RADIALX - festival de arte rádio 27-30 jun / 88.4 FM Lisboa

A quarta edição do RadiaLx traz ao espaço de debate público questões sobre a diversidade na rádio e as suas potencialidades de transformação ao apresentar uma série de desafiantes trabalhos radiofónicos de artistas de todo o mundo. Encorajando uma interacção próxima entre produtores, artistas e a comunidade, o RadiaLx explora novas e esquecidas formas de utilizar a Rádio, um meio de comunicação com mais de 100 anos sempre a reinventar-se e que se funde hoje com a cultura digital.

Nos 88.4MHz em Lisboa e na net em todo o lado, o RadiaLx transmite trabalhos de rádio provenientes de todo o mundo, em directo e em diferido. Além disso, produções locais, projectos específicos e cooperações através de stream vão colorir a quarta edição do festival numa grande festa radiofónica.

A partir do estúdio da Rádio Zero o festival estende-se através de performances a outros espaços da cidade, graças aos fantásticos parceiros: Instituto Superior Técnico, Jardim da Estrela, Galeria Boavista, Stress.fm e Flausina.

The 4th edition of RadiaLx presents challenging radio works and engaging discussions regarding the diversity of radio and its multiple possibilities and transformations. Fostering a close interaction between producers, artists and community, RadiaLx explores the emerging and the forgotten qualities of a medium that survives and blends with today digital culture.

In 88.4MHz in Lisbon and online everywhere, RadiaLx will broadcast art works submited from all over the world either live through stream or pre-recorded. Local productions, site-specific projects, cooperation streams, shows and concerts will also colour the 4th edition of the event.

The action takes place at Rádio Zero studios and also engages the public spaces through performative events thanks our wonderful partner locations at Instituto Superior Técnico, Jardim da Estrela,Galeria Boavista , Stress.fm e Flausina

O DIA DA RÁDIO

porque a rádio está viva

A Unesco, agência da Nações Unidas, proclamou dia 13 de Fevereiro com Dia Mundial do Rádio, a ser comemorado de diferentes formas nos seus 194 Estados-membros. “O objetivo é promover o rádio comunitário e celebrar o serviço que oferece. Existe a sensação de que não foi reconhecido pelas muitas funções que realiza para a humanidade”. Nas zonas mais remotas, nas condições mais díficeis, o rádio, na sua diversidade, é um instrumento essencial de informação, educação e cultura.

O rádio é economicamente viável, é portátil e tem enorme potencial de crescimento. Estima-se que ainda cerca de mil milhões de pessoas, uma em cada sete no mundo, não tem acesso a esse meio de informação e comunicação, segundo a Unesco.

Durante a Conferência Geral da Unesco de duas semanas, que terminou no dia 10, os Estados-membros acordaram objetivos para aumentar a conscientização sobre a permanente relevância do rádio, especialmente para “sectores marginalizados”, e impulsionar organizações comunitárias a criarem novos canais.

O Dia Mundial do Rádio sublinha a necessidade de “potencializar o direito da sociedade civil à comunicação”, permitindo “melhorar a interconexão entre comunicadores” e promover os direitos humanos e civis. Ao seu papel específico e fundamental em situações de emergência e catástrofe alia-se igualmente a sua capacidade de projectar o imaginário artístico e cultural, amplificando, não só ideologias e regimes, mas a nossa capacidade de escutar, compreender e dialogar com o outro.

February 13 is a date proclaimed by UNESCO to celebrate radio broadcast, improve international cooperation among radio broadcasters and encourage decision-makers to create and provide access to information through radio, including community radios. It’s an occasion to draw attention to the unique value of radio, which remains the medium to reach the widest audience and is currently taking up new technological forms and devices.

UNESCO encourages all countries to celebrate this Day by undertaking activities with diverse partners, such as national, regional and international broadcasting associations and organizations, non-governmental organizations, media organizations, outlets as well as the public at large. Check below all resources being made available for you for free.

Let’s celebrate!

Platform 2 is een nieuwe expositieruimte binnen NIMk. Deze tweede expositieruimte op de tweede verdieping is een alternatieve, autonome ruimte met presentaties die naast de lopende hoofdtentoonstelling op de eerste verdieping plaatsvinden.

Platform 2 biedt letterlijk een platvorm voor kunstenaars om (nieuw) werk te exposeren en deels te ontwikkelen. Gedurende de tentoonstellingsperiode zijn de kunstenaars vrij om hun werk verder te ontwikkelen. Het karakter van Platform 2 is dynamisch, tijdelijk en actief. De verschillende werken op Platform 2 zijn afzonderlijk van elkaar ontstaan, en zijn niet aan elkaar gerelateerd of verbonden – de installaties staan op zichzelf.. Door deze verschillende kunstenaars en uiteenlopende benaderingen ten aanzien van mediakunst naast elkaar te plaatsen kunnen er wel spannende en onverwachte verbanden zichtbaar worden.

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Robert Overweg is fotograaf in de virtuele wereld. Deze omgevingen vind je meestal in eerste en derde persoon schietspellen, maar Overweg ziet ze als een direct verlengstuk van zijn fysieke wereld die een nieuwe openbare ruimte van de huidige samenleving onthullen.
Te voet of per vliegtuig gaat Overweg naar de rand van de virtuele wereld, die hij vervolgens fotografisch vastlegt. Hij trekt hiermee onze aandacht voor omgevingen die meestal over het hoofd gezien worden en toch ironisch genoeg griezelig herkenbaar aandoen. De beelden tonen niet enkel de grenzen van deze virtuele werelden, maar roepen vaak herinneringen en associaties op uit de fysieke wereld. Overweg voert ons via de virtuele wereld terug naar de 'echte' wereld, waar de semiotische visuele omgeving ons in staat stelt om de context van het spel bijna volledig te verlaten.

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Andre Avelas presenteert een recent ontwikkeld werk getiteld 50 HZ (NET & oscillatoren). Het is een systeem waarin de bestaande stopcontacten van de ruimte gebruikt worden om de muren direct op speakers aan te sluiten. De speakers versterken de frequentie van de elektra (50 HZ) van het gebouw. Clusters van elektra en kabels worden in paren met oscillatoren gekoppeld aan dezelfde frequentie. Deze oscillatorparen zijn in de ruimte geïnstalleerd volgens de aanwezige architectuur van het elektriciteitsnetwerk in het pand.

