Philippe Vranjes, Study for a Portrait of Robin Fox after Fra Angelico’s Madonna of the Shadows, 2012.
ROBIN FOX Phillipe_Vranjes_RobinFox.tif 12.07.2014
Thirteen participants lie face down where they proceed to pound the ground with the microphone one thousand times. The sound of each person’s actions is amplified. Each performer chooses their own rhythm and intensity. They take a pause at every hundred of whatever length they wish. Presented as part of Arika’s programming for the Whitney Biennial titled A survey is a process of listening, May 3, 2012 at the Whitney Museum. Participants: Deboarah Aruta, Donna Blicharz, Robin Edgerton, Storm Garner, Dawn Kasper, Dages Keates, Seth Kim-Cohen, Jecca, Jeff Ladouceur, Sayhan Musaoglu, Christopher Ortiz, Meena Sajwani, Maya Winfrey. Hit Parade (New York) Seventeen participants lie face down on the ground where they proceed to pound the pavement with the microphone one thousand times. The sound of each person’s actions is amplified. Each performer chooses their own rhythm and intensity. They take a pause at every hundred of whatever length they wish. Presented as part of the 7a*11d International Festival of Performance Art, October 27, 2012,
Twelve participants lie face down on the street where they block foot traffic at the entrance of the DCA and proceed to pound the pavement with the microphone one thousand times. The sound of each person’s actions is amplified. Each performer chooses their own rhythm and intensity. The performance was part of Kill Your Timid Notion, Dundee Contemporary Arts (DCA), 21-28 February, 2010.
Twelve participants lie face down on the street where they occupy a city square and proceed to pound the pavement with the microphone one thousand times. The sound of each person’s actions is amplified. Each performer chooses their own rhythm and intensity. The performance was part of the Trama Festival. Performance took place on October 14, 2011. Participants: João Miguel Brojo, Diana Costa, Matilde Nicolau de Almeida, Sarah Klimsch, Fernando Sebastião Lalanda, Alícia Moreira, Cátia Neves, Ana Sofia Nico, Paulo Bruno Osório, Pedro Pereira, Ricardo Pereira, Felícia Teixeira. Hit Parade (Porto)
Fifteen participants lie face down on the street where they occupy a sidewalk and proceed to pound the pavement with the microphone one thousand times. The sound of each person’s actions is amplified. Each performer chooses their own rhythm and intensity. The performance was presented in part by Plug In for the Send+Receive Festival, October 7, 2011. Participants: Elise d’Awson, Heather Baril, Irene Bindi, Taylor Burgess, crys cole, Chantal Dupas, Angela Forget, Erica Jacobson, Cameron Johnson, Joe Kalturnyk, Les Klassen, Sandee Moore, Andrea Roberts, Josh Rose, Robert Taite. Hit Parade (Winnipeg)
Participants: Sinéad Bracken, Tara Chaloner, Liam Casey, Paul Gault, Sylvia Law, Eaun Lynch, Eilidh MacKay, Kristen Parker, Benjamin B. Parkes, Laurie Pit, Gillian M. Smith, Alison Tarry. Hit Parade (Dundee)
Fourteen participants lie face down on the street where they occupy the atrium of the museum and proceed to pound the ground with the microphone one thousand times. The sound of each person’s actions is amplified. Each performer chooses their own rhythm and intensity. The performance was part of C’est arrivé près de chez vous at the Musée National des Beaux-Arts du Québec (curator Nathalie de Blois), January 17, 2009. Participants: Carol-Ann Belzil-Normand, Wahmed Benyounes, Adam Bergeron, Edith Dufour, Martin Dufrasne, Caroline Gagné, Caroline Gauthier, Pascal Gingras, Jonathan Lamy, Josée Landry-Sirois, Pierre-Luc Lapointe, Christof Migone, Hugo Nadeau, Geraldine Perna. Hit Parade (Québec)
Eleven participants lie face down on the street where they almost block traffic on Boulevard St. Laurent and proceed to pound the pavement with the microphone one thousand times. The sound of each person’s actions is amplified. Each person chooses their own rhythm and intensity. The performance took place as part of the Suoni per il Popolo, at the Sala Rossa, June 9, 2008. Participants: Adam Bobbette, Gina Badger, Alexis Bellavance, Olivia Boudreau, Sophie B. Clément, Leanne Dyer, Nadège Grebmeier-Forget, Darsha Hewitt, MarcAntoine K. Phaneuf, Fred Savard, Janice Wu. Hit Parade (Montréal)
Ten participants lie face down on the street where they block traffic and proceed to pound the pavement with the microphone one thousand times. The sound of each person’s actions is amplified through an amplifier located in the garden of the SongWon Art Center. Cables run over the wall connecting the participant in the street to the amplifier in the garden. Each performer chooses their own rhythm and intensity. Once the participants had finished, the mics and the cables were left in their place for cars to run over them. An installation documented the performance with the remnants of the microphones and a polaroid for each participant. The installation was presented at the TOTAL Museum of Contemporary Art in Seoul. The performance and installation were part of SFX SEOUL 2007 and took place on September 8, 2007. Participants: Jung Ye Sle, Zin Kyung-Chui, Lee Jae-hoon, Maeng Dami, On Jeonghyi, Kim Bum-jun, Jin Soony-hoon, Haan-Ayoo, (and two names missing). Hit Parade (Seoul)
