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to change font size in firefox: PC ctrl+ or ctrl-, MAC apple+ or apple-
-- THREE LINES, AUSLAND, BERLIN, 09.04.2009 --
--> flyers 01 02
--> pictures of concert 01 02 03 04
--> audio recording 01
------------- top
-- QUARTET #3 (AVELAS QUARTET), THE FLOOR, AMSTERDAM, 28.03.2009 --
DNK-AMSTERDAM & The Floor present:
Quartet #3 (Avelãs Quartet), by KN / AA
for 4 players with small noise generators
André Avelãs / Caetano Carvalho / Maia Daw / Koen Nutters
Time structure by KN
Noise generators built and/or picked out by AA
--
The piece is ten minutes long.
For each consecutive period of ten seconds each player has a designated on/off state.
These states are generated by throwing the dice.
1-3 = on
4-6 = off
First ten seconds all players off for synching and getting ready.
Version 1 (generated on 27.03.2009)
Time:
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10:10-...
end
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--
--> flyer 01
--> Pictures of the concert 01 02 03 04 05 06 07 08 09 10
--> audio recording 01
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-- RNGDS CONCERT AT JAMES BECKETT'S BOOK LAUNCH, MEDIAMATIC, AMSTERDAM, 14.03.2009 --
------------- top
-- DEAD DARLINGS III, MEDIAMATIC, AMSTERDAM --
------------- top
-- 0-250 HZ, W139, AMSTERDAM --
------------- top
-- THE HEADPHONES SHOW, ABRONS ART CENTRE, NYC, 17.11.2008-09.10.2009 --
THE HEADPHONES SHOW
Abrons Art Center
Henry Street Settlment
466 Grand Street New York City 10002
with Vito Acconci, Andre Avelas, Betsey Biggs, Viv Corringham, Barbara Ess, Christina Kubisch, Abinadi Meza, Tristan Perich, Seth Price
curated by Alan Licht
The Heaphones Show highlights innovative art works
that incorporate headphones as a critical element. Utilizing sound art,
digital projection, installation, sculpture and interactive artwork,
these local and international artists explore the auditory sensation of
inner space, as well as the power and nuance of sound
---
Heaphones have become a fact of the urban landscape:
the Walkman, Discman, and now iPods have made headphones a ubiquitous
presence in the culture of commuters. Headphones are the closest one
can come to experiencing sound i the same way as reading silently to
oneself. They provide an alternative, handpicked, and disjunctive
soundtrack to one's surroundings. They also block out the sounds of the
immediate environment, while keeping the music inaudible to others, to
prevent both listeners and their cohabitants from being disturbed. In
this way heaphones have come to symbolize isolation as an increasingly
common attribute of life in the digital world.
THE HEADPHONES SHOW brings together recent art works
that require headphones to be experienced, acknowledging the rise of
sound as an element in visual art, as well as a medium in itself. The
works in the show explore shared experience versus private experience,
using headphones to signify the daily reconciliations of interior and
exterior worlds in everyday life.
Alan Licht
Curator
--> pictures of the build up 01 02 03
--> pictures of the show 01 02 03 04 05 06 07 08 09 10 11 12 13
--> postcard, programme and press release 01 02 03
--> small video of my piece working 01
------------- top
-- DNK-AMSTERDAM SHOWCASE AT DUTCH DESIGN WEEK, T.A.C., EINDHOVEN, --
--> poster and flyer 01 02
--> DNK programs 01 02 03
--> pictures of installation (by Martijn Tellinga) 01 02 03 04 05 06
--> video of installation (from youtube) 01
--> video of RNGDS concert (from youtube) 01 02
--> videos on youtube 01 02 03 04 05 06 07 08
------------- top
-- IBID PROJECTS, LONDON, 05.09 - 05.10.2008 --
September - 5 October, 2008
Private View: Thursday 4 September, 6-8pm
IBID PROJECTS
is pleased to present the first UK solo exhibition of Amsterdam-based
artist André Avelãs. The exhibition includes a new installation,
Untitled, 2008 based upon a configuration of large-scale weather
balloons and musical instruments which are set up to produce an
immersive and constantly shifting environment that changes throughout
the duration of each day.