Curator: DNK-Amsterdam / Koen Nutters

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In hun poging communicatie te vergemakkelijken beïnvloeden nieuwe technologieën onze maatschappij. Deze invloed is bijvoorbeeld zichtbaar in de reclame. Door recycling en re-appropriating van oude en nieuwe technieken en vast te houden aan de onderbewuste structuur van communicatie, tracht Job Doeselaar de communicatiecultuur te ondermijnen en een andere ervaring van deze communicatie te geven. Het werk dat Van Doeselaar presenteert op Platform 2 is een VCR installatie die in een loop een bewerkt deel van de film “The Matrix” laat zien. De loop is een monoloog van het karakter agent Smith. Terwijl de machine de film afspeelt, verteert het langzaam de videoloop, tot agent Smith’s wijsheid is verdwenen.

29.04.11 – 04.06.11

ARTISTS: ANDRÉ AVELÃS (PT/NL), ANDERS HANA (NO), KOEN NUTTERS (NL), MORTEN J. OLSEN (NO), MOHA! (NO)

Gertrude Contemporary is pleased to present a major international exhibition of collaborative and performative works that explore the notion of feedback. Curated by Helen Grogan Feedback Projected (Proposals Towards an Exhibition) presents the practices of six European artists working with sound and installation forms in collaborative and responsive ways. The five-week project adopts the exhibition format as a frame and departure point for a series of installations, performances and discussions that will overlap in time and place at Gertrude Contemporary and at Dear Patti Smith Art Space on Smith St, Fitzroy.

The exhibition adopts the concept of feedback employing live processes to investigate the relationships between the artist, artwork, exhibition context and the viewer. In the simplest sense, Feedback is defined as both the process in which part of the output of a system is returned to its input, and also a response to an inquiry or experiment, and in this exhibition both perspectives will be fully explored.

In André Avelãs (PT/NL) live installation work, Earphones, for example, he presents five hundred sets of earphones that are rigged to create a field of sound generated through the feedback between earphones that have been configured as speakers and as microphones.

The concept of  ‘feedback’ will be present in every work in Feedback Projected (Proposals Towards an Exhibition), whether it is technical, physical or communicative. In The Input / Output Routine (a arrangement of microphones, amplifiers, and loudspeakers) by Koen Nutters and Morten J. Olsen, they create an environment of potentiality, whereby a PA system – with amps and microphones – such as that which would be traditionally used by a rock band is set up in the gallery space and yet remains void of players. The absence of anticipated performers leaves the visually iconic amplification system as the sole protagonist, generating a feedback system that absorbs the sounds of the gallery and articulates the presence of the gallery’s visitors.
This investigation of the broader implications of feedback will extend out beyond the traditional exhibition format with artists talks and an active facilitation of dialogue between the artists and Gertrude’s audiences. The exhibition will also encompass a series of performances and off-site events by leading European artists such as MoHa!, allowing for a comprehensive exploration of all facets of the idea of feedback.

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PROGRAMS

Friday 29 April
6-8 pm: Opening at Gertrude Contemporary
8:30 SHARP: MoHa! Performance at Dear Patti Smith (+ drinks until 10pm).The Patterson Building, L2, 181 Smith St, Fitzroy.

Friday 29 April – 4 May
Input / Output Routine (an arrangement of microphones, amplifiers, and loudspeakers) by Koen Nutters and Morten J. Olsen at Gertrude Contemporary

Wednesday 4 May
9pm: Fields by Koen Nutters and Morten J. Olsen on collaboration with local artists at Gertrude contemporary

Tuesday 17 May – 4 June
Special Project(s) to be developed in situ by André Avelãs at Gertrude Contemportary. Further information will be made available on the Gertrude Contemporary website.


Feedback Projected (Proposals Towards an Exhibition) is supported by the Performing Arts Fund NL. It has received support from the Sound Studio, School of Art RMIT University. Special thanks to Tanzplan Essen 2010.

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André Avelãs

~50 Hz (Mains & Oscillators)

(Project-responsive work-in-process), 2011

This artwork is an outcome of the two-month Melbourne residency undertaken by Avelãs as part of this curatorial project. The piece is installed gradually, presented simultaneously in the gallery space with
earphones for an overlapping period prior to the de-installation of earphones. Avelãs has developed a system of translation where by the existing power sockets in the gallery walls are directly connected to
speakers amplifying the frequency from the buildings power mains (50 hz). Clusters of electronics and cables are coupled in pairs with oscillators on the same frequency. These multiple pairs are installed
in the space according to a logic determined by the existing architecture of the buildings power outlet network.

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--> gallery hand outs 01 02 03
--> pictures of Input / Output Routine (an arrangement of microphones, amplifiers, and loudspeakers) 01 02 03 04 05
--> recordings of Input / Output Routine (an arrangement of microphones, amplifiers, and loudspeakers) 01 02 03
--> videos of MoHa! performance 01 02
--> pictures of Fields 01 02 03 04
--> recordings of Fields 01
--> pictures of Earphones 01 02 03 04 05
--> recordings of Earphones 01 02
--> pictures of ~50Hz (Mains & Oscillators) 01 02 03 04 05 06 07 08 09 10
--> recordings of ~50Hz (Mains & Oscillators) 01 02 

April 21 – Mai 26, 2011
photos | press release

James Beckett, geb. 1977, Harare, Simbabwe
Lebt und arbeitet in Amsterdam, Niederlande.

James Beckett arbeitet an der Schnittstelle zwischen Konzeptkunst, Soundart und experimenteller Musik. Dabei oszillieren seine installativen Arbeiten zwischen Erinnerung, Geschichte und Dokumentation und nehmen dabei oft die Form von Archiven aus musealisierten Versatzstücken sich verändernder Realitäten an. So lassen uns seine Arbeiten an Fragmenten von Geschichte, Geschichten und Biographien teilhaben.

In der letzten Zeit interessierten Beckett, vor allem, die ökonomisch-demographischen sowie kulturellen Entwicklungen bestimmter Orte und Landschaften als Folge des industriellen Fortschritts, sei es in Polen, Deutschland, Italien oder Portugal.

Im Mittelpunkt seines in Portugal entstandenen Projektes, das vom 22. April bis 26. Mai 2011 im Neuen Kunstverein Wien zu sehen sein wird, steht die heruntergekommene Sägemühle im Zentrum von Lissabon, das lang geführte Familienunternehmen seines Freundes André Avelãs. Das frühere lebhafte und rege Zentrum für die Verarbeitung und den Handel eines exotischen Laubholzes befindet sich seit mehr als zwei Dekaden in einer stetig zunehmenden Rezession. Beckett interessiert dabei der Verfall manufaktureller Produktion und Tradition, die auch mit Auflösung früherer menschlichen Strukturen, Arbeitsweisen und Beziehungen verbunden ist und mit der sich rasant entwickelnden Standardisierung und Globalisierung einher geht.