Twelve participants lie face down on the ground where they proceed to pound the pavement with the microphone one thousand times. The sound of each person’s actions is amplified. Each performer chooses their own rhythm and intensity. They take a pause at every ten for the first hundred, and then at every hundred, and just before reaching one thousand. The pause can be of whatever length they wish. Performance presented in the context of the Cildo Meireles exhibition titled Installation. The same evening featured Mark Fell’s Sky Dancers. Thursday July 10, at HangarBicocca in Milan, Italy. Participants: Najma Bader, Federico Crafa, Francesca Fedeli, Giulia Garofalo, Laura La Torraca, Sergio Messina, Nicola Mette, Federica Panelli, Davide Savorani, Olivia Strada, Simone Trabucchi, Stefano Zicchieri. Hit Parade (Milan)
Fifteen participants lie face down on the ground where they proceed to pound the pavement with the microphone one thousand times. The sound of each person’s actions is amplified. Each performer chooses their own rhythm and intensity. They take a pause at every hundred of whatever length they wish. Performance presented at the Between the Ears portion of CAFKA.13, May 31, 2013, in Kitchener City Hall. Performers: Line Antonisen, Krista Blake, Richard Burrows, Adam Campbell, Vedran Dzebic, Michelle Hwu, David Jensenius, Sandro Manzon, Daniel Morphy, Mark Prier, Micheline Roi, Natalie Romano, Greg Samek, Ryan Scott, Stefan Serada. Hit Parade (Kitchener)
Ten participants lie face down on the ground where they proceed to pound the pavement with the microphone one thousand times. The sound of each person’s actions is amplified. Each performer chooses their own rhythm and intensity. They take a pause at every hundred of whatever length they wish. Presented as part of the International Film Festival Rotterdam, part of the Signals: Sound Stages curated by Edwin Carels. Monday, January 28, 2013, at the Schouwburgplein. Participants: Barry Esson, Sato Endo, Tjyying Lui, Judith Vld Made, Kiki Petratou, Marcy Saude, Kate Taylor, LiChun Tseng, Janneke Van Der Putten, Marielle Verdijk. Hit Parade (Rotterdam)
in the lobby of the Ontario College of Art & Design (rain location). Participants: Sharlene Bamboat, Marc Couroux, Connor Crawford, Brian Da Silva, Francisco-Fernando Granados, Dorothea Hines, Reena Katz, Brianna MacLellan, Mitchell McGoey, Michelle D. Moreno, Faye Mullen, Stephen Parkinson, David Poolman, Eldritch Priest, Tasman Richardson, David Sutin, Jay Wilson. Hit Parade (Toronto)
CHRISTOF MIGONE Christof Migone_Liquid Catalogue_Hit Parade.docx 02.07.2014
CHRISTOF MIGONE
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02.07.2014
CHRISTOF MIGONE
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SWEAT TONGUE
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16.07.2014
HELEN GROGAN
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21.07.2014
HELEN GROGAN
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21.07.2014
HELEN GROGAN
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21.07.2014
EMILE ZILE
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16.07.2014
CALEB KELLY
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02.07.2014
KUSUM NORMOYLE
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13.07.2014
When I play with Mask Mirror I always improvise. I use both my voice and Mask Mirror - which also uses my voice. I position a mono loudspeaker close to me, roughly at the same height of my head as if it were a second mouth and balance the real and the recorded voices so that one is undistinguishable one from the other. Sometimes the two integrate, giving place to a coherent narration. Sometimes it is a conversation or a fight. There are infinite possibilities of interaction between Mask Mirror and me.
Another - more poetic - answer I sometimes give to this question is that once I had a dream. I know this sounds cheesy and pretentious but it actually happened: this dream was suggesting me to build a mask that had nothing to do with anything. In the sense that if someone can be masked as a pirate, as Spiderman or as Pinocchio and so on he or she could also be masked as nothing (or nothing specific) and still be masked. After waking up I wondered what that mask could be and then after some times the idea of this
My ‘new identity’ as an abstract - not always funny - stand up comedy has been greatly informed and influenced by free improvisers. For instance, I see comedy in the work of saxophonists like Steve Lacy, Evan Parker, Anthony Braxton or John Butcher. The difference is that I use language, and language often (but not always) points at something else.