Since graduating from the Rietveld Academy
in 2005 Avelãs has made numerous performances, sculptures,
installations and recordings which share a fascination for the way in
which audio is produced and how it creates meaning in relation to space
and the conditions under which it is heard. For example, he has
previously used industrial machinery to create sound, or built
sculptures in which the physical process by which noise is produced is
more apparent than any actual content of the sound itself. Central to
the artist’s practice is a focus on sound not as a carrier of content
but as a malleable material which shifts and changes in relation to the
methods and machines through which it is reproduced.
Following the ideas of William Burroughs as much as John Cage or La Monte Young,
Avelãs has expressed an interest in the disruptive potential of noise.
In the current exhibition his work Untitled, 2008 is based around the
airflow of three large scale weather balloons, more commonly used by
meteorologists and scientists to test atmospheric pressure and other
environmental conditions. In this case Avelãs has adapted these
imposing and potentially explosive objects, fitting them to an
automatic device that channels air to a series of discreet musical
instruments connected by pipes. The result is a makeshift drone which
references redundant technologies as well as setting up a network of
sonic associations to do with the noises experienced in everyday life.
André Avelãs (b. Portugal, 1976) is the founder of format based record
label Aquela Maquina and has presented regular programs of That
Horrible Noise for Radio Rietveld since 2006. Group exhibitions in
which he has participated include Word Event (2008) at Kunsthalle Basel,
curated by Maxine Kopsa; Sirens (2007) at general public (2008),
Berlin, curated by James Beckett; and Start (2005) at Fons Welters
Gallery, Amsterdam. Avelãs is programmer of DNK Amsterdam, a series of
concerts for live electronic and acoustic music.
For more information or images please contact Romilly Eveleigh on +44 (0)208 983 4355 or email: romilly@ibidprojects.com
--> pictures of the build uo 01 02 03 04 05
--> pictures from IBID Projects site 01 02 03 04 05 06
--> audio recording 01
--> small video file (from the mire) 01
--> picture of opepning (from artreview) 01
------------- top
-- SIRENS, GENERAL PUBLIC 01.07 - 14.07.2008 --
The Sirens show made it to the General public gallery in Berlin, part of the Tuned City festival
--> some pictures of the show 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 (by James Beckett)
------------- top
-- BAZKULTURMAGAZIN., 28.06.2008 --
Ein Leben in Fluxus
In der Ausstellung <<Word Event>> fehlen der Kunst die Worte nicht
In der Kunsthalle
Basel zelebrieren ab heute Kunstwerke den Fluxus: Die
Gruppenausstellung <<Word Event>> erweckt den Geist der
Künstlerbewegung der 60er- und 70er- Jahre mittels wortgewandter
Arbeiten.
Mal ganz was anderes: eine Austellung in
Prophezeiungen vorabschreiten. Möglich macht das ein Werk des Londoners
Paul Elliman am Eingang des Oberlichtsaala der Kunsthalle: Sein
<<Maciunas Ouiji board>> ist ein Séancetisch, auf dem die
für den Künstler typischen Buchstaben aus Objektumrissen verteilt sind,
umgeben von einem <<No>> und einem <<Yes>>.
Gelegenheit, schon eingangs durch Gläserrücken einige Fragen zu
<<Word Event>>, einer Gruppenaustellung mit gut zwanzig
Künstlern verschiedener Herkunft, zu klären.
Erste, auf der Hand liegende Frage: Was ist ein
<<Word Event>>? Dazu ruft man am besten den Geist des 1992
verstorbenen Musikers John Cage an, die erste Jenseitsadresse für
diesbezügliche Infos. Einer seiner Vortäge in New York, deren
Lernmaxime in einer Kürzestfassung war, aus wenig viel zu machen,
resultierte in einem Projekt seines Schülers George Brecht: Der New
Yorker Künstler schrieb 1961 simpelste Regieanweisungen für Aktionen
auf Karten, zum Beispiel <<Word Event, Exit>>. <<Was
ein Word Event ist, bleibt aber völlig offen>>, ergänzt Maxine
Kopsa, die die Schau zusammen mit Roos Gortzak kuratiert. Vielleicht
könnte man als Mindestvoraussetzung definieren, dass etwas mit Sprache
passiert?