Beckett schafft hier eine Serie von biographischen und materiellen Porträts, in dem er sowohl vor Ort gefundene als auch selbst geschaffene Objekte präsentiert. Dem technischen Werk und den Arbeitsgeräten der Sägemühle stellt er die Arbeit der dort tätigen Menschen gegenüber.Unter den Zeichen von Funktion, Arbeit, Subjekt und Objekt wird die Sägemühle zum Symbol für das menschliche und technische Dasein. Das verkommene, verrottete Holz steht hier einerseits für dessen Vergänglichkeit und Formbarkeit und gleichzeitig für die technische Präzision dieses Handwerks.

Neben der Arbeit „Façade Portraits“, in der Beckett in Stapeln geformte, geordnete und angefaulte Holzbretter, zu künstlerischen Objekten transformiert, stellt er in den mobilen Vitrinen Maschinenteile aus. Den abstrakten Formen des alten Holzes kommt dabei eine Art Harmonie als Ausdruck einer geradezu übermenschlichen Ordnung zu, die im Gegensatz zum chaotischen Umfeld des Sägewerks steht. In der Anordnung der Objekte spiegelt sich Interesse für die Strukturen und Formen des technischen Werkes wider. Die zwei Heiligenschreine, die jeweils einen Kanister beinhalten und die grellen Männeruhren ergänzen die Installation.
Die daraus entstandene Installation wird zur einer Art Bibliothek bzw. einem geordneten Archiv aus Biographie und technischem Handwerk, das Leben und Arbeit als Einheit verbindet.

Zur Eröffnung der Ausstellung findet eine Performance von James Beckett und seinem Freund André Avelãs statt. Mit ihrem Interesse für Sound, zwischen Dissonanz und herkömmlichen Melodie, bewegen sie sich an der Grenze zwischen den Klängen der Volksmusik und jenen des westlichen Minimalismus.

-- COLLABORATION, HUIS AAN DER WEERF, UTRECHT, NL --

-- AETHER DEBAUCH --

-- FREQUENCY SWEEPS ON FRYING PANS, OUTPOST, AMSTERDAM, NL --

-- SLUDGE MAGNET --

--> on facebook
--> soundcloud profiles 01 02

-- GRADHIVA 12, LA MUSIQUE N'A PAS D'AUTER, 11-2010 --


A picture of earphones was featured in the publication GRADHIVA 12, La musique n'a pas dáuters. 

GRADHIVA, revue dá'anthropologie et d'histoire des arts, is published by the Musée du Quai Branly.

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--> cover
--> my image, page 168-169

-- MET STIP 2010, FONDS BKVB, 06.2010 --

Een uitgave vab het Fonds voor beeldende kunsten, vormgeving en bouwkunst ter gelegenheid van de tentoonstelling Recht voor zijn Raap, Stip 2010 en kunst nu in het Centraal Museum, Utrecht (19 juni t/m 12 september 2010)

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-- TAPE IT --

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--> press release

The N is an international network of musicians, improvisers and composers. It was set up around 2002 in Amsterdam and has since spread throughout the world, in many forms and shapes.

N-Berlin presents the following groups in this event:

The N cymbal orchestra (the stillborn project part II)
3 of the N-Collective percussionists hook up with 4 Berlin all-stars:

Burkhard Beins, Michael Vorfeld, Sven Johansson, Ignaz Schick, Matthias Engler, Nicolas Field, Morten J. Olsen.

The Avelas N quartet:
for 4 players with small noise generators
André Avelãs, Koen Nutters, Morten J. Olsen and Anu Vahtra

The N ensemble plays Adapt/Oppose by Burkhard Beins:
Kjetil Brandsdal, Bjornar Habbestad, Koen Nutters, Anders Hana, Matthias Engler, Nicolas Field, Morten J. Olsen

plus:

DJ Scumbag and Masterfader play pre-recorded music around the sets.
The AA Absynth bar!

The Avelãs N-Quartet, by KN / AA

for 4 players with small noise generators

André Avelãs / Anu Vahtra / MOrten J. Olsen / Koen Nutters

Time structure by KN

Noise generators built 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 3 (generated on 17.12.2009)

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--> audio recordings 01 02 03 04 05 06 07 08
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-- AVELAS OCTET, DNK-AMSTERDAM, OT301, AMSTERDAM, 28.09.2009 --

-- AVELAS OCTET, NIGHT OF THE UNEXPECTED, PARADISO, AMSTERDAM, 11.09.2009 --

(coming soon)

-- HALLO GALLO 24, OCCII, AMSTERDAM, 08.09.2009 --

TUESDAY SEPTEMBER 8th
OCCII Amstelveenseweg 134 Amsterdam
Doors open at 20:00!!!  first band 21:00!!!
5 euro

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-- SPACE, TIME, SIGNATURES, N.I.M.k., AMSTERDAM, 12.06-26.06.2009 --

DNK installation Art Series #3:

Space, Time, Signatures

Installations by Andre Avelas & Bradley Pitts

Andre Avelas: Untitled (NIMk), 2009
Bradley Pitts: The ten pound seed, 2009 & Untitled A4, 2009

Curated by Koen Nutters / DNK

--

Opening Event: Friday 12 June - 20:00 - 0:00

Featuring:

a concert by Acid Furious
and music by the DNK Terror Unit (DJ Master-mink & The Snail)


Closing Event: Friday 26 June - 20:00

featuring:
a concert by The DNK Ensemble
and music by the DNK Terror Unit (DJ Master-mink & The Snail)


Hosted by:

Nederlands Instituut voor Mediakunst
Montevideo/Time Based Arts
Keizersgracht 264
1016 EV Amsterdam
T 020 6237101
F 020 6244423
E info@nimk.nl

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SPACE, TIME, SIGNATURES, DNKâ's third event in its installation art series, explores the elemental mediums that constitute sound and visual art. These are the literal presentation spaces as well as the distance between artist, creation, and receiver; the atomic as well as psychological time; and the assigning of significance through contextual framing and authorship. The works highlight these elements by playing with the expansions and contractions of space over various time-scales.

Inflated nightly, the weatherballoons in André Avelãs Untitled (NIMk), 2009, fill half of the installation space at the start of each day. Slowly releasing their internal pressure through sound-making devices the balloons deflate until they are left limp on the floor by evening. While this reading emphases the space occupied by the balloons themselves, visitors are forced to occupy the acoustic space between the balloons which expands over the course of each day and is compressed each night.

In the other half of the space Bradley Pitts presents The Ten-Pound Seed, 2009. A seed for the beginning of a new space and time. This object is made by stacking Voids magazine (JRP-Ringier 2009), until the combined weight reaches ten pounds (4.536 kg). The title references an interview in this magazine with cosmologist Brian Greene who stated that before the big-bang, the entire universe was compressed to 10-26cm in diameter and weighed ten pounds. He referred to this object as "the ten-pound seed." Hanging innocuously on the wall, Pitts also presents an apparently blank, framed, untitled A4. In a bottom corner of the A4, what presents itself as a stable map-like scale, turns out to be a false floor as one realizes that the units of measurement are missing from this reference. Because the scale is not locked to a specific set of reala-world measures, the space of the page vacillates between the space of the infinitely large and infinitesimally small in an unsteady zoom.

