TYTO ALBA

BRR008

Tyto Alba. 

13 portraits of melancolics, birds and their co-hearing

Michal Libera with Martin Küchen and Ralf Meinz

Text, recordings, composition by Michal Libera

Saxophone by Martin Küchen

Sound design by Ralf Meinz

1. Michel Serres

2. WG Sebald

3. Philomela

4. Max Ernst

5. Alvin Lucier

6. Giorgio Agamben

7. Bedřich Smetana

8. Andean Solitaire

9. Auguste Rodin

10. Tyto Alba

11. Georges Perec

12. Wilhelm Heinrich Dove

13. Javier Marías

Sound essay, hörspiel, reading, electroacoustic music, plunderphonics, sound portraits, collection of songs or simply a sonic take on melancholia. Disposition or disease, melancholia is a rich psycho-territory full of apathy, depression, withdrawal, self-dismissal, hallucinations and alien voices. And hearing. In particular, suffering of the ears and peculiar way of listening related to it. In one of the footnotes in his essay „Stanzas”, Giorgio Agamben points out that the well known melancholic posture of a man leaning his head against the hand is actually an attempt to get away from suffering of his ringing ear. This observation bringing together melancholia and sound is the main coordinate of the piece's development. It departs from melancholic listening turning women into birds depicted in the opening chapter of WG Sebald's „Rings of Saturn”. The voice imperceptibly meanders between reading, commenting and distorting the tales ramifying the interpretations of the initial situation. It is accompanied by hundreds of samples from classical music to birds and saxophone playing by Martin Küchen.

POPULISTA presents ALVIN LUCIER

BRPOP 12

Populista presents Rinus van Alebeek, Michał Libera play Alvin Lucier, Chambers

Composition by Rinus van Alebeek

Text adaptation by Michał Libera

Voices and recordings by Rinus van Alebeek, Michał Libera and Barbara Eramo

1. Trading Cities 1: Santa Eufemia D'Aspromonte

2. Cities & Names 5: Gioia Tauro

3. Cities & Eyes 1: Chòra tu Vùa

4. Thin Cities 5: Roghudi

5. Thin Cities 2: Catanzaro

6. Trading Cities 3: Rosarno

7. Continuous Cities 1: Ziia

8. Trading Cities 2: San Ferdinandea

9. Cities & The Dead 4: Caulonia

Rinus' words available here.
Rinus' audio teaser available here. 

The whole idea came from reading Italo Calvino's „Invisible Cities” while travelling among unknown cities of Calabria. The similarities have been striking. The book became a guide, Kublai Khan – an emperor of the land in the south of Italy and the idea – irrepresible urge to actually perform this similiarity. The original text by Calvino was overwritten with some information – including the names of towns – distorted, filtered and overdubbed by its local reflections. Armed with it, Rinus van Alebeek and Michał Libera set out for a dozen of excursions into Calabrian towns to recite, talk, read, listen, drink coffee, perform, play, record, play back... or: blow, bow, rub, explode, scrape, walk, ignore, talk, screw, dance, whistle, which are all suggestions of Alvin Lucier to make large and small resonant environments sound. The material recorded during these attempts to make invisible cities of Calabria sound was then composed by Rinus van Alebeek to form a road-audio-book.

* 

One of three completely different albums intersecting in a territory of interpretation, overinterpretation and misinterpretation of music – beloved themes of Populista. Lucier and Ferrari albums may seem heterodoxical if not simply wrong, especially if compared with previous phonographic releases. Yet literally speaking, none of them violate the instructions of the scores and Populista is perversly proud to state that this time nothing forbidden by the composers have been done here. „Tautologos III” and „Chambers” are radically open forms, presuming a creative approach from the interpreters and this was taken seriously in search of the content that seems close to the music ideas of the composers. Tartini release is more of a classical Populista approach. It deliberately breaks the instructions given by the composer in the name of some other features introduced by the composer himself.

