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November 12th 2010, 21:40hs
Braver Newer Musics
Diego Chamy, Jean-Luc Guionnet and Seijiro Murayama
Who: Diego has a "No CV policy - as a way of avoiding people judging or knowing others for the things that are written about them", which in a round about way let's you know a lot about him. Jean-Luc is one of our favourite European musicians, whether playing 'terror jazz', electronic compositions, sax or making field recordings. In our experience, Seijiro is a careful thinker, super technical but restrained percussionist and admirably expansive polyglot.
What: An improvisation from three hardened musicians: may not involve (typical) improvisation.
Why: It's fair to say: Diego is really pushing things. His music (if it is music) is moving in what feels like totally non-musical directions, but it's still somehow a musical investigation, an investigation of things bigger than music itself10. Which is also to say: (we think) he's really concerned with making an addition each time he does something11. Or, if you like: just check out YouTube for some pretty amazing clips of Diego, hairdryers, massive plastic bags, ripping off of clothes, dancing, singing, dull everyday movements, puzzlement (but who's?)…
3 days of events that explore un-average ideas about sound and music; INSTAL features unrepeatable, unmissable gigs and performances, in-depth discussions, readings, films, installations. Local, national and international musicians, artists and thinkers. Some of the most intriguing young artists in the world alongside some of the most influential of the last 50 years.
A festival should be a bunch of intense experiences. INSTAL will have thrilling performances, (dry) humour, extremes of volume/ silence, immersive environments, and multiple permutations of kicks ‘vs’ contemplation and emotion ‘vs’ intellect… It might be gentle or inspiring. It might be challenging or troubling. The only specialist knowledge required is the knowledge that no specialist knowledge is required.
Tramway
25 Albert Drive, Glasgow, G41 2PE, UK
November 2nd - November 27th 2010
Kunstraum Walcheturm
Kanonengasse 20, 8004 Zurich, Switzerland
Kaskadenkondensator - Raum für aktuelle Kunst und Performance
Warteck PP, Burgweg 7, 4058 Basel, Switzerland
Freies Museum Berlin
Postdamer Strasse 91, 10785 Berlin, Germany
October 31st 2010, 14hs
Henie Onstad Art Centre’s Fluxus day
Diego Chamy performing:
"Two Durations", George Brecht (1961)
"Opus 13", Eric Andersen (1961)
"Music for My Son", Jed Curtis
"Opus 1", Jed Curtis
"Identification Exercise", Bengt af Klintberg (1966)
"Mandatory Happening", Ken Friedman (1966)
"Forest Event Number 5" (Lumberjacks’ and Pickers’ Union), Bengt af Klintberg (1966)
"Attune", Larry Miller (1981)
"Event Score", George Brecht (1966)
When Henie Onstad Art Centre was established in 1968, the aim was to be a cross-artistic and dynamic venue for contemporary art and modernism. This is also our goal today. With this cross-over philosophy it falls naturally that the Art Centre now also wants to promote Fluxus.
Henie Onstad Art Centre is the owner of a unique collection of Fluxus art that consists of 700 works. In 2007 Ken Freidman made a significant donation to the Art Centre. This was groundbreaking for the center's continued work with the collection, which in recent years have included a full photograph and registration of the material. This is done with extensive support from the Foundation ForArt.
For the first time, this collection will be on display in the exhibition FLUXUS - HENIE ONSTAD ART CENTRE curated by Caroline Ugelstad. There will also be released a new publication, presenting Fluxus - Henie Onstad Art Centre.
Sonja Henies vei 31, NO-1311 Høvikodden, Norway. Free entrance with museum ticket.
October 4th 2010, 18hs
Noise & Capitalism, Exhibition as Concert
Zbigniew Karkowski & Evil Moisture
" " [sic] Tim Goldie (solo)
Mattin in collaboration with Loïc Blairon, Ray Brassier, Emma Hedditch, Esther Ferrer, Jean-Luc Guionnet, Anthony Iles, Matthieu Saladin, Howard Slater, Jarrod Fowler, Taku Unami, Zibigniew Karkowski & Evil Moisture (Andy Bolus), Tim Goldie, Diego Chamy, Malin Arnell, Ilya Lipkin, Barry Esson, Aitor Izagirre, David Baumflek, Daniel Lichtman, Maija Timonen, Anne Duffau…
Taking as a starting point the book "Noise & Capitalism" and the desire to explore noise and improvisation in social and political terms, the CAC exhibition context will become an improvised concert lasting for two months. Going through different degrees of intensity, nothing will remain static; the production and reception will take place simultaneously. By collapsing the formats of exhibition and concert into each other, the potential of the different usages of the noun noise will be explored rather than simply perpetuating noise as a musical genre. Playing with different levels of visibility and invisibility, some activities will be more formal than others. Interventions by different people will take different forms, such as an improvised zine, a continuously generated performance program, an open invitation to improvise with the material conditions of the exhibition...
Historically, noise – in its many forms – has disrupted established codes, orders, discourses, habits and expectations, aesthetics and moralities. Noise has the potential to exceed the logic of framing, by either being too much, too complex, too dense and difficult to decode or too chaotic to be measured. At first encounter noise has the power to suspend values of judgement such as good or bad or right or wrong. To think of it in moral or ethical terms seems ridiculous. Noise, with its epistemic violence, brings into crisis the division between activity and passivity, and between knowing and feeling. By making us aware of our incapacity to decipher it, noise can expose to us our alienated condition, making us question our own subject position.
Can the practice of noise and improvisation help us in any way to understand or even counter the level of commodification that our lives have reached under the capitalist mode of production? Can we use noise as a form of praxis going beyond established audience/performer relationships? Can we push self-reflexivity to the point of positive feedback?
Centre d’art contemporain de Brétigny, Espace Jules Verne
rue Henri Douard, 91220 Brétigny-sur-Orge France - free entrance
September 25th 2010, 20hs
20 years of real time music in Berlin - Restrospective and outlook of a scene. 08.09.2010 - 30.09.2010
"fringes #2"
Antonia Baehr - "Lachpartituren, eine Auswahl"
performed by Frieder Butzmann
(by Diego Chamy and Axel Dörner)
Big Daddy Mugglestone
Elisabethkirche
Elisabethkirchstrasse 21, Berlin, Germany
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