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-- THREE LINES, AUSLAND, BERLIN, 09.04.2009 --

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-- QUARTET #3 (AVELAS QUARTET), THE FLOOR, AMSTERDAM, NL, 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)

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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, NL, 14.03.2009 --

(coming soon)

-- DEAD DARLINGS III, MEDIAMATIC, AMSTERDAM, NL --

(coming soon)

-- 0-250 HZ, W139, AMSTERDAM --

(coming soon)

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-- THE HEADPHONES SHOW, ABRONS ART CENTRE, NYC, USA, 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

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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

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-- DNK-AMSTERDAM SHOWCASE AT DUTCH DESIGN WEEK, T.A.C., EINDHOVEN, NL --

--> 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

-- IBID PROJECTS, LONDON, ENG, 05.09 - 05.10.2008 --

--> 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

-- SIRENS, GENERAL PUBLIC, BERLIN, DE, 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)

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-- BAZKULTURMAGAZIN., BASEL, CH, 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 K�nstlerbewegung der 60er- und 70er- Jahre mittels wortgewandter Arbeiten.

Mal ganz was anderes: eine Austellung in Prophezeiungen vorabschreiten. M�glich macht das ein Werk des Londoners Paul Elliman am Eingang des Oberlichtsaala der Kunsthalle: Sein <<Maciunas Ouiji board>> ist ein S�ancetisch, auf dem die f�r den K�nstler typischen Buchstaben aus Objektumrissen verteilt sind, umgeben von einem <<No>> und einem <<Yes>>. Gelegenheit, schon eingangs durch Gl�serr�cken einige Fragen zu <<Word Event>>, einer Gruppenaustellung mit gut zwanzig K�nstlern verschiedener Herkunft, zu kl�ren.

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 f�r diesbez�gliche Infos. Einer seiner Vort�ge in New York, deren Lernmaxime in einer K�rzestfassung war, aus wenig viel zu machen, resultierte in einem Projekt seines Sch�lers George Brecht: Der New Yorker K�nstler schrieb 1961 simpelste Regieanweisungen f�r Aktionen auf Karten, zum Beispiel <<Word Event, Exit>>. <<Was ein Word Event ist, bleibt aber v�llig offen>>, erg�nzt Maxine Kopsa, die die Schau zusammen mit Roos Gortzak kuratiert. Vielleicht k�nnte man als Mindestvoraussetzung definieren, dass etwas mit Sprache passiert?

ZEITGEM�SSE 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 gr�sseren Kontext: Sowohl Brecht als auch George Maciunas, der Namensgeber des Gl�serr�cktischchens, geh�rten zur Fluxus-Bewegung, jener definitionsscheuen Gruppe von K�nstlern, die in den 60er- und 70er-Jahren die Kunst nicht vom Leben - zum Beispiel durch Integrieren von Allt�glichem - und die einzelnen Kunstgattungen nicht voneinander trennen wollte, etwa wenn bildende K�nstler auch in die Musik hin�berwilderten.

Eine zeitgem�sse Adaption des Eingangs des buchst�blich harten Lebens in die Kunst ist das Werk von Walead Beshty aus London: Er hat per Fedex Glask�rper 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 l�sst sich der rote Faden durch die Schau in Worte fassen? Da z�gert selbst die in der Mini-S�ance 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 t�mmelt. Ellimans Tischchen. ganz Prophet, gibt daf�r mit seinen ungleichf�rmigen Buchstaben zwischen den Extremen <<Yes>> und <<No>> ein sch�nes Bild vor. Und der Besucher wird, gerade wie das ger�ckte Glas, von Werk zu Werk getragen, bis er sich seine eigene Antwort auf die eingangs gestellte Frage erlaufen hat.

STILLE UNS L�RM. Bei einer Arbeit der Argentinierin Amalia Pica etwa sind die Gegens�tze noch vereint: Die Projektion von Dias eines Megafons auf die Saalecke l�sst Stille und Lautst�rke verschmelze und bringt, wenn auch kleine h�rbaren Worte, so doch die W�rtlichkeit - 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. Avel�s hingegen hat eigen furchterregenden Verst�rkerturm aufgebaut, vor dem er in Performances mit Plattenspielern deformierte oder neu zusammengeschusterte Tontr�ger abspielt, sie fast mit Guant�namo-Methoden zum Sprechen und Klingen bringt. Kopsa fasst die Anspr�che 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 �bergang zwischen einer Skulptur und einem Dialog herbeigef�hrt 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. Daf�r ist sicherlich auch die aktuelle Vogue eines altgedienten SprachKonzeptk�nstlers 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.

W�RTLICHE KUNST. Das unterscheidet die Positionen von ihren Fluxus-Vorg�ngern, denen Ausfl�ge in die Musik oder ins Happening n�her lagen. War f�r jene Kunst und Leben nicht zu trennen, geh�ren f�r die hier ausgestellten K�nstler Kunst und Sprache zusammen. Vielleicht ist die vermeintliche Zukunftsmusik, die aus Ellimans S�ancetischchen ert�nt, kein Bluff und wird die Kunst zum <<Word Event>>, sprechen K�nstler statt bildlich bald vorwiegend w�rtlich? Mit der Bilddom�ne 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 zur�ckkehrt.

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

-- DNK POST-DIGITAL FESTIVAL, AMSTERDAM, NL, 14.06.2008 --

--> pictures of the installation 01 02 03 04 05 06 (by Paul Glazier)

-- RNGDS, DNK POST-DIGITAL FESTIVAL, AMSTERDAM, NL, 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, BERGEN, NO, 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

-- 2 EARPHONES, LIVE AT DNK OPEN DI 5, AMSTERDAM, NL, 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

-- EARPHONES, STAVANGER, NO, 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

-- DNK-AMSTERDAM PRESENTS: A NIGHT OF AVANT ROCK!, 10.2007 --

design for the concert of Ultralyd and KTL at DNK-Amsterdam.

the design was used on the handout given at the door, designed by ORIG.CH

-- 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

-- 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.