ZEITGEMÄSSE ADAPTION. Sue
Tompkins etwa nimmt Brechts Idee auf und stezt winzige,
maschinengeschriebene Wortereignisse auf grossformatigem Zeitungspapier
aus. Durch die Verwendung von billigen Material reiht sie sich
gleichzeitig ein in einen grösseren Kontext: Sowohl Brecht als auch
George Maciunas, der Namensgeber des Gläserrücktischchens, gehörten zur
Fluxus-Bewegung, jener definitionsscheuen Gruppe von Künstlern, die in
den 60er- und 70er-Jahren die Kunst nicht vom Leben - zum Beispiel
durch Integrieren von Alltäglichem - und die einzelnen Kunstgattungen
nicht voneinander trennen wollte, etwa wenn bildende Künstler auch in
die Musik hinüberwilderten.
Eine zeitgemässe Adaption des Eingangs des
buchstäblich harten Lebens in die Kunst ist das Werk von Walead Beshty
aus London: Er hat per Fedex Glaskörper von Los Angeles nach Basel
schicken lassen, so sein Werk aus der Hand gegeben und vom Leben
zeichnen lassen. Ein Schicksal, das durch die globale Zirkulation auch
andere Kunstwerke viel unbeabsichtigter ereilen kann.
Bislang sind alle drei ausgestellten Werke aber doch
recht disparat. Also zur zweiten Frage ans Medium: Wie lässt sich der
rote Faden durch die Schau in Worte fassen? Da zögert selbst die in der
Mini-Séance angefragte Zukunft und weicht schliesslich aus, denn ein
titelgebender <<Word Event>> mit seiner definitorischen
Offenheit ist ein Werk noch schnell einmal: Statt einer streng
durchgehaltenen Linie gibt die Schau eher Pole vor, zwischen denen sich
dann eine ganze Welt an Positionen tümmelt. Ellimans Tischchen. ganz
Prophet, gibt dafür mit seinen ungleichförmigen Buchstaben zwischen den
Extremen <<Yes>> und <<No>> ein schönes Bild
vor. Und der Besucher wird, gerade wie das gerückte Glas, von Werk zu
Werk getragen, bis er sich seine eigene Antwort auf die eingangs
gestellte Frage erlaufen hat.
STILLE UNS LÄRM. Bei
einer Arbeit der Argentinierin Amalia Pica etwa sind die Gegensätze
noch vereint: Die Projektion von Dias eines Megafons auf die Saalecke
lässt Stille und Lautstärke verschmelze und bringt, wenn auch kleine
hörbaren Worte, so doch die Wörtlichkeit - die Arbeit heisst
<<Speaker's Corner>> - ins Spiel. Die
Werke das bekannten Detroiter Künstlers James Lee Byars un von André
Avelãs aus Amsterdam hingegen teilen die Extreme untereinander auf:
Byars' <<The Golden Hole for Speech (A Perfect Whisper)>>
von 1981 ist eine riesige Glasplatte mit winzigem Loch, mit der man
sich verschiedene <<Word Events>> vorstellen kann, aber
eben leise oder gar stumme. Avelãs hingegen hat eigen furchterregenden
Verstärkerturm aufgebaut, vor dem er in Performances mit
Plattenspielern deformierte oder neu zusammengeschusterte Tonträger
abspielt, sie fast mit Guantánamo-Methoden zum Sprechen und Klingen
bringt. Kopsa fasst die Ansprüche der Schau
anhand eines Werks von Falke Pisano aus Amsterdam zusammen: <<Wir
zeigen hier <A sculpture turning into a conversation>, eine
Doppelvideoprojektion, in der fast alchemistisch der Übergang zwischen
einer Skulptur und einem Dialog herbeigeführt wird. Was wir parallel
erreichen wollen, ist <An exhibition turning into a conversation>.
