Wednesday, 15.02.2012, 20.30 clock JAZZANOVA LIVE feat. PAUL RANDOLPH
For 15 years, the Berlin collective a fixture on the international dancefloors. In conjunction with the Munich-based Compost label Jazzanova had a style icon for the so-called nujazz, the jazzy sounds of the small clubs and concert Fanzirkeln brought back into the general-grade dance halls. Provided since 1997 with the Jazzanova uptempo jazz-Brazil-number "Fedime's Flight," an international sensation, they are indispensable as DJs, remixers and producers and owners of the Sonar Kollektiv label in the music landscape. For a huge surprise was Jazzanova, as one the Jazz, Brazilian, Latin, boogie, soul, folk, and rock-heavy soundtrack, experimental fusion of house, drum & bass, jungle, trip hop, nu jazz, hip hop and musical unifying concept with a nine-member cast three years ago brought to the festival stages. Since then, the band toured with great success throughout the world. For next spring, a new live CD has been announced. The program includes live Jazzanova tracks, remixes and compositions by Paul Randolph and Jazzanova for the band. Singer and bassist Paul Randolph is from Detroit and has worked with greats such as Carl Craig, Amp Fiddler and Moodyman. In addition, Axel Reinemer and Stefan Sebastian Leisenring and Studnitzky Arne Jansen, Paul Glue, Stefan Ulrich, Sebastian Borkowski and Michael Ingersoll grave is one of the party. Jazzanova Live is attrakiv for a wide audience, because here electro, jazz, soul and funk mix across genres.
Monday, 20.02.2012, 20.00 clock HIDDEN ORCHESTRA & NOSTALGIA 77 Finest Sounds of British Jazz Today - Double Concerto
After the most inspiring British Jazz Week last year presenting itself today in a double concert two involve the most interesting recent, not only for nu-jazz guru Gilles Peterson highly recommended, groups of the British jazz scene, the variety of influences into their current and controversial merger.
Nostalgia 77 is the brainchild of multi-instrumentalist and producer Ben Lamdin, for which he crosses hip-hop beats with jazz, funk and psychedelic moments. Effects of Free and Spiritual jazz, 60's funk and Afro sounds combine to create a visionary sound structure in which the bluesy-folky songs of the great Berlin singer Josa whips, tösende organ sounds, tenderly played drums and warm-sounding bass with great charm, therefore, . come Kit Downes on piano, with his trio at the British Jazz Week enthusiastic. Much attention was the latest Nostalgia 77 album "The Sleep Walking Society".
The native of Edinburgh Hidden Orchestra to the classically trained multi-instrumentalist Joe Acheson Quartet succeeds in supposedly more economical line-up in an impressive way, the opulent music of their elaborately produced debut album "Night Walks" translate live. Created with two drummers, deep bass, keyboards, acoustic and electronic sounds an epic, sometimes gloomy, suggests almost psychedelic sound, the influences of Debussy to Aphex Twin to Radiohead, Squarepusher and Gene Krupa.
Wednesday, February 15, 2012
Tuesday, February 14, 2012
Stories from the wholesale market hall in the open scene in the film museum
Hall 1 of the Munich central market hall - Photo: Bayerischer Rundfunk
The Munich Filmmuseum shows at 19:00 at 16:02:12 clock in a preview of the documentary series two episodes of "Tales from the Great Market Hall" (2011) by Lisa Eder and Katja Wallenfels. This year celebrates its 100th Munich Großmarkthalle Birthday, and therefore also from 15.02. until 15.07.2012 in Munich's city museum with the exhibition "Fresh every day" award.
The wholesale market hall in Munich, Paris and Barcelona, the third largest in Europe. Since 1912 it has provided the region around Munich, about 5 million people with food from around the world. As international as the goods, are also international traders, farmers and chefs who work here and shop. While the city is still asleep in the wholesale market hall is already very busy. It is like a village in Munich, busy and yet familiar. It will be haggled over, cursing and laughing. On behalf of the 3,000 people who work in the wholesale market, can the audience get to know some of them in more detail in the movies by Lisa Eder and Katja Wallenfels. Culinary Cinema so!
The first two episodes of "Tales from the wholesale market" are each 45 minutes long. They were produced by Fidelis Mager and Francis Xavier Gernstl megaherz of film and television. The editorial work Gambke Ulrich took over the Bavarian Radio. The filmmaker Lisa Eder, Katja, and Wallenfels, and many of the protagonists are present at the screening.
