sobota, 19 maja 2018
środa, 4 kwietnia 2018
fot. Łukasz Sosiński
Galeria Sztuki Współczesnej
pl. Teatralny 12
Exhibition of Sebastian Buczek, Cathy Van Eck, Gizela Mickiewicz, Vladan Radovanović, Łukasz Rodziewicz, Łukasz Sosiński, Konrad Smoleński
with a program of live or/and ghost appearances of Art & Language with The Red Krayola, Asi Mina, John Baldessari, BNNT, Alessandro Bosetti, David Bowie, Sebastian Buczek, Erik Bünger, Douglas Gordon, Dan Graham, Jealousy Party, Hilary Jeffery, Sol LeWitt, Natalia Przybysz, Piotr Kurek, Barbara Kinga Majewska, Marc Marcovic, Stíne Janvin Motland, Áine O'Dwyer, Roger Payne, Susan Philipsz, Lou Reed & The Velvet Underground, Jerzy Rogiewicz, Kamil Szuszkiewicz, Gregory Whitehead and Hubert Zemler.
Canti Espositi is an exhibition of contemporary art and at the same time set design for a song festival. Or: it is a festival happening on three stages of which amplification systems are designed by artists. Over the course of two months, Gallery of Contemporary Arts in Opole will be filled with art pieces which consist of loudspeakers. On weekends, the same pieces will serve as artistic PA systems for concerts, performances, radio plays and films.
Loudspeakers and songs - inconspicious elements of our every day life discreetly inhabited by voices of human who are not or have never been present; tools of propaganda and erotic seduction; nooks and crannies controlled by electricity and teeth chattered and driving our ears crazy; simulations of collective experiences and inner voices more real than the voices from the speakers. In short - all that a proper festival needs.
18.00: Opening and performance of Cathy van Eck
08.00-16.00: Performative installation Degrees of Freedom - BNNT (Smolenski & Szwed)
19.00: Curatorial guided tour
20.00: Performance of Aine O'Dwyer
Films: „John Baldessari sings Sol LeWitt”, Art & Language with The Red Krayola, „Nine Gross and Conspicious Errors”, Dan Graham, „Rock My Religion”
- Performance of Erik Bunger „The Third Man”
- Concert of Stíne Janvin Motland
- Concert of Marc Marcovic
- Concert of Jealousy Party
- Audio projection of Susan Philipsz „Ziggy Stardust”
- Film projection of „Douglas Gordon sings the best of Lou Reed and Velvet Underground”
- Concert of Sebastian Buczek „Wabienie dziewic”
- Workshops for children by Asi Mina,
- Listening session: „Songs of the Humpback Whale” by Roger Payne
- Radio plays by Gregory Whitehead, „Crazy Horse, One-Eight” and „Nothing Like Us Ever Was”.
- Radio performance of Alessandro Bosetti „Regular Measures”
- Opera of Piotr Kurek „Ivy Snowstalkers of Ancient Apron” with Natalia Przybysz, Barbara Kinga Majewska, Hilary Jeffery, Kamil Szuszkiewicz, Hubert Zemler and Jerzy Rogiewicz.
- Radio play by Kamil Szuszkiewicz „Robot Czarek”
- Concert of Piotr Kurek
środa, 21 marca 2018
pl. Defilad 1
17/04/2018 - 03/06/2018
Opening: 19.00 (Galeria Studio)
Concert: 20.30 (Teatr Studio - Main Stage)
Afterparty: 21.30 (Bar Studio)
Michael Snow's film remade for 4 songs remade for 4 power point presentations with objects, vinyl, hi-hat and concert of BNNTMMMK.
Two years after their remake of Dziga Vertov’s "Enthusiasm" in the form of a 3D sculpture and a Power Point presentation, Grupa Budapeszt returns to one of their favourite strategies by remaking a film by the cult avant-garde artist Michael Snow "'Rameau's Nephew' by Diderot (Thanx to Dennis Young) by Wilma Schoen" (1974). Spanning four hours and a half, Snow’s monumental work consists of twenty six episodes that build a microcosm which is as absurd as it is acutely logical, thus it was initially entitled "Talking Picture". Indeed, his film is a picture that talks.