I have shifted from being an instrumentalist and improviser - my first instrument was the soprano saxophone - to becoming a composer and text-sound artist who uses language as a musical material. I felt the urge to create a situation where I could take the spontaneous and improvisational freedom that a musical instrument affords while using newly chosen materials: voice recordings and montages, interviews, conversations, misunderstandings, translations and - more broadly - sense. Through producing radio-art and text-sound pieces I often worked on intricate speech and voice edits, and wondered if a device could be developed allowing me to carry out similar edits and constructions in real time as part of a live performance.
How did I come to the idea of building such a thing?
Those who meditate know how difficult it is to try emptying the mind of ideas. Tiny ideas keep materialising out of nowhere. Mask Mirror engages this condition of the human mind and suggests a practice of reverse meditation, mobilising the raw material constantly pouring out of the mind as if it were tap water. This is the stuff Mask Mirror takes as its source.
The optimal condition for me in playing Mask Mirror is to empty my head and begin saying the first things that come to mind, trying to be open to whatever may develop. I used to think of Mask Mirror as an instrument that I play along. Now I consider Mask Mirror as an instrument that plays me, or the thing inside me called language. Mask Mirror activates other possibilities for using, playing reconstructing or deconstructing my linguistic abilities. It is a drug that disturbs my linguistic ability, making it malleable to the point of becoming a musical instrument.
mask mirror notes.rtf
In total there are ca. 80 categories, the more “syntactic” ones are divided in three groups: English, Italian and Korean. The “phonetic” ones are all together and do not refer to a specific language. By “syntactic” categories I mean “nouns” - singular and plural - “verbs” - transitive and intransitive - adjectives, adverbs, articles, conjunctions and so on. By “phonetic” categories I mean families or regions of sounds that are somehow in between vowels or consonants. If I press the key called “o-a” Mask Mirror will speak a sound somehow in between o and a, if not plain o or plain a. These “phonetic” sounds are also randomly selected. I can only be sure that the sound will be somewhere between a and o and not e or b or h etc.
Each time I press the key called “plural nouns” I get a different one, at random. It might be shoes, clouds or activists or anything else. I have no way to predict it. And this is true for all the categories. If I press the key for “adjectives” for example, Mask Mirror might ‘say’ affectionate. I then follow with a “singular nouns” key to find out what is it that is affectionate. Maybe an affectionate dog, aunt, ice cream. In fact I have no way to predict what will come.
Mask Mirror is an instrument, possibly a musical one, that deals with language. The instrument contains thousands of fragments of language organised in “families” or categories. The ‘family members’ are of different sizes, the biggest ones are phrases made up by several words, while the smallest are phonetic particles, sometimes as small as tiny sound granules. Each key of my keyboard corresponds to one of those categories. When I press the “singular nouns” key Mask Mirror ‘says’ a singular noun. When I press the “plural nouns” key Mask Mirror ‘says’ a plural noun and so on. There are hundreds of nouns in there and each one is a sample of my voice that has been recorded and stored inside the instrument.
Mask Mirror?
ALESSANDRO BOSETTI 21.07.2014
Despite describing Mask Mirror as a sort of musical instrument, ultimately I set out to not distinguish between music and language. Music and language are two very different things you may say, with good reason. We listen to music with a different ear from the one we use for language and our brain seems to switch between two completely heterogeneous perceptive modes in doing so. Still I play dumb and pretend to ignore this confusion as if there were no difference, no separation at all. There are many theoretical distinctions that can be made between language and music as there are many that can be made in between composition and improvisation - in both cases I prefer to leave the demarcation line as vague as possible and just avoid further discussions.
Sometimes story lines are short and get severed abruptly. Other times stories take off and start developing on their own for a long time with the machine giving more and more serendipitous inputs. Other times again the narrative character gradually dissolves into a musical structure, or I break into song or find myself peeling off layers of a complex and abstract musical texture until I remain alone, my un-amplified voice telling a simple story to the audience.
Sometimes the machine is perceived as something detached from me giving shape to segments of conversations with me:
The hermit looks at me in the eyes and he said: “At home” “Yes, I am at home” and he says : “Peru”. And I say: “I should go to Peru? Is that what you mean?” “In six minutes” “Oh my god.. that’s far away to go to Peru in six minutes! How can I do it ?” “Tightly” “I should …??” “Lazily” “I cannot be lazy and get to Peru in six minutes. It’s not possible. I mean if I have to get to Peru in six minutes I have to be everything else than…”
mask mirror notes.rtf
What am I in regard to Mask Mirror? A performer? A composer? A writer? A sound poet? A sound artist? The answer I give is simple and just one: I am a musician. And my material is language.
There are situations where the narratives become very fragmented and the language breaks down. Other times the phonetic part of the system takes over and makes it hard to distinguish entire words from the overall noisy flow.
