ARTKILLART03 .. CONCERTS : 30 01 2009 .. FROM
: 20:00 to 0:00 .. EXHIBTION FROM THE 28 01 2009 TO THE 30 01 2009
.. @ CHB BERLIN :Karl Liebknecht Str. 9, 10178 Berlin http://www.bhc-kollektiv.org/
About AKA : Artkillart is a label created in 2007, based in Paris and Berlin. The label aims to promote experimental audiovisual and procedural sound art. Artkillart invites artists to conceptualize, create and design an object, which explores the limitations of the support (dvd, usb, cd and/or vinyle), and tries to translate the specific processes of creation. Label artists : Radio Free Robots, Samon Takahashi & Vincent Epplay, Yann Leguay, chdh, RYbN, harddisko, Michael Sellam, Das Wunderlitzer and more. http://artkillart.tk
/ YANN LEGUAY - CUTTER OFF DISCSECTION / PURE - IFICATION LIVE / CHDH - VIVARIUM PERFORMANCE / MICHAEL SELLAM - ODE TO JOY / VENHZA CHRIST [honf] - LIVE PERFORMANCE
/ RYBN - [av/rt/p] / JoDi - FOLKSOMY.ALPHA
INSTALLATIONS & SCREENINGS
/ YANN LEGUAY - CUT / INSTRUMENTAL ' ' ' '
/ MARIKA DERMINEUR, STEPHANE DEGOUTIN, GWENOLA WAGON - WHAT ARE YOU ?
/ JEROME FINO - EYES FOR EARS : MACRO VIDEOS
/ MICHAEL SELLAM - THE FLYING DUTCH MAN
/ KUDA - SAFE DISTANCE
/ JUSTICE YELDHAM - BETA : DVDR
# PROJECT DETAILS
PART I. PERFORMANCES
/ YANN LEGUAY - CUTTER OFF : DISCSECTION
Cutter off : vinyl's
bruitist dissection. In anatomy, a dissection consist to open a body following
a defined protocol. In geometry, a dissection problem constit in a figure
cutting , in sort of replace pieces in a new order. Cutter Off Dissection
is an evolutive mix, the cutting is made in live, starting with a blank
vinyl, using surgical tools plugged into micro-contact. Cutter Off2 [dissection]
is the live version of the project Dead_Media.
* Yann leguay, member of the Radio Free Robots,visual artist
& composer. http://phonotopy.org
/ chdh - VIVARIUM PERFORMANCE
chdh proposes a live hybrid performance, offering a symbiosis between the sound and the image. Between minimalism and industrial, chdh creates a single, cold but organic universe. Thanks to the use of mathematical algorithms and physical models, chdh brings a new vision of the use of data-processing tools in digital creation. The use of audio-visual objects, having a sound component and a video component controlled by the same parameters allows an effective management of the relations between the two medias.
This project evokes a virtual world, made up with more or less autonomous abstract creatures. The aesthetics of the video and the sound is minimalist: sines, diracs and noises interact with lines, spheres and other primitive in a 3D black and white visual environment.
The role of chdh during live performances is to play with the movement of these objects, in order to make them live and react. Two musicians handle the instruments by using an abstracted layer, software representation of the audio-visual object. Each algorithm then creates data used for the video synthesis and for the sound synthesis, creating a strong cohesion during the performance.
chdh has been created by Cyrille Henry and Damien Henry, and is now composed by Cyrille Henry and Nicolas Montgermont.
PURE : originating from Vienna/Austria, works and lives in Berlin/Germany. Pure generates dense abstract music that evokes connotations of dreams and abstract narrations. Since 1992 he released over 30 CDs and vinyls of solo and collaborative works in different styles under various pseudonyms on such labels as Mego (at), Staalplaat (nl), Praxis (ch), and his own labels dOc, LOOP, ATMOSFEAR, and SUB/VERSION (w/ Christoph Fringeli). He has played at festivals around Europe and North America, such as Argos (be), Club Transmediale (de), Mutek (ca), RGB v1 (fr), Sendandreceive (ca), Phonotaktik (usa). Being one of the driving forces behind the first techno parties in Vienna in 1991, he departed from this style soon after to move on to further less explored and harsher fields of electronic dance music for the next years. In the second half of the nineties he did his next step by turning towards developing his own software instruments. He uses this knowledge since then for computer based live performances and teaching at various universities and media labs around europe.
In 2002 he started TERMINALBEACH together with Erich Berger to play networked audio-visual live performances. They developed HEART CHAMBER ORCHESTRA; an audio-visual collaboration with 12 classical musicians of the Trondheim Sinfonietta. The heartbeats of the musicians are used as source material to generate and control a score in real time that the musicians then perform and to generate a digital video representation as well. The debut performance of HCO took place in Trondheim in October 2006 initiated and produced by TEKS – Trondheim Electronic Arts Center.
