tag:blogger.com,1999:blog-59529636460777649202024-02-18T22:54:35.718-08:00pataka ind.Michał Liberahttp://www.blogger.com/profile/07745350017313415778noreply@blogger.comBlogger193125tag:blogger.com,1999:blog-5952963646077764920.post-51479326214706747262023-12-14T21:26:00.000-08:002023-12-14T21:26:04.586-08:00Dry Mountain<p> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXcT82q89GToifhIRmJiORhd3Zm_X4XInnNriKnfNxGdaksamUg7zFTNJhSE5zXPLpU2OFFfHr0YrQ-UFx2w8alzJV_wYsKxPgliWZ5Zh0P7NYnSAz-Dv5RF6iodrgqFNV8OD-LiCyR2BzhQY_vcTj3IfGNBfiMzT_E52PfaZfR7ekCX-RemSVm2HD0wAv/s1200/a3097538239_10.jpg" style="clear: left; display: inline; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1200" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXcT82q89GToifhIRmJiORhd3Zm_X4XInnNriKnfNxGdaksamUg7zFTNJhSE5zXPLpU2OFFfHr0YrQ-UFx2w8alzJV_wYsKxPgliWZ5Zh0P7NYnSAz-Dv5RF6iodrgqFNV8OD-LiCyR2BzhQY_vcTj3IfGNBfiMzT_E52PfaZfR7ekCX-RemSVm2HD0wAv/s320/a3097538239_10.jpg" width="320" /></a><br /><br /></p><p><b>Dry Mountain</b></p><p><b>Keith Rowe / Gerard Lebik</b></p><p><br /></p><p>released by <a href="https://inexhaustibleeditions.bandcamp.com/album/dry-mountain"><b>Inexhaustible Editions</b></a></p><p><br /></p><p>Compact disc housed in stylish 6-panel digipack with transparent tray are available to order from 1 August 2023</p><p><br /></p><p>Graphic scores by <b>Alicja Bielawska</b>, <b>Bożenna Biskupska</b>, <b>Daniel Koniusz</b> as well as <b>Lena Czerniawska</b>, <b>Brian Olewnick</b> and <b>Michael Pisaro</b></p><p><br /></p><p>Performed by <b>Johnny Chang </b>(violin), <b>Jonas Kocher </b>(accordion), <b>Gaudenz Badrutt </b>(electronics), <b>Bryan Eubanks </b>(electronics), <b>Kurt Liedwart </b>(electronics), <b>Xavier Lopez </b>(electronics), <b>Mike Majkowski </b>(double bass) and <b>Emilio Gordoa </b>(vibraphone)</p><p><br /></p><p>Commissioned and recorded at Sanatorium of Sound Festival 2016 in Sokołowsko, Poland on 13/8/2016</p><p>Edited, mixed and mastered by <b>Gerard Lebik</b></p><p><a href="https://inexhaustibleeditions.bandcamp.com/album/dry-mountain">Liner notes</a> by <b>Michał Libera</b></p><p>Cover artwork by <b>Keith Rowe</b></p><p>Graphic design by <b>László Szakács</b></p><p>Produced by <b>László Juhász</b></p><p>Special thanks to <b>Zuzanna Fogtt & In Situ Foundation</b></p>Michał Liberahttp://www.blogger.com/profile/07745350017313415778noreply@blogger.com0tag:blogger.com,1999:blog-5952963646077764920.post-86546615129569033542023-05-05T07:05:00.000-07:002023-05-05T07:05:56.172-07:00KL Plaszow Sound Monument<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL597b-vfLSHQKC2gjJrEUuQZfOgdE74Q4MDrwnr72p50rDmtr9FPceQteqvf-FWkfC0jv2YP3mIO0-8Lq8e3ShETsk8q3TZL6UKXrY_Bz3WDkx3lYhisFZViPW8NnVIsfpp9ZT7ItfroXLGS5b74lqJEEf-1gdv8gkrrgPfT3qLfettQgjanuOpFSxw/s1522/dji-0110_horizontal.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="1522" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL597b-vfLSHQKC2gjJrEUuQZfOgdE74Q4MDrwnr72p50rDmtr9FPceQteqvf-FWkfC0jv2YP3mIO0-8Lq8e3ShETsk8q3TZL6UKXrY_Bz3WDkx3lYhisFZViPW8NnVIsfpp9ZT7ItfroXLGS5b74lqJEEf-1gdv8gkrrgPfT3qLfettQgjanuOpFSxw/w426-h196/dji-0110_horizontal.jpg" width="426" /></a></div><br /><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><b><a href="https://plaszow.org/en/the-kl-plaszow-sound-monument">KL PLASZOW SOUND MONUMENT</a></b></div><div><br /></div><div>commissioned by KL Plaszow Museum </div><div><br /></div><div>to be installed at the territory of the former German Nazi Concentration Camp in Krakow</div><div>in 2025</div><div><br /></div><div>with <b>Mark Bain</b>, <b>Marcin Dymiter</b>, <b>Björn Schmelzer & Graindelavoix</b>, <b>Shelley Hirsch</b>, <b>Eva-Maria Houben</b>, <b>Michał Kupicz</b>, <b>Iván Larrea</b>, <b>Barbara Kinga Majewska</b>, <b>Mirt & Ter</b>, <b>Tony Di Napoli</b>, <b>Marcelina Obarska</b>, <b>Lee Patterson</b>, <b>Jaśmina Polak & Jerzy Rogiewicz</b>, <b>Pękala-Kordylasińska-Pękala</b>, <b>Wojciech Pustoła</b>, <b>Roma Sendyka</b>, <b>John Tilbury </b>and more. </div><div><br /></div><div><br /></div><div>The Sound Monument of KL Plaszow is designed as a multilayered, collective audio composition created on the basis of a concept authored by Roma Sendyka and a scenario authored by Michał Libera. The inspiration for the Sound Monument composition is given by the soil of the camp: the soil understood as a depository of the memory of camp Plaszow and its history, and as a source of audio material.</div><div><br /></div><div>The Sound Monument will only be available to visitors through headphones connected to mobile devices collected from the Museum. The Sound Monument will not be heard in the post-camp area without those devices, and the only sign of its presence will be people with headphones, walking in the camp area, guided by the composition structure, at a pace and in a direction of their choice.</div><div><br /></div><div>More information soon </div>Michał Liberahttp://www.blogger.com/profile/07745350017313415778noreply@blogger.com0tag:blogger.com,1999:blog-5952963646077764920.post-47381879569113134552023-05-02T03:25:00.001-07:002023-05-17T06:11:55.395-07:00Deep Sound in Vilnius<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZyguFGDYUhNT_mYylj_o2vuhN4w8x2xxi5GYfIqWK8XGhpDsMGCnHk4iOtvcXxn1xBS-A1DBUJG4ogf5bsjqADoS8dBhGM-2p6S16dUPHXfNi0BtQzDQcYfrFyqISXipLb9oDvo_nyAHLC6Dk8U_8-UW3lf2gAkqsvATvmRx9_8Whxo9oSI--bivLjA/s826/deep%20sound.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="826" data-original-width="826" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZyguFGDYUhNT_mYylj_o2vuhN4w8x2xxi5GYfIqWK8XGhpDsMGCnHk4iOtvcXxn1xBS-A1DBUJG4ogf5bsjqADoS8dBhGM-2p6S16dUPHXfNi0BtQzDQcYfrFyqISXipLb9oDvo_nyAHLC6Dk8U_8-UW3lf2gAkqsvATvmRx9_8Whxo9oSI--bivLjA/s320/deep%20sound.jpg" width="320" /></a></div><br /><p></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><b><br /></b></p><p><b>Sappho, 29a</b></p><p><b>+ new version of <a href="https://grupabudapeszt.bandcamp.com/track/commentator">"Commentator"</a></b></p><p><br /></p><p><b>Surface is enough</b></p><p><b><a href="https://www.swallow.lt/en/">Swallow Gallery</a></b></p><p>Vitebsko g. 23, Vilnius</p><p>from 19/05</p><p><br /></p><p>Two pieces by <b>Grupa Budapeszt</b> will be part of a split exhibition with <a href="https://www.jakubczyszczon.com/"><b>Jakub Czyszczoń</b></a>.</p><p><br /></p><p>Deep sound - that's all that's left of the Sapphic stanza numbered 29a, like any other, built on the principle: three lines of eleven syllables and one line of five syllables. Most of Sappho's work is lost, most likely forever. Papyri were deliberately burned or used to wrap mummies. Those that survived suffered a natural process of disintegration. What remains of fragment 29a may suggest that the poem was a description of a ritual that included music. Perhaps the words were part of narration referring to sounds performed on aulos - a double wooden flute. Or the other way around - maybe deep sound referred to the musical performance of the very poem itself, for which - like other poems by Sappho - it was intended. Or even more - maybe the written words of the poem are its performance. </p><p>Grupa Budapeszt operates in a narrow space between glossary, commentary and translation of audiovisual materials. With this work, the group adds a couple of more: reconstruction and transposition. Reconstructing the original content of Sappho's poem is impossible, and perhaps also unintentional. Unless we take it seriously that after fragment 29a only a deep sound is left. So what remains of the poem is not only what is written, but also what goes beyond the notation - the sound, the deep sound of its performance. If so, everything seems a bit easier. The unique space in which the poem resounds needs to be reconstructed – one would like to say: its architecture needs to be reconstructed – in this case, the room of Swallow gallery in Vilnius. </p><p>We approach the deep sound as a synecdoche - part meaning whole. This assumption, together with the regular meter of the Sapphic stanza, allowed for the discovery of spatio-rhythmical relationships between meanings. Lyricism is a record of sounds - a score that assumes performance. Hence, the exhibition also included a flat model of space. It is both a record of a resounding stanza and a transposition of its third verse. The exhibition is a poem which is a non-verbal spatial structure. It is a radical realization of the Objectivists' project: poem as voice as object.