bottom of the mouth, (visible) tongue movements and tongue movements, which articulate a (chance) text, based on a given material of phones (syllables and smaller). Through breath and larynx they are made audible from time to time. Tongue movements, breath and voice function as independent layers which interact.
G is for Guam Flying Fox (Pteropus tokudae) – Christian Kesten (DE)
Über die Lebensweise des Guam-Flughunds ist nichts bekannt. [Nothing is known about the Guam Flying Fox’s way of living.] for voice, hands/arms, feet.
The piece was originally composed for Antonia Baehr and her Abecedarium Bestiarium.
Lips revisited – Carlos Sandoval (MX) and Etoile Chaville (FR)
Lips revisited is a study on gesture’s contrast and interpretation. The first version of the piece (an approach on microgestures) was premiered at LEAP with Almut Kühne one year ago. This time the piece is much more fragmented both in terms of its elaboration and its discourse. With Carlos Sandoval: Live electronics and actions and Etoile Chaville: Voice and dance
Go Karamazov – Eva Sjuve (SE)
Go Karamazov is an interface for live interactive performance, a wearable controller with sensors as inputs, reacting to movements of the performing body. The live audio is programmed in Pure Data and is addressing issues of electromagnetic propagation. Light has been integrated into the design adding a visual element of light and shadows. The sonic output from the controller is composed in relation to the movements of the performer.
Eva Sjuve has been developing interfaces for gestural use since the late 1990s. GO interface is an early wireless interface, developed in 2006 for the performing arts, as a Nordscen Artist in Residency. GO Karamazov was later commissioned by New Composers Series in New York, and premiered at PERFORMA 07 biennale in New York City, as one of the highlights. Go Karamozov is an interface that adresses issues of electromagnetic propagation, via a very free adaptation of Dostoyevsky’s novel the Brothers Karamazov.
On Thursday August 16th we were able to see Künstlerhaus Bethanien artists studios. The atmosphere in the studios was like a international artists dorm as they become scholars from different countries. Strolling through customized workshops, it was offered the exciting opportunity to see the artwork on the scene and deal directly with the artist.
Among this year’s artists, which are funded through the International Studio Program, include:
Mats Adelman (Guest Artist), Viktoria Binschtok, Mauro Cerqueira, Hadassah Emmerich, Jan Freuchen (Guest Artist), Roey Heifertz, Sharon Houkema, Hyein Lee, Michael Lee, Joris van de Moortel, Daniel Palacios, Linn Petersen, Judy Radul (DAAD ), Constantinos Taliotis, Aiko Tezuka, Mark Themann, Jane Ritchi, Rebecca Wilton, Daniel Young and Marie Zolamian.
FIRST INTERNATIONAL CONGRESS OF THE JEWISH RENAISSANCE MOVEMENT IN POLAND (JRMIP) May 11–13, 2012
The Jewish Renaissance Movement calls for the return of 3,300,000 Jews to Poland in order to re-establish the annihilated Jewish community. The movement was initiated by Israeli-born artist Yael Bartana in 2007 and has since spread internationally. It aims to create an atmosphere for a Jewish appearance in Europe. The Jews of today are not the same people who were expelled from Europe—the Europeans of today are not the ones responsible for the ethnic cleansing. This may be the appropriate time to unite again—and change Europe and Israel for the better.
The JRMiP is a response to these times of crisis, when faith has been exhausted and old utopias have failed. The aim of the First Congress of the JRMiP is to ultimately formulate the concrete platform of the movement and collectively imagine the future. The three-day long gathering departs from a letter of the late leader of the movement, Sławomir Sierakowski, found after his assassination, and considers the following questions:
- What should be changed in the EU to welcome the Other?
- What should be changed in Poland to become part of the revived EU?
- What should be changed in Israel to become part of the Middle East?
For the first time since its foundation, JRMiP members assemble, joined by international speakers, to reflect upon particular demands. The movement needs all of you who sympathize with the issues of different Diasporas in general.
Known in Western democracies as “the last European dictatorship”, Belarus became an independent country after the collapse of the USSR. It has been under the authoritarian rule of President Alexander Lukashenko since 1994. For years now he has used repression as a political tool against the opposition; civilians are at the mercy of the whims of the military, the Internet is under surveillance, and there is barely any free press. This is arguably the high price that the population has to pay for Lukashenko’s alleged, much-touted “stability” for the entire country.
Project partners: Kalmar Konstmuseum, Sweden; Krytyka Polityczna, Poland; Olga Karatch, Nash dom, Belarus; Marina Naprushkina and Irina Solomatina, Institute of Future, Belarus; Tobias Weihmann, Germany; Utrikespolitiska Institutet, Sweden.