Wenn wir es also mit Sprache gewordener Kunst zu tun
haben, gleich die dritte Frage: Was kann der Besucher aus dem Dialog
der verschiedenen Positionen lernen? vor allem eins: Sprache spielt in
der aktuellen Kunst wieder vermehrt eine Rolle, und nicht nur als
wohldurchdachter Werktitel, sondern immanent im Werk, wenn auch
manchmal nur als Schweigen. Dafür ist sicherlich auch die aktuelle
Vogue eines altgedienten SprachKonzeptkünstlers wie Lawrence Weiner ein
Indikator. Die Kuratorinnen nennen das einen kunsteigenen
<<linguistic turn>>, nach dem philosophischen
Paradigmenwechsel des letzten Jahrhunderts, wonach die Grenzen unserer
Welt innerhalb unserer Sprache liegen. Auch die ausgestellten Werke
bewegen sich innerhalb linguistischer Mechanismen, reizen diese aber in
verschiedene Richtungen aus.
WÖRTLICHE KUNST. Das
unterscheidet die Positionen von ihren Fluxus-Vorgängern, denen
Ausflüge in die Musik oder ins Happening näher lagen. War für jene
Kunst und Leben nicht zu trennen, gehören für die hier ausgestellten
Künstler Kunst und Sprache zusammen. Vielleicht ist die vermeintliche
Zukunftsmusik, die aus Ellimans Séancetischchen ertönt, kein Bluff und
wird die Kunst zum <<Word Event>>, sprechen Künstler statt
bildlich bald vorwiegend wörtlich? Mit der Bilddomäne Malerei, die in
dieser Austellung wohl wegen ihrer prinzipiellen Verweigerung von
Wortsprache nicht vertreten ist, kann es die linguistische Kunst
allemal aufnehmen, zumal Erstere ja immer wieder von Nahtoderfahrungen
zurückkehrt.
Abschliessende Frage ans Fluxus-Medium: Lohnt sich
ein Besuch der Ausstellung? Das Glas steuert ohne Umschweife zu
<<Yes>>. Dann wollen wir mal.
by Daniel Morgenthaler
in Baz Kultur Magazin., Samstag. 28. Juni 2008
--> scans 01 02 03
------------- top
-- WORD EVENT, KUNSTHALLE BASEL, 29.06 - 05.09.2007 --
WORD EVENT
André Avelãs, Stuart Bailey & Frances Stark, Becky Beasley, Walead Beshty, Julia Born & Alexandra Bachzetsis, George Brecht, James Lee Byars, Paul Elliman, Aurélien Froment, Dora Garcia, Will Holder, Alon Levin, Amalia Pica, Falke Pisano, Michael Portnoy, Elizabeth Price, Mandla Reuter, Dexter Sinister, Sue Tompkins, Edward Underwood, Emily Wardill
Can a gesture be a word? Word Event looks at a select group of makers who carry on a tradition of subversive methodology in their practice and attitude. Word Event
is a multi-level cross-sectioned exhibition of contemporary works,
events, performances and informances, scores, printed matter and film.
Taking George Brecht’s “Word Event” (1961), a handwritten Event Card,
as its starting point, the exhibition attempts to displace itself by
purposely seeking out confrontation and synchronization thus landing in
the exhibition space as an active dialogue. Word Event points
to a possible return of a fluxus sensibility via a new, contemporary,
proverbial linguistic turn. Artists today – or more precisely,
‘cultural producers’ – are reactivating a language based and,
specifically, narrative based practice. Creating room for conversation
and leveling the hierarchy of production between sketch, thought and
product, this linguistic turn approaches the surface of the
metaphorical page as an ‘exchange surface’, ‘as a space of shift
between different mediums, in which, as Rancière puts it, “signs become
forms and forms become acts.”’ [1] Works by the artists in Word Event
contain an active ‘displacement’ (or exchange) between word and image,
the narrative and the picture, which occurs on many levels, in
different media – from the more ephemeral to the concrete, as rumours,
scripts, instructions, lectures, posters, objects and a seance. A
sculpture turns into a conversation, a lecture into a series of
posters, the unassuming viewer into a story; he receives directives by
photograph, listens to a score purposefully mirrored while gambling to
new rules under the watchful eyes of the Jack of Spades. Word Event
is the happy hijacking of space by language where installations, film,
the stage, the book and sound live together in one converged setting.
Curated by Maxine Kopsa and Roos Gortzak
[1] Quoted from ‘The Space of Words’ by Christophe Gallois, Metropolis M, nr 2 2008, who cites Rancière’s L’Espace des mots, Musée des Beaux-Arts de Nantes, 2005, p. 13, translation by Christophe Gallois.
