Organized by the artist Brody Condon, Case is a deadpan reading of the classic cyberpunk novel Neuromancer by William Gibson in a rehearsal-like atmosphere. Combining Gibson's 1980s dystopian techno-fetishism with early twentieth-century abstraction, faux "virtual reality" scenes will unfold via moving Bauhaus-inspired sculptural props accompanied by the Gamelan ensemble Dharma Swara.

Case premiered at the New Museum on November 22nd. It will also be performed in summer 2010 in a small outdoor community theater in rural Missouri. The actors for the November 22nd performance include Ray Radtke, Sasha Grey, Lionel Maunz, Sto, Tony Conrad, Sindri Eldon, Peter Segerstrom, Melissa Baxter, Rachid Outabia, Emily Mahoney, Brandon Stosuy, Jee Young Sim, Guil R. Mullen, Brody Condon, and Mallory Blair. The script was prepared by the writer Brandon Stosuy, with sound design by Peter Segerstrom, and graphic props by Breanne Trammell. The event was commissioned and presented by Rhizome and Performa 09.

Below you will find a photo essay of the six-hour long performance, that documents the performance, musicians, and actors at various stages of Case. All photographs were taken by Kristianna Smith.

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This installation, whose principle was conceived in the early 1990s, transforms the gallery into an aviary where visitors share the space with a few dozen birds, who, by landing on electric guitars, create a musical piece.

-- FROM THE PRESS RELEASE FOR CELESTE BOURSIER-MOUGENOT FROM HERE TO EAR RECYCLE ZOMBIEDRONES AT GALERIE XIPPAS

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This record presents music emerging out of simple mechanical processes. The machine configurations employed are shown in the accompanying diagrams. Most of the tracks use uniformly moving sabre saws with ropes or flexible metal rods attached. The standing waves created in these attachments hit the strings of electric guitars. On track B4, a rotating metal brush operates directly on a guitar string. All pieces are autonomously played by the machines, without human control or interference.

All pieces recorded by the composer, September 1981- March 1982, at Apollo House, Eindhoven, except B$ recorded by Mark Abbott, April 1980, at WKCR-FM 89.9, Columbia University, New York. Mastered by Roland Smits and Theo van Eenbergen, July 1982, at 'Rauchende Colts', Nuenen.

-- FROM THE LINER NOTES FOR THE ALBUM "MACHINE GUITARS" BY COMPOSER REMKO SCHA

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In his work, Saâdane Afif adopts strategies from the fields of art and music, for example the method of appropriation, in order to critically explore the concepts of interpretation and repetition. Among other elements, his room installations combine song texts and pop music with pictures, personal comments and objects which have been pre-fabricated or already exist. Afif reflects artistic authorship and how the art system works.

Saâdane Afif has arranged thirteen black guitars and amps in a room. Lyrics (2007) creates sound to accompany a sculpture. The guitars are orchestrated from afar by a computer and also altered conceptually. Afif has been commissioning writer friends to write Lyrics to one of his works since 2004. The Lyrics thus provide a personal perspective on each work and are thus interpreted once more by the musician’s free-form improvisations.

-- FROM THE DOCUMENTA 12 SITE

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A kinetic sound sculpture for two electric guitars and one electric bass. Taking its name from the classic rock combination of guitar, bass and drums, this fairground-esque installation invites the audience to navigate the space around and between the instrument-machine band members and wander through their perpetually aleatoric song.

-- FROM THE ARTIST'S STATEMENT

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A hybrid of a remote controlled car & mechanical hand generates random music.

The car is controlled by an altered remote, which is triggered by 2 desk fans. When the fans are directed at the remote, contacts are blown together and the circuit is completed, sending the car up and down the keyboard in random directions.

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Inappropriate Soundtracks are videos consisting of well known movie scenes that have been edited to (in most cases) juxtapose the tone of the original scene. The scene is played out as normal, the only editing done to the clip is that a new song is inserted over the original to create lulz...According to the majority of the youtube videos they are inspired from the Something Awful forums...While being somewhat popular on the SA Forums it failed to become widespread across the internet. Only with the uploading of these videos to youtube and other online streaming sites (where it is extremely accessible) was it then able to spread and become a popular meme. There are also several blogs posting about the meme within the last year or so. Examples include: Living Read Girl , Filmsight , Kottke and The Inquisitr .There are no Google insights available as there are not enough searches yet. When typing Inappropriate Soundtracks into the search field it comes up with over 100,000 results. Interestingly, searching for Inappropriate Soundtracks Braveheart yields nearly 5 times more results.

-- FROM THE "INAPPROPRIATE SOUNDTRACKS" ENTRY ON KNOWYOURMEME.COM

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The banlieue, ie. the French suburb, has always been at core of Bad Beuys Entertainment’s work. Originating from the Parisian outskirt Cergy-Pontoise, the collective has created a reputation for itself through their aesthetization and simultaneous critique of the banlieue as a symbolic system. The socially conscious element in their practice reflects the reference to artist Joseph Beuys in their name, whose work was closely allied with socioeconomic reform. Iconic images associated with the French suburbs, such as burning cars, council housing, and small-time gangsters reemerge as cardboard public housing (Babylone_by_us, 2003) or “self portraits” using stand-ins (Sauvageons (little savages), 2004). Bad Beuys Entertainment’s move to recover the popular representation of the banlieue in their work is apparent in the current show at the Palais de Tokyo in Paris.

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