Amongst a range of audiovisual experiments pursued by the Canadian artist, Grupa Budapeszt discerns a hermetic praise of a deceptive education process. One of Snow’s methods is a singing class in which Nam June Paik is tasked with repeating the chorus melody of Bob Dylan’s song "A Hard Rain's A-Gonna Fall". In Grupa Budapeszt's interpretation, this scene becomes the most important in the film and provides the key to understand the entire work. Accordingly, Snow gives the viewers twenty six singing lessons. Yet, we should not forget that the lessons exemplify deceptive education akin to deceptive teachings included in Denis Diderot’s book, evoked in the title of Snow’s film.
Insofar as Vertov’s "Enthusiasm" was translated by Grupa Budapeszt into the language of 3D sculpture, "'Rameau's Nephew' by Diderot (Thanx to Dennis Young) by Wilma Schoen" becomes a cycle of four songs created with the help of the band BNNT (Konrad Smoleński and Daniel Szwed), MM (Macio Moretti) and MK (Michał Kupicz). The hermetic content of the songs is explained in the exhibition by means of objects and four projections: Power Point presentations. The opening features a concert that will attempt to represent Snow’s hermetic education principle. The process in question is that of a mysterious natural delay which allows Grupa Budapeszt to perversely praise philosophical hermetism, colloquially understood hermeticism and the physical phenomenon of hermetisation – all at the same time.
based on Witold Gombrowicz
pl. Defilad 1
Michal Libera - dramaturgy, libretto, composition
Tomasz Nosinski - voice, composition
Le Quan Ninh - percussion, composition
Ingar Zach - percussion, composition
Jacqueline Sobiszewski - lights
part of Generation After
more information: here
środa, 24 stycznia 2018
La Digestion Festival
Chiesa delle Scalze
Hilary Jeffery, trombone
Gianpaolo Peres, voice
Michal Libera, concept, reading
The piece is a musical setting for Ted Hughes' "Snow". It is based on a single swordfisherman's call of Vincenzo Puntillo recorded in 1954 by Alan Lomax in Scila (Calabria). I too don't fully understand the connection.
Hilary Jeffery and Gianpaolo Peres started working together on Minor Tom in January 2016 in the wake of David Bowie's departure. Their music plumbs the depths of blues and treads the lesser known path of dhrupad in a futuristic synthetic setting. Together with Michal Libera they have developed a new performance "Snow" for the occasion of La Digestion Festival in Chiesa delle Scalze on 31 March 2018, which will be their stage debut. Further performances as well as a release on Silent Records are planned for the near future.
piątek, 10 listopada 2017
Musical reading of "Cosmos" by Witold Gombrowicz
Vence, Notre Dame de la Nativité
Tomasz Nosiński - voice
Ingar Zach, Le Quan Ninh - percussions
Jacqueline Sobiszewski - lights
Michal Libera - libretto, dramaturgy
The performance is neither a theatre piece nor a performative reading. It is musicality of „Cosmos” staged for one actor, two percussionists and light design. Gombrowicz meticulously worked out the relation between the book's topic and rhythmical / melodic aspects of the text and thus hearing „Cosmos” can be of relevance here. The main concept is nothing more nor less than putting to front the sonic features of the written text in its relation to its philosophical content.
”Cosmos” can be seen as a treatise about separation of (always too many) things and their arbitrary pointing to each other or, in other words, a masterpiece on how things become signs. Separation of things, musically speaking, is called „staccato”. Pointing towards each other – „legato”. Thus the main idea of the performance is to express and complicate relations between the two musico-philosophical elements of cosmos – being separated and at the same time pointing.
The structure of the performance mirrors the above mentioned diagnosis. It presents a few initially separated “objects” taken from the book. These are: Sparrow, Stick, Cat, Ludwik and Priest in their staccato positions in “cosmic reality”. In between these things, there is an intermediary, legato, a connection maker which is yet another “object” of the book – an Arrow (“today, ex post, I know it was the arrow that was the most important” Gombrowicz writes and it is because Arrow stands for pointing, for bringing elements together). Over the course of the performance, this clear division of parts becomes more and more blurred.
The libretto has been prepared by the use of method Gombrowicz introduced himself in „Cosmos”, namely – departing from various unrelated elements and bringing them together in a seemingly arbitrary way. Surely, the more arbitrary the selection of elements, the more convincing is the display of the perverse nature of cosmos. There is no other way. As Leonard Neuger put it: “The paradox of »Cosmos«: any consistency I find in the novel will make me one of its characters”. The libretto thus is a perverse, cosmic (in Gombrowicz's sense) perspective on Gombrowicz's “Cosmos”. Hence title: “Cosmos-Cosmos”.