His early nineties dance music past caught up with him in 2005 when he started the successful WASTED Festival together with Jason Forrest. The festival, in collaboration with Berlin's Club Transmediale, has seen over 5 full episodes since then with more to come.
His latest studio album was released on November 1st 2008 on the Porto based label CRONICA ELECTRONICA
Venzha is a leading artist and arts organizer based in Yogyajakarta, Indonesia. Many of his projects involve a very intimate relationship with his environment which he is dedicated to building and challenging at the same time. Works such as ‘Electroponic Analogue’ and ‘BTS Shelter Room’ exemplify his subversion of urban structures and his ability to creatively reinterpret. Founder of the House of Natural Fiber a space to share and grow ideas in the field of new media art and wider society, he is bringing artists, creative practitioners and the public together in an exploratory and responsive dialogue.
HONF has also initiated ‘Cellsbutton’ a media art festival, now in its second year, with participating international and local artists working together with Yogya’s various communities to bridge the gap between these groups. With a high emphasis on local engagement and education these activities are strongly concerned with the creative input into the surrounding context.
Ode to Joy is a performance which questions the possible meetings of different musical practises, insisting on their political dimension. Based on a integration logic, a costumed musician proposes an improvised realtime version of the concert "Ode To Freedom", orchestrated by Leonard Bernstein, celebrating the end of the wall, in Berlin's Schauspielhaus on december 25t, 1989. Equiped with a joystick linked to a computer, the musician operates a series of violent and abject variations of the final movement of Beethoven Ninth Symphony, applying to sound modulation filters, transformations, amplifications to produce a powerfull chaotic, unstable and unpredictable music. An improvised, monstrous and abject version of the Official European Anthem.
RYBN is A multi-field artistic collective, specialized
in realisation of installations, performances and interfaces by refering
as well to the codified systems of the artistic representation (painting,
architecture, counter-cultures) as to the human and physic phenomenas
(geopolitics, socio-economy, sensory perception, cognitive systems). Their
axe of research : the construction of a « semantics of the convergence
», via the coupling, the diversion and the perversion of writing
and formalization tools connected to the technologies of communication,
information and sensory – webs, data flows, smell, surveillance,
audiovisual, interaction, real time.
Net Art duo Jodi's peformance brings an audiovisual networked performance which is evolved from their performance at iMAL for the closing of GEO GOO. (YouTube VJ mixer software designed by JODI, produced by iMAL, developped by Yacine Sebti.)
Jodi, or jodi.org, is a collective of two internet artists: Joan Heemskerk (Bogota-Colombia) and Dirk Paesmans (Caracas-Venezuela). Their background is in photography and video art; since the mid-1990s they started to create original artworks for the World Wide Web. A few years later, they also turned to software art and artistic computer game modification. Since 2002, they have been in what has been called their "Screen Grab" period, making video works by recording the computer monitor's output while working, playing video games, or coding.
To those that aren't in on their conceptual jokes, Jodi's works seem inaccessible and impenetrable, appearing to make the user's computer run amok. For example, their 1995 work http://wwwwwwwww.jodi.org/ appears at first glance to consist of meaningless text, until a glance at the HTML source code reveals detailed diagrams of hydrogen and uranium bombs. Their early work often used this tactic of mimicking computer glitches and viruses as an aesthetic or humorous device. In more recent works, they modified old video games such as Wolfenstein 3D, Quake, Jet Set Willy, and the latest, Max Payne 2 (2006). Jodi's approach to game modification is comparable in many ways to Deconstructivism in architecture, because they would disassemble the game to its basic parts, and reassemble it in ways that do not make intuitive sense. One of their more well-known modifications of Quake places the player inside a closed cube with swirling black-and-white patterns on each side. The pattern is the result of a glitch in the game engine discovered by the artists, presumably, through trial and error; it is generated live as the Quake engine tries, and fails, to visualize the interior of a cube with black-and-white checked wallpaper.
Jodi's "Screen Grab" period began with the four-screen video installation "My%Desktop" (2002), which premiered at the Plugin Media Lab in Basel. The piece appeared to depict mammoth Macintosh OS 9 computers running amok: opening windows cascaded across the screen, error messages squawked, and files replicated themselves endlessly. But this was not a computer gone haywire, but a computer user gone haywire. To make this video, Jodi simply pointed-and-clicked, dragged-and-dropped so frantically, it seemed that no human could be in control of such chaos. As graphics exploded across the screen, the viewer gradually realized that what had initially appeared to be a computer glitch was really the work of an irrational, playful, or crazed human.