Come and visit the 'Open Scene' at the Filmmuseum Munich on 16.02.2012 and see the first two episodes of the documentary series "Tales from the wholesale market." The team from Munich Blog wishes much fun.
The Munich Filmmuseum shows at 19:00 at 16:02:12 clock in a preview of the documentary series two episodes of "Tales from the Great Market Hall" (2011) by Lisa Eder and Katja Wallenfels. This year celebrates its 100th Munich Großmarkthalle Birthday, and therefore also from 15.02. until 15.07.2012 in Munich's city museum with the exhibition "Fresh every day" award.
The wholesale market hall in Munich, Paris and Barcelona, the third largest in Europe. Since 1912 it has provided the region around Munich, about 5 million people with food from around the world. As international as the goods, are also international traders, farmers and chefs who work here and shop. While the city is still asleep in the wholesale market hall is already very busy. It is like a village in Munich, busy and yet familiar. It will be haggled over, cursing and laughing. On behalf of the 3,000 people who work in the wholesale market, can the audience get to know some of them in more detail in the movies by Lisa Eder and Katja Wallenfels. Culinary Cinema so!
The first two episodes of "Tales from the wholesale market" are each 45 minutes long. They were produced by Fidelis Mager and Francis Xavier Gernstl megaherz of film and television. The editorial work Gambke Ulrich took over the Bavarian Radio. The filmmaker Lisa Eder, Katja, and Wallenfels, and many of the protagonists are present at the screening.
Come and visit the 'Open Scene' at the Filmmuseum Munich on 16.02.2012 and see the first two episodes of the documentary series "Tales from the wholesale market." The team from Munich Blog wishes much fun.
Monday, February 13, 2012
The three? Full playback theater in the Muffathalle
Vollplaybacktheater the three? in Muffatwerk Muench finished Munich blog has yesterday the "Three?" full playback theater looked at the Muffathalle and one could easily at this point only write "Great piece, buy umbedingt cards" and refer to our photo gallery, but since that would be boring, there is a sneak preview.
What we experience in "The Three? and the black cat? ". It is not an experiment, which lists the Vollplaybacktheater here, but one of several in the 16 programs, including about ten pieces of Three Investigators). Particularly convincing are mainly built lovingly details. But what can be thought of under a full playback theater? In order to avoid confusion, full playback is like a label for musicians that are not the voices in the play of the actors, but by volume. Vollplaybacktheater is also the name of the theater crew, performte here.
The performance is much more than just a radio play with visual accompaniment. And that's probably the reason why almost all dates are sold out. The original radio play, the three? and the black cat was this jazzed up with lots of special effects and recordings from different movies. Known quantities of show business - like Alf and Spongebob - have cameos and the three? will be presented from perspectives from which one of the plays she still does not know her.
More is at this point but not reveal the surprise else is lost, if you're lucky to have the cards if the Vollplaybacktheater at 13.03. again in the Muffathalle comes to the three? and to list the black cat.
In summary we can say: The three were exciting? always. The Vollplaybacktheater mixes humor and to develop such a rousing program, which is umbedingt worth a visit - especially when you can have a say, as some of the guests, the 'original' of your youth still.
After the show we had the chance to entertain us with one of the performers and to ask the question: What makes Munich a visit? Listen for yourself (in the photo gallery)!
What we experience in "The Three? and the black cat? ". It is not an experiment, which lists the Vollplaybacktheater here, but one of several in the 16 programs, including about ten pieces of Three Investigators). Particularly convincing are mainly built lovingly details. But what can be thought of under a full playback theater? In order to avoid confusion, full playback is like a label for musicians that are not the voices in the play of the actors, but by volume. Vollplaybacktheater is also the name of the theater crew, performte here.
The performance is much more than just a radio play with visual accompaniment. And that's probably the reason why almost all dates are sold out. The original radio play, the three? and the black cat was this jazzed up with lots of special effects and recordings from different movies. Known quantities of show business - like Alf and Spongebob - have cameos and the three? will be presented from perspectives from which one of the plays she still does not know her.
More is at this point but not reveal the surprise else is lost, if you're lucky to have the cards if the Vollplaybacktheater at 13.03. again in the Muffathalle comes to the three? and to list the black cat.
In summary we can say: The three were exciting? always. The Vollplaybacktheater mixes humor and to develop such a rousing program, which is umbedingt worth a visit - especially when you can have a say, as some of the guests, the 'original' of your youth still.