POPULISTA presents LUC FERRARI

BRPOP 11

Populista presents Komuna// Warszawa plays Luc Ferrari Tautologos III

Violin by Julia Kubica

Viola by Wojciech Walczak 

Cello by Filip Rzytka

Voices and organ by Grzegorz Laszuk, Alina Gałązka, Michał Libera, Edyta Jarząb

Sound, recording by Ralf Meinz

Cover art work by Aleksandra Waliszewska

Layout by Piotr Bukowski

Recorded and premiered in Komuna// Warszawa

1. Overture

2. Act I

3. Act II

4. Act III

5. Coda

In 2011, the prose score of „Tauologos III”, served as framework for a chamber opera prepared in Komuna// Warszawa. Its core element consisted of three separate performances of a short fragment of Alfred Schnittke's String Trio. Violinist (Julia Kubica), violist (Wojciech Walczak) and cellist (Filip Rzytka) played their own parts of the given movement one after the other. Their performances were recorded live and finally overlapped and played back with no synchronization. The procedure was sprinkled and scattered by dance movements and lecture dealing with notions of division of labor in music informed by both sociological and musicological insights into the topic (references to Max Weber, Emile Durkheim, Jacques Attali and Christopher Small). Album release is an updated and re-recorded version of the performance and hopefully a self-explaining tautology as well.

*

One of three completely different albums intersecting in a territory of interpretation, overinterpretation and misinterpretation of music – beloved themes of Populista. Lucier and Ferrari albums may seem heterodoxical if not simply wrong, especially if compared with previous phonographic releases. Yet literally speaking, none of them violate the instructions of the scores and Populista is perversly proud to state that this time nothing forbidden by the composers have been done here. „Tautologos III” and „Chambers” are radically open forms, presuming a creative approach from the interpreters and this was taken seriously in search of the content that seems close to the music ideas of the composers. Tartini release is more of a classical Populista approach. It deliberately breaks the instructions given by the composer in the name of some other features introduced by the composer himself.

POPULISTA presents GIUSEPPE TARTINI

BRPOP 10

Populista presents Ralf Meinz, Karolina Ossowska, Mikołaj Pałosz play Giuseppe Tartini La sonata il sol minore al terzo suono

Violin by Karolina Ossowska

Cello by Mikołaj Pałosz 

Sound, recording by Ralf Meinz

Cover art work by Aleksandra Waliszewska

Layout by Piotr Bukowski

Recorded in Królikarnia - Xavery Dunikowski Museum of Sculpture

1. La sonata il sol minore al terzo suono, bars 1-3

2. La sonata il sol minore al terzo suono, bars 3-10

3. La sonata il sol minore al terzo suono, bars 38-41

Apart from being a prolific Italian composer, Giuseppe Tartini was also a violin teacher and a theorist. Out of close analysis of intonation, he became interested in a long known phenomena of mysterious third tones which sometimes appear when only two sounds are articulated. He called them „il terzo suono” and was the first one to develop a written down theory of what we now know as combination tones. In his "Trattato di musica secondo la vera scienza dell'armonia” published in 1754 he laid out a mathematical proof of third tone's pitch as either sum or difference of the other two articulated pitches. The idea behind the performance of Karolina Ossowska (violin), Mikołaj Pałosz (cello) and Ralf Meinz (recording) was to search for the combination tones in Tartini's own music. In order to make it audible, we decided to follow the path of a never-mention-his-name-because-you-will-be-in-debts composer, also interested in combination tones, who famously stretched durations of each note in a serial music piece which resulted in one of the milestones of minimal music.

*

One of three completely different albums intersecting in a territory of interpretation, overinterpretation and misinterpretation of music – beloved themes of Populista. Lucier and Ferrari albums may seem heterodoxical if not simply wrong, especially if compared with previous phonographic releases. Yet literally speaking, none of them violate the instructions of the scores and Populista is perversly proud to state that this time nothing forbidden by the composers have been done here. „Tautologos III” and „Chambers” are radically open forms, presuming a creative approach from the interpreters and this was taken seriously in search of the content that seems close to the music ideas of the composers. Tartini release is more of a classical Populista approach. It deliberately breaks the instructions given by the composer in the name of some other features introduced by the composer himself.

