video feature
Biennale of Electronic Art 2004 Perth
The RRF Project @ BEAP 2004
The curators II
The RRF Project
The curatorial aspect is playing a fundamental role, because the inclusion of artists and their artworks are lying in the hands of so many curators, even if Wilfried had a kind of supervising, coordinating function. Wilfried had influence on the selection of art works only concerning hiw own curation, he was selecting and invitig curators, but it was up to them to care for their selection. So, Wilfried accepted the curatorial contributions as they were. This was one of the big risks of The RRF Project, that curators eventually would not fullfil the quality criteria, but in the end Wilfried was happy, because no curatorial contrinution had to be refused. But in the end, the image the involved curators were generating was a wonderful diversity. It was not necessary if not all art works had the highest standard, it was the composition of all the different curatorial and artistic opinions which was the challenge for art.
This aspect of involving curators by curating curators, was in the early years of our millenium a fundamental provocation. The participating curators accepted Wilfried’s role as a chief curator and as an artist who was curatig curators as an artistic and curatorial concept alike. It hadn’t been unusual that artist do also curate, but the way how Wilfried was curating curators in such a huge scale was und still is unique.
So, during the realization of the RRF Project, Wilfried was learning by doing how to solve such unusual challenges, by being a “primus interpares”, and the fact that he w3asn’t power gaming was generating a sustainable respect of all those 100 curators who collaboration during the 20 years – 2000-2020.
The RRF Project, as it was launched @ Biennale of Electronic Art 2004 – was the start of something new, because it offered a wide range of options – and then it was time to decide!
..[continuation from 13 September 2004]
RRF v.2.1 – VideoChannel
The contribution from Chile was included in May 2004 on occasion of PEAM – Pescara Electronic Art Meeting Pescara/Italy 19 May – 23 May 2004. Curated by Isabel Aranda Yto (Santiago de Chile) following artists were selected Nestor Olhagaray, Klaudia Kemper, Aldo Peredo & Isabel Aranda Yto
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Enter this selection directly here
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The Curator:
Isabel Aranda (yto.cl)
Artists:
1. Néstor Olhagaray
artist biography
Title of work: F16
2 imágenes, dos estéticas visuales, dos culturas que se atraviesan y se repelan.
La máquina de guerra, supuestamente inocentada al instalarla en el video-juego, pero reposicionada en su condición, gracias a la agresividad de la gráfica tecno‑infográfica. El vídeo juego democrático que pone al alcance de cualquiera, la cultura de la guerra y la destrucción, otorgándonos, al fin (pues su dependencia es la mejor escuela del acondicionamiento inductivo de nuestro imaginario colectivo actual) el goce de homologar aquellas imágenes que nos entregan la TV. Ud. puede ser el protagonista y poder disparar con exactitud de alta tecnología de punta, y cuantas veces quiera, en esos paisajes desérticos que albergan a los “enemigos”, y al petróleo del mundo, de la subdesarrollada Asia central.
Por el otro, el registro inocente, enciclopédico de lo que ya sabemos, como un silabario básico, imágenes sin orden, imágenes sin tiempo: Pueden haber sido captadas en súper 8 por nuestros abuelos o en VHS casero, el mismo gesto de siempre, de textura bruta, pero que no nos impedirán soñar y reconocer nuestros ritos gregarios primeros, evocar el recogimiento con los nuestros cercanos, en la gratuidad completa de la época estival.
Una agrede a la otra, una nos agrede a todos, y no se trata de la buena conciencia pacifista, sino de la impotencia del rehén que somos, al hipotecarnos en nuestras economías, y por lo tanto nuestros cotidianos devenires, por el gasto armamentista
2. Klaudia Kemper
artist biography
Title of work: Noticiero – News
video – 1′ 30”minutos – 2003
Una reflexión sobre el asesinato de un niño palestino, construida a partir del rescate del recorte de prensa.
La necesidad de re-interpretar un hecho noticioso extraído del periódico de mayor difusión en Chile, responde al deseo de reflexionar acerca de la manera en que actualmente recibimos la información.
Pareciera que en medio de esta corriente inagotable, no hubiese quedado el tiempo necesario para estremecerse y tomar conciencia de los rumbos que toma nuestra sociedad.
***
A meditation on the murder of a Palestinian boy, built starting from the rescue of the press cutting.
The necessity to re-interpret an extracted newsy fact of the newspaper of more diffusion in Chile, responds to the desire of meditating about the way in that at the moment receive the information.
It seemed that amid this inexhaustible current, has not been the necessary time to shiver and to take conscience of the directions that our society takes.