In a certain way it’s hard not to answer, even if I am not supposed to tell the truth all the time. There are no rules really but just infinite possibilities and I cannot predict the direction it will take.
What if Mask Mirror asks you “How are you doing?”
Other times the machine and I develop a story together as if we are one narrator: Station met Peace and they got married. They moved inside a ruin, had sex and soon a child was born. They named the child Significance. One day Significance told Station and Peace: “Dear Parents, I was never able to figure out which one of you two is the mom and which one is the dad”. Station’s answer was that “sometimes I’m the lady rather than the man”. To which significance said, “right, that’s what I thought”. Significance moved out right after.
instrument came about. In certain ways Mask Mirror concerts can be a very psychological business. I am aware that a certain distance from the artwork should be ensured to avoid falling into some self indulgent ruminations. Still there’s no way for me to keep my emotional state away from the game.
ALESSANDRO BOSETTI 21.07.2014
ALESSANDRO BOSETTI Bosetti Mask Mirror.jpg
21.07.2014
CIS An ear is a brain speedboat.jpg
A Big Pack Forms Around The Man Who’s Had His Head Taken Off (A Beautiful, Daisy Cutting Pass)
THE CHARLES IVES SINGERS 08.07.2014
SALOMÉ VOEGELIN
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13.07.2014
SALOMÉ VOEGELIN
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13.07.2014
My room has sound behind its walls, under its floorboards and on top of its ceiling. They make it shrink and expand, move and be still. What is in the room is visible, present, objectively here. The sound is invisible, not here, but present all the same. It is generated in my subjective hearing of it: rushing into the objective and changing what I see. The walls are less stable in sound, wobbly even, permeable, letting things in and out; testing notions of intimacy, neighbourliness and safety. The visual room is the set on which sound plays invisible narratives: some sinister, some cheerful, some unnoticed. Unseen protagonists, who might really be there or just invented by me, play out fantastic scenarios that might be real, involving alien space ships, cats, dogs and microwaves. - Anything can happen. soundwords.tumblr.com January 28, 2011, 9:00pm My textual phonography produces not a recording of the heard but of listening, which produces another sound in the imagination of the reader that is not the sound I heard but the sound generated in her action of perception of reading about sound. The recording in words of what I heard invites not the recognition of an object or a subject, but triggers a generative interpretation: the production in the reader’s auditory imagination of what it might have been that I heard, and what he might remember to have heard, or might go on to hear as a possibility of my words and her present auditory environment. This phonographic writing notates not a solipsistic listening however. Listening is never separate from the social relationships that build the fleeting circumstance of hearing. Rather, listening inhabits that circumstance, and thus My room transcribes not the heard in isolation but composes its sociality: the hearing of myself in the social context of a room, my soundscape, a position and its consequence, which these words are trying to reflect upon and share.
Salomé Voegelin Melbourne SoundWords
NEW WAVER
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JOHANNES KREIDLER
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JOHANNES KREIDLER
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JOHANNES KREIDLER
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I DM THEFT ABLE
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12.07.2014
UR 1ST LUV
Here is the art - Ur 1st Luv.pdf
15.07.2014
Here is the art Re: Here is the art /// www.pozible.com/ur1stluv thoughts? or think with ur muni.