-- NO-)TOON) FESTIVAL, HAARLEM, NL, 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. G��n 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 ��n 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 ��n 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 ge�xposeerde 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 Cai�ara 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

-- SIRENS, 66 EAST, AMSTERDAM, NL, 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, and 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

-- RR.SMCS END, AMSTERDAM, NL, 12.03.07--

100 days radio project in the SMCS and Mediamatic.
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 --

-- 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)

-- OPEN DI, DNK AMSTERDAM, AAMSTERDAM, NL --

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

-- 10 TURNTABLES AND NO DJS, RR.SMCS, AMSTERDAM, NL, 03 & 04.02.2007 --

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)

-- JUST IN TIME OPENING, STEDELIJK MUSEUM, AMSTERDAM, NL, 30.11.2006 --

opening performance RadioRietveld@StedelijkMuseumCS

That Horrible Noise & Polyphake Plapperlapapp

<Modulating Air Waves>

RR.SMCS will commence its broadcast with the opening of the exhibition "Just in Time - Gemeentelijke Kunstaankopen" on november 30th, 2006. 

As transmissions on FM band start, RR.SMCS, Radio Tinnitus and Radio AM will condense existing radio signals in a performative installation broadcasted live on air. Defining the free spaces of the bandwidth in the aether and amplifying these unused sounds a dense sound sculpture emerges. Analogue modulations of interfered transmissions capture an unused information potential. By adding distortion, filters, electronic effects and by playing the variations of amplitude and frequency, electricity and radio waves as source and carriers of the medium radio are singled out and exponantiated in a multilayered radio art performance.

The Modulations will be performed by André Avelãs a.k.a. THAT HORRIBLE NOISE and Jakob Proyer a.k.a. POLYPHAKE PLAPPERLAPAPP.

--

--> pictures of performance 01 02 03 04 05
--> performance 01

-- RR.SMCS ALTERNATIVE STUDIO AT MEDIAMATIC´S GARAGE, AMSTERDAM, NL --

 
-- AM, RR.SMCS, 2007 --

_______###\_______##\______##\_
______####\______###\____###\__\
_____##\##\_____####\__####\___\
____##\_##\____##\##\##\##\____\
___#######\___##\_###\\##\_____\
__##\\\\##\__##\__#\\\##\______\
_##\____##\_##\___\\_##\_______\
_\\_____\\\_\\_______\\________\
_______________________________\
__ - - - - - - - - - - - - - __\
__ EVERYDAY 00.00 - 12.00 AM __\
__ - - - - - - - - - - - - - __\
_______________________________\
\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\

AM at RR.SMCS

Call for participation

From 30 November 2006 until 11 March 2007, Stedelijk Museum Amsterdam (SMCS) is hosting the annual Municipal Art Acquisitions exhibition. Work from the show will be selected and acquired for the Stedelijk Museum collection. The idea of "necessity" is what determines the Gemeentelijke Kunstaankopen 2006.

RR.SMCS is a project of Radio Rietveld (RR), a student - and artists - radio initiative at Amsterdam based Gerrit Rietveld Academie. RR was invited to participate at the Gemeentelijke Kunstaankopen 2006. What we feel is necessary for the city's cultural and artistic practice is a free radio station and an open sound production facility.

RR.SMCS is a temporary radio project consisting of a 3 month live radio broadcast, live events, streaming, concerts, audio plays, discussions, an audio archive, sound production facilities and a library. We will broadcast in the city of Amsterdam on FM band and worldwide via broadband web stream. RR.SMCS will be staged in and around the museum building as well as in alternative locations all around town. RR.SMCS considers itself an independent, open and non commercial project. We propose an open platform for sound production, research and improvisation. Our aim is to explore the potential of radio as an exhibition and communication medium. We want to support the local and wider sound community by providing a platform for distribution, production and exchange, thereby connecting to and reflecting an international context of sound/art - and radio production. We are looking for participants, submissions, concepts, formats and sound works to be part of RR.SMCS.

I´m curating for the show named AM - AM standing for Ante Meridiem, latin for "before noon", and also referring to Amplitude Modulation broadcasting. It will be broadcasted in between the end of the last show of the day and the first show on the next day, more or less from 24.00 till 12.00, depending on special events and shows. I am proposing to artists - that do NOT have to necessarily work mainly with sound - to create a work for this amount of radio time. The content can be any sort of prepared material that would loop all night, self playing software patches or hardware devices, sound installations, or even a live performances - there is no limit but it should obviously make some sort of sonic output and last as long as it is needed - more or less 12 hours.

We can play all sort of formats - mp3, tape, reel to reel, mini disc, cd, dvd - or software - max-msp, ableton live, supercollider, pure data, reason, audiomulch, reaktor, etc.

We accept pre-recorded material, you can perform live in the studio or we can rebroadcast your audio stream (and eventually help you setting it up) to FM band, and eventually also AM (not sorted out yet). Every show will be recorded and properly documented.

you can propose more than one show. Feel free to forward this mail if you think of someone who might be interested

Please contact me at andre@rrsmcs.nl if you�re interested or have any questions.

Regards,

André Avelãs,
RRSMCS.NL
 

-- MORRA O DANTAS, COLLABORATION WITH PEDRO IN�S --

Collaboration with Pedro Inês on a performance based on the reproduction through button clicking of Almada Negreiro's text "Manifesto Anti Dantas", as read by the late portuguese actor Mário Viegas. Using simple buttons to trigger samples in Pure Data using STEIM's Junxion box, we are trying to recreate the flow of the reading by dance movements defined by the need to trigger the buttons on the right order and timing.

thanks to Boban for sorting out the PD patch

--

--> PD patch and .WAV files in one .RAR file 01
--> images of maquette 01 02 03 04 05 06 07 08

-- ARTICLE, METROPOLIS M, 2006 #4 --

Roy Speetjens - Radio Rietveld

by Xander Karskens

In April of last year De Appel hosted the project Radio Days in conclusion of the educational programme for young curators. The decision to leave almost the entire exhibition space on the Nieuwe Spiegelstraat empty and not shown any  art objects met with a certain amount of resistance. Space is meant to be used, this looks too much like institutional critique. Within the scheme of Radio Days it was a logical choice, however: the project offered a rich programme featuring artists, curators, programmers, DJs and musicians that took place entirely on the air and the web site of Radio Days (www.radiodays.org). With an often pleasantly improvised tone, the project investigated the discursive scope of contemporary art and created an open platform for research and the production and presentation of art.

The alternative radio culture in Amsterdam, with its pirates broadcasters such as Patapoe and De Vrije Kaiser, has a limited number of platforms for radio experimentation and audio art productions. Radio 100, Amsterdam's largest "free" radio station went off the air after all the FM frequencies in the Netherlands were auctioned off to the highest bidder in February 2003. This put and end to a great number of experimental radio programmes. Nowadays Radio 100 is broadcasting through the (still democratic) Internet, which with the advent of WiFi and new telephone applications will reach an ever growing audience - and thus gradually take the place of radio-over-the-airwaves.