3. Aldo Peredo
artist biography
Title of work: Each teen-ager has a price.
a short work description:
The work consists of an animation generated in flash, with post-production in softwares of video and edition of sound. Also, the video capture was made with a webcam, so massive means, removed from this context, and played with that idea or concept. This is videoclip, in where successive images touch varied readings. There are pictures that tell us the allocation the typography of a context in HTML, codes, finally signs (ícons, emoticons), that of some form are become a language.
There is a new memory and identity, one? How many identities can be had? Our thoughts are divided in múltifles functions, internet, the place from where the video means are obtained, it is also, used by thousands of users.
The adolescent comes to represent not the moment of human adolescence, but this virtual machine in where, practically, everything can be bought. Also, without trying to give a moral judgment, for good or badly, depending on our idea, it stops being a tool to the service of the comunicaión behind a monitor, and it passes to be an element of channel for the representation and visual edition.
4.
name: Isabel Aranda (yto.cl)
artist biography
Title of work: La “chiva” expiatoria. (Scapegoat)
a short work description:
In Spanish the word ‘chiva’ is synonymous with goat. But in Chile it is also used to refer to an excuse or lie.
This double meaning is used in the digital work “Scapegoat”, making a parallel between the reality of the war in Iraq and its women. There is a reference to “Scapegoat” in the Bible, which is used in the atonement of guilt. In the case of the Iraq war, “Scapegoat” is being used by all the people of Iraq. It doesn’t matter how much blood is spilled. Someone should pay for the terrorist attacks in New York. In this work I have focused on women. Women, mothers, grandmothers and Girls. Especially the innocent victims of political decisions and war from a country which has invested a great deal of money in arms technology and which at some point must be able to justify this expense. This invasion is an act representative of the errors committed by many governments, which, in the moment of deciding between a human life and money, would rather choose the latter. The majority of us artists around the world feel appalled by these events.
****
En Español la palabra “chiva” es sinónimo de cabra. Pero en Chile también es usada para referirse a una excusa o mentira.
Esta doble lectura es usada en la obra digital “La “chiva” expiatoria”, haciendo un paralelo con la realidad de la guerra de Irak y sus mujeres. Existe en la Biblia una referencia a “el chivo expiatorio” que se usa para expiar las culpas. En el caso de la guerra de Irak, como “chivo expiatorio” se está usando al pueblo entero de Irak. No importa cuanta sangre se derrame. Alguien debe pagar la culpa de los atentados terroristas en Nueva York. En este trabajo me he centrado en las mujeres. Mujeres, madres, abuelas y niñas. Víctimas especialmente inocentes de decisiones políticas y de guerra de un país que invierte mucho dinero en tecnología armamentista y que en algún momento debe justificar este gasto. Esta invasión es un hecho representativo de los errores de muchos gobiernos, que en el momento de decidir entre la vida humana y el dinero, prefieren lo segundo. La mayoría de los artistas del mundo nos sentimos horrorizados frente a estos hechos.
Autor: yto.cl (isabel aranda)
Fotos: ‘Mujeres iraquíes’ Fernando Cárdenas
Vídeo Cabra: Francisco salas.
Antonio Alvarado (Spain)
Antonio Alvarado (Madrid/Spain) following artists were selected Fernando Baena, Beatriz Caravaggio, Joaquin Ivars, Antonia Valero, Laura Amigo, Juan Alcón
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The contribution from Spain was included in May 2004 on occasion of PEAM – Pescara Electronic Art Meeting Pescara/Italy 19 May – 23 May 2004. Curated by Antonio Alvarado (Madrid/Spain) following artists were selected Fernando Baena, Beatriz Caravaggio, Joaquin Ivars, Antonia Valero, Laura Amigo, Juan Alcón
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Videos from Spain
curatorial selection by
Antonio Alvarado
curator’s biography
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Selected artists:
artist biography
Title: In Memoriam, video, 2004, 3:20
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artist biography
Title: Teeth Towers, video, 2004, 2:40
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artist biography
Title: Te estamos robando (We are stealing from you)
video, 2003, 2:20
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artist biography
Titles:
a) without title
b) 10 March (in collaboration with Laura Amigo)
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artist biography
Title. Ego, video, 2003, 1:00
Sitharan Roopesh (Kuala Lumpur) and was included on the occasion of Basics Festival Salzburg/Austria 08 May – 16 May 2004. Following artists were selected Seng Tat Liew & Tan Chui Mui
Videoart from Malaysia
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The contribution from Malaysia is curated by Sitharan Roopesh (Kuala Lumpur) and was included on the occasion of Basics Festival Salzburg/Austria 08 May – 16 May 2004. Following artists were selected Seng Tat Liew & Tan Chui Mui
The Curator:
Name : Sitharan Roopesh
curator’s biography
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curates the artists
name: Tan Chui Mui
artist biography
Title of work: Hometown, video, 2003, 6:00
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name: Liew Seng Tat
artist biography
Title of work: reflection?, video, 2004, 2:50
Videoart from Puerto Rico”
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VideoChannel included on occasion of the Biennale of Electronic Art 2004 in Perth/Australia 07 September -30 November 2004 the contribution from Puerto Rico, curated by Heidi Figueroa-Sarriera and Marianne Ramirez-Aponte. Theire selection includes Rafael Alcalá, Welmo E. Romero Joseph, Carlos Ruiz Valarino.