$$$$$$ $$$$$$ $$$$$$ x $$$$$$ $$$$$$$$$$$$$$$$$$$ Sam $$$$$$$$$$$$$$$$$$$$$$$$$$$$$ $$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ $$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ /// $$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ $$$$$$$$$$$$$$ $$$$$$ $$$$$$$$$$$$$ dudes, this work of yours has got me really$$$$$$ engaged. I've$$$$$$$$$$ been thinking heaps about what $$$$$$$$$$$ $$$$$$$$$$ $$$$$$(and times)$$$$$$$$$ youse are getting at, and on the different levels 'a sound investment' exists on. So $$$$$$$$$ $$$$$$ $$$$$$$$ thank you! $$$$$$$$$ $$$$$$ $$$$$$$$$ $$$$$$$$$ $$$$$$ $$$$$$$$ $$$$$$$$ $$$$$$ I don't want to be the guy that just criticises work that people $$$$$$$$ put hours of time and energy $$$$$$$$ $$$$$$ $$$$$$$$ into without doing anything himself. So please see my following in-line responses [which are $$$$$$$$ $$$$$$ $$$$$$$$$ hurried and not completely thought through$$$$$$ – my time being limited… something about $$$$$$$$ capitalism…] as excitement, not back seat$$$$$$ driving… : ) $$$$$$$$$ $$$$$$ $$$$$$$$$$ $$$$$$ $$$$$$ - yes, this is $$$$$$$$$$ very tongue-in-cheek. we are attempting to use irony and humour to $$$$$$$$$$$$ $$$$$$ communicate the idea that crowd-funding forces us into buying into capitalist $$$$$$$$$$$$$$$ $$$$$$ $$$$$$$$$$$$$$$$$$$$$$ modes of thinking. creating scarcity to generate value, thinking always in terms of $$$$$$$$$$$$$$$$$$$$$$$ outcomes. the hyper-commodification of the artistic product and the standardization $$$$$$$$$$$$$$$$$$$$$$$$$$ of that product. much of the text we have used is taken from existing ads... $$$$$$$$$$$$$$$$$$$$$$$$$$$ $$$$$$$$$$$$$$$$$$$$$$$$$ but does replicating these modes function$$$$$$$$$$$$$$$$$$$$$$$ as a critique of them? $$$$$$$$$$$$$$$$$$$$$$$$ $$$$$$ $$$$$$$$$$$$$ $$$$$$ Or does the critique exist in the artistic product youse will $$$$$$$$$$$ make? If so, then do only the $$$$$$ $$$$$$$$$$ people who exchange capital for the product get to consume$$$$$$$$$ the critique? $$$$$$ $$$$$$ $$$$$$$$$ $$$$$$$$ - another $$$$$$$$ point of interest for us $$$$$$ is the question: can this work have a critical $$$$$$ $$$$$$$$ function from within pozible? can it raise questions about how we fund the arts, how $$$$$$$$ $$$$$$ $$$$$$$$ $$$$$$ $$$$$$$$ logic) whilst we value $$$$$$$$ art, what we expect from in return (exchange-value $$$$$$$$ $$$$$$ $$$$$$$$ simultaneously engaging earnestly in the platform of $$$$$$$$ pozible. Does reaching our $$$$$$$$ $$$$$$ $$$$$$$$$ $$$$$$ $$$$$$$$$ target nullify this critique? what does it mean to try to create critical work in an $$$$$$$$ $$$$$$ $$$$$$$$ environment where capitalism can so easily transform critique into commodity? $$$$$$$$$ $$$$$$ $$$$$$$$$ $$$$$$$$$$ $$$$$$ $$$$$$$$$$ $$$$$$$$$$$$ $$$$$$ $$$$$$$$$$$$ Good questions! $$$$$$ $$$$$$$$$$$$$$$ Who is the 'we' in 'how$$$$$$$$$$$$$$$$ we fund the arts, how we value art, what we expect from in return $$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ (exchange-value logic)'? $$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ if we talk in the paradigm of state funding then, to use the logic of $$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ representative democracy, the state is supposed to be the voice and actions of the people $$$$$$$$$$$$$$$$$$$$$$$$$$$$ (from the greek – demos). [obviously the state is not this, but a tool of the ruling class] THEN $$$$$$$$$$$$$$$$$$$$$ the 'we' is all people living within a nation, $$$$$$ but the decisions about funding, value and $$$$$$ expectations are made by a class of professional politicians acting on a perceived mandate $$$$$$ given them by a majority vote. If the demos$$$$$$ are unhappy with decisions, four years later we $$$$$$ have the chance to change the group of politicians through individualised voting. BUT does $$$$$$ an individual vote have any affect on the underlying attitudes towards arts funding? $$$$$$
Pozible to me kind of looks like mini representative democracy in action. I contribute capital according to my means (poor = $5; rich = $500 : kind of like income tax) and collectively we can pool our money to exchange with youse for yr labour and the goods you produce. But in this case, do youse the labourers get to determine the exchange-value of your labour? And if collectively (yet still completely alienated from each other) we don't reach your target, do you not have the mandate to create the works you write about? … or realistically, would you just create them anyway using money you make by exchanging your labour in other ways: cafe-, bar-, intellectual- work ? “what does it mean to try to create critical work in an environment
UR 1ST LUV
Here is the art - Ur 1st Luv.pdf
15.07.2014
where capitalism can so easily transform critique into commodity?” everything we produce is a commodity. I can go into any large chain bookstore and buy das kapital. [I just re-read my response to that sentence and it sounds childish and pithy to me. Yes, this is a huge question youse are asking. But a huge question within a closed system. Its like when people ask me angrily what the world would look like post-revolution. There is no possible way to answer this question. We make the road by walking, etc. do you get what I $$$$$$ mean?]
