OPENING BERLIN ART WEEK
Tomorrow, September 17, 2013, 7 pm, Auguststraße, Berlin-Mitte
Dates: September 17–22, 2013
Berlin Art Week kicks off together with the joint exhibition Painting Forever! with an outdoor celebration on Auguststraße. Join for an exciting evening program on the main stage and additional live acts and additional offerings at the local galleries, institutions, bars, and restaurants to celebrate the start of six days of art spread across the entire city!
LIVE ON STAGE 7–10 pm – free entrance:
7 pm: Egill Sæbjörnsson – Music with the Woomp Doomp Duo Berlin
7.30 pm: Opening of the Berlin Art Week & Painting Forever! by the Governing Mayor of Berlin Klaus Wowereit
8 pm: HUSH HUSH - Music-Performance: A self-styled Hitmachine
9 pm: UNMAP – Concert: Elektroakustischer Chamber Pop with Mariechen Danz, Alex Stolze, Matthias Geserick, Thomas Fietz DJ Acid Maria – DJ-Set: female pressure, abe duque recordskillekill / Berlin, Germany
‘Late in 2010 the folks at Australian National Academy of Music (ANAM) asked me if I was interested in collaborating with a modern classical composer on a song cycle. The idea sounded so scary I said yes straight away before I could talk myself out of it.’ (Paul Kelly)
Conversations With Ghosts, is a hauntingly beautiful work based on poems of Les Murray, W.B Yeats, Judith Wright, Lord Alfred Tennyson and others that I am not going to forget having seen anytime soon. This major new work has been co-written by Paul Kelly and ANAM’s 2011 resident composer James Ledger. Working together for the first time, they have created an atmospheric work that touches on the themes of death and mortality.
The sister title to beloved Fantastic Man – living proof if proof were needed that independent magazines can do just fine in face of the Vogues in the world, thank you – appropriately called Gentlewoman, have not only just released their new issue fronted in bold black and white, they’ve also launched a rather fantastic and long overdue website which matches the cheerful minimalism of the magazine pretty spot-on, featuring some full-length content from previous issues, and before we go on, why not head straight over here.
Since the advent of industrialization, man has belabored the destruction of human identity in the technological sinkhole, enmeshed in metal, wires, and electricity and ever growing to the beat of Moore’s law. The insistent currency of interchangeable events, status, and messages meted out by social networking sites presently fill the absence of the harder personal investment necessary to build traditional relationships. Zach Nader’s photo series Counterweight imagines the extreme of technologically-negotiated masking and negation. Using Photoshop’s content-aware fill, his images appear like documentation of Quantum Stealth test runs. Nostalgic family photos become abstract exercises in aesthetic sanitation and the persistence of (aura in selective) amnesia. While disturbing, they suggest that a dip into Lethe can actually be mentally refreshing in the present clog of virtual information, creating a space for reflection.
Berlin Art Week is coming up next week, and before we go off for an art overkill, why not start a bit earlier with a contemporary art ‘gymnastic excersise’ for a warm-up with the Berlin-based artist Hella Gerlach. By engaging in a dialogue with the architectural, physical and social body, Gerlach transforms the gallery space into an environment that is perceptible by the senses. The exhibition ‘Flex‘ by Hella gerlach will open today at the KM Gallery.
Go and stretch!
Flex
A solo exhibition by Hella Gerlach
13. September – 23. October 2013
KM GalerieMartin-Opitz-Straße 23
13357 Berlin
For those who have not heard of it yet, Prix Pictet is the premier international photography competition focusing on the environment and sustainability. Founded in 2008 by Pictet & Cie, it rewards the most outstanding photographers based on the annual theme–one with CHF 100,000 and another with a photo commission (the honor aptly named the Commission). Past themes look at Water, Earth, Growth, and Power; this year’s contest focuses on Consumption. Above are excerpts from Benoit Aquin, Prix Pictet’s first winner. Unlike the other photographers in the Water cycle, Aquin insightfully opts to avoid photographing water altogether, instead capturing a desiccated region in northern China in his portfolio The Chinese ‘Dust Bowl. Through images of the devastation caused by absence of the natural resource, he elegantly and concisely articulates water’s often overlooked value.
PS: On a less somber note, if you can figure out the origin the post title quote, extra nerd points. Hint: not Captain Planet.
It’s one of the interesting details about Brian Eno that even though he works mostly in the shadows, most people will be much more familiar with his work than they realise – having an album by U2 or Coldplay on their iPod, or almost by default if they used a PC in the 90s, since Eno was famously asked to compose the 3.25 second start-up sound for Windows 95. (Refresh your memory above, or enjoy a 5 minute remix below…) A lot was made of the fact that he composed the sound on a Macintosh, saying at some point that he didn’t even like PCs. But much more interesting are, of course, his observations on what it was like to cram a briefing of 150 adjectives into less than 4 seconds of sound:
‘The idea came up at the time when I was completely bereft of ideas. I’d been working on my own music for a while and was quite lost, actually. And I really appreciated someone coming along and saying, “Here’s a specific problem — solve it.” The thing from the agency said, “We want a piece of music that is inspiring, universal, blah- blah, da-da-da, optimistic, futuristic, sentimental, emotional,” this whole list of adjectives, and then at the bottom it said “and it must be 3 1/4 seconds long.” I thought this was so funny and an amazing thought to actually try to make a little piece of music. It’s like making a tiny little jewel. In fact, I made 84 pieces. I got completely into this world of tiny, tiny little pieces of music. I was so sensitive to microseconds at the end of this that it really broke a logjam in my own work. Then when I’d finished that and I went back to working with pieces that were like three minutes long, it seemed like oceans of time.’
Evolution of Silence, Matthias Lohscheidt. 2013.
Degeneration of sound to the finer development of listening pleasures.
Might be interesting to read with Luigi Russolo’s Art of Noise.
You have arrived at mono.blog by mono.kultur magazine. mono.blog is a rather eclectic summary of the things that are currently on our collective minds.