PLAYBACK PLAY #7: Advent

Playback Play #7: Advent

12-15/12/2014

Dwa Osiem, Teatr Powszechny, Komuna// Warszawa, Bazylika Najświętszego Serca Pana Jezusa

Organized by Stowarzyszenie Plan B.

Curated by Michał Libera and Michał Borkiewicz

Layout by Piotr Bukowski

PR by Monika Zarzycka

12/12/2014

* Dwa Osiem, Zamoyskiego 26a

18.00: Béla Tarr: "Werckmeister Harmonies" – screening

20.30: DJ Lenar solo: dedicated to Béla Tarr's "Werckmeister Harmonies"

21.30: Joanna Halszka Sokołowska solo: Franz Schubert's "Winterreise"

22.30: Jean-Hervé Péron, Zsolt Sőrés Ahad, Jerzy Rogiewicz: "Melancholy of Resistance", Chapter 1: Altered States

13/12/2014

* Komuna// Warszawa, Lubelska 30/32

19.00: Joanna Halszka Sokołowska with choir: Msza

20.00: Richard Youngs solo

* Bazylika Najświętszego Serca Pana Jezusa, Kawęczyńska 53

21.00: Phil Minton, Gerard Lebik, David Maranha: "Melancholy of Resistance", Chapter 2: Werckmeister Harmonies

14/12/2014

* Teatr Powszechny, Zamoyskiego 20 (30 PLN)

20.00: David Thomas, DJ Lenar, David Maranha, Jerzy Rogiewicz, Zsolt Sőrés Ahad: "Melancholy of Resistance", Chapter 3: Sermo Super Sepulchrum

* Dwa Osiem, Zamoyskiego 26a (10 PLN)

22.00: Richard Youngs, David Maranha, Wacław Zimpel: Richard Young's "Advent"

*** Program subject to slight changes

ACCOMPANYING CONCERT: 15/12/2014

* Lokal A-I-R, Marszałkowska 9/15

20.30: Phil Minton & Gerard Lebik

Advent: time of silence and expectant waiting for Coming of the Christ. Lord's anger, plagues and distasters for the sinners; great joy for the faithful believers. Key-words: panic, anxiety, extermination, infatuation. This year's Playback Play will be dedicated to one of the version of this story - sequence of events happening in a small town in Hungary as narrated by László Krasznohorkai in his "Melancholy of Resistance". An unexpected arrival of circus with a giant dead whale triggers off the advent-machinery: expectant waiting turns into panic, panic turns into riots, riots turn into extermination and all that into a thick description of a major moral position of our times, named by the prolific writer "melancholy of resistance".

Within a short residency in Warsaw, the invited artists will work on a music adaptation of the book. Introduction to the story, "Altered States" will be presented by one of the founding leaders of Faust, Jean-Hervé Péron; the main chapter – by Phil Minton; and a final "Conclusion" by a legendary founder of Pere Ubu - David Thomas. They will be accompanied by: Gerard Lebik, DJ Lenar, David Maranha, Jerzy Rogiewicz, Zsolt Sőrrés. The three concerts will be preceeded by screening of film adaptation of the book by Béla Tarra and a „film for an ear” performed by DJ Lenar.

"Melancholy of Resistance" orbit will be filled with a number of other advent events. Joanna Halszka Sokołowska will perform her "Msza" accompanied by a choir and Franz Schubert's "Winterreise” - a capella. For the end of "Advent" Richard Youngs's piece of the same title will be played by its author together with David Maranha and Wacław Zimpel. 

Public Address for O.M.I.A.M.H.

 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

PUBLIC ADDRESS

Hommage à Speaker

Music program accompanying "One Mind In A Million Heads" by Konrad Smoleński

 

Framework: Volkspaleis

Venue: Zuiderstrandtheater, Scheveningen, The Hague, The Netherlands

Organizer: West

Dates: 18/10/2014 - 16/11/2014

 

18/10/2014

 

19.00: Opening of the exhibition by Konrad Smoleński

21.00: Wolf Eyes - concert

22.00: Cut Hands - concert

23.00: Brutaż - DJ sets

 

19/10/2014

 