</p><p><br /></p>Michał Liberahttp://www.blogger.com/profile/07745350017313415778noreply@blogger.com0tag:blogger.com,1999:blog-5952963646077764920.post-84610599954667687652023-04-11T10:26:00.001-07:002023-04-13T01:11:27.224-07:00Two Szpakowski Pieces in Riga<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUJ0_FWG1f_iPjarKjVZdcp7WGWIePnKrsoRLwxUcnzElqeNlK1GNKNf9lWEyKySSBxPX3jGS5zvTeTpkE6QzrLjlbxYrdfUB8XTJfNFzfe6J0Rnq5EBo3X-2UoqkW6Y665NVjadCUWtseIa8cKCMkmk1qiEcUXUhKmZ83aZCbRboEvxyLpP7Vprj5cw/s900/Szpakowski_A1.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="496" data-original-width="900" height="176" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUJ0_FWG1f_iPjarKjVZdcp7WGWIePnKrsoRLwxUcnzElqeNlK1GNKNf9lWEyKySSBxPX3jGS5zvTeTpkE6QzrLjlbxYrdfUB8XTJfNFzfe6J0Rnq5EBo3X-2UoqkW6Y665NVjadCUWtseIa8cKCMkmk1qiEcUXUhKmZ83aZCbRboEvxyLpP7Vprj5cw/s320/Szpakowski_A1.jpg" width="320" /></a></div><br /><b><br /></b><p></p><p><b><br /></b></p><p><b><br /></b></p><p><b><br /></b></p><p><b><br /></b></p><p><b><br /></b></p><p><b>Two Szpakowski Pieces for Two Trombones</b></p><p><a href="https://lcca.lv/lv/">Latvian Center for Contemporary Art</a></p><p>Riga</p><p>28/04</p><p><br /></p><p>Concept, scores: <b>Michal Libera, Barbara Kinga Majewska</b><br />Trombones: <b>James Fulkerson, Hilary Jeffery</b></p><div class="adL"><br style="background-color: white; color: #222222; font-family: Arial, Helvetica, sans-serif; font-size: small;" /></div><p>The drawings of Wacław Szpakowski not only <i>look</i> like music scores. They also <i>served</i> as such for the author himself who used to play them on violin. We know nothing more about the actual performances. Yet could they be anything but prefiguration of <span class="il">minimalism</span> in music? Certainly, we will never be sure. But we know that his drawings from 1920' and the music genre born in the 1950's face a similar question: how to derive all harmony and all rhythm from a single, unaccompanied line?<br /><br />Concert at LCCA in Riga will be an attempt to face the question via musical performance of two pieces by Szpakowski. Scores prepared for two instrumentalists are a rigid transfer of visual data contained in Szpakowski's line onto staff notation. The only two parameters at work here will be pitch and durations. Derived proportionally and solely only from the lengths of the stretches of line, they will form a single melody for each piece. The same melody-line of each piece will be performed by the two musicians at the same time but in opposite directions, from left to right and from right to left. All emerging harmonies and rhythms will then be an outcome of overlapping of the same line with itself.<br /><br />One of the pieces, "a00", is symmetrical and hence the duration structure for both performers is the same, only the glissandi will have opposite directions. On the micro level, each glissandi will have a focal point when musicians intersect; on the macro level, the piece as whole will have a center of intersection right in the middle. In the other piece, asymmetrical "A1", no such thing will occur. In both cases only the core segment of the drawing's structure will be performed.<br /><br /><br /></p><div class="yj6qo"></div>Michał Liberahttp://www.blogger.com/profile/07745350017313415778noreply@blogger.com0tag:blogger.com,1999:blog-5952963646077764920.post-62782559726313791692023-04-06T04:09:00.002-07:002023-04-06T04:09:55.444-07:00In Search of the Miraculous<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwEWC9RRdid1PhAflokKHZElDvDS0Pd8CGw-bogc8FFpP3OED3X4FLd6hs8-fx0UtzCEL1mI8d4OVoyYDXi1eQlgKAEy4yYP7VNW3Cf5zWqjS2kPEm2JZ52mNtjKuuKAbwsQLISGPnx-lRNAEzvUgYP09wQ4E2-gfZSMI6kxd10EiRqLnVCFUYaTff5w/s990/piano.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="690" data-original-width="990" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwEWC9RRdid1PhAflokKHZElDvDS0Pd8CGw-bogc8FFpP3OED3X4FLd6hs8-fx0UtzCEL1mI8d4OVoyYDXi1eQlgKAEy4yYP7VNW3Cf5zWqjS2kPEm2JZ52mNtjKuuKAbwsQLISGPnx-lRNAEzvUgYP09wQ4E2-gfZSMI6kxd10EiRqLnVCFUYaTff5w/s320/piano.jpg" width="320" /></a></div> <br /><p></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><b>Grupa Budapeszt</b></p><p>In Search of the Miraculous</p><p><a href="https://galeriawschod.com/">Galeria Wschod</a></p><p>Bracka 20b, Warszawa</p><p>from 15/04</p><p><br /></p><p>New sound piece at a group show "In Search of the Miraculous"</p>Michał Liberahttp://www.blogger.com/profile/07745350017313415778noreply@blogger.com0tag:blogger.com,1999:blog-5952963646077764920.post-73907196551770104562023-02-03T05:54:00.005-08:002023-02-09T00:31:01.210-08:00Anka Ptaszkowska. Przypadkiem<p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCeoCfXSkNZYOdUK7rNj65D6B05Y36K1EQAQ2VG424Q8tJeP560iX0gDfKDmTowbIQcgcd_KS__uu21Q9V-U3YMnMYIu3FurzZsC0jzL6GCSAFhxKoXqWx9-kzP-KgD5JuSvztBlIfmdSzY7Al2GMZHY6uFLDg1_ZFBxXUflih1aQwS9f81nkimtJ1oQ/s1600/1675931291160.jpg" imageanchor="1" style="clear: left; display: inline !important; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCeoCfXSkNZYOdUK7rNj65D6B05Y36K1EQAQ2VG424Q8tJeP560iX0gDfKDmTowbIQcgcd_KS__uu21Q9V-U3YMnMYIu3FurzZsC0jzL6GCSAFhxKoXqWx9-kzP-KgD5JuSvztBlIfmdSzY7Al2GMZHY6uFLDg1_ZFBxXUflih1aQwS9f81nkimtJ1oQ/s320/1675931291160.jpg" width="240" /></a></p><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><p><b>Instalacja dźwiękowa towarzysząca wystawie <a href="https://artmuseum.pl/pl/wystawy/anka-ptaszkowska-przypadkiem">Anka Ptaszkowska. Przypadkiem</a></b> </p><p>na podstawie scenariusza Anki Ptaszkowskiej do filmu <i>Wyobraźmy sobie, że istnieje prawda w sztuce </i>w reżyserii Anny Molskiej; z wykorzystaniem utworu Charlemagne Palestine'a nagranego specjalnie na okazję wystawy oraz kompozycji m.in. Johna Cage'a, Romualda Żylińskiego, Theoretical Girls; ścieżek dźwiękowych performensów z archiwów m.in. Galerii Foksal, Mediateki Centrum Sztuki Współczesnej Zamek Ujazdowski; rozmów, wywiadów i nagrań prywatnych z archiwów m.in. Anki Ptaszkowskiej, Eustachego Kossakowskiego (szczegóły na wystawie). </p><p><br /></p><p><b>Anka Ptaszkowska. Przypadkiem</b></p><p>17 luty - 24 kwietnia 2023</p><p>Muzeum Sztuki Nowoczesnej, Warszawa</p><p><br /></p><p>„Nie jestem artystką i jest to ostatnia rzecz, której bym sobie, dla siebie, życzyła"</p><p>Anka Ptaszkowska działa jednocześnie jako krytyczka, kuratorka, galerzystka, organizatorka wystaw i inicjatorka spotkań. W 1966 roku wraz z grupą krytyków i artystów zakłada Galerię Foksal, której program współtworzy do 1970 roku. Pisze manifesty, blisko współpracuje i przyjaźni się z artystami i artystkami. Intensywne życie towarzyskie i artystyczne tej grupy przyjaciół toczy się także w pracowni Henryka Stażewskiego i Mewy Łunkiewicz-Rogoyskiej, którzy są łącznikami między młodszym pokoleniem a sztuką przedwojennej awangardy, oraz w domu Anki Ptaszkowskiej i Edwarda Krasińskiego w Zalesiu Górnym.