Photo of Earth by the crew of Apollo 8. December 22, 1968
The central theme for this year’s Venice Biennale exhibition, curated by Massimiliano Gioni, comes from an obscure patented design for an encyclopedic palace by the self-taught Italian-American artist Marino Auriti. Envisioned as a 136-story building that would take over sixteen blocks of Washington, D.C., Auriti’s palace was to house all the available knowledge in the world. Titling the show "Il Palazzo Enciclopedico" after Auriti’s unrealized model, Gioni and his team selected an eclectic group of artists, psychologists, mystics and more whose work resonates with Auriti’s desire to create a total image of the world. In many ways, the exhibition can be seen as a response to the exhaustive overabundance of information available on the internet. As Gioni pointedly asks in his essay, "…what is the point of creating an image of the world when the world itself has become increasingly like an image?"
The Paris, Texas of the Second Empire
Compiled July 2012 by Lawrence Kumpf
The flâneur is someone abandoned in the crowd. He is thus in the same situation as the commodity. He is unaware of this special situation, but this does not diminish its effects on him, it permeates him blissfully, like a narcotic that can compensate him for many humiliations. The intoxication to which the flâneur surrenders is the intoxication of the commodity immersed in a surging stream of customers. -- Walter Benjamin, 1938
A phantasmagoric journey through mid-20th century Country-Western music inspired by Walter Benjamin’s "The Paris of the Second Empire in Baudelaire."
Like the poet as flâneur in Benjamin’s essay, the country singer holds a position as the susceptible vessel that embodies the incongruities and ruptures characteristic of modern life. Neither an active symptom nor proprietor of a solution for the social ills, the singer finds himself drawn into the intoxicating world of empathetic relations to, with and as commodity. We hear, perhaps more clearly then in Baudelaire, a voice speaking not from the elevated position of a social commentator or critic, but as the desire of the commodity and commodified. Connoisseurs of narcotics sing empathetic odes to inanimate objects and intoxicants, fortifying themselves in homes that are really bars. Hobos, trashmen and ragpickers walk the street collecting and picking through the worn out, exhausted items that have escaped our economy of exchange: the antiques of modernity, the images of obsolescence. The perpetual peregrinator, a rambling man, heroically stripped of the comforts of modern life finds himself stalking graveyards and mourning a loss that has yet to occur, the final refuge of his own death. In a way these songs embody the last gasp of a failed American politics, the moment before county western music slips into an emphatic listing of personal property as banal as Rick Ross’ "Trilla." The tragedy of our era is that the latent revolutionary desires present in Hank Williams Jr.’s "Fax Me a Beer" (not included in this mix) are forever doomed to find their outlet in an inane fantasy of endless technological advancement.
1.Porter Wagoner - The Wino
2.Jim Ed Brown- Bottle, Bottle
3.Porter Wagoner – Shopworn 4.Hank Williams – Men with Broken Hearts
5.Leon Rausch – Glass of Pride
6.Don King – Live Entertainment
7.David Allen Coe – Sad Country Song
8.Don Silvers – Play me another Hank Williams
9.Porter Wagoner – Bottom of the Bottle
10.Merle Haggard – Swinging Doors
11.Porter Wagoner – I Just Came to Smell the Flowers
12.D. Sheridan – Don’t Make Me Laugh (While I’m Drinkin’)
13.The Willis Brothers – Gonna Buy Me A Jukebox
14.David Frizzell – I’m Gonna Hire A Wino to Decorate our House
15.Frank Lowe - "Trash Man"
Lawrence Kumpf is a curator at Issue Project Room in Brooklyn, NY.
New York-based musician and artist Eli Keszler integrates piano wire into his compositions in a way that falls between installation and improvisation. For Cold Pin, motorized beaters controlled by a generative sequence struct 14 piano strings hung across the wall of Boston's Cyclorama in 2011. Keszler then invited Ashley Paul, Greg Kelley, Reuben Son and Benjamin Nelson to play off the work, improvising alongside the randomized clunks, scraps, and bangs emanating from the wall.
His recent L-Carrier at Eyebeam complicated this format by activating the motors in tandem with a changing visual score designed by Keszler. Hosted on a dedicated website commissioned by Turbulence, these images evolved when visitors tripped up "targets" on the site that interfere with the code, modifying the pattern of the motors. On June 7, Keszler again played in a seven piece ensemble in conjunction with the installation, including musicians Ashley Paul, Anthony Coleman, Alex Waterman, C Spencer Yeh, Catherine Lamb, Geoff Mullen, and Reuben Son.