$$$$$$ $$$$$$ $$$$$$ $$$$$$$$$$$$$$$$$$$ - and then there is this shift happening here towards selectively shifting arts funding $$$$$$$$$$$$$$$$$$$$$$$$$$$$$ responsibilities from the tax payer to the market. The interest in this project initial $$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ $$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ came about when Liquid Architecture was approached by Creative Partnerships $$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ Australia (an Australian government initiative run through the Attorney General’s $$$$$$$$$$$$$$ $$$$$$ $$$$$$$$$$$$$ Department $$$$$$$$$$$ and the Ministry for $$$$$$ the Arts) and offered the chance raise funds for $$$$$$$$$$ their festival$$$$$$$$$$ through an scheme$$$$$$ called MATCH. $$$$$$$$$ The Matched-funding program $$$$$$$$$ $$$$$$ $$$$$$$$ matches funds raised by independent crowd-funding, dollar for $$$$$$$$$ $$$$$$ artists through $$$$$$$$$ dollar. The$$$$$$$$$ money for Creative Partnerships Australia comes from the private sector $$$$$$ $$$$$$$$ $$$$$$ This situation $$$$$$$$ in the form$$$$$$$$ of tax-deductible donations. got us to thinking about how $$$$$$$$ $$$$$$ $$$$$$$$ we fund the arts… New schemes for funding the arts seems like a positive thing. $$$$$$$$ $$$$$$ $$$$$$$$$ $$$$$$ Encouraging philanthropic investment in the arts also seems like a positive thing. $$$$$$$$ $$$$$$ And it may well be. But, in the current political landscape we find it difficult not to be $$$$$$$$$ $$$$$$ cynical about schemes such as $$$$$$ these. With funding to the Australia Council for the $$$$$$$$$$ $$$$$$ Arts slashed$$$$$$$$$$ by $28.2 million in the 2014 budget forward estimates and funding to $$$$$$$$$$$$ $$$$$$ Creative Partnerships Australia increased by $5.3 million dollars, some questions to $$$$$$$$$$$$$$$ $$$$$$ be asked are: Is$$$$$$$$$$$$$$$$$$$$$$ this the beginning of outsourcing arts funding to the “social” and $$$$$$$$$$$$$$$$$$$$$$$ private sectors? i.e. Is this a step toward shifting the arts funding burden from the $$$$$$$$$$$$$$$$$$$$$$$$$$ tax payer (via funding bodies such as the Australia Council for the Arts) to the $$$$$$$$$$$$$$$$$$$$$$$$$$$ $$$$$$$$$$$$$$$$$$$$$$$$$ market and business via crowd-funding platforms and tax-deductible donations to $$$$$$$$$$$$$$$$$$$$$$$ the Australian Cultural Fund and other “innovative” programs such as MATCH? $$$$$$$$$$$$$$$$$$$$$$$$ $$$$$$ $$$$$$$$$$$$$ $$$$$$ $$$$$$$$$$$ Or, is it a genuine attempt to supplement arts funding for an already under$$$$$$ $$$$$$$$$$ resourced independent arts sector? What impact on the independent and $$$$$$ $$$$$$$$$ $$$$$$such as these$$$$$$$$$ underground art scenes will changes have to funding? Will critical art $$$$$$ $$$$$$$$ continue to be made? Will our experimental and fringe art scenes continue to thrive $$$$$$$$ $$$$$$ $$$$$$$$ or will they be watered down as they are forced to turn to the market place to $$$$$$$$ $$$$$$ $$$$$$$$ $$$$$$$$What do we want $$$$$$ $$$$$$$$ secure funding? our arts scene to look like? How do we value art $$$$$$$$ $$$$$$ $$$$$$$$ and how do we value artistic labour? the independent arts sector $$$$$$$$ $$$$$$Will encouraging $$$$$$$$ to crowd-fund have a negative impact What will be the result of $$$$$$$$$ $$$$$$ on artistic output? $$$$$$$$$ $$$$$$$$ $$$$$$ $$$$$$$$ turning to the market for answers? $$$$$$$$$ $$$$$$ $$$$$$$$$ $$$$$$$$$$ $$$$$$ $$$$$$$$$$ $$$$$$$$$$$$ $$$$$$ $$$$$$$$$$$$ It seems to me that critical, independent, underground, whatever art exists DESPITE OF $$$$$$ $$$$$$$$$$$$$$$ rather than BECAUSE $$$$$$$$$$$$$$$$ OF whatever the given funding situation is. Whether we bullshit the $$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ state or the market into giving us money to make work, about which we are never completely $$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ $$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ sure of its 'meaning' or 'purpose' [its abstract, c'mon!], is irrelevant. The practice of begging $$$$$$$$$$$$$$$$$$$$$$$$$$$$ for money is separate to the making$$$$$$$$$$$$$$$$$$$$$ of work. This is probably the main point of my work in response to yours. I am begging for money$$$$$$ from people (and offering in exchange labour that $$$$$$ I do as other parts of my life as an 'artist') so that I can have a tiny bit of economic 'freedom' $$$$$$ to make art. $$$$$$ $$$$$$ $$$$$$ My pozible artwork is still operating COMPLETELY within the logic of capitalism, but asking $$$$$$