Online review and video of the opening at Vernissage-TV
A series of performances took place on the opening night, Saturday, June 28, 2008:
7 – 9pm Abstract gambling at the solid felt table with Dir. of Behavior, Michael Portnoy (video of the performance at Vernissage-TV)
7.30pm Performance by André Avelãs (video of the performance at Vernissage-TV)
8pm John Cage: Indeterminacy*, recited by Will Holder and accompanied by Falke Pisano’s A Sculpture Turning Into a Conversation
This exhibition has been generously supported by:
Annemarie Burckhardt--> postcard 01
--> press release 01 02
--> pictures of the build up 01 02 03 04 05
--> pictures of the show 01 02 03 04 05 06 07 08 09 10
--> recordings
--> video from vernissage tv 01 and on my server 01
------------- top
-- EARPHONES, DNK POST-DIGITAL FESTIVAL, 12.06.2008 --
On-site remake of the Earphones installation on the basement of the Smart Project Space Building, as part of DNK's Post Digital Festival.
--> flyer and hand-out
--> pictures of the installation 01 02 03 04 05 06 (by Paul Glazier) 07 08 09 10 (by Eva-Fiore Kovacovsky)
------------- top
-- RNGDS, DNK POST-DIGITAL FESTIVAL, 12.06.2008 --
feeding sound of deep frying fish into the conert of RNGDS (Gert-Jan Prins, Koen Nutters, Raed Yassin)
--> sound recording 01
--> pictures 01 02 03 04
------------- top
-- SIRENS, LYDGALLERIET, 23.02 - 16.03.2008 --
Sirens show at Lydgalleriet, Bergen, Norway
--> poster 01
--> installation views 01 02
--> show views 01 02 03 04 05 06 07 08 09 10 11 12 13 14
------------- top
-- 2 EARPHONES, LIVE AT DNK OPEN DI 5, 21.01.2008 --
a short performance at DNK-Amsterdam fifth instance of the OPEN D.I. series.
It consisted of a single earphone pair in a feedback
loop, connected to a self built unstable amplifying circuit. The
circuit was also connected to a tweaker and a guitar amp. For the first minute only the tweaker was playing, then the guitar amp was turned on for another minute.
it is a sort of reversed version of the earphones installation - only one pair but much more amplification.
--> pictures 01 02 03 (photos by Seamus Cater)
--> live recording 01
------------- top
-- EARPHONES, 14.12.2007 -
At N Event 22a, 14.12.2007 at the Tou Brewery , Stavanger, Norway
1000 disposable earphones were spreaded on the
floor, 960 working as speakers, 40 as microphones, making a feedback
loop you could control on the mixer. An unpredicted but welcomed sound
source was some noise from the amplification circuits. The earphones
working as speakers were joined in 40 groups of 24 single pieces and
connected 10 outputs of the mixer. The ones working as microphones were
joined in groups of 4 and connected to 10 inputs. Each microphone was
placed around a pack of 24 speakers. Most lower frequencies were muted.
--> pictures of installation 01 02 03 04 05 (photos by Anu Vahtra)
--> pictures of the building up 01 02 03 04 05 06 07 08
--> posters of the evening 01 02 03 by orig.ch
--> schematic sketch of the installation 01
--> short video of the installation 01
--> sound recording of the evening 01 02 03 04
------------- top
-- DNK-AMSTERDAM PRESENTS: A NIGHT OF AVANT ROCK!, 10.2007 --
design for the concert of Ultralyd and KTL at DNK-Amsterdam.
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the design was also used on the handout given at the door, designed by ORIG.CH
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-- GONZO (CIRCUS) #81, JULY-AUG 2007 --
Tamara van de Laarse used a picture she made of me in front of my end exam installation in de Rietveld Academie on the cover of the issue #81 of the Gonzo (circus) magazine. I am also holding my baby megaphone that I used in DNK Open DI 1. There is no reference whatsoever to me or my work inside the magazine.
--> Gonzo (circus) #81 cover 01
------------- top
-- DNK-AMSTERDAM.COM, 05.2007--
The new website of DNK-Amsterdam is now online. I was in charge of designing the MP3
page. The usual idea was to have the simplest page possible, just text,
pretty much as this page. But in the end it turn out to be the most
complex - in order to be automatically updated a lot of coding had to
be done by his holiness Jeff Carey.