16.00: Michał Libera - opening lecture about loudspeakers and propaganda

17.00: Kyle Devine - acousmatic lecture on social history of loudspeakers

20.00: Lionel Marchetti - lecture on Art of Loudspeakers

20.30: Lionel Marchetti - solo concert

21.00: Eliane Radigue - acousmatic music concert incl. early feedback works (diffused by Lionel Marchetti)

 

24/10/2014

 

12.00: Nic Collins - workshops on DIY speakers and osciallators (free subscription)

21.00: Eli Keszler - concert, variation on L-Carrier project

22.00: Mark Bain - vibrational architecture performance, The Archisonic

 

25/10/2014

 

12.00: Nic Collins - workshops on DIY speakers and osciallators (free subscription)

20.00: Nic Collins, Kees Tazelaar - panel discussion

21.00: Nic Collins with Workshop Group - performance of "Rainforest IV" by David Tudor

 

01/11/2014

 

Kannonnenvoer Night (co-curated by Anne Wellmer, Justin Bennett and Matteo Marangoni)

 

from 21.00 on: overlapping performances of

- BMB con.

- Anne Wellmer "Rondzingen"

- Matteo Marangoni and Dieter Vandoren - "Lampyridae"

 

02/11/2014

 

20.00: Juan Cantizzani - performance "Spatial Perception Studies"

21.00: Diktat - unplugged

 

08/11/2014

 

20.00: Anton Lukoszevieze - concert (incl. pieces by Zbigniew Karkowski, Alvin Lucier, George Brecht and others)

21.30: Spat'Sonore - concert of acoustically spatialized instrumental music

 

09/11/2014

 

20.00: Michał Libera - lecture on amplification before 20th Century

21.00: Aleks Kolkowski - lecture and presentation about early 20th Century amplification

22.00: Aleks Kolkowski and Spat'Sonore play Luigi Russolo

 

16/11/2014

 

20.00: Tres - Blackout performance

21.00: Tony Di Napoli - stones performance

 

*
 

film lounge for the duration of the exhibition

incl. 

Walter Rutmann, "Wochenende" (1930), Maya Deren, "A Study in Choreography for Camera" (1945), Yasujirō Ozu, "Tokyo Story" (1953), Samuel Beckett, "Film" (1965), Bruce Nauman, "Walking with Contraposto" (1968), Mauricio Kagel "Blue's Blue" (1981), Black Audio Film Collective, "Seven Songs for Malcolm X" (1993), Reynold Reynolds, "Drowning Room" (2000).

***

Five weekends of performances, presentations, lectures and screenings – all dedicated to the loudspeaker; its raise and fall, its art and politics, its electricity and non-current shapes.

Loudspeaker is one of the thrillingly convincing examples of culture turned into second nature. It is everywhere. Visible or not, rough or cased, black or transparent. Most of the voices we hear, most of the music we know, most of the noise we miss – it is all coming from the loudspeaker. Its relevance is almost imperceptible. Neutral unless distorted, perhaps because of its modest features – disattachement of sound from its source. And making it louder.

Right behind the loudness and volume, the rootless and disattached character of the loudspeaker sound, there are its vibrant socio-political features. The voices audible to the masses, delivery of the message to virtually anyone, its reach and altering of the signal, noisy or clear – and on the other end: its extreme intimacy, previously unknown closeness and detail of the voices and murmurs, much more touching and penetrating than the intimacy of the mouth, bringing our heroes to where they cannot go – to us. We owe it all to the loudspeaker.

*
The program is designed to face the extremes of the loudspeaker and gradually go from one to the other. From maximum volume and electricity, from overwhelming fill and reach to no electricity at all, almost complete silence and acoustic ways of amplifying sound.

The program will kick off on the opening weekend of “O.M.I.A.M.H.” with diabolical and monstrous side of the loudspeaker. Outrageously wild Wolf Eyes will be followed by a legendary William Bennett as Cut Hands and end up in an experimental / rave party by a Warsaw based international DJ collective Brutaż. Saturday night performances will be accompanied by Sunday lectures on social history of loudspeaker (Kyle Devine) and art of loudspeaker (Lionel Marchetti) as well as screenings of propaganda films dealing with the principal functions of the loudspeaker and diffusion of acousmatic compositions by Lionel Marchetti and Eliane Radigue.