</p><p>Na początku lat 70. Anka Ptaszkowska razem z fotografem Eustachym Kossakowskim przenosi się do Paryża, gdzie zaprzyjaźnia się z Danielem Burenem i krytykiem Michelem Claurą. Wspólnie zakładają dwie eksperymentalne instytucje: konceptualną Galerię 1-36 i alternatywne miejsce Vitrine pour l'Art Actuel, które składa się z baru i księgarni specjalizującej się w książkach artystów. Inicjuje też szeroko zakrojony projekt „Wymiana między artystami 1931–1982 Polska/USA. Doświadczenie muzeograficzne", którego rezultatem jest przekazanie w darze prac amerykańskich artystów do Muzeum Sztuki w Łodzi, oraz prac polskich twórców prac do kolekcji sztuki Museum of Contemporary Art w Los Angeles. Do dziś organizuje w swoim paryskim i warszawskich mieszkaniach artystyczne spotkania i wystawy.</p><p>Eksperyment i przygodę ceni bardziej niż praktyczne cele. Jej niechęć do sztywnych ról społecznych i konwencji odpowiada za ulotny charakter podejmowanych przez nią inicjatyw. Z tą nieciągłością w życiu zawodowym kontrastuje jej wieloletnie i całkowite zaangażowanie w twórczość bliskich jej artystek i artystów. Przedmiotem jej zaangażowania są w równej mierze sztuka, jak i ludzie, którzy ją tworzą. Potrafi angażować innych do udziału w do najbardziej nieprawdopodobnych przedsięwzięciach. Wśród wspieranych przez nią twórców są twórcy znani z historii sztuki, jak i postacie, których związki ze sztuką były krótkotrwałe lub „wolne”. A więc także artyści funkcjonujący na marginesie – zarówno społecznym, jak i świata sztuki – jak Krzysztof Niemczyk czy André du Colombier. Ich bezwarunkowe dążenie do wolności jest bliskie anarchistycznemu usposobieniu Ptaszkowskiej.</p><p>Osią wystawy Anka Ptaszkowska. Przypadkiem jest scenariusz filmu autobiograficznego w 32 rozdziałach, napisany przez Ptaszkowską w 2016 roku, a teraz opublikowany w katalogu. Zrealizowany na podstawie tego tekstu film Anny Molskiej Wyobraźmy sobie, że istnieje prawda w sztuce będzie pokazywany w Muzeum nad Wisłą podczas trwania wystawy. Wybór prac i dokumentów archiwalnych do każdego z rozdziałów scenariusza ukazuje zarówno oficjalny, jak i prywatny wymiar tej historii. Całość ekspozycji dopełnia instalacja dźwiękowa Michała Libery, w której wykorzystano fragmenty archiwalnych nagrań i rozmów z bohaterką wystawy. Zrealizowana z wiernością wobec zasad Anki wystawa nie domyka opowieści i pozostawia miejsce na właściwe jej sprzeczności. Masa historii, postaci, prac, dokumentów i dźwięków znajdujących się na wystawie oddaje intensywność jej działalności.</p>Michał Liberahttp://www.blogger.com/profile/07745350017313415778noreply@blogger.com0tag:blogger.com,1999:blog-5952963646077764920.post-75928584521887177402023-01-18T00:31:00.004-08:002023-01-21T05:48:55.830-08:00Głęboki dźwięk<p> </p><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6y-OmFIwuTniNPimfH_VLQCUNgcwfOQWvOXmqybe7smpRw6QxasxxxGTrZ7JvKhMQuBOL6vR3qNjGr1YRj_GhRCB_Ns-MTpbPPCn4JGIi87rTbjW-Xdn7EBKiQ64-700MZAchHY_k8KLXURntF7Z1QWrhzZVt6-sRAJti06g-CdTkwxl_RJh8nYsMdA/s787/29%20A.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="787" data-original-width="787" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6y-OmFIwuTniNPimfH_VLQCUNgcwfOQWvOXmqybe7smpRw6QxasxxxGTrZ7JvKhMQuBOL6vR3qNjGr1YRj_GhRCB_Ns-MTpbPPCn4JGIi87rTbjW-Xdn7EBKiQ64-700MZAchHY_k8KLXURntF7Z1QWrhzZVt6-sRAJti06g-CdTkwxl_RJh8nYsMdA/s320/29%20A.jpg" width="320" /></a></div><br /></div><p><b><br /></b></p><p><b><br /></b></p><p><br /><b><br /></b></p><p><b><br /></b></p><p><b><br /></b></p><p><b><br /></b></p><p><b><br /></b></p><p><b><br /></b></p><p><br /></p><p><b>Safona, 29a</b></p><p><b><br /></b></p><p><b>Tłumaczenie wiersza z języka angielskiego: </b><b>GRUPA BUDAPESZT</b></p><p><br /></p><p><b><a href="https://www.facebook.com/people/Obcy/100069566923881/">Galeria O/b/c/y</a> </b></p><p>Marszałkowska 18/28, Warszawa</p><p>27/01</p><p><br /></p><p>a także</p><p><b><a href="https://www.swallow.lt/">Swallow Gallery</a></b></p><p>Vitebsko g. 23, Vilnius</p><p>14/04 (TBC)</p><p><br /></p><p>Głęboki dźwięk - tyle zostało ze strofy safickiej oznaczonej numerem 29a, jak każda inna zbudowanej na zasadzie: trzy wersy jedenastozgłoskowe i jeden pięciozgłoskowy. Przeważająca część twórczości Safony przepadła najprawdopodobniej na zawsze. Papirusy celowo palono lub używano do owijania mumii. Te które przetrwały te zabiegi spotkał naturalny proces rozpadu. To co zostało z fragmentu 29a może sugerować, że opisywał on rytuał, którego elementem była muzyka. Być może były to dźwięki wykonywane na aulosie - podwójnym, drewnianym flecie. A może głęboki dźwięk odnosił się do muzycznego wykonania samego wiersza, do którego - jak inne wiersze Safony - był przeznaczony.</p><p>Grupa Budapeszt działa w wąskiej przestrzeni pomiędzy glosą, komentarzem i translacją materiałów audiowizualnych. W niniejszej pracy do tego zestawu działań dodaje rekonstrukcję i transpozycję. Odtworzenie pierwotnej treści wiersza Safony jest niemożliwe ani być może również nie celowe. Chyba że weźmiemy na poważnie to, że po fragmencie 29a został tylko głęboki dźwięk. A więc po wierszu zostało nie tylko to, co zapisane, ale i to, co wychodzi ponad zapis – dźwięk, głęboki dźwięk jego wykonania. Jeśli tak, wszystko wydaje się nieco łatwiejsze. Trzeba zrekonstruować niepowtarzalną przestrzeń, w której wybrzmiewa wiersz – chciałoby się powiedzieć: trzeba zrekonstruować jego architekturę – w tym przypadku pomieszczenie na ulicy Marszałkowskiej 28/18, w którym siedzibę ma galeria O/b/c/y.</p><p>Potraktowaliśmy głęboki dźwięk jako synekdochę – część, która oznacza całość. To założenie, wraz z regularnym metrum strofy safickiej pozwoliło na odkrycie prawdopodobnych relacji przestrzennych między znaczeniami. Liryka to zapis dźwięków - partytura, która zakłada wykonywanie. Stąd na wystawie znalazł się również płaski model przestrzeni. To jednocześnie zapis rozbrzmiewającej strofy, co transpozycja jej trzeciego wersu.</p><p>Wystawa to wiersz, który jest niewerbalną konstrukcją przestrzenną. To radykalna realizacja projektu obiektywistów: wiersz jako głos jako przedmiot. </p>Michał Liberahttp://www.blogger.com/profile/07745350017313415778noreply@blogger.com0tag:blogger.com,1999:blog-5952963646077764920.post-35534705513591193832022-10-28T02:13:00.000-07:002022-10-28T02:13:12.644-07:00TRES (book)<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp8pwHjxGfdAVES99qxe6p8Z0hSG0hm5uLTEG-3NU7boKtISQ_b8azACNvktDlwQE6I5f6hderyvEevTTWAPRD9NmV6epDlrpARgNyBdH9Nb0YsrFT97goKC2RsrCW6fMV5FgxDzhaPpcDG3r3RYoce8AHBbTeCokSHxL_HsWRzTwCHisri5F2LVtfSw/s2836/3_Cubierta%20160x240.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2836" data-original-width="1889" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp8pwHjxGfdAVES99qxe6p8Z0hSG0hm5uLTEG-3NU7boKtISQ_b8azACNvktDlwQE6I5f6hderyvEevTTWAPRD9NmV6epDlrpARgNyBdH9Nb0YsrFT97goKC2RsrCW6fMV5FgxDzhaPpcDG3r3RYoce8AHBbTeCokSHxL_HsWRzTwCHisri5F2LVtfSw/s320/3_Cubierta%20160x240.jpg" width="213" /></a></div><br /><p></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p>TRES</p><p>Publisher: Ajuntament de Barcelona. Institut de Cultura. La Virreina Centre de la Imatge</p><p>Authors: Ignacio Echevarría, Ramón Andrés, Ángela Molina, Michal Libera and Katryn Evinson</p><p>Year: 2021</p><p>Binding: Paperback</p><p>Dimensions: 160 x 240 mm</p><p>Pages: 254</p><p>Language: Spanish</p><p>ISBN: 978-84-122305-7-4 </p><p><br /></p><p>La Virreina Centro de la Imagen has dedicated more than four years to researching the various facets of Tres's work, his actions in the field of performance, his ready-made and his plastic or musical works. In 2017, the exhibition entitled Blackout was held, which for the first time revisited his trajectory in an anthological way. Later, in 2019, the 11th Silent Cocktail took place, conceived by the author himself. And this book now brings together different unpublished essays on Tres by Ramón Andrés, Ángela Molina, Michal Libera and Katryn Evinson, as well as an extensive biographical and aesthetic narrative prepared by Ignacio Echevarría.