The Curators:
Heidi J. Figueroa Sarriera
Marianne Ramírez-Aponte
Artists:
1. Rafael Alcalá
artist biography
Title of work: SMOKED, video, 2003, 3:00
2.
Welmo E. Romero Joseph
artist biography
Title of work : ½ POCILLO , video, 2003, 3:40
Production Team:
Welmo: MC (Lyric)
Sasha/”splice” Costanza Chock: Beat
Dj K-kemit: Scrachts
Actors/actress: Joanna, Gerardo Calderón, Lucia Castellano, Josias Tapia, Sonnel Velázquez: Photography Director
Leslie Colombani: Illumination Director
Hernand Cortés: Vtr
Angelo Alberti: Make-up
Raúl Marchand: Editor
Bang Post: Postproduction
Inés Mongil: Director
A Nonstop’s Production
3.
Carlos Ruiz-Valarino
artist biography
Title of work HOSTS AND GUESTS, video, 2003, 2:40
The contribution from Sweden was included on occasion of Biennale of Electronic Art 2004 in Perth/Australia 7 September – 30 November 2004 which was curated by Björn Norberg from Stockholm. His selection incorporates following artists: Beeoff, Jens Salander, Steven Dixon, Petra Lindholm and Cecilia Lundquist.
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Enter this selection directly here
The Curator:
Name:Björn Norberg
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The artists:
curator’s biography
1.
name: Beeoff artists group
Mikeal Scherdin – Olle Huge – Tomas Linell
artists biography
Title of work: Doll short bio
2.
name: Jens Salander
Mikael Strömberg
artist biography
Title of work: The Collossos by the Sea
3.
name: Steven Dixon
artist biography
Title of work: The invisible Girl
4.
name: Petra Lindholm
artist biography
Title of work: Wear the bazooka
5.
name: Cecilia Lundqvist
artist biography
Title of work: C
Enter this selection directly here
On occasion of public_space_festival Yerewan/Armenia 23 July – 03 August, Agricola de Cologne selected and curated following artists:
The curator:
name: Agricola de Cologne
more info here
The artists
artist biography
Title:…entre pyrobiblios…
artist biography
Title: WHENEVER I COME HOME …..
artist biography
Title: no title, 2003, 3:40
artist biography
Title: MEAT MUM…MEAT
Wilton Azevedo
artist biography
Title: Quando assim termino o nunca
2.
In March 2004, VideoChannel started with a selection of moving pictures curated by Agricola de Cologne
Enter this selection directly here
artist biography
Title: Stadtgespraech
artist biography
Title: Strangely Adrift
artist biography
Title: Makom
artist biography
Title: Houdini
artist biography
Title: Despuenes
artist biography
Title: Hate
artist biography
Title: Brain Washing
artist biography
Title: Gunship
Title: Fuck it all union
Title: Aliens and Terror
artist biography
Title: Watch: Seconds forever
Title: Never wake up
Title: 138 seconds of peace?
Title: Trash- True Lies
Title: En[code]ed
Enter this selection directly here
The second contribution was curated by Agricola de Cologne, as well, and includes following artists & videos
artist biography
Title: Telepathic Numbness
artist biography
Title: Compound
artist biography
Title: Voice
artist biography
Title: Vanitas
artist biography
Title: Compensate
artist biography
Title: My name is not Cyrano
artist biography
Title: Fragile
On occasion of Numusic & Electronic Art Festival Stavanger/Norway 17 August – 22 August 2004, Melody Parker-Carter prepared her selection as a contribution, i.e. a suite of 10 videos, entitled: “Some Minutes of a Time” by Agricola de Cologne
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Enter this selection directly here
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Name: Melody Parker-Carter
curator’s biography
Agricola de Cologne
artist biography
About the project
“some minutes of a time” is a suite of videos, more than 10 works are currently selected.The artist, observer and voyeur, let the viewer share some minutes of his personal time. The artist films and uses situational processes he had been witness of by chance. He follows consequently using his specifc metaphoric language. Simple situations become spiritual experiences.