In both compositions accompanying Cold Pin and L-Carrier, the installation serves not as a simple backdrop, but a central element. On their own, the installations continue to have a commanding presence. Unlike the extended resonating tones of Ellen Fullman's Long Stringed Instrument, which meditatively fill a room, Keszler's approach to auditory space reveals his training as a percussionist, where the plucks are akin to hits - busy, feverish and complex. Taken out of an enclosed environment, such as in Collecting Basin, piano wire is not only responsive to the whims of the motor beaters but also the wind and the elements. Here, Keszler hung the wire from a large water tower, transforming an industrial space into an open air instrument.
This post is part of a new monthly series of guest curated mixes for the Rhizome blog, entitled Wavelength.
JAPANESE NOISE: A REMINDER
Compiled Summer 2012 by C. Spencer Yeh
Back when I was an undergraduate and involved with college radio, we would hold educational meetings covering a wide variety of music by genre, artist, and geography. I was very much in thrall of the Japanese musical underground at the time, so I developed a presentation and this was the handout I made as an accompaniment. [See above.]
I’ve noticed the term ‘noise’ thrown around quite a bit lately, to encompass particular variations of form, ideology, and even affect, within organized sound culture. I generally have no qualms with what 'noise' can now mean and manifest. With that said, Japanese noise is my preeminent definition of 'noise'–my first and most formative experience. The birth and development of Japanese noise is singular, defined by its relation to time and place, to culture and aesthetic. Japanese noise taught me about freedom, fetish, listening, autodidactism, self-mythology, self-publishing, senzuri.
The selections for this mix date from the mid-'80s to the early '00s, are edited for length, and intentionally eschew the array of strategies in the scene (often deployed under the same project name) to focus on NOISE. Big parties can be a blast, but once in a while, a long visit with an old friend is incredibly fulfilling and necessary.
(note: all tracks are edited for the purposes of this mix)
01. Violent Onsen Geisha 'Heavy Introduction'
02. Government Alpha 'Anonym Slander'
03. The Gerogerigegege 'Nothing to Hear, Nothing to... 1985'
04. K2 'We Destroyed Barcelona Again'
05. Aube 'Aquatremble 2'
06. Merzbow 'Chant 2 (Part 1)'
07. Hedlah 'Proud Flesh'
08. Solmania 'Panic Bend Rock'
09. MSBR 'Psychic Blue'
10. Incapacitants 'Necrosis'
11. Masonna 'Spectrum Ripper (Part XVII/Part XII)'
12. Hanatarash 'We Are 0:00'
13. Killer Bug 'One-Eyed Nudist'
14. Monde Bruits 'Continuum'
15. Hijokaidan 'What A Nuisance!'
16. Masomania 'Burn Me Fast'
17. C.C.C.C. 'Loud Sounds Dopa (Part II)'
18. Gomikawa Fumio 'Satan's Tail, Santa's Head'
19. Niku-Zidousha 'Untitled'
20. Flying Testicle 'Testicle Rider'
21. Pain Jerk 'Crack n' Roll'
22. Kazumoto Endo 'Itabashi Girl'
NYC screening at MOMA, but the documentary will also be on PBS:
Looks really interesting.
Date: Thu, 30 Mar 2006 12:55:15 -0000
From: "sfcinematheque" <email@example.com>
Subject: Adele Horne's THE TAILENDERS
SUNDAY APRIL 2 at 7:30 pm
Yerba Buena Center for the Arts
701 Mission Street (at Third)
SAN FRANCISCO CINEMATHEQUE,
in association with UC Berkeley's Visual Anthropology Group,
Adele Horne's THE TAILENDERS
Shot in Los Angeles, the Solomom Islands, and Mexico, Los
Angeles-based Adele Horne's feature-length documentary explores the
work of an evangelical missionary group known not only for their
numerous conversions but for their field recordings and translations
of over 5,500 languages since their inception in 1939. Working in
regions where indigenous communities face crises caused by global
economic shifts, and using amazingly efficient low-tech recording
devices, the missionaries seek out displaced and impoverished people,
ostensibly in need of some kind of enlightenment. Elegantly structured
and photographed, THE TAILENDERS explores both the material and
ideological means and meanings of these linguistic translations and
For more information, please visit:
$5 Cinematheque members, seniors, studdents (w.ID)
ACTION ADVENTURE is a group show in the spirit of the Hollywood summer
blockbuster opening JULY 2006 at CANADA, NYC (http://www.canadanewyork.com).
The most important part of the project will be a video program curated from
an open call that will screen daily during the show.
