Sounds Like Venice | Global Sounds. A Journey to the center of Sound Art around the world | Tale of Forbidden Flowers

Sounds Like Venice | Global Sounds. 

A Journey to the center of Sound Art around the world in 80 podcasts. 

The fourth episode is dedicated to Tale of the Forbidden Flower

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Tale of the Forbidden Flower – Free jazz quintet, story tellers who created a conceptual “fairy” tale of forbidden flowers – are:

Rune Kaagaard, piano, midi, noise, vocals; Birgitte Lyregaard, vocal; Manja Ristic, violin; Mathieu Calejja, percussion, noise; Toma Gouband, percussion, noise

Desire: Ideal Narratives in Contemporary South African Art. Pavilion of South Africa at the 54th International Art Exhibition – la Biennale di Venezia. Interview with Lethole Mokoena

Desire: Ideal Narratives in Contemporary South African Art at the 54th edition of International Art Exhibition – la Biennale di Venezia. Interview with commissioner Lethole Mokoena by Ilari Valbonesi.

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Desire: Ideal Narratives in Contemporary South African Art, curated by Thembinkosi Goniwe marks democratic South Africa’s debut at the Venice Art Biennale. Over the past 17 years, since throwing off apartheid rule and entering into the ‘club of nations’ with constitutional democracies, South Africa has emerged as a symbol of how best to fan freedom from the ashes of bondage.

Whether working within or outside South Africa,  the artists Mary Sibande, Lyndi Sales and Siemon Allen explore conditions that give rise to lack of and longing for personal and societal change: to desire, whilst also participating in and contribute to an ever-widening ‘global history of art’.

Artists: Mary Sibande * 1982 Barberton, South Africa. Lives in Johannesburg, South Africa.
Siemon Allen * 1970 Durban, South Africa. Lives in Washington DC, USA; Lyndi Sales * 1973 Johannesburg, South Africa. Lives in Cape Town, South Africa

Venue: Torre di Porta Nuova, Arsenale Nuovissimo

Sounds Like Venice | Global Sounds. A Journey to the center of Sound Art around the world | Rastko Lazic

Sounds Like Venice | Global Sounds.  A Journey to the center of Sound Art around the world in 80 podcasts. 

The third episode is dedicated to Rastko Lazic  – composer and improviser of electronic music, born 1970 in Belgrade, Serbia, and based in Geneva, Switzerland. He has been composing music for contemporary dance, theatre and television since 1996. As a member of the `Recoil Performance Group` (Denmark) he toured the Middle East and Europe. Since 2009, Rastko`s work has focused on the use of an analog modular synthesizer as his main tool of composition and performance. He derives inspiration from the pioneers of electronic music and sees himself as a sculptor who shapes sound and then leaves it to live and grow. His music ranges from minimal electronic sound to electronic noise. Selected by AUROPOLIS – Association of Multimedia Artists from Belgrade for Sounds Like Venice  2011 project,  Rastko Lazic This Room is Too Small is a collection of live improvisation pieces recorded in 2009-2010. Free Digital Download (Geneva, 06-2010).

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Playlist: 01. Honey 00:59; 02. Second March  02:33; 03. In Time  07:06; 04. Cry  04:07; 05. First part 1  05:57; 06. Please Do Not  04:30; 07. Nothing part 2  02:59; 08. Nothing part 1  02:32; 09. Hi Rob  05:48; 10. First December  04:02; 11. First part 2  08:26; 12. Lag  03:16;

http://rastko.info/contact/

Was Fehlt? (A Church of Fear vs. the Alien Within) | Radio Play on Christoph Schlingensief | German Pavilion at 54th International Art Exhibition – la Biennale di Venezia.

For for Sounds like Venice, Cushman and Johannes Wilms |soya-muzik.com and Bootlab.org | prepared a special episode entitled Was Fehlt? : a one voice, multiple character radio play dedicated to Christoph Schlingensief, artist, filmmaker, and theater experimentalist who died at only 49 years of age in August of 2010, and represents the German Pavilion at 54th International Art Exhibition – la Biennale di Venezia, Golden Lion for Best National Participation 2011.

Biographical data and short descriptions of Schlingensief’s works are combined with fake artistic suggestions, with comments, historical data, poems, field recordings and sounds of various kinds. The air of this intense radio play ranges in- between high culture, united trash, fun and serious contemporary sound art and literature.

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From the early 1980s onwards, Christoph Schlingensief explored a variety of different media in his work. He made films, was involved in political action, theater, art projects, and opera. Even though he originally decidedly left behind the legacy of what was known as Neue Deutsche Film (new German film), on many levels we can compare his work to that of Rainer Werner Fassbinder. In particularly, this is true as regards team work, an approach that, though common in the world of film and theater, still tends to be the exception in the visual arts, and yet influenced his work for decades. Schlingensief used language as the fundamental starting point for his work, across the board.

About the German Pavilion.

In the main hall of the German Pavilion, the stage of the Fluxus oratorio A Church of Fear vs. the Alien Within has been installed, which Schlingensief conceived for the 2008 Ruhrtriennale, where he portrays his illness openly and unsparingly, using his own painful experience to examine the existential circle of life, suffering, and death. The play‘s stage with its many film and video projections, and a multitude of spatial and pictorial elements, has the character of an encompassing spatial installation.