Many of shortfilms and videos incorporated in this project were screened on filmfestivals around the globe.
On occasion of International Festival of New Film and New Media Split/Croation 26 June – 02 July 2004 and VI Salon Y Coloquio International de Arte Digital Havanna/Cuba 21 June – 21 July 2004, the contribution from Italy curated by Laura Chiari (Rome) was included, featuring these artists: Alessandro Orlandi, Speranza Casillo, Lorenzo Oggiano, Grupo Sinestetico, and Andrea Ferrari, Fiorella Nicosia, Poly Patapi.
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Enter this selection directly here
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The Curator:
Laura Chiari (Rome/italy)
curator’s biography
Artists:
1.
Alessandro Orlandi
artist biography
Title of work Poetry without words
2.
Speranza Casillo
artist biography
Title of work Break on through
3.
Lorenzo Oggiano
artist biography
Title of work Multiple Trace Memories
4.
Group members: Andrea Ferrara, Fiorella Nicosia, Polytimi Patapi
artists biographies
Title of work Spazio dell’Assenza
5.
Gruppo Sinestetico
(Albertin M. Perseghin M. Sassu A. Shimizu T.)
artist biography
Title of work La mia anima
Enter this selection directly here
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On occasion of FILE – Electronic Language Festival Sao Paulo/Brazil –>23 November – 12 December 2004 , Alex Haupt prepared his first contribution and selected following artists: Daniel Lo Iacono, Lee Welch, Caitlin Berrigan, Claudia Sohrens, Elia Alba, Josephine Lipuma, Guido Braun, RZL – Luca Fruzza, Christina McPhee, Miklos Legrady, Stephanie Bouvier, Caterina Davinio.
The Curator:
Name:Alex Haupt
curator’s biography
For his curated contribution to VideoChannel entitled. “time processing”, he selected 12 artists and one work by each artist—>
..
The artists:
1.
Title: Digital Snapshots
about the work
DIGITALSNAPSHOT is a kind of docu-animation dealing with the correlation of digital anipulations
and candid documentary shots.It was produced as part of aMedia Design diploma thesis from the Univerty of Applied Sciences Mainz ,Germany in 2003.
What does a moment look like? Can snapshots freeze a moment in time?
In DIGITALSNAPSHOT, motion fragments were captured and rearranged in a new visual context via unconventional digital manipulations. A long take camera movement cycle generates a unique “digital painting”.
In this case DIGITALSNAPSHOT enables the viewer to experience a virtual walk through a beautiful park during summertime.
2.
Title of work: gruenes haus revisited (digital video, 2004)
short work description gruenes haus revisited (digital video, 2004) is a sensible love-story with one extra-ordinary colour. it is dedicated to mrs. marion graef from giessen (germany), who died some months ago before guido braun and stella friedrichs (to the happy few /w thomas draschan, 2003) had have the unique possibility to take that picture in her lovely, but strange, strange world in light mint green.
3.
Title of work: AGAIN & AGAIN
short work description:
My work attempts to capture the seemingly uncontrollable transient of time.
Through my efforts to regain some control and understanding of the perception of time, I have created an evolving portrait though a means of self-preservation.
The consistency of the pose and detached almost unemotional expression emanate feelings of a sombre nature, which reflect on our preoccupation with the escalating pressures of our daily existence. The work also poses as a document of the mundanity of modern life in our attempts to fulfilling all
our material goals.
4.
Title of work: without title
short work desription:
Memory/Identity; A short video in which the artist explains
that artists are allowed things normal people shouldn’t do=
“this is art, so it’s ok, it’s different”
6.
Title of work: extensions-remix (2000-2002)
short work desription:
YOU LOOK JUST LIKE…
The cult of celebrity means that pop stars in the world have a greater authenticity of image in the digital world. The celebrity, being a brand, has first claim of the physiognomy that millions share. The rest of us are just wannabe’s. Soon we will pay to have our faces reconstructed to exactly resemble the flavor of the month, our skin rendered as flexible as Turkish taffy.
AND REPRESENT WHAT…?
globalization, “fan-ism”, videogames, the Internet, liposuction – the consumerist impulse towards reinvention, perfection, non-reflection –
EXTENSIONS-REMIX, SINGLE CHANNEL VIDEO, 2000-2002
Extensions-Remix is an assemble of video loops about the idea and maintenance of beauty. In each sequence the video camera is penetrating the body, revealing invasive views that are repellent and fascinating at the same time. Each loop triggers a mix of collective memories of pain, vanity and curiosity. The viewer will be emersed from witnessing the events as if the physical experience is his/her own. One (wo)man’s self-abuse and mutilation is another (wo)man’s beautification.