Inspired by the quality and success of Radio Days and the gap in the Amsterdam "art radio" scene, Roy Speetjens, a student at the Rietveld Academie, decided to start Radio Rietveld. As the name suggests, the station is based at the Academie, where by now a broad range of radio programmes is being made and broadcast through its website. Radio Rietveld operates on a small scale as yet; editorial and technical affairs are handled by Speetjens and a few staff members. The station currently transmits live programs five days a week, some four hours a day; in addition, most programmes can be accessed through an online archive.

With its highly democratic programming and raw, subversive attitude, the station at present can be compared somewhat to the small pirate broadcasters existing in Amsterdam. Many of the programmes concentrate on the production of live audio work and music produced by Rietveld students and graduates, from André Avelãs gritty electronic noise to the guitar punk of Nee Niet Niels. Speetjens strives for a dynamic balance between "classic" DJ sets, production based programmes and programmes of a more reflective, informative nature that investigate the possibilities of radio as an exhibition and presentation medium within a more general framework of art.

Besides quality artistic output, the generation of community feeling is an important principle, beginning with the various departments at the art academy itself and expanding to the local context of Amsterdam and further to the international artistic community. The more official art and media producers, such as Resonance FM in London and CAC TV in Vilnius, are obvious reference points in this respect. Although Speetjens has now graduated, he will stay at Radio Rietveld for a while to supervise its growth - the web site's bandwidth is soon to be drastically increased and there are plans for forming a programme committee in collaboration with the School for Journalism in Utrecht.

in Metropolis M, 2006 Nr. 4

--

--> scanned article 01 02

-- LIVE AT RADIO RIETVELD, 2006 END EXAM SHOW, AMSTERDAM, NL --

(coming soon)

--

--> live recordings 01

-- DEAD DARLINGS AUCTION, W139, AMSTERDAM, NL, 02.07.06 --

2nd dead darlings auction, a part of the EURO 10.000 show by Constant Dullaart

From the catalogue:

Title: "CUT-UP VINYL"
Medium: Assembled 7" vinyl record
Length: Indeterminable, unpredictable
Year: 2006
Starting price: 1 Euro‚¬

A remix of my own end exam! all the records i made last year, leftovers and unused pieces, cut and re-assembled. It is a series of at least four 7" records, playable on turntables (although I�m not responsible for any possible damage made to the needle...), and one cover also made out of the re-assembled covers leftovers. It is not so much a dead darling, more of a mega-zombie darling made out of little (un)dead sweeties...

---

--> poster 01 (by Lina Ozerkina)
--> catalogue page scan 01

-- OPEN NOISE, KUNSTVLAAI, 2006 --

http://www.kunstvlaai.nl/2006/

--

--> flyer and poster 01
--> pictures 01 02 03 04 05 06 07 08 09 10
--> live recordings 01 02 03 04 05 06 07 08 09 10 11 12
--> cd cover 01
--> cd with all tracks in one .ZIP file 01

-- THAT HORRIBLE NOISE, RADIO RIETVELD, 2006 --

Part of Radio Rietveld, That horrible noise was a show named after a Negativland song. It consisted mainly of audio experiments starting around 21.00 until the next morning dj showed up.

recorded shows:

songs >1 min, all songs in my collection under 1 minute long, played from the shortest to the longest. the show attempts to disturb your notion of duration - after a while listening to the mix, songs with 30 seconds seem to last an infinity.

--> songs >1 min 01

vibration 0.1 - a small installation left to run overnight at the radio. the sound source was a wave pulse generator, connected to a distortion pedal and a kaoss pad. Hanging from the ceiling was a small vibrating device touching the kaoss pad. the battery of the generator eventually run out.

--> vibration 01

monitor feedback - a contact microphone was placed in one of the studio monitors, connected to a distortion and a phaser pedal and left to loop all night long.

--> monitor feedback (excerpt) 01

distributed control - broadcast version of the collaboration with Idan Hayosh, three 15 minutes tracks, left to loop for an extended weekend (4 days) non stop.

--> broacasted version of distributed control 01

time-stretched and compressed frequency sweeps - composition made using frequency sweeps available at standard HI-FI test cds. The sweeps were time stretched and distorted by means of audio compression and then layered.

--> time-stretched and compressed frequency spectral sweeps .MP3 mono 32 kbps 01

-- COLLABORATION WITH IDAN HAYOSH, OPEN 9.5 --

About strategies of Sonic Control and Inter Reaction

by Idan Hayosh

When artists work with sound they are fundamentally working with the concept of controlling the sound in spaces. William Burroughs advocates control yet lacks the specifications of conditions requires«d to validate the concept of dominion over location. Mark Bain, on the other hand, specifies the conditions of control, such that his works are inextricably place-specific. I revolve a concept which i call "distributed control" that fills in for the lack of control necessary to validate the poetic interventions of Burroughs while eliminating the concept of forced site specificity as exemplified with the works of Bain. A lot of Indie lo-fi bands deal with these kinds of tracks for social purposes of equalizing the consumers by pixelizing their sound pieces. On 10 March, 2006, I sat down with Mark Bain to discuss my project in conjunction with his concepts of control and Inter Reaction.

Sound used for communication purposes is always experienced within certain physical conditions. When listening to designed sound, one's experience is hinged upon the devices used for it's transmission, as well as the spatial structure in which the sound is transmitted.

when a sound piece is broadcast remotely as it is in the examples of radio and internet streaming, or distributed on recordable media, it is received and played back in various devices and, as a consequence, in vastly different ways. The broadcast sound piece is heard differently in every transducer that processes it. In contrast, take the example of the sound piece shown in an installation. Here, the acoustic defaults of the space are used by the producer to supply a specific experience to the recipient. It is thus a controlled mode of presentation.

In Burroughs' Electronical Revolution, methods of sonic control (part of the famous cut/up techniques) are examined and portrayed as a subversive means of applying revolutionary change to a given and already controlled reality. By recording, editing, and playing back on location, one can transform existing sonic architecture into their own psycho acoustic arena, or in Burroughs' language, one can "discommode or destroy" locations with control methods.

In a report on one of his experiments in London the article, Burroughs describes this target: "here is a sample operation carried out against The Moka Bar at 29 Fifth Street London W1 beginning on August 3, 1972... Reverse Thursday... Reason for operation was outrageous and unprovoked discourtesy and poisoned cheesecake... Playback was carried out a number of times with more pictures. Their business fell off. They kept shorter and shorter hours. October 30, 1972 The Moka Bar closed. The location was taken over by The Queens Snack Bar."

Burroughs, in his way, supports and incites control, even glorifying it. He is not hesitant to practice it as an experimental political campaign. However, the actual effect of his pieces is interesting only as a text. As material (audio and visual) and physical description, it lacks a certain accuracy. He writes about sound and image control events generated by his cut/up methods, but does not specify physical acoustic conditions or a visual representation of the places in which control would take effect. He talks about surrounding a place with speakers in "varying distances", forming a "grid of sound", or to project cut/up images with "projection screens", but the whole acoustic/visual layout is too vague. His experiments do not convey the usage of his "tools" or "systems".