whether the consumer values labour like cooking, cleaning, massaging, service over art. And does the value of this labour increase when it is done by an artist? One can buy dinner in berlin for 2euro, and a really good dinner for 5euro. Why then would someone pay double for me – artist rishin – to make them dinner? Anyway, thanks again guys. Missing youse, loving youse, rx
UR 1ST LUV
Here is the art - Ur 1st Luv.pdf
15.07.2014
p.s here's the text for the pozible (web form to come). i went for 'show the audience something, rather than tell them what to see':
$$$$$$ $$$$$$ $$$$$$ $$$$$$ $$$$$$$$$$$$$$$$$$$ $$$$$$$$$$$$$$$$$$$$$$$$$$$$$ “AFTER 'TO HELL WITH POVERTY!'” AN EXPERIMENT IN AESTHETIC REALISM, AND A $$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ $$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ RESPONSE TO UR 1ST LUV'S 'A SOUND INVESTMENT' $$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ $$$$$$$$$$$$$$ $$$$$$ $$$$$$$$$$$$$ I, rishin singh, am a musician/artist. you? You, _______, are an art$$$$$$$$$$$ What wouldn't $$$$$$ I do for $$$$$$$$$$ $$$$$$$$$$ $$$$$$ $$$$$$$$$ lover. What is art worth to you? At what point can desperation look like cynicism? $$$$$$$$$ $$$$$$ $$$$$$$$ $$$$$$$$$ $$$$$$ $$$$$$$$$ If the target is met, temporarily a little better about yourself; be not hungry; feel $$$$$$$$$ you might feel $$$$$$ $$$$$$$$ $$$$$$$$ $$$$$$ $$$$$$$$ more relaxed; live in a clean home; be titillated in a clean home; feel powerful. If the target is $$$$$$$$ $$$$$$ $$$$$$$$ met I will exchange my labour for capital and be €500 richer for it … And hopefully the $$$$$$$$ $$$$$$ $$$$$$$$$ $$$$$$ Ausländerbehörder will extend my visa so I don't have to leave my new home. $$$$$$$$ $$$$$$ $$$$$$$$$ $$$$$$ This is an experiment $$$$$$$$$$ in aesthetic realism,$$$$$$ and a performance work partly in response to A st $$$$$$ SOUND INVESTMENT$$$$$$$$$$ by the Sydney artist collective Ur 1 Luv [LINK] $$$$$$$$$$$$ $$$$$$ $$$$$$$$$$$$$$$ $$$$$$ $$$$$$$$$$$$$$$$$$$$$$ When pledging please keep geography in mind. To hell with poverty! We'll get drunk on $$$$$$$$$$$$$$$$$$$$$$$ cheap wine. $$$$$$$$$$$$$$$$$$$$$$$$$$ $$$$$$$$$$$$$$$$$$$$$$$$$$$ $$$$$$$$$$$$$$$$$$$$$$$$$ $$$$$$$$$$$$$$$$$$$$$$$ TARGET : €500 $$$$$$$$$$$$$$$$$$$$$$$$ DEADLINE: two weeks $$$$$$ $$$$$$$$$$$$$ $$$$$$ $$$$$$$$$$$ $$$$$$ $$$$$$$$$$ €5 : I, rishin singh, will tell you nice things about you [100] $$$$$$ $$$$$$$$$ $$$$$$ $$$$$$$$$ $$$$$$ $$$$$$$$ €10 : I, rishin singh,$$$$$$$$ will cook you dinner [20] $$$$$$ $$$$$$$$ $$$$$$$$ $$$$$$ $$$$$$$$ $$$$$$$$ $$$$$$ $$$$$$$$ €15 : I, rishin singh, will give you a one-hour massage [10] $$$$$$$$ $$$$$$ $$$$$$$$ $$$$$$$$ $$$$$$ $$$$$$$$ €30 : I, rishin singh,$$$$$$$$$ will clean your apartment [10] $$$$$$ $$$$$$$$$ $$$$$$$$ $$$$$$ $$$$$$$$ $$$$$$$$$ $$$$$$ $$$$$$$$$ €50 : I, rishin singh, will clean your apartment naked [10] $$$$$$$$$$ $$$$$$$$$$ $$$$$$ $$$$$$$$$$$$ $$$$$$ $$$$$$$$$$$$ $$$$$$$$$$$$$$$$ €100 : I, rishin singh, will be your slave for $$$$$$ a day [4] $$$$$$$$$$$$$$$ $$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ $$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ €500 : I, rishin singh, will do$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ anything (except cut my hair or beard) for you [1] $$$$$$$$$$$$$$$$$$$$$$$$$$$$ $$$$$$$$$$$$$$$$$$$$$ $$$$$$ $$$$$$ $$$$$$ $$$$$$ $$$$$$ $$$$$$ $$$$$$
///
CHRISTOPHER LG HILL
page one clgh.jpg
11.07.2014
CHRISTOPHER LG HILL
page two clgh.jpg
11.07.2014
CHRISTOPHER LG HILL
page three clgh.jpg 11.07.2014
ERIC DEMETRIOU
Sure Death.jpg
13.07.2014
MAKIKO YAMAMOTO
00 prelude.pdf
12.07.2014
The voice of my grand father’s parrot
When I was 11 years old my family became bankrupt and we decided to move from the big busy city to my grand parents place, in a small village, in the mountainside of Osaka. My grand father had, what seemed like, a thousand birds in a cage, in his back garden. There, I remember one parrot, in the sunroom of the house. He had no name. He repeated the same phrase over and over, day and night. He said “Bahaachan Bahaachan” (Grand’ma grand’ma) followed by high pitch laughter. The phrase seemed to originate from my cousin who used to live there with my grand parents when he was small. This parrot copied him and repeated this phrase for almost ten years. My cousin had left the house but his voice remained. I was scared to listen to my cousin’s voice from the past. One morning I came through the sunroom and found the nameless parrot on the floor of his cage not moving. What a relief! My grand parents passed away. The voice of the nameless parrot clearly still remains in my acoustic memory; hearing the same phrase and high pitch laugh. I never knew where the laugher came from.