After the show we had the chance to entertain us with one of the performers and to ask the question: What makes Munich a visit? Listen for yourself (in the photo gallery)!
Friday, February 10, 2012
Kevin Devine Live at the Atomic Cafe
Kevin Devine plays at 18.02. at the Atomic Cafe in the MünchenAm 18/02/2012 U.S. indie / folk-rock singer Kevin Devine, whose music is certainly also reveals Americana and grunge influences that occur at the Atomic Cafe in Munich. He is accompanied by the Goddamn Band. The work on his sixth solo album "Between The Concrete & Clouds" brought the young musician a few changes. The first big change - after spending the last few years had been almost constantly on tour - was sure that he is now permanently at home in Brooklyn was and had to adjust his schedule to this new datum. The second big change for the native New Yorker, he Taught been its focus heavily on the lyrics and started writing new songs and most of it, let it be in this relationship this time "to drive rather unconsciously - as are more vocal and lyrics an additional (sound) color in the whole picture rather than something original. "Nonetheless, the lyrics for him and remain a central component of his work.
Has taken this focus on the music and a certain Minimalimus describe another new way to Devine with "Between The Concrete & Clouds". "I grew up with Weezer and the Cars as well as with Nirvana and Bob Dylan," he says, "and on tour we have heard a lot of Kinks and Zombies." On the way he was to have on the last tour with Nada Surf and the guys he helped its power-pop side to revive, by the direct impact of the new songs.
Since the release of "Circle Gets The Square", 2002, Kevin Devine, the last ten prolific years tirelessly and fearlessly searched his musical style, found and refined. The big breakthrough appeared in 2006 with the release of "Put Your Ghost To The Rest" (Capitol Records) just to stand before. But a year later the contract was canceled in the wake of the merger of Capitol with Virgin Records again. Instead of burying our heads in the sand, Devine saw this as an opportunity. He continued to pursue his own line and played its way through countless tours a global, broad fan base.
Musically, says Devine, the new album "Between The Concrete & Clouds" is a credit to the entire team that he has for this project is the first tumbled into this lineup together. The album was produced by Chis Bracco (a long-time companion of Kevin Devine), mixed by Rob Schnapf. The current composition of the accompanying Goddamn Band consists of: Brian Bonz (keyboards), Chris Bracco (bass and keyboards), Mike Fadem (drums and percussion), Russell Smith (guitar) and Mike Berg beach (guitar, mandolin).
Is the opening act at the Atomic Cafe by the way the coming of New York alternative-folk singer Jaymay seen. Jamie Kristine Seerman so her real name, comes from the New York anti-folk scene and has most recently the album "Long Walk To Never" was released.
They also visit the concert of Kevin Devine & The Goddamn Band on 18.0., 2.2012 at the Atomic Cafe in Munich. The team from Munich Blog wishes much fun.
Has taken this focus on the music and a certain Minimalimus describe another new way to Devine with "Between The Concrete & Clouds". "I grew up with Weezer and the Cars as well as with Nirvana and Bob Dylan," he says, "and on tour we have heard a lot of Kinks and Zombies." On the way he was to have on the last tour with Nada Surf and the guys he helped its power-pop side to revive, by the direct impact of the new songs.
Since the release of "Circle Gets The Square", 2002, Kevin Devine, the last ten prolific years tirelessly and fearlessly searched his musical style, found and refined. The big breakthrough appeared in 2006 with the release of "Put Your Ghost To The Rest" (Capitol Records) just to stand before. But a year later the contract was canceled in the wake of the merger of Capitol with Virgin Records again. Instead of burying our heads in the sand, Devine saw this as an opportunity. He continued to pursue his own line and played its way through countless tours a global, broad fan base.
Musically, says Devine, the new album "Between The Concrete & Clouds" is a credit to the entire team that he has for this project is the first tumbled into this lineup together. The album was produced by Chis Bracco (a long-time companion of Kevin Devine), mixed by Rob Schnapf. The current composition of the accompanying Goddamn Band consists of: Brian Bonz (keyboards), Chris Bracco (bass and keyboards), Mike Fadem (drums and percussion), Russell Smith (guitar) and Mike Berg beach (guitar, mandolin).
Is the opening act at the Atomic Cafe by the way the coming of New York alternative-folk singer Jaymay seen. Jamie Kristine Seerman so her real name, comes from the New York anti-folk scene and has most recently the album "Long Walk To Never" was released.