In the right wing of the pavilion‘s two side wings, a cinema presents a program of six selected films from different moments in Schlingensief‘s career are played on a large screen: Menu Total (1985–86), Egomania (1986), the Germany trilogy of 100 Jahre Adolph Hitler (1988), Das deutsche Kettensägenmassaker [The German Chainsaw Massacre, 1990], and Terror 2000 (1991–92), as well as his penultimate film, United Trash (1995–96). Presented on a structured schedule, these films exemplify central features of Schlingensief‘s filmic oeuvre. The theater is accessible at all times during the Biennale‘s opening hours and accomplishes two tasks at once, offering an international audience the opportunity to see a significant selection from Schlingensief‘s films—some of which have been subtitled for the first time—while introducing the artist‘s filmic visual language into the canon of visual culture.
The pavilion‘s left wing is dedicated to Schlingensief‘s Operndorf Afrika, his opera village in Africa. Located near Ouagadougou, the capital of Burkina Faso, it includes a school which houses film and music classrooms, a café, a hospital, and a central theater building with a festival hall. The opera village is under the leadership of Aino Laberenz and planned with architect Francis Kéré. Alongside photographs and documentation of the already realized parts of the African project — and in conjunction with selected scenes from Via Intolleranza II, Schlingensief‘s last play in which he collaborated with actors from Burkina Faso — this portion of the pavilion will feature a large-scale panoramic projection of footage of the natural scenery surrounding the construction site of the opera village, filmed by an African filmmaker Schlingensief himself had commissioned for use in the German Pavilion. As there are no translations, subtitles or English versions of his work, the German Pavilion will not only to present Schlingensief’s work, but will also make it accessible to an international audience.


30 Days of Running in the Place. Egyptian Pavilion at the 54th International Art Exhibition – la Biennale di Venezia. Honoring Ahmed Basiony (1978–2011)

30 Days of Running in the Place.

Egyptian Pavilion at the 54th International Art Exhibition – la Biennale di Venezia. Honoring Ahmed Basiony (1978–2011).  Ashraf Reda, Chairman Fine Arts Sector, Egyptian Ministry of Culture,  interviewed by Ilari Valbonesi

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Egiptian Pavilion 2011 is a tribute to Ahmed Basiony, who was killed in Tahrir Square during the protests in Cairo in early 2011.  30 Days of Running in the Place is the play of a video documentation to a project that had taken place one year ago. Marking a specific time when the artist had performed a particular demonstration of running, in order to anticipate a countering digital reaction; the aim was to observe how in the act of running in a single standing point, with sensors installed in the soles of his shoes, and on his body [to read levels of body heat], could it had been translated into a visual diagram only to be read in codes, and visually witness the movement of energy and physical consumption become born into an image.

One year later, the uprisings to the Egyptian revolution took on Basiony’s attention, as it had millions of other Egyptians motioning through the exact same states of social consumption. It was from then on, for a period of four days, did Basiony film with his digital and phone camera, the events of downtown Cairo and Tahrir Square, leading to his death on the night of the January 28th, 2011. 

Ahmed Basiony (1978–2011) was a crucial component as an artist and professor to the use of new media technology in his artistic and socio-cultural research. He designed projects, each working in its own altering direction out of a diversity of domains in order to expose a personal account experienced through the function of audio and visual material, allowing the archival of data the moment it came in, and no longer there after.

Curatorial Team: Aida Eltorie, Curator; Shady El Noshokaty, Executive Curator; Magdi Mostafa, Sound & Media Engineering; Hosam Hodhod, Production Assistant

Website: www.ahmedbasiony.com

Everyone Agrees: It’s About to Explode… Indian Pavilion at the 54th International Art Exhibition – la Biennale di Venezia. Interview with Gigi Scaria

Everyone Agrees: It’s About to Explode… Indian Pavilion at the 54th International Art Exhibition – la Biennale di Venezia. Gigi Scaria (painter, sculptor, video artist; born in Kothanalloor, Kerala, 1973; now lives in New Delhi) interviewed by Ilari Valbonesi.

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The historic occasion of India’s first-ever National Pavilion at the 54th International Art Exhibition – la Biennale di Venezia – curated by cultural theorist and poet Ranjit Hoskote – approach that idea through the tropes of transcultural practice, migration and cross-pollination. Hoskote’s aim, in making his selection of artists, is to represent a set of conceptually rigorous and aesthetically rich artistic practices that are staged in parallel to the art market. Furthermore, these have not already been valorized by the gallery system and the auction-house circuit.

Everyone Agrees: It’s About to Explode… Indian Pavilion at the 54th International Art Exhibition – la Biennale di Venezia.  Commissioner: Ranjit Hoskote. Artists: Zarina Hashmi, Gigi Scaria, Praneet Soi, The Desire Machine Collective (Sonal Jain, Mriganka Madhukaillya).

Sounds Like Venice | Global Sounds. A Journey to the center of Sound Art around the world. Episode 2 by AUROPOLIS

Sounds Like Venice | Global Sounds.  Journey to the center of Sound Art around the world. 

The second episode collects sound works selected by AUROPOLIS – Association of Multimedia Artists from Belgrade.

 

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Kralj Čačka,  Kolega

Nenad Marić, better knows as Kralj Čačka is song writer and instrumentalist, academically educated painter and a poet. This piece is part of NRBG live session, took place some time in winter 2010.

Toma GoubandCallioux

 Toma Gouband, drumist, improviser, searcher of – sounds, links between sounds, rythms’ forms and rythms between rythms- plays with drums, stones, branches, some “boom” & some “tchak”, a cymbow, futher dusters, bells, winds and, browsing -times, silences, densities- articulates a space sometimes agitated, sometimes still, till matters and airs meet & sing.