MAKIKO YAMAMOTO
Yamamoto_Makiko.tif
12.07.2014
BIANCA HESTER
02_Hester_IMG_0557.jpg
17.07.2014
HONG-KAI WANG
From: Subject: Date: To:
chris bio_artist page1&2_Ed.pdf
12.07.2014
Hong-Kai Wang <hongkai.wang@gmail.com> A Conceptual Chris Mann Biography July 12, 2014 11:07:42 AM GMT+02:00 theuse.info
You might remember my previous email re: a possible collaboration? Struck by your description of your condition as "an interesting space" (when we were on the phone back in July) I've been cooking an idea of doing a conceptual biography (as a political space) for you thru various forms of collaboration. I am officially based in Vienna now...... i'll try to be useful. (and remember that vienna was only ever front-of-house for budapest which was where the real things happened (as far as the austrohungarian empire was concerned anyway. (i think the wittgensteins were originally hungarian.. Here is my proposed angle: A political space is often opened where contradictions and complex relations occur. Rather than constructing a biography that illustrates, it seems more interesting to explore a political history of an artist's friendship with his collaborators and interlocutors, including myself. I am drawn to Derrida's argument, -"the future of the political becomes the future of friends, the invention of a radically new friendship, of a deeper and more inclusive democracy". That's the speculative potentiality I hope this project could delve into.
Why the Greeks spoke about friendship (family being what you have no choice about).. Liquid Architecture is fully on board for the project. "Could we encourage you to proceed unstintingly with this project?", they said. If it's OK by you, I'd like to come to NYC and work with you around the beginning of the 2014 - convenient? Or do you have any preferred time frame? the kettle will be on btw, mystery of the burning log was revealed. turned out you were "misbehaving" and "heckling" drunk as an audience...... one of the hazards of an interactive piece Planning to use the audio recordings of my conversations with you and your friend as the tiny informal, very incomplete compilation of 'recorded past'. Through that, I hope to invite various groups of cultural workers in Melbourne to engage in different sessions of cooperative "listening", "writing" and "retelling". why 'cultural' workers? why not the actu (australian council of trade unions) or the living museum of the west (west melbourne) or car clubs or football clubs or banks or waiters or churches? How do we convince them to participate? â&#x20AC;&#x2039;ring them upâ&#x20AC;&#x2039; could you elaborate it again? the segment is deeply hidden in those audio recordings.... humans work well in fives. five is both stable and purposeful. decisions can be made without the minority feeling like its personal (the problem of three (two against one)). fours generate two against two, which means nothing happens. both the LA organizers and me now are in favor of the new title: a conceptual biography of chris mann. what do you think?
NOEL MEEK AND OLIVIA WEBB
Noel Meek Olivia Webb Liquid Architecture 2014 Right.jpg 12.07.2014
ATLANTA EKE AND DANIEL JENATSCH
megamix.jpg
21.07.2014
JOHN NIXON
Donkeyâ&#x20AC;&#x2122;s Tail Liquid Architecture Page 3.jpeg 10.07.2014
JOHN NIXON
Donkeyâ&#x20AC;&#x2122;s Tail Liquid Architecture Page 1.jpeg 10.07.2014
HALF HIGH
Half High A4_Image 1 FLAT.pdf
14.07.2014
HALF HIGH
Half High A4_Image 2 FLAT.pdf
14.07.2014
JOEL STERN AND DANNI ZUVELA
explaination.doc
28.07.2014
liquid architecture invited our 2014 artists to submit pages to this catalogue to manifest at our festival alongside their live performances and contribution to the LP. we asked of the artists that these pages not ‘represent’ their work, but be their work. as we are a festival for artists working with sound, we think of these contributions as attempts to ‘mind’ sound, for the specific space of the page. we have made effort to not fiddle with or interfere with the artists’ contributions (just as they have not altered our catalogue essay). we think this is only fair.