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-- NO-)TOON) FESTIVAL, HAARLEM, 31.03.07 --
waarom no-)toon) ?
Na het succesvolle zevende )toon)-festival,
voorjaar 2006, is de achtste editie van )toon) begin 2008 gepland.
Ondertussen vindt eind maart 2007 no-)toon) plaats. Géén vervangend
festival en ook geen ‘)toon) in ’t klein’, maar een pamflet in beeld en
geluid waarmee wij willen wijzen op het belang van )toon) voor de stad
Haarlem en als karaktersitiek onderdeel van het landelijke aanbod van
digitale beeld- en geluidskunst.
)toon) is in zeven jaar uitgegroeid tot één van de
grootste en meest prestigieuze festivals voor elektronische kunst en
muziek. Een festival met een internationale uitstraling en gebaseerd op
een consequente programmavisie en een hoog kwaliteitsniveau. )toon) is
een festival met ambities. Wij discussieren graag over de inhoud van
het festival, maar waar het de kwaliteit van het aanbod betreft sluiten
wij geen compromissen. De gestaag groeiende bezoekersaantallen door de
jaren heen tonen aan dat er ook een publiek voor deze ‘strenge’
opvatting bestaat, al betekent dat dat )toon) nooit de status van een
popfestival zal krijgen.
Toen het programmaconcept voor )toon)8,
oorspronkelijk gepland voor voorjaar 2007, eind vorig jaar op papier
stond en de formulieren voor de subsidie-aanvragen klaar lagen om
ingevuld te worden, bleek echter dat de ondersteunende instanties die
voorgaande jaren garant stonden voor eventuele verliezen – Nieuwe Vide
en Patronaat – daar in 2008 om verschillende redenen niet toe in staat
zouden zijn. Omdat uitsluitsel met betrekking tot toekenning van het
merendeel van de aan te vragen subsidies pas één maand, of zelf korter,
voor het festival mogelijk bleek, en omdat wij het zowel tegenover de
kunstenaars als publiek en medewerkers onverantwoordelijk achtten om
het hele festival op het allerlaatste moment af te moeten blazen,
hebben wij besloten om )toon)8 op te schuiven naar voorjaar 2008.
In het tussenliggende jaar hopen wij de financiering
van het festival grondig te kunnen onderbouwen. Maar ook willen wij de
Gemeente Haarlem ervan overtuigen om )toon) te verankeren in de
cultuurpolitieke plannen voor de komende jaren. )toon) zou, door de
internationale uitstraling en het vernieuwende, eenentwintigste eeuwse
imago, een belangrijke en stimulerende bijdrage kunnen leveren aan
Haarlem als cultuurstad, naast het Frans Hals Museum, Museum Teyler en
vooral het Internationaal Orgelfestival.
Om dit idee kracht bij te zetten, vindt eind maart
drie dagen lang no-)toon) plaats. Geen vervangend festival, maar een
pamflet in beeld en geluid waarmee wij argumenten willen leveren voor
hetgeen )toon) voor Haarlem betekent. no-)toon) speelt zich af in de
Nieuwe Vide, Patronaat, De Hallen en Grasland en zal werk omvatten van
ondermeer de Britse kunstenaar en musicus Max Eastley, de Britse groep
Sand en de Nederlanders Machinefabriek en Martijn Tellinga. Daarnaast
zal Rob Young, publicist en voormalig hoofdredacteur van The Wire een
lezing geven over de betekenis van de digitale ontwikkelingen voor de
beeldende kunst en de muziek en vooral de onderlinge verbanden
daartussen.
Doel van no-)toon) is om voorwaarden te scheppen
waardoor de reeks )toon)-festivals in 2008 hervat kan worden en
uitgroeit tot een ijkpunt voor de culturele ambities van de stad
Haarlem.
Peter Bruyn Martijn Lucas Smit Okke Gerritsen Xander Karskens
...