Jodi's work has been included in many international exhibitions and festivals, including documenta X in 1997. They received a Webby Award in the Arts category in 1999; as their mandatory five-word acceptance speech, they exclaimed "Ugly corporate sons of bitches!".
PART II. EXHIBITION
/ CUT / INSTRUMENTAL ' ' ' '
Installation version of the Cutter_Off performance project. A blank vinyl record is placed on a turntable. The needle is replaced by a cutter blade, connected to a contact microphone, which will erodes the surface and gradually create the sound. An approach of the limits of the support, in order to reconsider its erosion not as a loss of information, but as manufacture of raw sound.
/ WHAT ARE YOU ?
Stéphane Degoutin, Marika Dermineur & Gwenola Wagon
What Are You? shuffles representations of lifestyles and social codes to generate an endless number of trends, attitudes and social behaviors. Each click launches a new association of images and sounds describing the trend.
In spite of huge investments, designers, marketing experts and trend hunters produce only two new trends a year. What Are You?, thanks to its database of more than 500 past, present and future trends, generates instantly 250.000 combinations, by randomely associating keywords. It is therefore in the position to produce the trends for the next 125,000 years (i.e. until 127005).
This confrontation draws new social labels, in a process that aims to wear out all possible or unlikely fashions or social stereotypes. Moreover, the juxtaposition of these stereotypes questions their respective influence and the boundaries in which they can be defined.
The Flying Dutch Man is based on a computer graphics short video sequence, showing the quiet and precise movements of a camera, flying over the chaotic and monstrous structure of a ghostship, drifting in space. The video is regularly sent to artists and musicians, with the proposal of producing a soundtrack. Each artists interprets a unique version of the movie by producing a specific soundpiece, according to his own musical vocabulary. If the title is an explicit reference to the folklore of the early days of piracy, the translation of this theme by Richard Wagner for his eponymous opera has set a precise approach of the interpretation concept. Based on nihilism primary concept of the Eternal Return, developed by Friedrich Nietzsche, the project tends to adjust an area for mental projection without purpose or determined meaning, where the meeting between images and sounds provides a variety of possible readings.
With the Sound participation of : Alejandra & Aeron, Alexandre Bellenger, Ana Maria Gomes, Broekboet, DJ Elephant Power, Electronicat, Fia Backström, Fred Arana, Geir Friestad, Ghost Tapes, Idan Hayosh, Jérôme Joy, Joachim Montessuis, Julien Ottavi, Kasper T Toeplitz, Kikifruit, Kim Cascone, Lasse Marhaug, Les deux Alpes, Matthieu Levet, MU Child, Otto Von Schirach, Portradium, Raphaël Isdant, Roc, RYBN, Seth Price, The Flying Berliner, Tomoko Sauvage, Toyoto, Usr Manual, V/Vm, Vincent Ciciliato, Vincent Epplay, Wunderlitzer & Zaraz Wam Zagram. Image : Yannig Willman.
Video black & white & blue / Duration: 21 min. / Form: Sony Video 8 VHS
Production: US AIR Force / Postproduction: kuda.org, New Media Center, Novi Sad
Safe distance is video that was recorded during NATO air strikes against FR Yugoslavia. Videotape shows electronic cockpit of the US AIR Force plane. There were 4 airplanes flying from NATO-base from Italy to destination in Yugoslavia. Mission objective was to bomb several targets in the area around city of Novi Sad. On the way back, after mission was completed, plane was shot. Tape (Sony video 8) was found near crashed plane in Fruska Gora mountain in Srem region. It shows electronic cockpit with basic graphical interface and voice communication between pilots. Videotape is a regular document of flight used by command structures to analyze its efficiency and success after very mission. Tape presents these last moments before plain was crashed... Interface of this cockpit is completely reduced, cold, black & white. Cold electronic display is pixilated presentation of outside reality with basic position information (longitude & latitude). The first impression of video is that this is an excerpt from flight simulator, since we are learned to regard similar graphical interfaces as something that is basically virtual representation. Comparing to contemporary popular simulation games cockpit of airplane looks as an obsolete seventies style games.
Main promise in today's warfare is institution of safe war; a war without casualties, and whole campaign against FR Yugoslavia was based on that premise that this is not actually a war but just the humanitarian intervention with some collateral damage. Intervention against FR Yugoslavia is the first war in history that is won with exclusively air strikes without ground troops involvement. This video provokes the myth of non-lethal military campaigns, a myth that was (and still is!) constantly fabricated in collective imaginatorium of allied countries.
