25th
June, 8-10pmNew and Improvised Music
St. Cyprians Church Tuesday Ruth
Barberan – trumpet (esp) Alfredo Costa Monteiro –
accordion (esp/por) Rhodri Davies – harp (cym)
Matthew Davis – trumpet/electronics (uk) Isabelle
Duthoit – clarinet (fr) Simeon Portway – electronics
(uk)
mattin- computer feedback (b)
1st July- Noise
Flamenco & Denis Duvbotsev, Mark Browny,
Belaska(Mark
Wastel & Mattin) at Bonnington center, 8:30pm
3th July- Tim
Goldie percussion, Simon H. Fell double bass,
Mattin guitar. Red Rose, 8:30 pm
Attakame tour
July: with Joel Stern
12th in zagreb (
Croatia) attack at Autonomna Tvornica Kulture,
Mattin (solo), Joel Stern (solo)
13th Radio Student live broadcast, Slovenia
Mattin (solo)
14th Brezice,
Slovenia
17 th cherkno.
Slovenia with Joel Stern and Jani
18th Klub
Gromka/Metelkova/Ljubljana
23rd Fluc, Vienna. solo andwith Joel
Stern and Christoff Kurzmann
24 th Radio
Jeleni, Prague
25th Between Dresden and Prague project, bar
Parukarka. Prague. Solo and with Joel Stern
26th at raumschiff zitrone in Berlin.
Solo
3th
August-oligarch shit transfusion festival at the
Foundry (london) Mark Browne & Mattin
OLIGARCH SHIT
TRANSFUSION
festival of fucking radical experimental music
from a host of
internationally renowned artists-
Oct. 26th + 27th, Free/donations, 8pm, The
Foundry, 84 Great Eastern Street,
EC1
020 8985 2816 goldieslof@hotmail.com
Free vegan snacks, visual art by various artists,
plus -
Saturday 26th -
Rosy Parlane [computer] (New Zealand)+ Mattin
[computer] (Basque Country)
"
"[sic] Goldie [drums/voice] (UK)
Anthony Guerra [guitar] (Australia)+ Joel Stern
[computer] (Australia)
Sunday 27th -
Michael Rodgers [guitar] (USA)+ Ross Lambert
[guitar/voice/objects]
(Ireland)
Mattin [computer] (Basque Country)+ Daniel
Beban[guitar] (New Zealand)
"
"[sic] Goldie [drums/voice] (UK) + Moshi Honen
[guitar] (Israel)
General
Education Centre
Unit 10
18 Pundersons Gardens
bethnal green tube
third street on right
walking west on
bethnal green from
tube.
sunday 17th and
24th of november.
5pm to 8pm - £3
sunday 17th
a sound of music (uk) - tone genrators reel to
reel machines
joel stern (aus) - concrete sound, electronics
seymour wright (uk) - saxophone
daneil beban (nz) - electric guitar
brown sierra (uk) - electronics, self made
instruments, etc.
ingar zach (no) – drums and percussion
romuald wadych (po) - orange pipe & orange
trousers
sakada (undistilled cd launch)
mattin (bc) - computer feedback
rhodri davies (wa) - harp
eddie prevost (uk) - percussion
Matt Davies, Tom Chant, Rhodri Davies, Mark
Wastell, Joel Stern, Mattin, Anghara Davies.
21st November
London 8pm.st. michael & all angels church
bath road
turnham green
london
w4
menageotrois
sunday 24th
presentation of musica ex machina festival bilbao
www.musicaexmachina.com
work by ainara garcia
Playing for a film by William English:
joel stern (aus) - concrete sound, electronics
mattin (bc) - computer feedback
tom chant (uk) - saxophone
takehiro nishide (jp) - stuff
richard thomas (wa) - stuff
hugh metcalfe (uk) - guitar gas mask etc.
festival of
fucking radical experimental music from a host of
internationally renowned artists-
30th now. 1st dec Free/donations, 8pm, The
Foundry, 84 Great Eastern Street,
EC1
020 8985 2816 goldieslof@hotmail.com
Saturday 30th
nov -
Nathaniel Cacthpole
Paul Hood + Joel Stern
Deflag haemorrage/haien Kontra (mattin
+"
"[sic] Goldie)
Daniel Beban +
Ross Lambert
Sunday 1st. dec
-
John Lealy +
Jaime Coleman
"
"[sic] Goldie + Alan Wilkinson
Belaska ( Mark Wastell & Mattin)
8 Th December. Deflag heamorrhage/ Haien Kontra ( "
" [sic] Goldie & Mattin), Joel Stern, Anthony
Guerra, Take &Michael Rodgers.Bar Sarea. Bilbao.