Second weekend will put loudspeaker and electricity in the context of architecture. Spectacular project of Mark Bain is a sonification of the vibrations of architecture by the use of seismographic sensors making them audible to the audience. Eli Keszler will perform his drum kit amplified by piano strings connected to walls and motors. Internationally acclaimed hacking virtuoso Nic Collins will give a two day workshop introducing a DIY ways to construct speakers as well as work with a group of volunteers on a performance of the famous “Rainforest IV” by David Tudor – a composition stemming from an idea of each speaker having its very own sound.

Third weekend will host a number of artists presenting projects dealing mostly with mobility and portability of speakers. BMB con. will prepare a special program designed for the theatre filled with Konrad Smoleński's O.M.I.A.M.H. sculpture. Anne Wellmer will perform her adapted version of „Rondzingen” for a vocalizing demolition ball. Matteo Marangoni and Dieter Vandoren will premiere a number of his new audio-creatures to be handed to and experimented with by the audience. Finally, a Dutch-French collective Diktat will disseminate in Smoleński's sculpture with their dictaphones, walkmans and portable tape recorders fully unplugged – and as always accompanied by Jean Borde's doublebass.

Fourth weekend will mark a departure from electrical means of amplifying sound. Gradually. A worldwide known and appreciated cellist Anton Lukoszevieze will give a special recital for amplified cello – from Micro 1 by Takehisa Kosugi and his groundbreaking duo piece with a noise enfant terrible Zbigniew Karkowski to Alvin Lucier's cello and vases piece making use of the resonances of the instrument in the enclosed chamber of the latters. Spat'Sonore is a French collective performing their acoustically amplified instruments by the use of long and entangled horns. They will be mirrored by a lecture presentation by Aleks Kolkowski introducing his collection of early-20th Century horns and tubes used for amplification of sound. Together they will perform Luigi Russolo's “Awakening of the City”.

Finally, the closing of the exhibition will be undertaken by Tres via his Blackout performance. He will be gradually switching off consequent sonic dimensions of the room. Starting from part of Smoleński's sculpture and going through sounding systems of the theatre – ventilation, lightning, heating and many more. Once the loudspeakers are switched off and maximum possible silence is reached the program will terminate at fully acoustic Tony di Napoli performance playing variety of stones, including the 250 million years old sounding litophones.

***

Film program for the duration of the exhibition:

Self-mythological, black and white depictions of incomprehensible strength – selection of films as a starter and an opening of the Volkspaleis experience. Sometimes only a premonition of an unclear intensity, sometimes a display of full integrity bended to an unknown territory, often prime movements and always primordial forces, handsome and free, forming new landscapes and new radiation – Stubborn classicisim of a walking posture caught tightly between the walls (Bruce Nauman), blinded weekend in the 30. in Germany (Walter Rutmann), feasting with a fish underwater (Reynold Reynolds). Since they all articulate uneasy and higher (or lower) intelligence, there is no direct link between the selected movies just as there is no straight connection between them and „One Mind In A Million Heads” or even „Public Address”. Not straighter then the ones between a starter and a main dish.

Calvino in Chiasso

 

 

 

Calvino performative or fake or whatever reading goes to Chiasso

 

Gwenfestival

11/10/2014

23.30

in Chiasso (SUI) Magazzini FFS

or

live streaming in Gwenradio

 

Alessandro Facchini, Michał Libera, Wiktor Milczarek

live act to be followed by Souvenir de Tanger and Facial Index

 

as well as later on this year, one more incarnation of a Calvino project - release of CD recorded with Rinus van Alebeek this summer in Calabria (part of Populista series, accompanied by a first official CD realese by Komuna// Warszawa and Tartini Project with Karolina Ossowska, Mikołaj Pałosz and Ralf Meinz.

