Posts for October 2009

The Gamelatron (2009) - The League of Electronic Musical Urban Robots (LEMUR) and Zemi17

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The Gamelatron at Galapagos Art Space from Zemi17 on Vimeo.


Modeled after traditional Balinese and Javanese gamelan orchestras, the GamelaTron is an amalgamation of traditional instruments with a suite of percussive sound makers. MIDI sequences control 117 robotic striking mechanisms that produce intricately woven and rhythmic sound. Performances follow an arc similar to classic Indonesian gatherings, where stories from great epics, such as the Ramayana, are told and settings given in words that are continued in music.

-- FROM THE PROJECT SITE

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A Letter From Schoenberg: reading piece with player piano (2008) - Peter Ablinger with Winfried Ritsch

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Peter Ablinger - A Letter From Schoenberg from mediateletipos on Vimeo.

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Suzanne Fiol (1960 - 2009)

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Image: Suzanne Fiol in 1997, photo taken by Michelle Handelman

The New York art and music community mourns the loss of one of its fiercest advocates for experimental culture, Suzanne Fiol, founder and director of the ISSUE Project Room, a venue for music, performance, film, and literature currently located at the Old American Can Factory in Gowanus, Brooklyn. She passed away last Monday at age 49 after a year-long battle with lung cancer.

Born and raised in New York, Suzanne studied photography at Antioch College in Ohio and the Art Institute of Chicago, before returning home in 1983 to earn her MFA from Pratt Institute, cultivating a style that superimposed layers of paint over her original photos in an attempt to capture the “ecstatic moment” of her subject material. Her career yoked creative pursuits with the business end of the art world. She worked as a gallerist in SoHo while immersing herself in downtown’s No-Wave-tinged culture, where she met her husband, Joaquin Fiol at the Mudd Club. The birth of their daughter, Sarah in 1991, prompted a sabbatical, but after the dissolution of her marriage at the dawn of the 21st century, Suzanne was back on the scene, working with artists and, once again, engaging passionately with music, becoming active in the community that orbited around avant-jazz club Tonic on the Lower East Side.

In 2003, her involvement with the Issue Management photo agency, whose office space was on East 6th street, yielded the earliest version of ISSUE Project Room, which quickly took off as an important new venue for the presentation of experimental music and multi-disciplinary performance. When the photo agency folded and the landlord raised the rent, Suzanne fully committed herself to finding ISSUE Project Room a more permanent residence in the borough she called home, Brooklyn ...

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Untitled (Symbiotic Relationship / Dance Party) (2003) - Peter Coffin

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Drum, Mexican Jumping Beans, lights, heating device, amplifier, contact microphones, effects box, and headphones. (with Brett Milspaw)


Via Michael Bell-Smith

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Snare (2005) - Jeremy Boyle

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snare drum, solenoids, mechanical and electronic components, sticks

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Turrican tune (2007) - played by Duracell

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Via Michael Bell-Smith

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Seen and Heard

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There seems to be an unshakable division of labor between two of our major senses. 'Sight and Sound' and 'Audio and Visual,' are often paired as binary opposites, understood both as semantically and biologically distinct yet totally interdependent. “See This Sound,” an exhibition currently on view at the Lentos Museum in Linz, Austria, delves deeply into this co-dependent relationship. Far from another "art and music" show, the exhibition looks at numerous cultural, metaphysical, biological and neurological explorations of these senses - and how artists have mined them for decades. By highlighting their distinct and convergent streams of influence, “See This Sound” uses sight and sound as a metaphor for similar divisions and dependencies between "visual," "sound" and "media" art.

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He CHOSE It (2009) - Constant Dullart

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the Allens (2004) - Erik Bunger

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A sound and video installation where a computer program continuously changes between the different vocal incarnations of Woody Allen.

-- FROM THE ARTIST'S DESCRIPTION

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Secret Agency

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Image: Jill Magid, Prologue, 2009
(Courtesy Jill Magid, Courtesy Yvon Lambert Paris, New York)

"The secret itself is much more beautiful than its revelation." Written backward and presented through translucent paper, this text can be deciphered on the obverse of a large framed page of the suppressed novel Becoming Tarden in Jill Magid's solo exhibition at the Yvon Lambert Gallery. On another wall hang seven detailed photographs of banal notebooks with brightly colored tabs and scrawled titles, a white pedestal with a glass case contains a stack of prints neatly wrapped in paper, and a monitor plays a fuzzy live feed from a security camera at the Tate Modern. "Objects to Be Handed Over or Destroyed" documents a project that explores the connections between transparency, secrecy, and, ultimately, power.

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Image: Installation shots of Jill Magid's "Objects to be Handed Over or Destroyed" at Yvon Lambert New York
(Courtesy Jill Magid, Courtesy Yvon Lambert Paris, New York)

In 2005, the Dutch secret service (AIVD) invited Magid to create a work of art for their headquarters with the dual objective of improving the agency's public image as well as fulfilling a Dutch law requiring new buildings to commission art. In response to their offer, Magid posed as an undercover agent and interviewed members of the AIVD with the intention of giving a personal face to the organization without revealing individual identities. The commission resulted in the exhibition "Article 12" in 2008, but the agency refused to allow the public display of seven prints from the letterpress series "18 Spies", and heavily redacted a manuscript for a novel based on her experience.

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Image: Jill Magid, Notebook I Personal Data, 2008
(Courtesy Jill Magid, Courtesy Yvon Lambert Paris, New York)

Consistent with her earlier work, Magid's project attempts to personalize ...

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