MEM Festival
9
Th December. Deflag heamorrhage/ Haien Kontra ( " "
[sic] Goldie & Mattin), Joel Stern, Anthony
Guerra, Take. Matadero. Azkoitia.
2003
16th January.
Ozren, Tom Chant, Romualdino, Takethehero, Dan
Beban, Matthew Hyland, Michael Northam, Mattin.
Jolly Cock & God. The Dark Whales Institute.
London
17th
January. Margarida Garcia, Manuel Motta &
Mattin. ZDB. Lisbon
18th
Januray. Margarida Garcia, Manuel Motta &
Mattin. La Barraca. Lisbon
1st
Feb. Sakada ( Eddie Prevost & Mattin) - " "
[sic] Goldie & Michael Rodgers. Oligarch Shit
Transfussion, The Foundry. London
Take,
Mattin ( guitar, computer feedback)
+
Wolfgang Fuchs (turntable), M.
Northam (computer)
+
" " [sic] Goldie ( drums/vocals)
Menage
A trois
GEC
Gallery
18 Punderson Gardens, red door, 3th floor. Bethnal
Green, London
Sunday 16th Feb. 2003, 5 to 8 pm, £3.
Michael Northam ( computer)
+
Dan Beban ( guitar), Tom Chant (sax.), Paul May (
drums)
+
Take ( guitar), Seymour Wright ( sax), Romuald
Wadich( Objects)
+
Matt Davis (trumpet),
"
" [sic] Goldie ( drums/vocals), Mattin ( computer
feedback)
OLIGARCH
SHIT TRANSFUSION presents -
Two more nights of radical experimental music and
visual art downstairs at The Foundry, 84 Great
Eastern Street, London, EC2. (Old Street tube)
Free/donations.
Contact - Noumenalfilth@hotmail.com
020
8985 2816
Free vegan snacks. Organic beer available.
---------------------------------------------------------------------
Saturday March 1st, 8pm -
DEFLAG HAEMORRHAGE/HAIEN KONTRA - (Mattin(guitar) +
"
"[sic] Goldie (drums/voice))
DEAD MACHINES from Detroit(tone generators, handmade
guitars, vocals, pedals,
reeds, electronic junk)
Dylan Nyoukis (tapes, voice, objects, sideburns)
& Milch Grande
(guitar,electronics, tapes, who knows?)
---------------------------------------------------------------------
Sunday March 2nd, 8pm -
DEFLAG HAEMORRHAGE/HAIEN KONTRA - (Mattin(guitar) +
"
"[sic] Goldie (drums/voice))
BROKEN HANDS - (Michael Rodgers - guitar + Anthony
Guerra - guitar)
Oli Mayne - vibes
-------------------------
Heterogenius
impro night
at the infamous
Dark Whale Institute 7th march 2003. 6:30pm. Free
3 Silesia Buildings (off Mare st.) Hackney.
Burkhard Stangl
(Austria)- guitar
Michael Moeser (Austria)- – cello
Mark Wastell- (UK) cello
Rhodri Davies- (UK) harp
Mattin- (Basque Country) computer feedback
Manuel Mota (Portugal)- guitar
Pedro Lourenço(Portugal)- - laptop
Anthony Guerra (Australia)- guitar
Michael Rodgers (USA)- Bass Guitar
Takehiro Nishide (Japan)-Guitar
Matthew Hyland –
Guitar + Dan
Bevan (New Zealand) – Guitar
Sunday 9th March 7:00
pm Free
Sado
Musicism
13a Mehetable Road( off Mare Street)
Hackney E9
Matthew Hyland
guitar
Pedro Lauren (Portugal) laptop
Burkard Stangl (Ausrtria) guitar
Michael Moeser (Austria) cello
Jamie
King (UK) guitar
Romuald Wadych (Poland) guitar
Mattin ( Basque
Country) guitar
Nishide Takehiro (Japan)guitar
14th
march. Mean Streaks, Hang Jury, Deflag
Haemorrage/Haien Kontra, (Reynols cancelled thanks
to UK imigration). Montage Arms. London
24th
march. Deflag Haemorrage/Haien Kontra, Ron
Briefel, Alex Ward & Cebil. Bonnington. London
29th march Belaska. Saint
Ciprian's. LondonCancelled
4th
april. Paul Hood, Anthony Guerra, Mattin. LMC spring
free festival. Conway Hall. London
24th
april. Takehiro Nishide & Dan Beban, Mattin (duo,
solo & trio). ESG. Saint Petersburg
26
april. Takehiro Nishide, Dan Beban, Mattin. SKIF 7.