The Electronic Revolution is a significant work of poetry when it comes to sonic experiments in public space. Although Burroughs' experimentation in this area was extremely mind opening and inspiring, the physical validity of the method, the same that provides the motivation for an experiment to be "carried out", was almost absent. The report is distributed as text, telling the story, but avoiding specifics of it's presentation. He neither considered nor depicted explicit spatial conditions for his activities. In this sense, he won the battle but we really don't know how.

The artist Mark Bain believes that concepts like hostility and control should be sauced up and dealt with. He argues that because suggestions of such are omnipresent in media and popular culture, people become desensitized and non-reactive to them. At a certain level this in and of itself represents a default hostility, and this is where Bain is interested in constructing a means of experiencing. In his spatial works, intensity and physicality are essential. Bain confronts the visitor with sonic environments/systems that react, as well as incite the viewer. His terms for this is "inter reactive," meaning that the work intervenes with the involved viewer's position, but leaves a loophole allowing that viewer to investigate the work on his or her own terms as well. The situations he constructs are designed to be experienced unconditionally, yet the construction itself is made accurately and under the complete responsibility of Bain.

Bain normally works with specific arrangements in specific places, which makes the reproduction or distribution of the pieces difficult. Yet, textual description of the works and activities provide a very clear and inspiring portrayal.

As he himself states: "Sometimes I find the best documentation is to show slides, maybe have a brief example of the recording, but then also have a text about it, and also talk about stories that happened around the situation."

Control and the responsibility for it are essential when it comes to presentation. Presentation in all forms is the totality of an idea or a method executed in a physical way. This is the stuff that makes us react, what we eagerly long for and expect. The content of the presentation can be in itself chaotic or chance generating as long as the controller (writer, artist, activist, etc.) is aware of the possibilities of their product. A presentation unattached from the responsibility of its maker is nothing.

Distributed control is a way to demonstrate control in a dispersed way. André Avelãs and I have produced a sonic article dealing with a specific aspect of distributed control. The term sonic article refers to a sound piece that relates to its output devices more than a content-based statement. This work employs a specificity of control that is lacking in the works of Burroughs. Like the works of Bain it dictates the conditions of experience, while unlike Bain's is totally space unspecific. By digitally limiting a track's quality to 4 bit (telephone quality) and thus reducing the frequency range, a piece can be heard in the same quality by every device that transmits it. The result is a lo-fi sound piece that conveys the same sonic information regardless of playback mechanism.

in Open 9.5 - Footnotes for Open No. 9/Sound

--

--> scanned article 01
--> sound piece 01 02 03 04

-- TAPE & COOKING, MEDIAMATIC --

performance of TAPE in .mp3 format as part of practicum 06a. the piece was available on a computer with headphones all night, and it was also played in the loudspeakers during dinner. As part of the evening me and Jimmy Almeida cooked a portuguese meal for the audience, consisting of pasteis de bacalhau e feijoada à portuguesa - cod fish cakes and beans with pork portuguese style.

http://www.mediamatic.net/artefact-10961-en.html

--

--> images 01 02 03 04
--> recipes in english or portuguese 01 02

-- ARTICLE, HET PAROOL --

Te mooi week voor kunst

Galerieweekend in zonnige stad trekt minder publiek dan normaal

by Daphne Lentjes

(...)
Wie geinteresseerd is in het werk van jong talent zou langs moeten bij galerie Fons Welters in de Bloemstraat: daar exposeren acht verse kunstacademie-verlaters. André Avelãs, afgelopen jaar afgestudeerd aan de Rietveld Academie, hield er dit weekend een doorlopende sound-happening met zijn torenhoge, zelfgebouwde geluidsinstallatie.

"Dit is pas de tweeder keer dat ik hem ergens opbouw. Hij is niet echt makkelijk verplaatsbaar", geeft de Portugees toe. "Maar nu hij hier toch staat, wil ik iedereen graag uitnodigen om er geluid uit te komen persen. Ik sta er wel bij, maar dat is alleen maar om ervoor te sorgen dat geen naalden afbreken of zo."

Geïnteresseerden kunnen nog terecht tot 8 oktober.
(...)

in Het Parool, 05-09-05

--

--> scanned article 01

-- ASCII SELF PORTRAIT --

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-- START, FONS WELTERS GALLERY, AMSTERDAM, 03.09-08.10.2005 --

from Fons Welters gallery site:

It would be close to impossible to summarize the state of affairs at Dutch art academies today in 500 words or less, but seeing as everyone enjoys a good sum now and again, though fated to fall short, I'll try. If I were so cheeky as to make a list, a top 4, for this year, and this year only, then the Gerrit Rietveld Academie in Amsterdam comes out far above the rest, the Willem de Kooning Academie in Rotterdam second, the Academie voor Kunst en Vormgeving St. Joost in Breda and the Christelijke Hogeschool van de Kunsten C. Huygens (now in Zwolle) tie in at third and the AKI Akademie van Beeldende Kunst in Enschede at a close forth. Hence the glaring imbalance in the selection of START: 6 of the 9 graduated from the Rietveld, the other 3 from the Jan van Eyck in Maastricht, the Willem de Kooning Academie and the AKI.

Much of this ranking has to do with simple awareness and a willing ambition, not only on the part of the students, but also the tutors and the academy directors. Rotterdam was smart to put together a very professional presentation, the St. Joost as well as the Cabk (Zwolle) were varied and promising and fresh, the AKI was a bit of a disappointment but I had high expectations, while the Rietveld was a perfect example of an unruly, ambitious, aware-of-the-world-around-them kind of attitude.

And that's what we need, and the more the better: makers, authors, artists -choose a term- who are, bottom-line, j u s t p l a i n a w a r e o f t h e w o r l d a r o u n d t h e m, who react to it, stubbornly, intelligently, shockingly or subtly. Who get us to think about something, anything really, in a new way, even if only for a brief moment.

These 9 do. Without trying to over-thematise their practice, I think I can safely say that their works involve the needed 'twist'. Each sets up a personal logic or set of rules they wish to work within and then do so, though do so critically. In other words, they choose their framework and investigate it consistently. That might sound awfully dry but it isn't; it isn't because as they're investigating, they're also taking the piss, in a good way, in a smart way, 'twisting' their own acquired logic and playing with it and then handing it over to us.

[Maxine Kopsa]

The invitation for START was designed by Kasper Andreasen.
André Avelãs will be holding an on-going sound happening during the opening and on Saturday 17 September and Saturday 1 October, from 4 p.m.

Thanks to the Rietveld library.