7.
Title of work: If I were a….
short work desription:
In the video titled, If I were a, I present 3 distorted female bodysuits,representing a “white”, a “brown” and a “mixed” person. I created these byphotographing my own body; manipulating the color and exaggerating body parts through computer technology; color copying those images then transferring themonto fabric. I present these 3 “crudely placed together” bodysuits on a male performer (performance artist Nicolas Dumit Estevez). Throughout the video, wearing a mask of my face, the performer “uncomfortably” enacts the gesture of trying on these bodysuits.
8.
Title of work: A Story
short work desription:
A Story, 2003, 03:00 Video: Caterina Davinio. Sound poem, voice, performance: Julien Blaine. Music: Etienne Brunet.
Download a Real Player version: http://space.tin.it/arte/cprezi/AStory.rm
Descriprtion: The book as object, the book as writing, the book as story. The writing as visual and sound. With a sound poem written and performed by Julien Blaine, dedicated to the female sex, and music by Etienne Brunet. This video was created for the Wandering Library Project in Venice, Jewish Museum, 2003. UNESCO – National Italian Commission – World Book Day.
9.
artist biography
Title of work: The Unbearable Heaviness of Waiting
short work desription:
The Unbearable Heaviness of Waiting (Josephine LiPuma 2004, all rights reserved) is an experimental narrative and at the same time performative. Josephine’s dysfunctional mystic surfaces again as the black hated women who waits. A single scene is repeated transforming the mystic. She waits, we all wait. The cycles progresses exposing the unbearable heaviness of waiting, as memories of past loves haunt her. She gets her answer. She is gone.
10.
artist biography
Title of work: Sans Titre (without title)
short work desription:
The Hohenschönhausen train station in Berlin, after the neo-nazis May Day demonstration.
11.
Title of work: SALT
short work desription:
Locative video and sound, 9′ 26′ 2004
Carrizo Plains (Soda Lake), California
Video/performance/edit Christina McPhee with onsite sound recording, composition and design by Sariah Storm
A naxsmash group production © Christina McPhee 2004
SALT is born of the 6.5 magnitude San Simeon earthquake of December 2003.
The night of the quake, I used low tech against high tech a mini dv Canon Ellura to record the mass media¹s take on the destruction television’s six o clock lineup. Amid dismal reportage, an antagonist appears, taking recordings. Her black silhouette tracks something only she can hear, into white heat at Soda Lake, where I am discovered drawing in the dry salt. The SALT edit folds in 2 second frames of the paintings and digital photographs of the [Strike}/Slip installation. A hypogogic dream makes sure you are sure you are seeing: so SALT draws memory and the erases of memory by handmade digital remix of locative audio and video into a place both seen and difficult to remember. The brain tracks shock and the aftermath in sharp flashes for storage in a communal amygdala, where the brain stores trauma. SALT recalls the tale of Lot¹s wife who froze into a pillar of salt when she turned back to gaze on the destruction of her city. Is the freeze frame a white-out revenge against remembering too well, too much?
12.
artist biography
Title of work: PIGS
video: rzl / music: ralph+phlorian
short work desription
Every single day in any country of the world: 60 seconds of abuses of power, Words and images from the internet
PIGS has been selected for the final selection of Videominuto PoptTV festival 2003 at Museo Pecci, Prato, Italy; has been screened in the videoart section of the Merciless Film Series at Columbia University in New York, and selected for the “Adopt a spot” program of the Otcober 22nd Coalition in the U.S.A.
The contribution from South Korea curated by Won-Kon Yi from Seoul was launched on occasion of 404 – Electronic Art Festival Rosario/Argentina – 7-15 December 2004, including following artists: Yi-Hyung Kim, Oliver Griem, Chang Hyun Kim, Hae-Min Kim, Won-Kon Yi.
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Enter this selection directly here
.
The Curator:
name: Won-Kon Yi
about selected works:
This time, I selected 5 korean single channel video works that focused on the relation between the visual world & the other sides. “To Video Two Feedback” reveal the relation that feedback between video image & human action, “About Ancestor” the spiritual communication with ones ancestor by the shaman(medium), “Letter” lead us to ‘in-between’ world between the materiality & the images, “Women World” identity of the female image, And “Self Portrait” reversed the topology of camera and object.
artists information:
artist biography
“To Video Two Feedback” 1987
artist biography
Title: “About Ancestor”, video, 2000
artist biography
Title: “Letter”, video, 2001
artist biography
Title: “Wo-men, Wo-rld”, video, 2003, 2:40
artist biography
Title: “Self Portrait”, video, 1999
RRF v.2.2 – SoundLab Channel
Enter this contribution from Canada directly here
or via the main entrance
.