Saint Petersburg
27th april.Takehiro Nishide, Dan
Beban, Mattin. Saunabar. Helsinki
3th
may.Sakada.Rhodrie Davies-harp, Margarida
Garcia-electric double bass, Mattin computer
feedback, Eddie Prévost-percussion, Mark
Wastell-double bass. Freedom of the City Festival.
Conway Hall. London
Deflag
Heamorrhage/Haien KontraThe last Deflag
Haemorrhage/Haien Kontra London gig for some
months will deliver the fucking goods.
___________________________________________________________________________________
"I know it's not a case of hours or days 'til
I get better. I know I'm fucked, and you
don't/can't realise the enormity of that. I feel
so unutterably fucked over by you. This tinnitus
will not heal. These hemorrhoids'll last for god
only knows. So, I well, apologize for my
'despicable' behaviour. I am so disgusted with
myself, with you and your inane drivel and pats on
the back so fucking hideously patronising, and my
joke-cum-begging. Good fucking luck you fucking
mess."
___________________________________________________________________________________
....remember sentients you embalmed still
alive excelled yourself purblind sarcoma of
selfishness and indolence loquist hyperparasite
cumberworld drag you under again ensilaged body
betrays you straw man counts for shit now the risk
is gone fucks otaxia bloat fucks otaxia chassis
divulge throat cloak violate blackworld oath
internecine masquerading mourn own death
sycophantic slake abuliacs fuelling legitimising
eachother slump executrix cut swap false
glossect...
___________________________________________________________________________________
The Swan
353 High Rd. N17
tube- Seven sisters
mon. 23th June. 8pm. El Corsal
Desastre. Bonnington Center. London
The Impromtulons- Clare Cooper, Anthony Pateras,
Clayton Thomas-Lada,-sex olimpics of 1968-Werner Dafeldecker
& Mattin (One of the most enjoyble gigs of my life!
Philip Best from Whitehouse) Shanon Doherty. 62 Warry st. Brisbane
9th Feb. tara's program.Mattin 4zzz radio station.
Brisbane
10th Feb.Mattin. Midnight-1:30 Monday
night/Tuesday morning. Spitting Bits on 2SER FM 107.3
MHz Radio station. Sydney
11th Feb. Stasis Duo & Mattin.
Midnight-1am. Alice Radio. 2SER FM 107.3 MHz Radio station. Sydney
IMPROVISATIONS FESTIVAL, ADELAIDE
all performances and workshops take place in:
North-South Dining Room, Union House, University of
Adelaide, North Tce.,
Adelaide
SUNDAY 22 February
13:00-15:00
Annette Krebs & Andrea Neumann (workshop)
21:45-23:45
Annette Krebs & Andrea Neumann
Werner Dafeldecker & Dean Roberts
MONDAY 23 February
13:00-15:00
Werner Dafeldecker & Dean Roberts (workshop)
22:45-24:15
Oren Ambarchi
Werner Dafeldecker & Arek Gulbenkoglu
Mattin
TUESDAY 24 February
13:00-15:00
Oren Ambarchi & Mattin (workshop)
22:45-24:15
Dean Roberts
Oren Ambarchi & Mattin
Arek Gulbenkoglu
25th Feb. Every stroke a bucketful.
good morning captain.