They also visit the concert of Kevin Devine & The Goddamn Band on 18.0., 2.2012 at the Atomic Cafe in Munich. The team from Munich Blog wishes much fun.
Thursday, February 9, 2012
Baskery live in Crane Hall
Baskery at 12.01. live in the crane hall in Munich, Country Punk, Mud Country or Kill Billy - that's how the three Swedish sisters Baskery of their style. One could describe it as an alternative-country band, which is perhaps somewhat easier to understand. Either way, their style is a unique mix of elements, although some may remember the Dixie Chicks, however, this comparison was applicable only in its early days, when Baskery have set even more on cover versions. Meanwhile, they have plenty of original songs in their repertoire and look forward to on 1/12/2012 to demonstrate to the Munich audience in the hall crane, which makes their sound unique.
Last Baskery were in January 2009 as a guest with us in Munich, then in substance. Now they have a new album called "New Friends" in my bag and hope to make it on to their European tour, lots of new friends. The instruments used by the three sisters at their concerts, is quite unusual. How to play Greta, the elder, a sechssaitiges slide banjo and serves also happen to be kick and snare drum. Sunniva who make music just like Greta not only sings but also sings, driving the songs forward with acoustic rhythm guitar, while Stella all holds together with their energetic play at stand-up bass.
Published in 2008, with the three "Fall Among Thieves" an excellent debut. Tip of the Berlin described their music as "a pleasant mix of folk, blues and country. And act in this wild and coarser, less licked pimped up and dressed up as their larger American sisters from the Dixie Chicks. "But, as already mentioned, the Dixie Chicks comparison does something, because Baskery have to offer much more power popular than their U.S. counterpart. The Music Express raved therefore logical in an enthusiastic 5-star review: "Dixie Chicks on Speed."
Baskery at 12.01. live in the crane hall in Munich AddMenu they want is that the girls have been breathing quite well in the punk and Oldtime Country are home. Baskery that are also an excellent live band, is due to the fact that once the three-decade with her father John and the rockabilly band The Slaptones were traveling. Since her tour in Germany in January 2009 until today Baskery are now themselves have been almost constantly on tour.
Fortunately, the three Swedes were among all the tours but still the time to record with "New Friends", the long awaited second album and publish it. On tracks like "Shame And Dance", "Nobody Nice" or the single "Throw A Bone" show up Baskery rockier than on their debut LP. The country, folk and rockabilly roots, but also not deny the sister on the new album.
Visit also the Baskery concert on 01.12.2012 in the crane hall in Munich. The team from Munich Blog wishes much fun.
Last Baskery were in January 2009 as a guest with us in Munich, then in substance. Now they have a new album called "New Friends" in my bag and hope to make it on to their European tour, lots of new friends. The instruments used by the three sisters at their concerts, is quite unusual. How to play Greta, the elder, a sechssaitiges slide banjo and serves also happen to be kick and snare drum. Sunniva who make music just like Greta not only sings but also sings, driving the songs forward with acoustic rhythm guitar, while Stella all holds together with their energetic play at stand-up bass.
Published in 2008, with the three "Fall Among Thieves" an excellent debut. Tip of the Berlin described their music as "a pleasant mix of folk, blues and country. And act in this wild and coarser, less licked pimped up and dressed up as their larger American sisters from the Dixie Chicks. "But, as already mentioned, the Dixie Chicks comparison does something, because Baskery have to offer much more power popular than their U.S. counterpart. The Music Express raved therefore logical in an enthusiastic 5-star review: "Dixie Chicks on Speed."
Baskery at 12.01. live in the crane hall in Munich AddMenu they want is that the girls have been breathing quite well in the punk and Oldtime Country are home. Baskery that are also an excellent live band, is due to the fact that once the three-decade with her father John and the rockabilly band The Slaptones were traveling. Since her tour in Germany in January 2009 until today Baskery are now themselves have been almost constantly on tour.
Fortunately, the three Swedes were among all the tours but still the time to record with "New Friends", the long awaited second album and publish it. On tracks like "Shame And Dance", "Nobody Nice" or the single "Throw A Bone" show up Baskery rockier than on their debut LP. The country, folk and rockabilly roots, but also not deny the sister on the new album.
Visit also the Baskery concert on 01.12.2012 in the crane hall in Munich. The team from Munich Blog wishes much fun.