</p>Michał Liberahttp://www.blogger.com/profile/07745350017313415778noreply@blogger.com0tag:blogger.com,1999:blog-5952963646077764920.post-48768587173667381552022-01-04T09:10:00.001-08:002022-01-04T09:10:43.892-08:00All around death, the horizon<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhTfVEPqWIWwZMD20nMFggcLNPn6OIIBU_9e35Dqs6rksR6eH9tFDftJ14-80QjNFUGaakYnnv4AruCkrpXfwUcPCC3UAZeMugToruw4YeTKzjzhAVWKDYEx8DqT0KbYXSTsOadHiT3rOscgaBtR8tOC9b712fR1q7c8uY2y8TNKyMeGh48SEntaArIXA=s477" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="477" data-original-width="328" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEhTfVEPqWIWwZMD20nMFggcLNPn6OIIBU_9e35Dqs6rksR6eH9tFDftJ14-80QjNFUGaakYnnv4AruCkrpXfwUcPCC3UAZeMugToruw4YeTKzjzhAVWKDYEx8DqT0KbYXSTsOadHiT3rOscgaBtR8tOC9b712fR1q7c8uY2y8TNKyMeGh48SEntaArIXA=s320" width="220" /></a></div><br /><p></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><b><br /></b></p><p><b>Truth Be Told</b></p><p>Martin Küchen & Michał Libera</p><p><br /></p><p><b><a href="http://rekem.org/Various-Artists-All-around-death-the-horizon">Various Artists - All around death, the horizon</a></b></p><p>(CS, Rekem 15)</p><p><br /></p><p>Rekem presents the last part of an informal trilogy of 'fairy tales', conceived and edited by Nicolas Malevitsis. Between musique concrète soundtrack, sound poetry, and abstract narration through instruments, recordings and electronics, a puzzle of storytelling and images is formed - one which takes as its starting point the legacy left by the twentieth century in the mountainous communities of Central Greece.</p><p>The words fairy tales are found in quotes, although perhaps their use here stays close to their deeper meaning, as the project essentially revolves around the paths through which experience is woven and imprinted through narrative. Based on the human voice and its echoes over the years, the compilation here confronts themes such as destruction, death, and how they are inevitably transformed into points of rebirth in memory. Works by: Dimitris Karageorgos, Jaap Blonk, Michael Barthel, Martin Küchen & Michał Libera, Artificial Memory Trace.</p><p>Nicolas Malevitsis</p>Michał Liberahttp://www.blogger.com/profile/07745350017313415778noreply@blogger.com0tag:blogger.com,1999:blog-5952963646077764920.post-78506874421908645882021-12-22T12:01:00.004-08:002022-01-09T08:05:36.243-08:00SYKSTEר @ Jasna10<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik93LceDjGmazvJf896Grl6HC68MgrtehI4vpzgQ8EHw48jTMzDW8ak7LHTNyXvQ6aphMePy7ERScoNux_rt03ANmQfVXXr3vqJqF2cBisLcyacK6qyFAKM489kXyT07U3iQCbf2rCegKA/s320/resh.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="320" data-original-width="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik93LceDjGmazvJf896Grl6HC68MgrtehI4vpzgQ8EHw48jTMzDW8ak7LHTNyXvQ6aphMePy7ERScoNux_rt03ANmQfVXXr3vqJqF2cBisLcyacK6qyFAKM489kXyT07U3iQCbf2rCegKA/s0/resh.jpg" /></a></div><br /><p></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><b>SYKSTE<span style="font-family: arial; font-size: x-small;">ר</span></b></p><p><span style="font-family: arial;">Performans na ciche czytanie</span></p><p><span style="font-family: arial;"><br /></span></p><p><span style="font-family: arial;"><a href="https://www.facebook.com/Jasna10KP/"><b>Świetlica Krytyki Politycznej</b></a> </span></p><p><span style="font-family: arial;">Jasna 10, Warszawa</span></p><p><span style="font-family: arial;">10/01: 12.00 - 18.00 </span></p><p><span style="font-family: arial;">12/01:</span><span style="font-family: arial;"> </span><span style="font-family: arial;">12.00 - 21.00</span></p><p><span style="font-family: arial;">14</span><span style="font-family: arial;">/01:</span><span style="font-family: arial;"> </span><span style="font-family: arial;">12.00 - 21.00</span></p><p><span style="font-family: arial;">17</span><span style="font-family: arial;">/01: 12.00 - 18.00</span></p><p><span style="font-family: arial;">19</span><span style="font-family: arial;">/01:</span><span style="font-family: arial;"> </span><span style="font-family: arial;">12.00 - 21.00</span></p><p><span style="font-family: arial;">21</span><span style="font-family: arial;">/01:</span><span style="font-family: arial;"> </span><span style="font-family: arial;">12.00 - 21.00</span></p><p><span style="font-family: arial;">24</span><span style="font-family: arial;">/01: 12.00 - 18.00</span></p><p><span style="font-family: arial;">26</span><span style="font-family: arial;">/01:</span><span style="font-family: arial;"> </span><span style="font-family: arial;">12.00 - 21.00</span></p><p><span style="font-family: arial;">28</span><span style="font-family: arial;">/01:</span><span style="font-family: arial;"> </span><span style="font-family: arial;">12.00 - 21.00</span></p><p><span style="font-family: arial;">31</span><span style="font-family: arial;">/01: 12.00 - 18.00</span></p><p><span style="font-family: arial;"><br /></span></p><p><span style="font-family: arial;">Początek o każdej pełnej godzinie</span></p><p><span style="font-family: arial;">Wejście w pojedynkę</span></p><p><span style="font-family: arial;">Czas trwania: 40 minut</span></p><p><span style="font-family: arial; font-size: small;"><a href="https://krytykapolityczna.pl/o-nas/warszawa/program-solidarnosciowy/libera/">Obowiązują zapisy</a></span></p><p><br /></p><p>Czym jest SYKSTEר? Może być złapanym na stacji benzynowej sześciopakiem, oczywiście. Albo hipsterem z fobią seksualną. Ewentualnie muzyczną sekstą zakończoną opadającym na prawo ogonem. Może być różnymi rzeczami, właściwie czymkolwiek, co tylko zechce się za nim skryć – bo to właśnie o ukrywanie się za słowami chodzi. Sam wyraz pochodzi ze słownika Sergieja Pankiejewa, jednego z najważniejszych pacjentów Zygmunta Frueda. Tworzył on słowa służące do wprowadzania wiedeńskiego neurologa w błąd. To o nich jest ten performans na ciche czytanie – o nich i o jamie ustnej Pankiejewa, o historii druku i stenografii, o masturbacji, głuchoniemocie i akadyjskich inskrypcjach kamiennych, o charczeniu, ludziach-wilkach w ogóle i ogonociongu w szczególe. Wszystkie te wątki ledwo jednak skrywają medytację o #metoo i reakcje na rosnącą zawartość performatywności w otaczającym nas powietrzu, na fake newsy, na przeludnienie, na uzdrawianie terapiami, dokonane i niedokonane, udane i nieudane. Na pandemię też? Na pandemię też.</p><p>W rolach drugoplanowych występują: Karol Darwin, Karol-Michał de L'Eppe, Eanatum, Jan Sala, Ryszard Artur Surtees Paget, Robert Ashley oraz Franciszek Merkury van Helmont i Godfryd Wilhelm Leibniz.</p>Michał Liberahttp://www.blogger.com/profile/07745350017313415778noreply@blogger.com0tag:blogger.com,1999:blog-5952963646077764920.post-10619348682319222642021-11-01T23:52:00.004-07:002021-11-01T23:52:49.258-07:00Codex Subpartum - Exhibition @ Marres Maastricht<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqvkc_v4dVpqPu80F25ShcOd9t_VZQ7r4abbbMB6cJ6Zmu3FNDQGAiIHMsxnc-70JSoeTjBYcQh-z5eA3I2U1s1QjKMhRd6USRY3ouY6mSOlTL76uNYFa_AUlSPo8ZsVHHp84vAPJPlqIf/s2048/Codex_Subpartum_ver_3_fot_Anna_Zagrodzka-6.