Sound-Art from Canada
but not from anywhere in particular
curated by tobias c. van Veen
curator’s biography
Curatorial Statement
Vast expanse often leads to bouts of topographical uncertainty: where and how does a sense of coherence, or even incoherence, form in a characteristic Western experience that is typically and all that much more sharply divided between the metropolis and our othered sense of nature? Predominantly products of urban environments, Canadian artists are perhaps particularily attenuated to the historical, progammatic violence that constructs the nation-state. It is only by denying First Nations people entitlement and by deploying a fixed notion of property that Canada enforces its territory and established its governance. These memories of topography are coursed with violence, and are to be found echoing, as traces and tactics, through sound recordings, manipulations and sonic rearticulations that consider a vast region of topics but always retain the grit and dust, the violence, that forms the struggles of power over the topos.
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artist biography
SIP – SoundLAB Interview
Title:
The Tower (excerpt from “The Automated Prayer Machine”)
Description:
The radio serves as a harbinger of bad news, i.e. political upheaval, corporate collapse or take-over, wars abroad, wars at home, hateful official speeches; not to mention the overly sensationalized accounts of people dying in crashes, bombings and fires, wives murdered by spouses, dogs run over, etc. Violent death and violent speech spill incessantly out of the receiver. We in the West can experience the worst of world events remotely, and the listener response to this aural bombardment is not one of action so much as depression, fear, and political apathy.
The Tower is an excerpt from The Automated Prayer Machine, a live multi-media performance that incorporates video and low-watt FM broadcast with soundscapes and music created live using electronic and traditional instruments. The Tower reflects on the violence of daily news that encourages long-term memory loss and righteous ignorance with regard to political and social realities.
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[2]
Carrie Gates
artist biography
Title:
superimposition
Description:
Violence can be perceived as a certain measure of the difference within a juxtaposition, interruption, or pressing together‚ of contrasting elements. For example, the phrase rude awakening‚ describes a violent coming-to-terms with the contrast of one vein of thought being interrupted by another way of seeing. The violence inherent in the gap between the activities of the mind and the constant bombardment of the senses by the everyday is always in a state of flux, as foci of thought are constantly interrupted and informed by physicality. These measures of difference are realms of interest that often form our memories of events, and when considered as part of the unique experience of each person‚s life trajectory, these memories make a strong contribution to an unfixed notion of identity and the internal constructs of individual realities. August 2004.
Carrie Gates wishes to thank Jon Vaughn, Abraxus, and tobias c. van Veen for their support on this project.
[3] Max Haivenartist biography
Titles:
1. The perverse possibility of living in the memory of someone dead (I)
2. The perverse possibility of living in the memory of someone dead (II)
Description:
The Perverse Possibility of Living in the Memory of Someone Dead parts I and II address themes of memory, identity and violence by using some stuff including the radio and the piano. We are so caught up in the memories we wish our predecessors had. I am thinking of the tragedy that has befallen colonial-settler states like Canada. So many folks build such elaborate fantasies, perverse jungle-gyms in the image of anachronistic memories: grim offerings to ghosts of ostensibly simpler times. The land and its inhabitants and their lives are violently flattened to make way for a plane of commercialized sensations of a depressurized past. These two pieces are inspired, perhaps, by living in Halifax where a text is being fabricated to please American tourists, armies of whom are deployed from gargantuan cruise ships throughout the summer months. Their desires expressed through their dollars, shape a civic memory and identity erased from which is the violence on which this city is founded and which it still contains – an act of erasure which is itself a violence. But this is an easy target. These visitors’ profound lust for lost authenticity betrays some pretty disturbing stuff.
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[4] tobias c. van Veenartist biography
Title:
Quadrant.cross
Description:
Drifting across water and what disturbs is the incommensurable distance between your body and the seafloor. Your ears are walking through the experience but to finish its moments you are stuck at the point of calling departure. How to hear, wonder, to turn your ear. Is what I am hearing now composed for me? quadrant.cross composed July-August 2002 in British Columbia. Manipulation of field recordings in burial memory.