Monday, February 6, 2012
Artists in Conversation: Juan Duque
Juan Duque lives and works in Ghent, Belgium, and participants of the workshop-funded by Nucleo, whose partner is PLATFORM3 in 2012. His solo exhibition "MEDIATION" runs from 26 January to 18 February at PLATFORM3. An interview.
Juan Duque lives and works in Ghent, Belgium. His residency in Munich is the result of a cooperation between the Belgian artist-studio-programmed nucleotide and PLATFORM3. His solo project "MEDIATION" is featured at PLATFORM3 from January 26, 2012 to February 18, 2012.
4:45 pm, Tuesday. It is the day before the opening of Juan Duque's first solo exhibition in Germany. Juan, dressed in his usual black ensemble, quietly enters the office. After agreeing that we should conduct the interview in PLATFORM3's spacious main office, he settles onto the bench of our project table. His posture relaxes as he confides that he needed a break.
What did you do to prepare for your two-month residency in Munich?
When I saw the call for artists-it was all about art at the periphery of European cities. My background as an architect and urban designer, gave me some ideas and I know how to approach these kinds of situations. So then I used Google Maps, checked PLATFORM3's website, saw some pictures from previous exhibitions and I got a rough idea of the exhibition space.
With Google maps you can figure out where you have the center of the city. PLATFORM3 is a bit outside of the center, in terms of location. But honestly, I was expecting it to be really outside of the city. And, since I arrived in winter, I had this idea that it would be tough to take pictures and videos because what you expect from a periphery is more like infrastructures, you know, like a railway or workshops, and you're in the middle of nowhere. But, no Actually, it's a structure for the periphery of Munich, but not for my idea of a periphery.
Do you have a routine you follow before you Particular begin a residency in another country? Any traditions you may have?
There is an archive that I normally travel with. A selection of postcards, photographs and drawings or sketches some that I normally have with me. I set them up immediately when I arrive. And I collect them. It's a small bag memory. I would say that a link to my work is sort of a collection of images.
Would you say your impression of Munich has changed over the two months you've been here?
I used to have these two big cities, two places in Europe, where I would like to live. London or Barcelona. Now I would include Munich, I would say. It would be nice to spend time here because I like to walk and to discover walking through cities. And that's possible here.
Your project required you to spend a lot of time exploring the urban environment around PLATFORM3 in Sendling. How did you approach this exploration?
Walking. Just got out of the building and started walking around. Of course there is a map that you always try and follow. But I also like to just start walking. If I see an image I take a photograph. After the first week, I immediately saw an interesting point. I already know how to like this area works. Big city blocks. But I found that there is some residual nature, in-between areas. I am always interested in between to the urbanistic point of view, in the. Because the other parts are already built up And then I start taking some photographs of nature, in natural situations, like the wind, for instance, blowing and moving some industrial materials.
Before you started exploring the area, did you know what you were looking for? Or were you waiting to be inspired by the things you found?
In my work, my art deals with moving from one point to another, with mobility. But with so in a way, migration. So there is always the question of the human aspect in every space. I saw that there is a community living here within, for example, visiting some kabob shops. I started getting more interested in the life going on. As a foreigner, I get more reflective with people that are living in places like this because they are here but not here. They are coming from another place, they are staying for a while. So I've got this kind of personal impression from the way they live. I would say I know how the people from here work, the way they are living.
Do you try to maintain an outsider perspective during a residency, or do you attempt to become an insider?
It depends on the place and how connected I feel. For instance, my previous residency was in Limburg in Belgium, Which is an area that is kind of far away. I mean, it was in the same country, but I had to travel three hours by train. Amazing landscape, it's very interesting, but there was no connection at all with the people in the area. I made some contacts, I interviewed some people, but I would say I felt more like an outsider. The previous one was in Barcelona. And then the culture and language is therefore a part of getting more inside the culture. But I would say, since I left my country 11 years ago, I am an outsider. Everywhere. I would always like to have this vision as an outsider.
Do you believe there is an advantage to having an outsider perspective?
Yes, because you have a more critical point of view. In the sort of art that I try to produce, it's an art that's not really established. You always need fresh points of view.
Would you consider yourself an outsider in Colombia, your home country?
In Colombia, at the moment, yes. Which is a very weird situation, and that's a project that I'm working on in Colombia, Which is about the return to my culture. After being abroad there are a few aspects that belong to the culture itself. Like when I speak I try to get back to my own dialect and it sounds weird now. The people look at me and ask me where I am from. For Columbian guys, for instance, it's not common to have a beard. They say you are Spanish. And I say, no Because that is the most common thing they can identify with. But for me it is interesting. For me, immediately, it triggers some ideas.