 

more soon

 

 

 

 

 

 

JOANNA HALSZKA SOKOŁOWSKA Msza

JOANNA HALSZKA SOKOŁOWSKA
Msza
BR R006

1. I Am What I Am

2. A Rose Is A Rose

3. What's In The Name I

4. Elohim

5. What's In The Name II

6. " "

 

Composed by Joanna Halszka Sokołowska

Libretto by Michał Libera

All instruments performed by Joanna Halszka Sokołowska

except

Piano by Jerzy Rogiewicz

Leading voices by Joanna Halszka Sokołowska

Additional voices by Joanna Piwowar-Antosiewicz, Marta Piwowar, Marta Grofik-Pechel, Grzegorz Uzdański, Grażyna Soczewka

Speaking voices by James Brennan and Michał Libera

 

Released by Bôłt Records

Distributed by Monotype Rec. and Bęc Zmiana

 

The starting point was John Barton Wolgamot's poem „In Sara Mencken, Christ and Beethoven there were men and women”. The starting point was Robert Ashley's composition „In Sara Mencken, Christ and Beethoven there were men and women”. The starting point was bringing thousands of people together. Everyone equal, nobody playing secondary role; all organized into sections, every section being a variant of another. The difference is in names, like in the airport, or art world, or facebook, or disco, or Bible. What brings these people together? What is the new entity they form? What is there between Sara Powell Hardt and Claud Henri de Saint-Simon? Luigi Pirandello and Jane Austen?

We take Wolgamot as a soothsayer of facebook, disco and mass – environments of the descension of God. There is Gertruda Stein waiting for him, trusting that everything can be found in names. There is Ludwig van Beethoven completing his “most successful piece”. There is Rainer Maria Rilke translating his “Notes on the Melody of Things”. There is a choir laying on the floor – bringing God down. And they are all informed by numerological methods, scientific statistics and cabalistic interpretation of the Tree of Life. And they are all framed by a disco ball.

AVANT AVANT GARDE Vinyl

 

GAMUT INC.

Ex Machina

 

released by Bôłt Records and Satelita  

 

Final step of Avant Avant Garde Project

 

Music machines designed by Gerhard Kern (Carillon, BoJow, Fisharmonia)

Performed and composed by Gamut Inc.

 

In distribution of Monotype Rec. soon

Promotional option goes together with Glissando #24 - details soon 

 

 

 

SMUTAZ

SMUTAZ
01/10/2014
Eufemia
21.00

Alessandro Facchini + Piotr Kurek + Michał Libera
21.00 - 22.30: solos
22.30: trio

After a groundbreaking success of a legendary 2013 Smutaż and even more advanterous and profound editions in early 2014, we decided to continue: October opens with funeral songs, chants and marches from different regions of Europe accompanied by their noises - with all sorts of articulations and misarticulations. And a touch of anxiety that brought together they may induce grand transformations in funeral trends all around the world. Die faster!

SPLIT Exhibition & Tape

 

SPLIT

 

Konrad Smoleński

with

mattin, Gregory Whitehead and Jack Sutton

 

West, Den Haag

06/09/2014 - 11/10/2014

 

Exhibition and cassette release

Press release of the gallery below

 

To be followed in October by an exhibition presenting new work of Konrad Smoleński O.M.I.A.M.H

and an additonal program of "Hommage to Loudspeaker"

with

Mark Bain, Justin Bennett, George Brecht, Brutaż, Cut Hands, Nic Collins, Kyle Devine, Diktat, Eli Keszler, Alek Kolkowski, Alvin Lucier, Anton Lukoszevieze, Lionel Marchetti, Tony Di Napoli, Eliane Radigue, Spat'Sonore, Anne Wellmer, Tres and more 

 

more details soon

 

In collaboration with acclaimed Polish artist Konrad Smoleński and Michel Libera, West Den Haag proudly presents The End of Radio, Judge, and Fly by Smoleński in Split. An exhibition that follows the tradition of musicians’ splits on vinyl and cassette tapes.

 

Smoleński eloquently works in visual and performance fields from photography to installation, video to happening, and sound to sculpture; often collaborating with other visual artists and musicians. In 2013, he represented Poland at the Venice Biennale with the monumental installation Everything Was Forever, Until It Was No More (2013). Two huge church bells were the starting point. Two walls of loudspeakers and sonorous objects made of metal sheets completed the work. In intervals, the installation created a visual and aural experience where delay and modification of the initial sound of the bells played a symphony.
 