artist biography
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Smile of Sardonicus [parts 1+2+3]
Description:
“Smile of Sardonicus [parts 1+2+3]” is inspired by William Castle’s 1961 film “Mr. Sardonicus” which is based on Ray Russell’s short story “Sardonicus” written in the same year. It is the story of a man who to driven to dig the grave of his dead father in search of a winning lottery ticket. When the man gazes upon his father’s corpse, the overwhelming shock of seeing the flesh of the face rot and peel back revealing a hideous toothy skeletal grin freezes his own face into a mirror image including the sketched out smile‚ as it were rendering his visual appearance terrifying, perhaps almost as terrifying as that of his father’s corpse. He renames himself Mr. Sardonicus after the Latin term “risus sardonicus” which literally means “sardonic grin” and is the term used to describe a condition of distorted grinning expression caused by involuntary prolonged contraction of the facial muscles, especially as a result of tetanus. Mr. Sardonicus cashes in on the winning ticket, creates a mask somewhat ideally representing his former appearance and buys a big ass castle to mope around in & torture his fellow room-mates; his wife, who married him purely for financial gain – and his cyclops hunchback assistant, Krull, who seems eternally indebted to the Sard.
Throughout the film Mr. Sardonicus tries exhausting methods of therapy and treatment to bring zero results. My composition goes through various modes all with diverse rhythms and tempos, that search continuously for a resolution, a continuity, a smooth space or a fields of parallelisms but fail and instead exist only to engage in their processes and that instead of resolving or closing or coming together, bleed into the next process of therapy, treatment
or exercise.
Mr. Sardonicus’ condition appears to be psychosomatic as the story unfolds, but the Sard’s denial of this only offers him a bountiful reservoir of pain and madness. He is a diligent soldier at war against his self, the self that is aware of its own tiresome and difficult droning existence as well as its own inevitable fate that haunts it. He embodies the ghoul, the graverobber, who gazes into the face of death and is cursed to wear the mark that exhibits the memory and is the writing on the flesh that details his own inflictions of violence towards the self and its mortal fate.
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1.
Name : John Kannenberg
curator’s biography
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1.
name: Glenn Bach
artist biography
Title of work
1 slice interlude
2 gravid
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2.
name: Thanos Chrysakis
artist biography
Title of work
1 Poém neuromnimonique
Poém neuromnimonique is realized as a microacousmatic response to Chris Marker’s experimental film masterpiece «La Jetée».
3
name: Lee Kwang Goh
artist biography
Title of work
1 TheSurfaceOfTheMemory
2 TheConceptOfViolence
4.
name: Neil Jendon
artist biography
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Title of work
1 The Rest Is Pretty Much Like This
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5.
name: John Kannenberg
artist biography
Title of work
1 For Spalding Gray (in memorium)
6.
name: David McKenzie
artist biography
Title of work
1 northwest to Harvard
2 selmara
these pieces composed and recorded August 2004
7.
name: Malte Steiner
artist biography
Title of work
1 Soundmirror
2 whoami
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curated by eva sjuve
curator’s biography
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artists:Janek Schaefer, Miha Ciglar, Antti Sakari-Saario, Pierre Proske, Kristin Norderval playtime: 82.07 min.
1. Janek Schaefer
artist biography
“Rink” [10:00]
‘Rink’ is a composition made using sounds taken from the ‘Skate’ LP and installation project. The LP is cut with short scars of sound that play randomly every time it is used. Each user and record player produce different results. It won the ‘Award of Distinction’ at Prix Ars Electronica 2004.
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2. Kristin Norderval
artist biography
Title:”Slifas” [9:01]
Silfas is the name of a fish oil processing plant in Vadso, Finnmark. It was closed for a number of years because there weren’t enough fish to harvest. In that time I made a series of on-site recordings and improvisations in the holding tanks and in other areas of the plant. These formed the basis of my sound composition “Silfas”. All reverberation in the piece is the natural reverberation of the spaces where the sounds were recorded.
3. Antti Sakari Saario
artist biography
Title: invisible tattoos (2000) [24:34]
ll forms lead to death, it is only a question of immediacy. At the time of composing Invisible Tattoos , tattoo-culture, thanatology and taichi formed a trinity of poietic impulses, which directed my focus to the ‘flesh’ of sonic-art and its decay in time. Hence my compositional aim was to remove the act of perceiving process-functions and empty symbolic fields, where mental contemplation is required for the reading or unravelling of the self-generated discourse of the language-machine, by approaching the ‘death’ of each perceivable form or formal structuring as soon as possible. The destruction of pre-conceived formal principles enables one to approach the mystical moment of ‘now’ and to appreciate the different organic forms rising out of the flow of time. Forms with no names. The serpent of life and death flows through physical consciousness like mercury flies to heavens. ‘In reality philosophy is meditation on the issue of death. This is worth doing on numerous occasions so that one can do it well once.’ (Gracian)
4. Pierre Proske
artist biography
Title: “Insect ll” [2:32]
Sound Composition made from sampled insects sounds, reprocessed and treated with various filters.