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="2048" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqvkc_v4dVpqPu80F25ShcOd9t_VZQ7r4abbbMB6cJ6Zmu3FNDQGAiIHMsxnc-70JSoeTjBYcQh-z5eA3I2U1s1QjKMhRd6USRY3ouY6mSOlTL76uNYFa_AUlSPo8ZsVHHp84vAPJPlqIf/s320/Codex_Subpartum_ver_3_fot_Anna_Zagrodzka-6.jpg" width="320" /></a></div><br /><p></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><br /></div><p><b>Codex Subpartum (exhibition)</b></p><p><a href="https://marres.org/en/programmas/codex-subpartum-2/"><b>Marres</b></a>, Maastricht</p><p>18/12/2021 - 06/02/2022 </p><p><br /></p><p>with <a href="https://barbarakingamajewska.com/"><b>Barbara Kinga Majewska</b></a> and <b><a href="http://www.konradsmolenski.com/">Konrad Smoleński</a></b> + <a href="http://www.zincandcopper.org"><b>Zinc & Copper</b></a></p><p><br /></p><p>Music is an interpretive tool: it is made up of hidden codes, texts and contexts. It makes visible what is impossible to see. The musicians in Codex Subpartum use a refined sound installation to transmute the invisible content of eight artworks from the collection of Muzeum Sztuki (Ł.ódź, Poland) into sound. Codex Subpartum searches for words in Wacław Szpakowski’s great handwriting, for memories in the graphics of Mona Vătămanu and Florin Tudor, for algorithms in Suzanne Treister’s diagrams, and for distorting vision elixirs in the works of Bob Cobbing.</p><p><br /></p>Michał Liberahttp://www.blogger.com/profile/07745350017313415778noreply@blogger.com0tag:blogger.com,1999:blog-5952963646077764920.post-73803207400591862342021-11-01T03:02:00.003-07:002021-11-01T23:50:03.285-07:00Codex Subpartum - Live @ KM28 Berlin<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvUQPdqCt0O2Vzo43cvlnROG-Y7bDh_B_LdNFSCjrCnS2bU_afGh3EoUkNCaPXqbKrcbFNJI6D0DeYxyqksCp9tPezxbaH71rJd1mDl0WmsDqBQgttVUIPiv-h9WJRSd3HOLJEYUN6sphk/s2048/Codex_Subpartum_ver_3_fot_Anna_Zagrodzka-1.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvUQPdqCt0O2Vzo43cvlnROG-Y7bDh_B_LdNFSCjrCnS2bU_afGh3EoUkNCaPXqbKrcbFNJI6D0DeYxyqksCp9tPezxbaH71rJd1mDl0WmsDqBQgttVUIPiv-h9WJRSd3HOLJEYUN6sphk/s2048/Codex_Subpartum_ver_3_fot_Anna_Zagrodzka-1.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="2048" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvUQPdqCt0O2Vzo43cvlnROG-Y7bDh_B_LdNFSCjrCnS2bU_afGh3EoUkNCaPXqbKrcbFNJI6D0DeYxyqksCp9tPezxbaH71rJd1mDl0WmsDqBQgttVUIPiv-h9WJRSd3HOLJEYUN6sphk/s320/Codex_Subpartum_ver_3_fot_Anna_Zagrodzka-1.jpg" width="320" /></a></div><br /><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><b><br /></b></p><p><b><br /></b></p><p><b>Codex Subpartum (concert version)</b></p><p><b><a href="https://www.km28.de/">KM28</a></b>, <b>Berlin</b></p><p>01/12/2021</p><p>20.00</p><p> </p><p>Performed by <a href="http://www.zincandcopper.org"><b>Zinc & Copper</b></a> with <a href="https://barbarakingamajewska.com/"><b>Barbara Kinga Majewska</b></a></p><p>- Elena Kakaliagou - French horn</p><p>- Hilary Jeffery - trombone</p><p>- Robin Hayward - tuba</p><p>- Barbara Kinga Majewska - voice, concept, scores</p><p>- Michal Libera - concept, scores, text</p><p><br /></p><p>Program: </p><p>Władysław Strzemiński, <i>From the Series Faces</i></p><p>Alina Szapocznikow, <i>Drawing 41</i></p><p>Milan Grygar, <i>Score</i></p><p>Wacław Szpakowski, <i>From the Series A: A1</i></p><p>Joseph Beuys, <i>Beuys by Warhol</i></p><p>Suzanne Treister, <i>HEXEN 2.0 / Diagrams / The Computer From the Antikythera Mechanism to Quantum Telepathology</i></p><p><br /></p><p>Music is an interpretive tool, it is the discovery of hidden codes, texts and contexts, and it is also a way of showing what is usually impossible to see. Music understood in this way was applied to art works from the collection of Muzeum Sztuki in Łódź. Music and sound are used to search for words in Wacław Szpakowski's great-handwriting, changes of temperature in Milan Grygar's "Score" and computational algorithms in Suzanne Treister’s diagrams. </p>Michał Liberahttp://www.blogger.com/profile/07745350017313415778noreply@blogger.com0tag:blogger.com,1999:blog-5952963646077764920.post-48535594404901804372021-01-10T07:00:00.001-08:002021-01-10T07:00:25.240-08:00Bandcamp Times<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit0xtM9-CCRfElycvk7QHqXMgFAn-obsPcYcmf3BaPSikuuDxMGp3sg8921vNGAatyqTuLAx-mvlOLhqt9N1AlC4IaMMXD7K_zRPN0C8DgxlftI47o4XeTDFFSwqDk3uUrDLgvnArcg8oE/s700/Studium.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit0xtM9-CCRfElycvk7QHqXMgFAn-obsPcYcmf3BaPSikuuDxMGp3sg8921vNGAatyqTuLAx-mvlOLhqt9N1AlC4IaMMXD7K_zRPN0C8DgxlftI47o4XeTDFFSwqDk3uUrDLgvnArcg8oE/s320/Studium.jpg" /></a></div><br /><p></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><b><a href="https://michallibera.bandcamp.com/album/studium-the-sense-of-hearing-audiobook">Studium. The Sense of Hearing</a> </b><b><a href="https://michallibera.bandcamp.com/album/studium-the-sense-of-hearing-audiobook">(Audiobook)</a></b></p><p>with Pete Simonelli, Hilary Jeffery, Andrea Belfi and Ralf Meinz</p><p><br /></p><p><br /></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0Y8_lUwO3gl2LlxHaxmomE4NcMBNp-gEahmOplYWgIlsyKRndd4epxQQlzmVNPTmRi1XCRTdidWcEpxM9dw4JwijSJ_7PjnsFeCU6ynYF9RXMsURAuD0vk-SUqzVdy0O5e2cWJ0OuCb5O/s700/Lethe.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0Y8_lUwO3gl2LlxHaxmomE4NcMBNp-gEahmOplYWgIlsyKRndd4epxQQlzmVNPTmRi1XCRTdidWcEpxM9dw4JwijSJ_7PjnsFeCU6ynYF9RXMsURAuD0vk-SUqzVdy0O5e2cWJ0OuCb5O/s320/Lethe.jpg" /></a></div><br /><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><b><a href="https://michallibera.bandcamp.com/album/lethe-opera-buffa-acusmatica">Lethe</a> </b><b><a href="https://michallibera.bandcamp.com/album/lethe-opera-buffa-acusmatica">(Opera Buffa Acusmatica)</a></b></p><p>with music of Luciano Cilio</p><p><br /></p><p><br /></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM-L04YQR5tXX09tWjskQIb8Muv1ChALArc595QvRv_ZfQzjTWKMKLj3Ji9nWxNafQHoHYltADZivNRyCCKhboy4eDzz7JbGJLZE_3Rv2bUuuYhTot7hDDrEq7mmXcAEu_acdQ8AZJCeRg/s700/Bildung.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM-L04YQR5tXX09tWjskQIb8Muv1ChALArc595QvRv_ZfQzjTWKMKLj3Ji9nWxNafQHoHYltADZivNRyCCKhboy4eDzz7JbGJLZE_3Rv2bUuuYhTot7hDDrEq7mmXcAEu_acdQ8AZJCeRg/s320/Bildung.jpg" /></a></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><b><a href="https://michallibera.bandcamp.com/album/bildung-recitativo-secco">Bildung</a> </b><b><a href="https://michallibera.bandcamp.com/album/bildung-recitativo-secco">(Recitativo Secco)</a></b></div><div><div><p>with Tony Di Napoli and Sibylle Friedberg</p><div><br /></div></div></div><div><br /></div><div><br /></div>Michał Liberahttp://www.blogger.com/profile/07745350017313415778noreply@blogger.com0tag:blogger.com,1999:blog-5952963646077764920.post-30628834014864989712020-12-21T03:32:00.005-08:002021-01-19T12:58:47.792-08:00Tres Blackout #32 <p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitApU5zWtMSw4TEYTym2Xaa_v3fB55lKYNoCbN_hW1Z3UKDO5XBEXhqeld5nXNdXy1fxddl0pbHOCzyPSH-1FnMgISvsIIf9mEsVzRMv63Na1BDMjqJIXYBHKoDigl9fSVsJyiQSvQqYTT/s600/tres_macba_blackout32-cartella3-bn.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitApU5zWtMSw4TEYTym2Xaa_v3fB55lKYNoCbN_hW1Z3UKDO5XBEXhqeld5nXNdXy1fxddl0pbHOCzyPSH-1FnMgISvsIIf9mEsVzRMv63Na1BDMjqJIXYBHKoDigl9fSVsJyiQSvQqYTT/s320/tres_macba_blackout32-cartella3-bn.jpg" /></a></div><br /><p></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><b><br /></b></p><p><b>Tres, Blackout #32</b></p><p>Blacking out of <a href="https://www.macba.cat/" style="font-weight: bold;">MACBA</a></p><p>Barcelona</p><p>30/01/2021 ---- POSTPONED</p><p><a href="https://www.macba.cat/en/exhibitions-activities/activities/tres-blackout">more details</a></p><div><br /></div><p>One of the ways of introducing <b>Blackout</b>, by Tres himself, pre-proof, found in a mailbox, dated February 15th, 2016, received at 13.03</p><p>"[...] An exploration in sound by way of the gradual switching-off of the technologic systems essential to the operation of a given venue. A process through which successive acoustical layers of machine-produced hum and buzz are gradually emptied from an architectural space conceived as a sound sculpture. The aim is to revert the existing environmental noise to a silence as free as possible from any residual sound or light. Blackout dissects the ambient sounds pervasive throughout our lives - the random mass of blows and hums that fill the rooms at work and at home. This dynamic undressing allows the audience perception and understanding of the richness and invasiveness of sound of the separate components, often unnoticed, that coexist in a place: technologies of indoor comfort such as heating, ventilating cooling, lighting, elevators, sound systems, multimedia, beamers, servers etc, every single machine ceases to function [...]"