Melbourne
mattin/arek gulbenkoglu
anthony guerra
richard francis (new zealand)
19th May 20-22h. Xabierk Erkizia
& Mattin. Catalogo General. Santa Maria 11. Open
MEM. Bilbo
OLIGARCH
SHIT
TRANSFUSION:
May 30th Free. Downstairs at The Foundry, 84 Great Eastern
Street, London
EC1 (Old St. tube)
DEFLAG HAEMORRHAGE/HAIEN KONTRA (" "
[sic] Goldie & Mattin), SEBASTIAN LEXER, DANIEL BEBAN,
ROHAN THOMAS
AND MORE...
Organiza AVC (Asociacion de Victimas del
Capitalismo) La Haceria Ribera de Deusto
42. Bilbo 13
de Enero
20 horas en punto
Enrike Hurtado (Los Munson, ex-Jan, ex
Safety Pins)
Ordenador, Ixi y guitarra, Bilbo)
Edorta Izar ( Bermeo) Amplificador y pedal
Sutil musica electronica improvisada con
acento de Bermeo y Sodupe.
+
Mattin (GNUitar, Bilbo)
La muerte del canta-autor.
--------------------------------- 27
de Enero (Jueves) La Haceria Ribera de Deusto
42. Bilbao 20
horas en punto
Cornucopia, (Jorge
CastroPuerto
Rico) Musica
electonica contundente.
+ Jean-Luc
Guionnet
(saxofon, Francia)
David Chiesa (contrabajo, Francia)
Improvisacion acustica inteligente y
visceral.
_______________________________
organiza AVC (Asociacion de Victimas del
Capitalismo) 5
de Febrero (Sabado)
Cortes 29, 31. Bilbo
20 horas Metamkine
(Francia)
Manipulacion de imagenes y sonido en
tiempo real
con proyectores de 16 mm y dispositivos
electroacusticos
organiza AVC (Asociacion de Victimas del
Capitalismo) 7
de Febrero (Lunes) Nuevo Espacio
Abisal
c/ Hernani 14. Bilbo SUSPENDIDO: Schnee Christof
Kurzmann(ordenador &
clarinete, Berlin & Viena) yBurkhard
Stangl
(guitarra,
Viena)
25th Feb. Billy
Bao (Single Presentation), Paniks.
Xurrut. Gorliz
Club Transmediale Schönhauser Allee 167 (U-Bahn Senefelder Platz)
Eintritt frei.
Mattin (geboren 1977 im Baskenland) ist Laptopmusiker mit der Reputation ein Meister der Improvisation zu sein.Die performativen Aspekte der Computer-Improvisation haben ihn dazu veranlasst, die unterschiedlichen Bedeutungen, die diese Praxis in den verschiedenen Kontexten haben kann, zu untersuchen.
Ein Grossteil seiner akustischen Feldforschungen basieren auf Kontrasten.Dem Kontrast zwischen extrem Lautem und extrem Leisem, sowie dem Verhältnis der digitalen Klänge des Computers zu seinen "physischen" Geräuschen. "Ich attakiere diesen alten Computer manchmal physisch. Mal schalte ich ihn erst gar nicht an, ein anders mal spiele ich nur mit dem Geräusch der Harddrive oder des CD-Brenners. Manchmal öffne ich den Bildschirm nicht oder spiele nur mit dem Summen der Erdung. Die Möglichkeiten dieser grossartigen Maschine sind endlos."
Mattin hat Bildende Kunst und Kunstgeschichte in London studiert und ist neben seinen Tätigkeiten als Musiker und Theoretiker auch Filmemacher. Eine seiner theoretischen Schriften beschäftigt sich mit den politischen Dimensionen der Freien Improvisation. " Es besteht die Notwendigkeit, mit all den vorangegangenen Auffasungen von Musik zu brechen. Der Meta-Musiker ist nicht nur gleichzeitig Spieler/Komponist und Zuhörer, sondern im selben Moment Revolutionär und Konsument der Revolution der beteiligten Mitspieler." Sein letzter Kurzfilm befasst sich mit der Gentrifizierung Bilbaos. .
ORIGINALFASSUNG, eine Serie von Gesprächen und Diskussionen basiert eher auf einem Verständnis von Zusammenarbeit als auf Wettstreit, motiviert durch die Neugierde von Fremden oder Besuchern verschiedene Felder zu betreten - wie z. B. Wissenschaft, Musik, Architektur, Kunst, Tanz, Choreographie, Theater, Politik, Design, Medien, Wirtschaft, Journalistik.