--

--> flyer 01 02
--> pictures 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 (scanned from contact sheets, photos by Eva-Fiore Kovacovsky)
--> sound recordings in 01 02 03 04

-- CONCERT AT VERSTECK, BASEL, CH --

--> flyer 01
--> pictures 01 02 03 04
--> live performance 01 02 03 04

-- EXIT 2005, GRA 2005 --

the end exam consisted in an installation-sound sculpture using all the releases of Aquela Máquina project. It used several turntables, cd players, tape players, ...

http://www.gerritrietveldacademie.nl/exit2005/

--

--> images 01 02 03 04 05 06 07 08 09 10
--> sound recordings 01 02 03 04 05 06 07 08 09 10

-- OTHER VYNIL, 2005 --

(coming soon)

-- CUT UP HEAVY METAL RECORDS, 2005 --

small series of composite 7" records made out of 1/4 and 1/8 of "heavy metal" record with reference to metals either in their name or track names. The records are intended to be played, althouh a strong needle is advised.

 
--

--> record #1 side a side b cover front back playback example 1 2 3 4
--> record #2 side a side b cover front back playback example 1 2 3 4
--> record #3 side a side b cover front back playback example 1 2 3 4
--> record #4 side a side b cover front back playback example 1 2 3 4
--> record #5 side a side b cover front back playback example 1 2 3 4
--> record #6 side a side b cover front back playback example 1 2 3 4
--> all records and covers 01

-- AQ003 - POWER TOOLS ON VINYL, 2005 --

100 7" records "erased" on both side with a orbital grinder and "engraved" with different drill bits on one side

full alphabetic list of used records:

(number-artist-side a/side b-year-place)

--

--> cover 01 02 03 04
--> all available records 01

-- AQ002 - TAPE, 2005 --

Mini-cd made out of sounds of sticky tape.

From the cover: All sounds came from 18 different tape rolls, 4 sounds from each:

.1 - opening the roll;
.2 - pulling the tape;
.3 - cutting it;
.4 - squashing it.

All sounds are looped during 4 seconds, because it is the shortest time possible on a cd track or track index.

Each roll sounds are grouped in every combination possible; then the results of all the sounds of each roll are combined, first in groups of 3, then 6, 9 and finally all sounds are played simultaneously. The result is 297 tracks of 4 seconds.

The maximum amount of tracks per cd is 99.

Each track has 3 indexes of 4 seconds, resulting in 99 tracks of 12 seconds.

Some perforated tape is glued on the cd to tamper with the reproduction of the sounds.

This will disturb the error correcting software of the player and cause random variations to the sounds.

Note that the result will vary depending on the cd player and might even not work at all on some devices.

track list (cd track number.cd index number - track number - tape number.action):

--

--> cover pictures 01 02 03
--> pictures of the recording of the sounds 01 02 03 04 05 (by Marianne Viero)
--> playback examples with interfering tape 01
--> all .MP3 sound files 256 kbps in one .ZIP file 01
--> collection of tape starters 01 02

-- AQ001 - IF I WAS A GRAPHIC DESIGNER, 2005 --

--> cover 01 02 03 04
--> record side a b
--> side a 01 02 03 04 05 06
--> side b 01

-- AQUELA MÁQUINA, FORMAT BASED LABEL --

-- OFFICE 217, 06.2005 --

Rietveld Academie end exam project by Vela Arbutina

From the newspaper:

Gerrit Rietveld Academy - 23.5. 2005 - 2. 6. 2005

OFFICE 217

Room 217
Between the Photography and the Graphic Design Department

Graphic Design and Photography students talk about their projects, about the end exam and about school.

The students have less than five weeks to go before they graduate.

>How is school right now?<

---

Friday 27
16.34 ANDRE

>Nothing too boring-
Nothing is boring-
Nothing stubbord-
Something I could-
Something I could-
Charge nothing-
Prove nothing-
Think further-

Think further-
Sink further-
Sing pervers-
Things forward-
I lost
A loss<

Extracts of records André is playing in the office, a record cut in pieces and fixed again, a melted record and some bad heavy metal ones.

Yes!

--

--> scan of my "contribution" in the newspaper 01
 

-- GRAY MAGAZINE, GRA --

--> pictures 01 02
--> recordings 01 02 03 04 05 06 07
 

-- STAINS --

tracing the rip shapes from opening the pages of several porn magazines found in hotel rooms with pages stuck together. The resulting shapes were scanned, turned into black and white images, printed, bounded as magazines again, and then photocopied and displayed on a room wall.

--

--> original magazines scans 01 02 03 04 05
--> rebound magazines 01 02 03 04 05
--> pictures of the installation 01 02 03 04

-- MEAT, VIDEO --

Four contact microphones were placed in between pieces of meat and electronic muscle stimulators. Each stimulator had a different program selected, and they were left to play once for the full duration of that program. all the devices played simultaneously.

--

--> frame capture 01
--> sound 01
--> video 01

-- PLUNDERPHONICS AUDIO LECTURES, GRA --

A meta-plundering concert/audio lecture in the Rietveld Academie, together with James Beckett and Roy Speetjens. The concept of plunderphonics explained by means of plundering the original plunderers.

--> poster 01
--> image from lecture 01 (photo from mobile by Roy Speetjens)

-- CORNERS, TYPEFACE --

This typeface was designed for Gerard Unger's class in Rietveld Academie. Starting from pictures of several corners of the temporary academie building (the old one was under repair), I started to trace letterforms on the architecture.

--

--> poster
--> type sample
--> typeface

-- NFOS, 2002 --

book compiled and designed by me about NFOs, software piracy and ASCII pinups

NFO is short for information and is now the term used when talking about the token text file that warez groups include within their releases. Originally these text files only contained information about the crack included within the release. But as time progressed more details where included such as short information about the game or application, keyboard commands and credits to the persons involved in bringing the release to the public. Eventually these text files became more formalized and were included as standard issue in every release a group would put out.

Rietveld Academie, Amsterdam, 2002

--

--> 43 page book 01

-- TOILET COLLAGE --

ongoing collage in house toilet since 1999

--

--> images from 2008 01 02 03 04
--> images from 2004 01

-- SANDPAPER, 2001 --

A simple project of inevitable physical deterioration of a digital media support. It consisted of a series of CD folders made out of different sandpapers.

--

--> CD covers 01 02
--> audio examples 01 02

-- SNAILS --

A bag of live snails with a properly protected microphone introduced in its core. The resulting sound is amplified in the same room as the bag is standing.
Originally an installation, the video was intended to replace the usage of the bag as it is only available in spring and summer and in Portugal. The video in supposed to be projected so the bag is in real size.

-- 

--> frame captures 01 02
--> sound 01
--> video 01

-- ANOTHER POINTLESS ASCII SELFPORTRAIT, 2006 --

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