</p><p><br /></p>Michał Liberahttp://www.blogger.com/profile/07745350017313415778noreply@blogger.com0tag:blogger.com,1999:blog-5952963646077764920.post-17796110794212964192020-12-08T04:22:00.001-08:002020-12-08T13:33:37.634-08:00Bogdan<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioOLjplfAkhHFwOw-749YEQ67tovn9FyyMdpZ3Eda8muzLsbAEnBXYGotet62OCsh_ms3bxgGqMv_ox0bE_-ZL7jqp6aXzkV0J3AsfoF_9xVE_fGinyFeSSa0jfOvkoK0Szuk2gZv5Oc6b/s829/Peru.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="612" data-original-width="829" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioOLjplfAkhHFwOw-749YEQ67tovn9FyyMdpZ3Eda8muzLsbAEnBXYGotet62OCsh_ms3bxgGqMv_ox0bE_-ZL7jqp6aXzkV0J3AsfoF_9xVE_fGinyFeSSa0jfOvkoK0Szuk2gZv5Oc6b/s320/Peru.png" width="320" /></a></div><br /><p></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><b><br /></b></p><p><b><br /></b></p><p><b>Bogdan</b></p><p>Słuchowisko na podstawie Roberta Walsera i Franza Kafki</p><p>Towarzyszy premierze kryminału kartograficznego Grzegorza Laszuka "Morderstwo (w) Utopii"</p><p><br /></p><p><b>Komuna Warszawa / Radio Kapitał</b></p><p>20/12/2020</p><p><br /></p>Michał Liberahttp://www.blogger.com/profile/07745350017313415778noreply@blogger.com0tag:blogger.com,1999:blog-5952963646077764920.post-86094968058519653002020-10-26T08:17:00.001-07:002021-04-23T05:40:25.700-07:00SYKSTEר<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik93LceDjGmazvJf896Grl6HC68MgrtehI4vpzgQ8EHw48jTMzDW8ak7LHTNyXvQ6aphMePy7ERScoNux_rt03ANmQfVXXr3vqJqF2cBisLcyacK6qyFAKM489kXyT07U3iQCbf2rCegKA/s320/resh.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="320" data-original-width="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik93LceDjGmazvJf896Grl6HC68MgrtehI4vpzgQ8EHw48jTMzDW8ak7LHTNyXvQ6aphMePy7ERScoNux_rt03ANmQfVXXr3vqJqF2cBisLcyacK6qyFAKM489kXyT07U3iQCbf2rCegKA/s0/resh.jpg" /></a></div><br /><p></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><b>SYKSTE<span style="font-family: arial; font-size: x-small;">ר</span></b></p><p><span style="font-family: arial;">Performans na ciche czytanie</span></p><p><span style="font-family: arial;"><br /></span></p><p><span style="font-family: arial;">Świetlica Krytyki Politycznej, </span></p><p><span style="font-family: arial;">Jasna 10, Warszawa</span></p><p><span style="font-family: arial;">04/11/2020</span></p><p><span style="font-family: arial;">12.00 - 20.00</span></p><p><span style="font-family: arial;"><br /></span></p><p><span style="font-family: arial;">Początek o każdej pełnej godzinie.</span></p><p><span style="font-family: arial;">Wejście w pojedynkę.</span></p><p><span style="font-family: arial;">Performans trwa 35 minut.</span></p><p><span style="font-family: arial; font-size: small;"><a href="https://krytykapolityczna.pl/o-nas/warszawa/program-solidarnosciowy/libera/">Obowiązują zapisy</a></span></p><p><br /></p><p>Czym jest SYKSTEר? Może być na przykład łapanym w biegu sześciopakiem, oczywiście. Albo hipsterem z fobią seksualną. Ewentualnie muzyczną sekstą zakończoną ogonem w postaci ר. Może być różnymi rzeczami, właściwie czymkolwiek, co tylko zechce się za nim skryć. To ważne, aby chciało się skryć. SYKSTEר może więc również być – i tak jest w tym przypadku – performansem na ciche czytanie, w którym całkiem nieoczekiwanie znaleźć można medytację na temat #metoo, reakcję na rosnącą zawartość performatywności w otaczającym nas powietrzu, na fake newsy, na przeludnienie, na uzdrawianie terapiami, dokonane i niedokonane, udane i nieudane. Na pandemię też? Na pandemię też.</p><p>SYKSTEר pochodzi ze słownika Sergieja Pankiejewa, jednego z najważniejszych pacjentów Zygmunta Frueda. Tworzył on słowa, które służyły do wprowadzania wiedeńskiego neurologa w błąd, do mącenia mu w głowie. Ale też służyły do łączenia odległych od siebie wątków, między różnymi porządkami, między językami, a przede wszystkim między słowami a rzeczami. To o nim – o Pankiejewie – jest ten performans na ciche czytanie, jeden na jeden z wyświetlanym tekstem. O nim, a konkretniej o jego jamie ustnej a także jej związkach z historią druku i stenografii, z masturbacją, z wiarą i głuchoniemotą, z akadyjską inskrypcją kamienną sprzed pięciu tysięcy lat, z papryką, charczeniem i rezonansami, z ludźmi-wilkami w ogóle i z ogonociągiem w szczególe. </p><p>W rolach drugoplanowych: Karol Darwin, Karol-Michał de L'Eppe, Eanatum, Jana Sala, Ryszard Artur Surtees Paget, Robert Ashley oraz Franciszek Merkury van Helmont i Godfryd Wilhelm Leibniz.</p>Michał Liberahttp://www.blogger.com/profile/07745350017313415778noreply@blogger.com0tag:blogger.com,1999:blog-5952963646077764920.post-35426702941124862172020-09-09T04:46:00.000-07:002020-09-09T04:46:12.418-07:00"Rameau's Nephew" by Grupa Budapeszt (thanx to BNNT) by MMMK via Bandcamp<blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"></blockquote><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-kZsFIqRG7vfBnY7w_Bs1La1fEDotxCQ2NEKUmU3dUudrXELuLC26QW_ZJUea9oJ-iJDGd8E7H0zNAQwI0BjkfAK-SVYSnmx06TeQ7OSPhvmsbK49sEO3kMZXZgvo7ZT9PUUBaH0Q-v4p/s480/record.jpeg" style="clear: left; display: inline; margin-bottom: 1em; margin-left: 1em; text-align: center;"><font color="#000000"><img border="0" data-original-height="480" data-original-width="480" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-kZsFIqRG7vfBnY7w_Bs1La1fEDotxCQ2NEKUmU3dUudrXELuLC26QW_ZJUea9oJ-iJDGd8E7H0zNAQwI0BjkfAK-SVYSnmx06TeQ7OSPhvmsbK49sEO3kMZXZgvo7ZT9PUUBaH0Q-v4p/w246-h246/record.jpeg" width="246" /></font></a><br /><br /><div style="text-align: left; text-decoration-line: underline;"><br /></div><div style="text-align: left;"><b>Grupa Budapeszt</b></div><div style="text-align: left;"><b>Rameau's Nephew by Grupa Budapeszt (Thanx to BNNT) by MMMK</b></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><div>1. Credits</div><div>2. A Hard Rain's A-Gonna Fall (Take 1)</div><div>3. Dennis Burton</div><div>4. A Hard Rain's A-Gonna Fall (Take 2)</div><div>5. Commentator</div><div>6. A Hard Rain's A-Gonna Fall (Take 3)</div><div><br /></div><div><b>Grupa Budapeszt</b>: Igor Krenz, Michal Libera and Daniel Muzyczuk (compositions)</div><div><b>BNNT</b>: Konrad Smoleński (baritone missile, electronics) and Daniel Szwed (drums)</div><div><b>MM</b>: Macio Moretti (voice).</div><div><b>MK</b>: Michal Kupicz (recording, mix, mastering for bandcamp).</div><div>+</div><div><b>WP</b>: Wojtek Perczyński (mastering for vinyl)</div><div><br /></div><div>The cycle was commissioned by Barbara Piwowarska (Galeria Studio)</div></div><div style="text-align: left; text-decoration-line: underline;"><br /></div><div style="text-align: left;">Album is available freely and digitally via <b><a href="https://grupabudapeszt.bandcamp.com/releases">bandcamp</a> </b></div><div style="text-align: left;">or in one-copy pressed vinyl for sale (please contact us for details and see album cover for the shape of vinyl release)</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><div>Six songs make up Grupa Budapeszt's remake of 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.</div><div><br /></div><div>The cycle of six songs being the remake of the film had been worked out by Grupa Budapeszt with the band BNNT (Konrad Smoleński and Daniel Szwed), MM (Macio Moretti) and MK (Michał Kupicz). The hermetic content of the songs was explained in the exhibition in Gallery Studio in Warsaw by means of objects and four projections: Power Point presentations. The opening featured a concert that attempted 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. Now, with a natural delay of over two years, a one-copy vinyl plate featuring the song cycle had been pressed only to be melted into a 100% vinyl cube – the only object containing the music of the remake of Michael Snow's film. </div></div><div style="text-align: left; text-decoration-line: underline;"></div>Michał Liberahttp://www.blogger.com/profile/07745350017313415778noreply@blogger.com0tag:blogger.com,1999:blog-5952963646077764920.post-53389890666554616842020-03-24T22:47:00.000-07:002020-03-24T22:47:36.751-07:00Radio Kapital<div dir="ltr" style="text-align: left;" trbidi="on">