Making the ‘split’ the focal point of the exhibition, Smoleński’s works are faced with their own Side B –recordings by American audio artist Gregory Whitehead, Basque noise artist mattin, and English trance-medium Jack Sutton. Together Smoleński’s works create a landscape of death and electricity, and all their reversals that the sonic level reveals.

As sociologist and music critic Michel Libera says about the works in Split, ‘I always feel I come too late for Konrad Smoleński's sculptures. Something always already had happened and what had been there to see is no longer there. Irreversibly. Perhaps this is because they so often act ‘the reverse’. The skulls with speakers in eye sockets. The microphones made for emitting sounds rather than catching them. The gagged Judge, in place of the sentencing one. In line with the scale and the enumeration and the noise of Smoleński’s sculptures, their reverse logic makes them an aftermath in a structural and not only metaphoric sense. To paraphrase Morton Feldman – his sculptures are not merely to be watched by us. More than that – they are not even watching us. They have watched something that we had missed’.

The B-side of the Split, art pieces and music has been left behind, replaced by recordings that are obscure, strong, and dead. These recordings are paired together to filter out and amplify some of the morbid frequencies in Smoleński's art.

The End of Radio is an installation of two hundred microphones, which emit field recordings of the street. Its B- side is As We Know, a live-to-radio chant by Gregory Whitehead utilizing infamous words of Donald Rumsfeld. Whereas Judge, a sculptural work made of bust made with weak materials held together by burnt tape, is paired with found footage of a medium contacting a dead airman by Jack Sutton from the Occult Voices series. The final coupling is found in Fly, and Tinnitus by mattin. As an audio installation Fly is made of a skull with speakers for eyes, whereas Tinnitus is one in a series of ten unreasoned aftermaths coming from nowhere and devastating our ears.

A new publication by Michel Libera will include a music cassette, where side A is determined by Smoleński’s works, side B audio works selected by Michal Libera.

The exhibition Split is the prelude to Volkspaleis 2014, for which Smoleński will create a new monumental specific installation in a theatre at the sea in Den Haag. More info: www.volkspaleis.org
 

 

 

 

 

 



Glissando #24: Avant Avant Garde

  

 

 

 

 

 

Glissando #24

Part of Avant Avant Garde

 

Premiere: September 1st

 

To be purchased at www.glissando.pl or www.beczmiana.pl/sklep

 

Including:

 

Michał Libera, Introducing Avant Avantgarde: There is no such thing as New Music

 
Michał Libera, Amplifying the sound: Technology of delivery - amplifiers, mutes and politics of volume

Pamela Granatowski, Projecting the sound: Listening to Axis Mundi

Ewa Kozik, Processing the sound: On more or less natural sound alterations

Antoni Michnik, Analyzing and visualizing the sound: Pre-phonographic analysis and reproduction of sound

Jan Topolski, Generating the tone: Stay tuned, keep temper

Barbara Bogunia, Automating the sound: Ars combinatoria and mystical automata

Maciej Sledziecki, Marion Wörle, Avant Avantgarde Instruments: We wonder why

 

and shorts by:

 

Aristotle, William Andrews, Francis Bacon, Johann Beckmann, Louis Bertrand Castel, Luciano Chessa, Alain Corbin, Florian Cramer, Marc Crunelle, John Curtis, Leonhard Euler, Michael John Gorman, William Arthur Griffiths, William Hayes, Herodotus, Christian Huygens, Athanasius Kircher, Jean Leurechon, Claude Levi-Strauss, Ramon Llull, David Lubman, Robin Maconie, Irina Metzler, Samuel Morland, Vladimir Odoevsky, Plutarch, Gianbattista della Porta, Iegor Reznikoff, Keith Rowe, Joseph Sauveur, Georgio de Sepibius, Giuseppe Tartini, E.M. Thompson, Lamberto Tronchin, John Tyndall, Steven Waller, Dan Warburton, Nicola Vicentino