So it is a really important part of your artwork, your art process, to be moving from place to place?
Yes, certainly.
There is a strong nomadic theme present in your artwork. Even in the way you describe your memory bag that you take with you wherever you go brings to mind an image of a nomad. Would you like to discuss the importance of this theme in your work?
Immediacy is a very important word for me. To react to the very specific moments in situations. And that's, I would say, a challenge to me everytime. Because there are other circumstances. You are in a new place, but then you have not even closed, if you want to get rid of them, aspects of memory, of many things, comforts. There is an immediacy for me, a very important question. And it's how you occupy temporary gallery space. What I do is very ephemeral. If you see the way I arrange the photographs, it is not really in a very conventional way. They are in between the space, there is no frame. Actually, you can pack them up and roll them and go. So there is really no feeling of staying there. Immediacy Involves work with the things I find in the location. Sun almost everything is from here, the furniture. I am always trying to confront this, the objects and things I find in the place itself but, so the immediacy and how to react to that.
You say that as an artist you play the role of an observer. You come to these new spaces and observe the things in the environment. What role does the audience play when they visit your exhibition?
I think, visitor. I would like to get them involved. When you are a spectator you are expecting something. That position belongs to a very traditional way of art that I am not doing. A cinematic point of view and a very passive attitude. So I like the term "visitor" better, because I am a visitor, too. When I come into a new place, I get a fresh approach. I also expect the people who are coming to have their own impressions and not really be pushed into a situation-specific. They are not spectators.
Juan Duque lives and works in Ghent, Belgium. His residency in Munich is the result of a cooperation between the Belgian artist-studio-programmed nucleotide and PLATFORM3. His solo project "MEDIATION" is featured at PLATFORM3 from January 26, 2012 to February 18, 2012.
4:45 pm, Tuesday. It is the day before the opening of Juan Duque's first solo exhibition in Germany. Juan, dressed in his usual black ensemble, quietly enters the office. After agreeing that we should conduct the interview in PLATFORM3's spacious main office, he settles onto the bench of our project table. His posture relaxes as he confides that he needed a break.
What did you do to prepare for your two-month residency in Munich?
When I saw the call for artists-it was all about art at the periphery of European cities. My background as an architect and urban designer, gave me some ideas and I know how to approach these kinds of situations. So then I used Google Maps, checked PLATFORM3's website, saw some pictures from previous exhibitions and I got a rough idea of the exhibition space.
With Google maps you can figure out where you have the center of the city. PLATFORM3 is a bit outside of the center, in terms of location. But honestly, I was expecting it to be really outside of the city. And, since I arrived in winter, I had this idea that it would be tough to take pictures and videos because what you expect from a periphery is more like infrastructures, you know, like a railway or workshops, and you're in the middle of nowhere. But, no Actually, it's a structure for the periphery of Munich, but not for my idea of a periphery.
Do you have a routine you follow before you Particular begin a residency in another country? Any traditions you may have?
There is an archive that I normally travel with. A selection of postcards, photographs and drawings or sketches some that I normally have with me. I set them up immediately when I arrive. And I collect them. It's a small bag memory. I would say that a link to my work is sort of a collection of images.
Would you say your impression of Munich has changed over the two months you've been here?
I used to have these two big cities, two places in Europe, where I would like to live. London or Barcelona. Now I would include Munich, I would say. It would be nice to spend time here because I like to walk and to discover walking through cities. And that's possible here.
Your project required you to spend a lot of time exploring the urban environment around PLATFORM3 in Sendling. How did you approach this exploration?
Walking. Just got out of the building and started walking around. Of course there is a map that you always try and follow. But I also like to just start walking. If I see an image I take a photograph. After the first week, I immediately saw an interesting point. I already know how to like this area works. Big city blocks. But I found that there is some residual nature, in-between areas. I am always interested in between to the urbanistic point of view, in the. Because the other parts are already built up And then I start taking some photographs of nature, in natural situations, like the wind, for instance, blowing and moving some industrial materials.
Before you started exploring the area, did you know what you were looking for? Or were you waiting to be inspired by the things you found?