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<b>Przeciw komunikacji / Against communication</b><br />
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Muzyka nie ma nic wspólnego z komunikacją, muzyka nie ma nic wspólnego z emocjami – muzyka jest formą poznania, narzędziem rozumienia, nauką bliższą chemii czy biologii choć stojącą wyżej od nich w hierarchii dyscyplin, wyżej nawet niż geometria czy kosmografia. Tak przynajmniej na przestrzeni ostatnich dwóch tysięcy lat uważało wielu hermetyków - Trismegistos, Marsilio Ficino, Mario Perniola. Ten ostatni na początku XXI wieku postulował „uwolnienie się od sentymentalnej koncepcji muzyki”. W audycjach będzie można usłyszeć fragmenty ich tekstów – o metalurgii, o przewadze unisona nad konsonansem, o ciągach liczbowych, o duszach zstępujących na ziemię, o hymnach nieistniejących państw, o aibofobiach, o kartach, kościach i tenisie. Będzie im towarzyszyła stara i nowa muzyka hermetyczna zrobiona z nagrań żelaza, palonych orzechów, popiołu, prawie doskonałych tonów prostych a nawet głosów i języków – rzecz jasna tych, których używa się w raju.<br />
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Music has nothing to do with communication, music has nothing to do with emotions - music is a form of cognition, an instrument of understanding, a science closer to chemistry or biology, although standing higher than them in the hierarchy of disciplines, even higher than geometry or cosmography. At least in the last two thousand years, this has been the opinion of many hermetics, from Trismegistos to Marsilio Ficino to Mario Perniola. The last one at the beginning of the 21st century expressed the need to "free oneself of the sentimental conception of music." In the broadcasts you will hear fragments of their texts - about metallurgy, the advantage of unison over the consonant, about numerical sequences, souls descending to earth, about anthems of non-existent countries, about aibophobia, cards, bones and tennis. They will be accompanied by old and new hermetical music made of recordings of iron, roasted nuts, ash, almost perfect simple tones and even voices and languages - of course those used in paradise.</div>
Michał Liberahttp://www.blogger.com/profile/07745350017313415778noreply@blogger.com0tag:blogger.com,1999:blog-5952963646077764920.post-44862551595649700342020-01-13T09:06:00.002-08:002020-02-27T01:16:14.096-08:00Glissando #36 on Tour<div dir="ltr" style="text-align: left;" trbidi="on">
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<b><a href="http://glissando.pl/">Glissando #36</a> on Tour</b><br />
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<a href="https://www.facebook.com/events/1379305605584877/"><b>17/01</b>, Szczecin, <b>Trafo</b></a><br />
<a href="https://www.facebook.com/events/2780218945392972/"><b>19/01</b>, Poznań, <b>Kołorking</b></a><br />
<a href="https://www.facebook.com/events/2323890337905656/"><b>20/01</b>, Wrocław, <b>Tajne Komplety</b></a><br />
<a href="https://www.facebook.com/events/507301163228787/"><b>21/01</b>, Łódź, <b>Obszar Wspólny</b></a><br />
<a href="https://www.facebook.com/events/2845697425486960/"><b>22/01</b>, Toruń, <b>Kulturhauz</b></a><br />
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<a href="https://www.facebook.com/events/1482612528562960/"><b>10/03</b>, Warszawa, <b>Główna Biblioteka Lekarska</b></a><br />
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Michał Liberahttp://www.blogger.com/profile/07745350017313415778noreply@blogger.com0tag:blogger.com,1999:blog-5952963646077764920.post-464977356159539622019-12-05T11:34:00.001-08:002020-01-13T09:02:24.216-08:00Glissando #36<div dir="ltr" style="text-align: left;" trbidi="on">
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<b>post- Musica Sanae</b><br />
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<b><a href="http://glissando.pl/">Glissando #36</a></b><br />
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Agf HYDRA, Leopold Auenbrugger, Autorzy Nieznani, Dorota Błaszczak, Andrea Bolognino, Désiré-Magloire Bourneville, Dariusz Brzostek, Luciano Chessa, Katarzyna Czeczot, Georges Didi-Hubermann, Carl Michael von Hausswolff, Janina Janke, Douglas Kahn, James Kennaway, Jerzy Kuczkowski, Eric La Casa, René Laënnec, Michał Libera, Jakub Łobaszewski, Barbara Kinga Majewska, Krzysztof Marciniak, Maurice de Martin, Franz Anton Mesmer, Marta Michalska, Antoni Michnik, Rebeca Mirón Mombiela, Klaudia Rachubińska, Paul Regnard, Paulina Sacha, Ewelina Sielska-Badurek, Justyna Stasiowska, Maria Strzelczyk, Magda Tchorek-Bentall, Tim Tetzner, Weronika Trojańska, Mark Vernon, Axel Volmar, Karin Weissenbrunner, Johann Jacob Wepfer, Klaudia Wereniewicz, John Wynne, Edward Yoxen, Aleksandra Zasławska</div>
Michał Liberahttp://www.blogger.com/profile/07745350017313415778noreply@blogger.com0tag:blogger.com,1999:blog-5952963646077764920.post-41401680943662584622019-11-19T22:47:00.000-08:002019-11-26T05:11:42.803-08:00Incantation Calling Food Down<div dir="ltr" style="text-align: left;" trbidi="on">
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<b>Incantation Calling Food Down</b><br />
<b>@</b><br />
<b><a href="https://www.juju.world/">Radio Juju</a></b><br />
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<a href="https://worm.org/"><b>WORM UBIK</b></a><br />
Boomgaartstraat 69, Rotterdam<br />
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30/11/2019<br />
21.00<br />
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Music setting for "Investigations of a Dog" by Franz Kafka.<br />
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Michał Liberahttp://www.blogger.com/profile/07745350017313415778noreply@blogger.com1tag:blogger.com,1999:blog-5952963646077764920.post-37200508483736393962019-11-08T06:17:00.002-08:002019-11-08T06:17:40.920-08:00History After the End of History<div dir="ltr" style="text-align: left;" trbidi="on">
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<b>History After the End of History</b><br />
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<b><a href="https://biennaleimmagine.ch/en/11th-edition-home/">Biennale dell'immagine</a></b><br />
<b>Chiasso</b><br />
09/11/2019<br />
Spazio Lampo<br />
18.00<br />
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Three pieces, ca. 30'<br />
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<b>_kelo </b>– recordings, composition<br />
<b>Michał Libera</b> – recordings, text, composition<br />
<b>Barbara Kinga Majewska </b>– voice, piano, composition<br />