Zaterdag 31 maart De Hallen »
Open 18:30 uur. Aanvang 19:00 uur. Entrée: Passepartout (10 EUR)
Coen Oscar Polack (NL) » Hydrus (NL) » André Avelãs (POR) » David Michael DiGregorio (USA)»
Een rondgang door De Hallen Haarlem, waarbij vier
geluidskunstenaars voor een nieuwe ervaring van de ruimte of het
geëxposeerde werk zorgen. Met de Haarlemmer Coen Oscar Polack.
Vervolgens het elektronica-duo Hydrus waarvan dit voorjaar een nieuw
album verschijnt. Dan de Portugees André Avelãs, ook wel bekend onder zijn alter ego ‘That Horrible Noise’.
En tenslotte de Amerikaanse stemkunstenaar en singer-songwriter David
Michael DiGregorio die veel gebruik maakt van elektronische
stemvervorming. Het aantal plaatsen is beperkt. Het is raadzaam om
tijdig te reserveren.
...
the set up at De Halen: I used the sound of the slide projectors from Pablo Pijnappel's piece Caiçara and sent the mixed sound into a MAM VF-11 vocoder,
the output of the vocoder was connected to a splitter, and sent back to
the vocoder input and to the main speakers. in between the splitter and
the vocoder input was a 60´s Schaller tremolo stomp pedal.
....................................................................
----------------------.----------------------.----------------------
| slide projector #1 |.| slide projector #2 |.| slide projector #3 |
---------------+------.----------+-----------.---------+------------
.contact mics ->\................|..................../.............
.................\...............|.................../..............
..................\..............|................../...............
...................\.............|................./...-----------..
.................---*------------*----------------*-...| tremolo |..
.................| ............mixer...............|...---+-----*-..
.................---+-------------------------------.out->|.in->|...
....................|..--------<-----------<---------------.....|...
..........line in->.|..|<-synthesis..line out->|--->---*-----------.
.................---*--*-----------------------+--.....| splitter |.
.................|......MAM VF-11.vocoder........|.....--------++--
.................---------------------------------.............||...
...............................................................||...
......................................................---------**--.
......................................................| amplifier |.
......................................................-------------.
....................................................................
--> video on youtube 01
--> video from no-)toon) DVD on Vimeo 01
--> pictures (frame captures) 01 02 03 04 05 06 07
--> sound from videos in MP3 01 02
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-- SIRENS, 66 EAST, 03.2007 --
Sirens
An Evolution from Water, through Water, to Water
An exhibition at 66 East
Guest curator: James Beckett
Opening event: Saturday 17th March 2007 at 19:00
With concerts by: * Koen Nutters, arrangement for strings * der Wexel and Viljam Nybacka
Exhibition: 18 March – 22 April 2007
'Sirens' traces the development of the device as an
instrument of analysis into the role of auditory alert. As well as a
historical account, the exhibition looks at artistic appropriation of
the machine in acts which reveal much about the cultural, political and
functional aspects of a living device. In physics, the instrument was
developed as a means to illustrate tones, later to develop into the
more elaborate and much disputed combination tones, revealing a
'Klangfarbe' or timbre. Along with numerous other acoustic instruments,
the Siren became a means by which to describe and measure the composite
nature of sound, and to some extent demystify the complexity of
acoustic phenomena. The exhibition delineates the development and
transformation of the siren, as an idea, an instrument and as a
technological device.
The artists Andre Avelas, Mark Bain, Ralph Borland, Alec Finlay and Chris Watson, Raviv Ganchrow and Max Neuhaus present their own interpretation to sirens and auditory alerts.
With contributions from SOS Workshop [a collaboration between Leiden University and the Veenfabriek director John Heymans, artistic director Paul Koek], The siren collection of Albert Baas,
David Stall, Victory Siren Foundation Inc., and CPSM in cooperation
with the Venetian Research Consortium and the University of Verona
[represented by Avanzini, F.; Rocchesso, D.; Belussi, A.; Palu, A.D.;
Dovier, A].
Thanks to Amsterdam Fonds voor de Kunst, Uqbar Foundation and the Universiteitsmuseum Utrecht.
--> poster and flyer 01 02 03
--> publication by 66 East 01 and just my pages 01 02
--> installation views 01 02 03 04 (photos by Eva-Fiore Kovacovsky)
--> official press photo 01 (photo by Anthea Bush)
--> picture in Amsterdam Weekly 01
--> video frame captures 01 02 and on Vimeo 01
--> sounds from seebert-savart-saw 01 02 03
------------- top
-- RR.SMCS END, 12.03.07--
the 100 days radio project in the SMCS and Mediamatic is finished.
an analysis of the project, as well as links to my contributions will be here shortly.