In my work, my art deals with moving from one point to another, with mobility. But with so in a way, migration. So there is always the question of the human aspect in every space. I saw that there is a community living here within, for example, visiting some kabob shops. I started getting more interested in the life going on. As a foreigner, I get more reflective with people that are living in places like this because they are here but not here. They are coming from another place, they are staying for a while. So I've got this kind of personal impression from the way they live. I would say I know how the people from here work, the way they are living.
Do you try to maintain an outsider perspective during a residency, or do you attempt to become an insider?
It depends on the place and how connected I feel. For instance, my previous residency was in Limburg in Belgium, Which is an area that is kind of far away. I mean, it was in the same country, but I had to travel three hours by train. Amazing landscape, it's very interesting, but there was no connection at all with the people in the area. I made some contacts, I interviewed some people, but I would say I felt more like an outsider. The previous one was in Barcelona. And then the culture and language is therefore a part of getting more inside the culture. But I would say, since I left my country 11 years ago, I am an outsider. Everywhere. I would always like to have this vision as an outsider.
Do you believe there is an advantage to having an outsider perspective?
Yes, because you have a more critical point of view. In the sort of art that I try to produce, it's an art that's not really established. You always need fresh points of view.
Would you consider yourself an outsider in Colombia, your home country?
In Colombia, at the moment, yes. Which is a very weird situation, and that's a project that I'm working on in Colombia, Which is about the return to my culture. After being abroad there are a few aspects that belong to the culture itself. Like when I speak I try to get back to my own dialect and it sounds weird now. The people look at me and ask me where I am from. For Columbian guys, for instance, it's not common to have a beard. They say you are Spanish. And I say, no Because that is the most common thing they can identify with. But for me it is interesting. For me, immediately, it triggers some ideas.
So it is a really important part of your artwork, your art process, to be moving from place to place?
Yes, certainly.
There is a strong nomadic theme present in your artwork. Even in the way you describe your memory bag that you take with you wherever you go brings to mind an image of a nomad. Would you like to discuss the importance of this theme in your work?
Immediacy is a very important word for me. To react to the very specific moments in situations. And that's, I would say, a challenge to me everytime. Because there are other circumstances. You are in a new place, but then you have not even closed, if you want to get rid of them, aspects of memory, of many things, comforts. There is an immediacy for me, a very important question. And it's how you occupy temporary gallery space. What I do is very ephemeral. If you see the way I arrange the photographs, it is not really in a very conventional way. They are in between the space, there is no frame. Actually, you can pack them up and roll them and go. So there is really no feeling of staying there. Immediacy Involves work with the things I find in the location. Sun almost everything is from here, the furniture. I am always trying to confront this, the objects and things I find in the place itself but, so the immediacy and how to react to that.
You say that as an artist you play the role of an observer. You come to these new spaces and observe the things in the environment. What role does the audience play when they visit your exhibition?
I think, visitor. I would like to get them involved. When you are a spectator you are expecting something. That position belongs to a very traditional way of art that I am not doing. A cinematic point of view and a very passive attitude. So I like the term "visitor" better, because I am a visitor, too. When I come into a new place, I get a fresh approach. I also expect the people who are coming to have their own impressions and not really be pushed into a situation-specific. They are not spectators.
Wednesday, February 1, 2012
Bristol boys tread a fine line between chilling and chill-out
New band of the day – No 1,197: Seasfire
The lineup: Josh Thorn (vocals), James Sinclair (drums, electronics), Joe Labanowski (piano, electronics, synths, vocals) and David Callaby (guitars, vocals).
The background: Seasfire – Your New Favourite Band according to Amazing Radio – could have come to us in a dream. We mean their music is perfect for late nights, dreamy not in the sense of lulling and soft but in the way it evokes the disturbed reveries of those early hours between waking and sleep. But we also mean they are, in many ways, our dream (new) group: a rock band who approximate the sound made by Abel Tesfaye, alias R&B wunderkind the Weekend. Whatever equipment Tesfaye uses, and whatever techniques he employs, the four members of Seasfire, with guitars, drums and electronics, achieve a similar effect.
Their name suggests the aftermath of a period of conflagration, and indeed they talk of their music as concerning "the dead-end relationships they've been in" – they put the "quiet" into "disquiet". Their songs are also about "the general feeling of hopelessness in unemployment, with too much time on their hands and dreaming of escape". Dreaming. That word again. And another that rattles our subconscious: "aftermath." Wasn't that the title of a Tricky song? Makes sense, because Seasfire come from Bristol, birthplace of music that navigates a path between the gentle and sinister, equal parts mellow vibes and massive attack. The players, all in their late teens or early twenties, met at school and college, where they swapped mixtapes and DJd at each others' parties. They bought a bunch of second-hand studio equipment and broken computers, and decided to form a band, laidback but fired up by a shared love of the "B" boys: Buckley (Jeff), the Bunnymen, Burial. For once, here is band who actually sound like the sum of their influences, although we'd add another "B" to the list – James Blake – even if they might recoil from the reference because Blake could be seen as ephemeral/trendy whereas the others, even Burial, have a ring of the long-lasting about them, the "classic".