Mit freundlichen Gruessen geoff garrison, Heimo Lattner, Oliver Baurhenn,
Gig: Axel Dorner & Mattin
schoenhauser allee. Berlin
16th April. Mattin, Workshop and solo Concert at SAFU (Sand Andreu Free University). Y Productions. 17:30.Barcelona
16th April.
Cremaster & Mattin. Impro IBA (espacio
de can felipa). 21h.
Barcelona
18/19/20
Avril 05- *Zone d'Essai
Temporaire de MATTIN*
- _programme des actions_
Intervention sur un chantier de construction sur
l'île de Nantes
(*quai Rhuys, à côté de la boîte "Quai
Ouest"*).
* Détourner un espace en
construction: intervenir
dans un espace
intermédiaire et
indéterminé
* suivre un processus de production:
construction du site
et
création d'une forme
sonore à
partir des éléments sonore collectés
sur les lieux
19 avril: _16h- enregistrements de sons sur le
chantier
_21h-
ouverture d'un streaming sur la web-radio d'apo33:
un automate
numérique recompose les sons collectés _http://radio.apo33.org_
20
avril: _15h- *séance 'open-mic'*: un micro ouvert dans les locaux
d'apo33 capte les discussions engagées autour
du
matériau collecté. Séance ouverte au public et audible sur la
Web-radio d'apo33 _http://radio.apo33.org
_
_20h-
*Echange
d'écoute*:
Mattin présente au public son parcours artiste et sa démarche de
création,
diffusé
sur _http://radio.apo33.org_
_22h-* performance sur le chantier* (sur l'île de Nantes). Le public
présent à l'Echange d'écoute
est
invité à une performance sonore à partir des éléments sonores
enregistrés sur le site.
/si vous ne souhaitez pas recevoir nos infos
envoyez un mail avec
REMOVE dans le sujet
/April 18/19/20 - *Essay
Temporary Zone with MATTIN* - _actions
program_
Intervention on a construction site in Nantes
* hijacking a construction site:
working on an
intermediate and
indeterminate space
* following a process of production:
the construction on
the site
and the creation of a
sound form from elements
collected in the space
April 19: _4pm - recording on the construction
site
_9pm - a streaming is opened on Apo33's Web-radio : a digital automat
recomposes collected
sounds
_http://radio.apo33.org
_April 20: _3pm - *'open-mic' session*: a microphone is opened in the
working space of Apo33 recording
discussions
engaged around the sound material collected. Session open
to the public and audible on
apo33's
Web-radio _http://radio.apo33.org_
_8pm
- *Listening
Exchange*:
Mattin presents to the
public his artistic work-
streamed on _http://radio.apo33.org_
_10pm
- *performance
on the construction site*.
The public present at the Listening Exchange is
invited
to a sound performance with
the elements recorded on the site.
5th July.
Billy Bao.
Cortes 29, 5piso 20:30
horas. Bilbo
TOTAL ASBO SOUNDSYSTEM ( " "[sic] GOLDIE - DEFLAG HAEMORRHAGE/HAIEN KONTRA, SLAKES, SARCOMASINE BLOC + MATTIN - DH/HK, SAKADA, BELASKA, ASS BLOOD, BILLY BAO etc etc noise/electronica DJ set)
PARK (Future Sound Of London Hip Hop Band)
KONSTRUCT (Live Mash Up Electronica)
SINISTER SOUNDS (Live Drum 'n Bass/Noise)
DJ HACKNEY (Sad Boy Drum 'n Bass)
Plus more...
Great venue with garden!
9-LATE, £5/3 SATURDAY 23rd JULY, 491 GALLERY, 491 GROVE GREEN ROAD, E11 RIGHT OUT OF LEYTONSTONE TUBE, THEN LEFT...
Saturday 20th August 1:30pm free
Introduction
to
work with audio on a GNU/Linux
operating system.
We will see how to record, edit, and
manipulate
sounds using mostly Ardour (powerful Audio
editor) and qjackctl
(audio server). We will also take a look at
Audacity (more straight
forward audio editor), Rezound(for
Mastering)
and some others programs of the many
free audio software
available.