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End of the history, claimed by Francis Fukuyama with the collapse of the Soviet Union, is “the point in which historical process ends, reaches its own complete realization, when it offers to human beings the conditions of possibility for a mutual recognition of their freedom from the bond to biological life”. But, as it falls into the same immobility of nature, with the end of history comes also the end of human being.<br />
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Nowadays Fukuyama’s statement sounds more like a cruel joke from and about the 90s. But perhaps there are places on earth in which the stillness of humans has actually happened? Is this what happened in Bellinzona at the end of the 90s? Having this speculation in the back of their minds, during a week in mid July 2019, three friends set out to see what are the sounds of history after it had ended. This is not only ironic. The piece is an attempt to document and articulate a life on its own, a complex history in its making, full of tensions and releases, daring contradictions and peaceful cohabitations which inevitably come after the history ends.<br />
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Michał Liberahttp://www.blogger.com/profile/07745350017313415778noreply@blogger.com0tag:blogger.com,1999:blog-5952963646077764920.post-64146283603785744532019-10-28T22:40:00.003-07:002019-10-28T22:40:38.379-07:00Musica Sanae III<div dir="ltr" style="text-align: left;" trbidi="on">
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<b><a href="https://www.musicasanae.com/">Musica Sanae</a></b><br />
Berlin<br />
14-16 November<br />
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curated with <b>Phonurgia</b> (Naples), <b>In Situ</b> (Sokolowsko), <b>N.K. Projekt</b> (Berlin)<br />
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N.K. presents <b>Agf Hydra; Felicia Atkinson; Rashad Becker; Evelyn Bencicova; Tiziana Bertoncini; Erik Bünger; Les énérves; Benjamin Flesser; LABOUR; Barbara Kinga Majewska & Tony di Napoli; Yutaka Makino; Fredrik Olofsson; Anthony Pateras (solo and with Tiziana Bertoncini, Lucio Capece, Riccardo La Foresta, Gerard Lebik, Mike Majkowski & Chiara Mallozzi); Rumpsti Pumsti; Ziur</b><br />
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<b>Musica Sanae </b>is a research-based art project dedicated to intersections of sound and medicine. In three consecutive events in Naples, Sokolowsko and Berlin over forty musicians, performers, researchers and theoriests will present their takes on how new ways of hearing produce and underlie our notions of hygiene, health, well-being, progress and sanity. All acts will be hosted by unique venues of which most are of historical importance for medical architecture.<br />
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previous editions at La Digestion in Naples and Sanatorium of Sound in Berlin<br />
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Publication to follow in collaboration with <b><a href="http://glissando.pl/">Glissando</a></b> and <b><a href="https://www.positionen.berlin/">Positionen</a></b><br />
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more information: <b><a href="http://musicasanae.com/">musicasanae.com</a></b><br />
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Michał Liberahttp://www.blogger.com/profile/07745350017313415778noreply@blogger.com0tag:blogger.com,1999:blog-5952963646077764920.post-62241630895847059052019-09-18T07:15:00.002-07:002019-10-08T01:36:27.454-07:00Systematics of Heterotrophs (outline)<div dir="ltr" style="text-align: left;" trbidi="on">
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<b>Systematics of Heterotrophs (outline)</b><br />
Based on Franz Kafka<br />
@<br />
<b><a href="http://www.krolikarnia.mnw.art.pl/">Królikarnia</a></b><br />
Puławska 113a<br />
19-27 / 10 / 2019<br />
12.00 - 24.00<br />
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Part of <b><a href="http://www.krolikarnia.mnw.art.pl/aktualnosci/sluchy-koncerty-do-zwiedzania-edycja-3,44.html">Listenings. Concerts to be toured</a></b>, curated by <b>Emilia Sitarz </b><br />
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<b>Sound installation</b><br />
Concept, composition: <b>Michał Libera</b><br />
Sound design: <b>Robert Nacken</b><br />
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"Systematics ..." consists of monkeys, dog (singular or plural), mouse, cockroach or vexator, vulture, horse from Elberfeld, too large mole, carnivorous ox, snake, two canaries, several still unnamed specimens and - perhaps - human being. What connects them is the inability to produce their own food. A completely trivial, mundane feature of all animals - they are not self-sufficient; they are dependent on their surroundings; they need the world, even if only to eat it. Perhaps this duality goes beyond metabolic levels. At least that's what the title hero of "Investigations of a dog" by Franz Kafka thinks. He believes that the theory of nutrition should be enriched with the theory of music, "the theory of singing that evokes food." This dog is starving by the way, and the song he is interested in is silent, inaudible, imagined, maybe it is not a song at all, though if it was a song and he was the one to sing it, a special kind of supra-human listening would need to be developed in order to hear it. Or sub-human perhaps. It is this kind of listening that is the real topic of "Systematics ...".<br />
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Michał Liberahttp://www.blogger.com/profile/07745350017313415778noreply@blogger.com4tag:blogger.com,1999:blog-5952963646077764920.post-19280815291851008792019-09-11T15:09:00.000-07:002019-09-11T15:09:00.361-07:00Pseudacusis<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_mCU8GQ5Gg_lhyK2p74FaMCaZbesHbnQJ6ml4XYpKZaEX1067RU3bfqE_72hKH1f7E0xHSJbmC6e0CBAyHPUczv3UPyqLfekkM9o7bAOv2y26UUkXv7o1Mnzn_mSNqr1GemLPE333FLxz/s1600/1.PNG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="183" data-original-width="233" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_mCU8GQ5Gg_lhyK2p74FaMCaZbesHbnQJ6ml4XYpKZaEX1067RU3bfqE_72hKH1f7E0xHSJbmC6e0CBAyHPUczv3UPyqLfekkM9o7bAOv2y26UUkXv7o1Mnzn_mSNqr1GemLPE333FLxz/s1600/1.PNG" /></a></div>
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<b>Pseudacusis </b><br />
<a href="http://sacrumprofanum.com/programme/pseduacusis-1"><b>@ Sacrum Profanum</b></a><br />
27/09/2019<br />
MOS<br />
Kraków<br />
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<b>Natasha Anderson</b> – <i>Nor Girdling Gnaw</i> for viola d’amore and six-channel electronics<br />
<b>Anthony Pateras</b> – <i>Pseudacusis</i>, audio hallucinations for an electroacoustic septet<br />
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with live appearances by:<br />
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Anthony Pateras – piano, tape, live mix<br />
Natasha Anderson - electronics<br />
Lucio Capece – clarinet<br />
Gerard Lebik – saxophone, electronics<br />
Mike Majkowski – double bass<br />
Riccardo La Foresta – drums<br />
Deborah Walker – cello<br />
Lizzy Welsh – violin<br />
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and playback appearances by:<br />
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Aviva Endean – clarinet<br />
Judith Hamann – cello<br />
Jonathan Heilbron – double bass<br />
Scott McConnachie – saxophones<br />
Maria Moles – percussion instruments<br />
Erkki Veltheim – violin<br />
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Pseudacusis was commissioned by <b><a href="https://www.musicasanae.com/">Musica Sanae</a></b> (In Situ, Phonurgia, N.K. Projekt)<br />
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Michał Liberahttp://www.blogger.com/profile/07745350017313415778noreply@blogger.com0