Anyway, Seasfire will be bringing an atmosphere of sepulchral sorrow to bear on the Notting Hill Arts Club this Sunday as part of a Communion night, where they will undoubtedly be performing the three tracks we have by them on our SoundCloud (now with new, improved widget!). Falling – hailed by Mary Anne Hobbs as a Game Changer – features lots of dead space (silence is the new noise, and all that) and Josh Thorn's soaring, clear, pure tones. If anything, his voice is too upfront, a little Chris Martin, a bit "good", when we'd rather he melted into the mix. The production showcases the spaciousness, the beats, the FX, and the piano pounds like a series of depth-charges. The lyrics read like portents ("Your body is starting to bruise" … "warning" … "control" …) while the video is as black and white and baleful as you'd like. Human Sacrifice teeters on that fine line between chilling and chill-out, sounding like a dubstep Coldplay. Finally, on First and Last Time the choral vocals make explicit the hymnal ambience of this music, with the idea proposed by Seasfire that life and love are solemn affairs best approached with religious awe. This weekend: meet the UK Weeknd.
The lineup: Josh Thorn (vocals), James Sinclair (drums, electronics), Joe Labanowski (piano, electronics, synths, vocals) and David Callaby (guitars, vocals).
The background: Seasfire – Your New Favourite Band according to Amazing Radio – could have come to us in a dream. We mean their music is perfect for late nights, dreamy not in the sense of lulling and soft but in the way it evokes the disturbed reveries of those early hours between waking and sleep. But we also mean they are, in many ways, our dream (new) group: a rock band who approximate the sound made by Abel Tesfaye, alias R&B wunderkind the Weekend. Whatever equipment Tesfaye uses, and whatever techniques he employs, the four members of Seasfire, with guitars, drums and electronics, achieve a similar effect.
Their name suggests the aftermath of a period of conflagration, and indeed they talk of their music as concerning "the dead-end relationships they've been in" – they put the "quiet" into "disquiet". Their songs are also about "the general feeling of hopelessness in unemployment, with too much time on their hands and dreaming of escape". Dreaming. That word again. And another that rattles our subconscious: "aftermath." Wasn't that the title of a Tricky song? Makes sense, because Seasfire come from Bristol, birthplace of music that navigates a path between the gentle and sinister, equal parts mellow vibes and massive attack. The players, all in their late teens or early twenties, met at school and college, where they swapped mixtapes and DJd at each others' parties. They bought a bunch of second-hand studio equipment and broken computers, and decided to form a band, laidback but fired up by a shared love of the "B" boys: Buckley (Jeff), the Bunnymen, Burial. For once, here is band who actually sound like the sum of their influences, although we'd add another "B" to the list – James Blake – even if they might recoil from the reference because Blake could be seen as ephemeral/trendy whereas the others, even Burial, have a ring of the long-lasting about them, the "classic".
Anyway, Seasfire will be bringing an atmosphere of sepulchral sorrow to bear on the Notting Hill Arts Club this Sunday as part of a Communion night, where they will undoubtedly be performing the three tracks we have by them on our SoundCloud (now with new, improved widget!). Falling – hailed by Mary Anne Hobbs as a Game Changer – features lots of dead space (silence is the new noise, and all that) and Josh Thorn's soaring, clear, pure tones. If anything, his voice is too upfront, a little Chris Martin, a bit "good", when we'd rather he melted into the mix. The production showcases the spaciousness, the beats, the FX, and the piano pounds like a series of depth-charges. The lyrics read like portents ("Your body is starting to bruise" … "warning" … "control" …) while the video is as black and white and baleful as you'd like. Human Sacrifice teeters on that fine line between chilling and chill-out, sounding like a dubstep Coldplay. Finally, on First and Last Time the choral vocals make explicit the hymnal ambience of this music, with the idea proposed by Seasfire that life and love are solemn affairs best approached with religious awe. This weekend: meet the UK Weeknd.
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