5. Miha Ciglar
artist biography
Title: “A piece for two instruments and a saxophone player” [26.36]
The computer sound was composed in PD, pure data. The composition is based on the idea of bringing two musical instruments (in this case: saxophone (alto) and computer) face to face and point out their common characteristics in order to compensate the time gap between their inventions and hereby contribute to the acceptance and understanding of this wonderful extra feature (producing original sound) that comes with the computer, which prime function is rather different. The other goal is finding or inventing methods of communication, which would allow a single musician (a saxophone player) to control or play both instruments at the same time. Therefore I defined for each instrument three levels of use or “misuse” which are equivalent in pairs, and furthermore find themselves in constant interaction.
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1.
Juan Antonio Lleó
curator’s biography
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1.
artist biography
Title of work
“Nanopiezas“
I suggest a journey across different sound worlds through a series of short works. Microcosmos that refer to sonorities belonging to childhood losed with the pass of time. Environments wich have been transformed when we grow up and audio views that suffer continuous and imperceptible changes. There are basic sound objects but each fragment contains small details that suggest something distant and many times forgotten.
2.
artist biography
Title of work
“The Cathedral Silences, background #1“
This artwork connect the basic elements of clasicism: water, fire, earth and air with the last technolgy within reach of man: ultraviolet lights, lasers, sensors, realtime modified sounds, etc. Is the man inside the loop of time hanging around a magic place. (…) This art piece of light and sound represents materially a Gothic Cathedral element and conceptually the thought, the quiet shouts, the experiences, demands, requests, and people’s prayers who has been stepping the cathedrals during centuries. (© J. C. Carrazón + Paz Santos).
3.
Title of work
“Toledo, Australia”
Leaving Toledo dreaming of Eastern Arnhem Land, running away from Toledo hurrying to Kangaroo Valley, bleeding away from Toledo swimming to Kinchela Creek, fleeing from Toledo longing for Jamberoo, escaping from Toledo keeping the key of our house in Toledo wishing for no return.
4.
Ruiz Juan Manuel
artist biography
Title of work
1 String Quartet nº 1 “Dies Irae – Lento”
2 String Quartet nº 1 “Dies Irae – Allegro”
All along the history, it doesn’t matter the reason, to invoke the divine anger (“Dies Irae”) was a perfect excuse for violent acts, like start a war or to kill somebody. This string quartet was composed in 1998 and take his name “Dies Irae” by the use of diverse fragments from the original medieval chant. His two contrasted movements (slow-quick) show the main thematic material by a progressive stretching toward a random and climatic zone and his later digression, alternately between ostinatos and sections who contradicts his rithmic regularity. This composition, played by the Cuarteto Contemporáneo of Las Palmas, was published on the record “La creación musical en Canarias”, vol nº 11.
5.
artist biography
Title of work
“Weyujoi 5”
With that composition I try to recreate a idyllical place, away from preocupations, where you can meditate quietly about your troubles, your memories and discover the futility of violent attitudes. I think it is better to think first, and then to act consecuently. As human beings we have a main difference with the animals, we can control our instincts and decide if it is worth to fight or use the violence to solve a situation, instead to follow our very powerfull animal side as the first option. “Weyujoi” is the phonetic spanish translation from the first verse of a poem from the classic chinesse poet Li-Po, called “Evasion” who speaks about how the poet loves the peace of the mountains and prefer the “heavenly” life instead of the daily one. The recording of this verse of the poem, readed by the chinesse woman Huan Hue, is the only material used in the composition. The rest of the sounds are generated from this, using several digital audio processing technics, like granular synthesis, noise reduction, time stretching, reverb and filters. All this materials are mixed on a digital multitrack sequencer.
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Curator:
Name: Zoe Drayton
http://www.audiofoundation.org.nz/
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Artists
1.
artist biography
Title: Gilgit (& Bill Git)
“(sourced from…)Based on a walkman recording from Gilgit, Pakistan, 1999. Hotel room with bat, my girlfriend asleep (was 4 am) and 1st call to prayer echoing back from mountain ranges. That day I got angry when an internet connection kept failing”
2.
Title of work: ume
The piece I’m sending I would like to be listened to through headphones
while the participant stands in front of a piece of paper on the wall with
the writing in pencil ” make a continuous circle on a piece of paper untill
there is a hole”
3.
Title of work:
1.Little_start_1
2.Little_start_2
4.
Title of work: expedition
5.
Title of work:
Home of institutionalisation
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Melody Parker-Carter curates the selection for Edition I based on an open call in Internet, featuring these artists—>
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selected artists:
the artists’ names are linked to their biography
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RRF v.3.0