-- FEEDBACK FRIDAY, RR.SMCS--
-- OPEN NOISE, RR.SMCS --
-- AM, RR.SMCS --
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-- OPEN DI 2, DNK-AMSTERDAM + MEDIAMATIC + RR.SMCS, 09.03.07 --
DNK-Amsterdam Presents:
Open DI Night Part 2 (Garage Version)
One big collective set with 1 player at a time. (between 21:00 and 0:00)
Already confirmed: Juan Para Cancino, James Beckett, Barbara Luenenburg
& Nick Fells, Matthijs Kouw, Seamus Cater, Viljam Nybacka,
POLYPHAKE, ciao! bird, Andre Avelas, Dirk Bruinsma, Mike Ottink, Koen Nutters, Arie Altena... More to come...
...
For my set I played a feedbacked vocoder with a direct touch portable radio circuitry running through it.
later I joined Camila in her performance. I sent
her voice and the sounds of contact microphone attached to a sewing
machine also through the vocoder.
--> picture 01
--> flyers 01 02
--> recordings 01 02 (from 160kbps stream)
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-- OPEN DI, DNK AMSTERDAM --
Open D.I. Night - Episode 1.
Direct Input into the DNK Sound system for small electro-acoustic or electronic set up.
Many sets of up to 5 minutes with a short spoken introduction.
A meeting of the art and music worlds displaying and discussing different approaches to selecting and organizing sound.
This episode's participants:
Music world: Gert-jan Prins, Justin Bennett, Koen Nutters & Dirk Bruinsma
Art world: Andre Avelas, Mark Bain & David Michael DiGregorio
We will be discussing the intersection of art and music after the concert... Hope to see you there!
...
My contribution consisted of feedbacked baby megaphone, looped in a Audiomulch patch.
--> poster 01
--> performance video frame captures 01 02 03 04
--> live audio recording (from video camera) 01
--> audiomulch patch - 01
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-- 10 TURNTABLES AND NO DJS, RR.SMCS, 04.07 --
DATE: 03 & 04.02.2007
from 16:00-18:00H
Radio weekend dedicated to the specific qualities
and limitations of vinyl and 10 turntables. Performing at the
Stedelijk, 03.02.2007: Paul Glazier - "nana canons" & Ivo Bol -
"Holtz's planets"; on the 04.02.2007: André Avelãs - "Vibrating turntables on empty vinyl" & Jakob Proyer - "Again the end again"
--> pictures 01 (by Jabob Proyer)
--> recordings 01 (from 128kbps stream)
------------- top
- DNK & RRSMCS PRESENT --
..................................................................
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###########@.........########.......#####...######.......#######. . . .
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. . . . . . . . . . . . . . . . . . . . . . . ...........
##############.......########.......#####...######......#######... . .
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. . . . . . . . . . . . . . . . . . . . . . . ............
################.....#########......#####...######.....#######... . . .
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.. --- set 2: ----------------------------------------------------------------------------------------- - - - ---------------------------------------------------------------------------------------\\-
. /!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! - - - -- . RAUS AUS NEUSS! / OUT OF NOISE! . . . . . . . . . . . . . . . . . . . . . . . . --\\\
.//!!|#####-!!!!!|###!!|##########`!!|#########.+|!!|###+!!!!!!!!!|/.##`#/|!!!!|/#`#`#:|!!|#########/!! - - - -- . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . --\\\\
///!!|###:##:!!!!|###!!|###||||||||!!\###|||||.##.!!|###+!!!!!!!!:##.|||.##|!!-##:|||:##.!|||||||-##-!! - - - -- . SYLVI KRETZSCHMAR (GESANG, 505, EFFEKTE). . . . . . . . . . . . . . . . . . . . --\\\\
///!!|###|/##:!!!|###!!|###|!!!!!!!!!|###|!!!!:##.!!|###+!!!!!!!|###|!!!|###!!`##\!!!|##`!!!!!!!|###|!! - - - -- . ISABEL RAUSCHENBERGE |