The fact that multinational corporation Sony produces tape, used by US AIR Force, shows the transnational nature in today's global warfare. This symbolical point, Sony tape in US AIR Force plane, unfolds US - Japanese capitalistic axis (Sony was build its empire thanks to strong business relations with postww2 occupation forces). Also, there is explicit example of global standardization, it's like coke - paradigm. Both american president and proletarian subject drinking coke; both home videos and air strikes missions are recorded on Sony super 8 Graphical interface of cockpit is only connection that pilot has with its surroundings; he is isolated from exterior, from reality that he produces below. Subject is immersed in virtual presentation and he is completely dependent on technological superstructure. After very impact he is calm and alone, and only thing that can shows us his personal drama is his breathing.
/ [EYE FOR EARS] : MACROVIDEO SCREENINGS
"macro-video for musicians in action". This project juxtaposes different experimental musicians. Each artist was asked to improvise sound work. The short video are documentations of these processes. it was almost a physical experience, the sources of sounds and the relation between movement, materials and oscillation became evident.
with the participation of : Servando Barreiro, Jean-François Blanquet, Electronicat, Vincent Epplay, David Fenech, Gol, Derek Hozler, Yann Leguay, Hannes Lingens, Mose, Super Jean-François Plomb, Arnaud Rivière, Valentina Vuksic.
& Justice Yeldham, 174 Denver 030405
- 9 digital photos, by Alex Davies
"A writhing, contorting, nauseating, sensational screamingfuckingbloodymess, the 33-year-old Australian glassjaw who performs as Justice Yeldham And The Dynamic Ribbon Device has a show so visceral, so alive, that it can move a room full of the most jaded noisenrrds to gaping-mouthed wonderment. The pock-marked bloke born Lucas Abela, mischievously takes the stage of Denver avant-loft/noisenik playhouse Monkey Mania wearing a belt surrounded by distortion pedals and a single contact mic limply dangling from a wire. He squeezes a tube of KY Jelly all over his weathered mug and into his mouth. He clicks on the pedals and presses he face to a triangle of glass. Hideous black garglescuzz pours out of the speaker, each yelp, hum and fart matching his face's disgusting rubbery contortions. The sounds are inhuman, but their patterns are most definitely familiar, a hyper-distorted screech-tantrum howling in bone-rattling harmonies, all set to the bittersweet aroma of warm lube. He leaps into the crowd, face twisted into apoplectic distortions, and begins seizuring. And here is where everyone starts flipping the fuck out. Abela gnaws on the glass like a lion gutting an antelope. Each sickly crack jettisons through the distortion pedals, blorts out the amp and is followed by the screams of shock, fear, joy and various combinations of the three. The glass comes smashing down on his face. He waits, panting, for the cheers and screams to die down. His cheek is oozing blood from a sharp red line. His earlobe is sliced open and spitting a steady stream down his neck onto his KY-soaked shirt."
- Christopher R. Weingarten on 174 denver 030405
Justice Yeldham is the latest alter-ego of Australian sound performer Lucas Abela, whose past sonic experiments were conducted under monikers like A Kombi, Dj Smallcock & Peeled Hearts Paste. Initially classed as an experimental turntablist, although his early work rarely resembled anything in the field. Early feats, saw him stab vinyl with Kruger style stylus gloves, bound on electro acoustic trampolines, drag race the popemobile across Sydney Harbour Bridge, perform deaf defying duet duels with amplified samurai swords, hospitalised by high powered turntables constructed from sewing machine motors, record chance John Peel sessions with the Flaming Lips, & be Otomo Yoshihides' favourite entry into his Ground Zero remix competition; 'Consummation' even though instead of sampling the CD he destroyed it using amplified skewers! He also founded and runs dualpLOVER (recording label, cd/dvd replicators, distributor and promoter of gigs and tours). Principally a live audio artist he’s been performing professionally for the past 14 years, ever since Oren Ambarchi and Robbie Avenaim stumbled across his late night radio performances in 1994 and asked him to play their 2nd What is Music? Festival. Since he's toured the world extensively, performing hundreds of shows in 39 countries.
Staalplaat is a forum for soundartists, an organisation network with a music label, an e-zine, a radioprogram, an audio-galerie, shop, mail order and distribution company, started in Amsterdam.
Since 1982 Staalplaat concentrates on new and experimental music. Where most organisations measure their success in terms of sales or riding the crest of the latest trends, Staalplaat was created to discover the rough diamonds, to take risks and embrace all surprises. The centre of Staalplaat's strategy is to invest in the future by stimulating new sounds, establishing and supporting new routes, connecting artists with new improvisational themes and experimental music ideas, the exchange and exploration of different metamusical concepts and thus expanding the boundaries of what we call "music."