20th November
Presentation of the w.m.o/r
label and
the desetxea
net label with a cd burner for
people to burn the
music. uncommunsounds.Arteleku,
Donostia
*" " [sic] Goldie- A. A.(Absolute Abjection)
-LIVE, getting ready for
his coming cd "ABJECTOR" [sic] on w.m.o/r
*Mark
Wastell-world premier presentation of
his new work with Lasse
Marhaug
*Heliogabalus-/
When Heliogabalus dressed as a prostitute and
sold himself for forty
cents at the door of Christian churches and
the temples of the Roman
gods he wasn’t simply satisfying a vice, he
was humiliating the Roman
empire. /Antonin Artaud
22th
December. La
Grieta. Kalian junto al
metro de Leioa:
una noche de Circo Cabaret Strip Tease
performance chorra y/o
no...vamos a
montar el Kiosco de Kioscos, la Cabina del
payaso Fausto pinchadiscos y
MC
Mefisto Negruri.... & La
Grieta (debut!!!)
26th December. Ritxi (piano), Ander
Santa Maria (Chello),
Juan Gumucio (guitar), Mattin (Guitar).
Kalian, Leioa
3th
February
2006 NMM
(Lucio
Capece & Mattin) Skull
Defekts
(Joachim Nordwal and Henrik
Rylander) with guest: Lasse Marhaug, Dans
for voksne,
Chateau
Neuf, Oslo
4th
February 2006
Capece/Mattin/Grenager/Fetvelt
+ Erich Berger
Sound of Mu, Oslo
11th
February. Billy
Bao, Paniks. Ketarri.
Guetaria
Location:
Area 10
Eagle Wharf
Peckham Hill Street
London SE15 5QS .
NOTE:
this event is included in a programme
going from 4pm to 1am packed with
meetings, concerts, digital shorts,
installations, performances, VJs
and DJs, laptop music, cyber-wrestlers,
CCTV hackers and circuit
benders + much more. Concerts from 7pm
PURE
feat. Alex von Bolz´n
(Vienna/A-Berlin) - http://www.http://doc.test.at
- MaxMSP-programming,
voc - Record Release: "Home is
where
my harddisc is Vol.2"
13th May 2006. Slakes
("
" [sic]
Goldie & Dan Beban), Mattin. Hackney.
London
MINIFESTIVAL INTERNACIONAL DE MUSICA FREE Lunes 22 Mayo 2006. Billy Pool (Deusto) Bilbao GRATIS Axolotl (USA) The Skaters (USA) Tomutonttu (Finlandia) Joala (Euskadi) Josetxo Grieta (Bilbo) www.openmem.com
Alan Courtis (from Reynols-Argentina)
-guitar & electronics
With
Sakada:
Eddie Prévost (from AMM) -percussion
Mattin -computer feedback
Part of the Arsenal
exhibition Alma
Enterprises, 1 Vyner Street,
London E2 9DG
3th
of September 2006
Homage to Romaric Sobac (the most
important french artist of the
century!) NMM
will participate in the "Romaric
Sobac" homage that Phillippe is
organising in Wedding (Berlin)
this
sunday 3th of September:
020906+030906 sobaKKK nawaKKK fest @ adolf666 a whatever-bullshit festival with and around romaric sobac featuring lots of people including romaric sobac himself... www.dt-bs.com
9th September. Mattin, karmanoia Space, neukolln, Berlin
14th September. Antoine Cheesex, Mattin, +++ Brunnenst. 183. Berlin
25th September 3/4 Have been eliminated, in diferent combinations and a trio of Valerio Tricoli, Claudio Rochetti and Mattin, at
adolf666
Adolfstr. Wedding, Berlin
ErstQuake 3
(co-curated by
Erstwhile, Quakebasket and
Little Enjoyer)
Thursday, September 28:
Jeph Jerman/Greg Davis
Los Glissandinos (Kai
Fagaschinski/Klaus Filip)
Bryan Eubanks/Barry Weisblat
Michael R. Bernstein/Mike
Shiflet
Mattin/Tim Barnes
$18 per night, $65 for a
festival pass (plus one drink
minimum per
night) (ticket prices not
definite yet, I need to talk to
Tonic still)
doors open at 7:30 each night
Tonic, 107 Norfolk St., NYC
tonicnyc.com
special thanks for the support
of Chris Letcher, Yuko Zama,
Will
Benton/Formed, the Austrian
Cultural Forum and the Music
Information
Centre of Norway
on wfmu
radio (New Jersey) Billy Bao Tuesday,
October 3rd, 3pm - 6pm
on Brian Turner's show
Billy Bao is a Nigerian artist who
emigrated to the Bilbao region
of
Spain, and a few years back
churned out an insane 7" single of
scuzzed out, throat-shredding,
guitar amp-destroying punk rock
distilled to its purest and most
ludicrous form. He followed it up
last
year with a CDEP that explored
stumbling electronics and homemade
music-concrete in a way that
offered up bits of tension
and silence to confuse/destroy in
the same yet opposite manner as
the
7". He now comes to play live on
Brian's show, joined by his label
boss
Mattin on guitar and NYC drummer
Tim Barnes; what will be served up
will be anyone's guess but we're
sure excited to find out.
