Multidisciplinary art place

Murcof and AntiVJ‘s Simon Geilfus @ Berlin Atonal

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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).

Photo credit: Mathias Verjeslev
Photo credit: Mathias Verjeslev
License: All rights reserved by Simon Geilfus
License: All rights reserved by Simon Geilfus
License: All rights reserved by Simon Geilfus
License: All rights reserved by Simon Geilfus
All rights reserved by Itaú Cultural
All rights reserved by Itaú Cultural

Noisekölln presents Justice Yeldham @ West Germany, April 28th, 2012

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Lucas Abela (aka Justice Yeldham) cheeks are flattened by the glass, the foot of his tongue presses against his instrument like some over-satiated worm, blood eventually cloaks the glass in a pink fluoroscent haze, and then … he bites the glass into pieces until it’s nothing but a bloodied mound of shrapnel at his feet. The noise his instrument emits ranges from a subterranean death rattle through to a squalling motorised melee, with plenty of sonic variations in between.

According to Bruce Russell – WIRE magazine, Justice Yeldham is “the most exciting performer I have seen in the last three years – in fact, since I first saw Iggy Pop. Ecstatically Abela purses his lips against amplified glass whilst deftly employing various vocal techniques ranging from throat singing to raspberries turning the discarded shards into crude musical instruments, resulting is a wild array of cacophonous noise that is strangely controlled and oddly musical. The instruments simple, original and effective premise is a welcome riposte to over complicated musical performances of modern times. A one of a kind act re-defining the expression ‘don’t try this at home’ this show quite simply needs to be witnessed to be fully appreciated, let alone understood”.

The line up at West Germany on the night of April 28th was:
Justice Yeldham:
Ill Winds:
Moon Wheel:
Anna Vo & Peter Newman: &

The video below shows Justice Yeldham at minute 0:00, Anna Vo & Peter Newman at minute 1:56, Ill Winds at minute 2:40 and Moon Wheel at minute 3:15 

Text source: and

data.anatomy [civic] by Ryoji Ikeda @ Kraftwerk Berlin, April 18th, 2012

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data.anatomy [civic] is a new audiovisual installation by the acclaimed Japanese artist Ryoji Ikeda,arising from a unique collaboration with Mitsuru Kariya, the development leader of the new Honda Civic. Exhibited as a 3-screen video projection, data.anatomy [civic] immerses viewers in an intricate yet vast audiovisual composition derived from the entire data set of the car.

The unprecedented cooperation is the result of numerous discussions. They concluded with the artist invitation to explore the complete and uncensored technical vehicle data. In his work, Ikeda abstracts the complexity of the physical object into a captivated aesthetic experience.
“The core of my work is the composition of music, materials, physical phenomena and abstract concepts. In this project the invisible multi-substance of the vehicle data is subject of my composition” said Ryoji Ikeda. “As a Japanese artist, I have great respect for Honda’s long tradition of excellence and innovation in engineering. My installation verse on the diversity of ideas, beauty  and ephemeral concepts that are embodied in the car”.
“Over the past four years my team and I were dedicated to the design and development of the new Civic. The way our work is interpreted by Ryoji Ikeda is an extraordinary honour for all of us”, says Mitsuru Kariya, technical director Honda Civic. “Everyone who is involved in the project, is thrilled by the result”.

The installation opened at MUMA (Kraftwerk) Berlin on April 19th and last till May 5th 2012.

The amaaaaazinggggg video shown below was created by data.anatomy team on the installation with some insights from Ryoji 

Free translation by me from original in german at

Andreas Schulze @ Berlin KUNSTSAELE, March 29th, 2012

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Andreas Schulze paintings open up a colorful, simplified strange world. The large sizes inflate what makes up the idyllic everyday life of middle-class. He only pays attention to things -“indifferent domed” shapes, as he even noted on sketches- which are the protagonists in a story in where humans have no place.

In the 1980s he moved around the Mülheimer Freiheit and Jungen Wilden, from he took the ‘sound’ of expressive brushstrokes but not the importance of the artistic subject. With seething flow and planar, thin paint, he does nothing contrary to prevailing artistic trends as combative. Set in the seemingly random references to his works as modern art works, whil eradiating an “offensive gentle kindness”, he emptied the clarity and rigor of these approaches. “I wanted to be misunderstood. As when someone who is familiar with modern art and has not prejudices, tries to paint a modern picture”, said Schulze in a interview in 1987.

Innocent as it seems, in the 1980s, his painting presents a minimalistic body in perspective amateurishly executed, while Donald Judd conjures with his specific objects (1965), the abandonment of anyillusionistic effect. In some paintings he adds small items, such as an apple or a pair of glasses, as someone that have lost in thought on the theory to put heavy object. They become fixtures, simple things, which humorously Schulze also gives attention in his later work. He paints sections of terraced houses, home-style living room furniture, combining landscapes with imaginary, biomorphic-abstract objects. Not only on the canvas, but also with large-scale installations and murals he created this human blank retreats. A bizarre coziness, which is in its seemingly naive obliviousness, unsettling.

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The Berlin KUNSTSAELE showed a small selection of Schulze’s works. Even in this small collection, it contain various creative periods. It becomes clear how Schulze for years has remained true to his style and not tried any other adaptation. “Abstract Composition” a painting of the early 80s, denied itself by its size (2 x 4 meters) to be placed above the living room couch as a focal point. Like many of his works, it consists of several composite screens. With repetitive compositions of simple planar shapes from the background (spheres, cubes, or, as in the picture, ovals) let the piece as a reminiscence of ornamentation. In later works , as the four exhibited watercolors (each 70 x 90 cm), he takes again from those repetitive patterns, backgrounds and figurative elements. In other of the paintings, some objects can be seen at first glance as flowers or cars.

Kunstsaele Berlin combines gallery, collection and SALON-talks at one place. The exhibitions are made up of altering shows from „Sammlung Bergmeier“ and „Sammlung Oehmen“, now opened for public exploration, and of positions of conceptual and minimalistic art, which will be shown by the gallery Aanant & Zoo. The events of the SALON – a project conceived by THE OFFICE and Arthur Berlin – is an experimental space for discourse on art and related, current topics.

Text source: free translation by me from original in German in