OPEN CALL for videos, especially (but not limited to) short narrative works
in the following two categories:
CATEGORY 1 - videos between 5 and 20 minutes long about or involving:
action/ adventure product placement blockbusters
action heroes Hollywood remakes predictable plots
melodrama special effects summertime
Hollywood happy endings terrorism
piracy/bootlegs violence etc.
CATEGORY 2 - short-format videos that are comparable in length and attitude
to commercials and trailers. These videos should be roughly 30 to 120
seconds in length and should also involve the topics listed above.
SEND ALL SUBMISSIONS TO:
234 HURON STREET, #2
BROOKLYN, NY 11222
SUBMISSIONS MUST BE RECEIVED BY THURSDAY MAY 25, 2006.
All submissions must be on DVD or VHS. Please include a resume and contact
info, as well as S.A.S.E. if you want your work returned. Accepted
submissions will be announced: June 5, 2006.
More info: firstname.lastname@example.org
ACTION ADVENTURE is being organized by Melissa Brown, Josh Kline, and
web version of flyer: http://www.yachtingsociety.org/actionadventure.html
print-ready PDF version of flyer (1mb):
View: An Anthology of the Moving Image. I divide my time between Rhizome's
organizational subscriptions and this project for the New Museum of
Contemporary Art. See below for details.
New Museum Point of View
At The -Scope Art Fair
March 10-13, 2006
Cinemascope Gallery, 11 am - 8 pm
636 Eleventh Avenue, at 46th Street, NY
ScopeNewYork 2006 presents Point of View: An Anthology of the Moving Image,
a co-production of the New Museum of Contemporary Art and BICK Productions,
screened daily on multiple flat screens in the Cinema-scope Theater. Point
of View features original work by renowned artists Francis Alys, David
Claerbout, Douglas Gordon, Gary Hill, Pierre Huyghe, Joan Jonas, Isaac
Julien, William Kentridge, Paul McCarthy, Pipilotti Rist and Anri Sala.
Commissioned by the New Museum of Contemporary Art as part of an exhibit of
the same title, Point of View is a special edition eleven DVD box-set,
designed as an affordable, collectible piece of art, and an educational
resource. The anthology is an exploration of a cross-generational group of
video artists intended to expand the accessibility of video art to a broader
audience. Further inquiries: Ceci Moss, Point of View Sales Director, at
email@example.com, or through the New Museum Store,
View the Scope Calendar online:
On 3/6/06 10:11 PM, "Marisa Olson" <firstname.lastname@example.org> wrote:
> Hello. If you plan to be in New York during the flurry of art fairs, this
> week and next, I hope you'll stop by the Scope fair to say hello and check
> out Rhizome's exhibition, All Systems Go. The show will be in the
> Cinemascope space, which is masterminded by Rhizome member Lee Wells.
> Details below...
> ALL SYSTEMS GO!
> At The ~Scope Art Fair
> March 10-13, 2006
> Cinemascope Gallery, 11 am - 8 pm
> 636 Eleventh Avenue, at 46th Street, NY
> Part of the Curator's Choice program at this year's Scope-New York Art
> Fair, All Systems Go features high-tech, low-tech, and hybrid work
> exploring digital, representational, political, and social systems. This
> exhibition constitutes an expansion of Rhizome's mission to connect art
> and technology. The artists comment on systems, in their various forms,
> with works ranging from computer, video, and electronic installations to
> drawings, paintings, and sculpture. Here, technology is not the sole tool
> or object at play, but is often an indirect subject-
starting this week. Good friends of mine, and very talented.
Eats Tapes site:
Work by Nate Boyce:
1.20.06 Hasselt, Belgium - Dramarama Festival @ Kunstencentrum Belgie
1.27.06 Nijmegen, Netherlands - Dramarama Festival @ Extrapool
1.28.06 Paris, France @ La Generale w/Lucky Dragons
1.30.06 Arhus, Denmark @ LJUD w/Lucky Dragons
1.31.06 Copenhagen, Denmark @ Royal Art Academy w/Lucky Dragons
2.01.06 Cologne, Germany @ Elektra w/E*Rock
2.02.06 Rotterdam, Netherlands @ WORM w/Extreme Animals
2.03.06 Berlin, Germany - Club Transmediale
Saturday Dec. 10th 8pm
The Lucky Cat
245 Grand St.
mi or and the pedestals
The Ball Governor
+ special videos before/after the bands
an annual music festival started in 1996 featuring 10 artists performing in
one hour, each giving a 5-minute set with 1-minute intermissions.
I'm playing this festival, organized by Ignivomous, as mi or and the
pedestals, I am assuming most of the groups are on the noise end of the
spectrum, it should be fun.