7th October 2006
Loy Falkbonner
Mattin (performed by Margarida
Garcia) Mike Haleta
& Kasper Toeplitz
The Tank, NYC
26.10.2006 EARLY CONCERT THIS
THURSDAY!!!
Different perspectives on the power of
improvisation
Kouhei Matsunaga(Flying
Swimming/Wordsound/Tigerbeat6/CFET/Japan)
Toshio Munehiro(Handshake/Japan)
From Japan this duo will preset an
electronic set that surely will make
you think about how far music can be
push.
Josetxo Grieta (Euskal Herria)
From the Basque country Josetxo Anitua
(from the legendary Cancer Moon)
and Mattin, will perform their debut
concert in Berlin. Unfortunately
this time they will perform without
their drummer Piji.
They use improvisation and noise to
deconstruct the more obscures sides
of Rock and Roll. Intimate yet utterly
raw.
They just have released "Reminder of a
Precious Life" on Audiobot
(Belgium), and they are about to release
"Euskal Semea" on w.m.o/r.
you can hear one track here:
http://www.hecanjog.com/mattin/Josetxo_Anitua_con_la_Grieta_REMINDER.ogg
http://www.mattin.org/Josetxo_Grieta.html
This
Thursday 26th October 2006
8pm punctual-early concert.
This is going to be the last concert at:
ADOLF666
Die Alte Buchbinderei, in
Berlin-Wedding, Adolfstrasse, Ecke
Schererstrasse
S+U Wedding, U Nauener Platz u.
Leopoldplatz
Organized by the P.S.F. (Philippe Simone
Foundation) http://www.psf.ca
No Trend #2
-
Day One.
Sunday
19th November.
The Old Blue Last,
Gt
Eastern Street. Shoreditch,
London EC2. 4pm to midnight. / £6-
Ramleh Sutcliffe Jugend Consumer Electronics
Grunt Thirdorgan
Mlehst Evil Moisture / Putrefier / Sudden
Infant tagteam Deepkiss
720 Esther Venrooy Feast of Ishtar Joe
Gilmore / George Rogers
Panicsville Younger / Scarr duo Hardline
Elephants
No
Trend #2 - Day Two. Monday
20th November.
The
Gramophone
60/62 Commercial Street Shoreditch London
E1. 6pm
to midnight / £6-
Small Cruel Party Das Synthetische
Mischgewebe Cheapmachines Mattin Sudden
Infant Chora Usurper Mark
Durgan The Good Anna Family Battle Snake
Eaten By Children
DISLOKES, CON CIERTOS DESCONCIERTOS. Musikas descuartizadas! Metro: bajarse en la estación de BAGATZA salida (bagatza/santa teresa) y bajar hacia Beurko (Ver mapa abajo) IMPORTANTE: ir abrigado
20 febrero 2007, gaztetxe Dorretxea C/Beurko viejo nº19 Barakaldo (bizkaia)
3 euros
19:00 h Ramon Churruca
Postkakofunk Tüsüri & Xedh Flama (Flujo akustiko materiko) Maite Arroitajauregi & Ibonrg Josetxo Grieta Baseline Billy Bao -------------------------------------------------------- orgabiza AVC (asociación de victimas del capitalismo) Gracias a asamblea de Dorretxea & OPEN MEM -------------------------------------------------------- www.mundurat.net/tusuri & www.xedh.org www.gabone.info & www.9cdr.tk www.ibonrg.net www.mattin.org/Josetxo_Grieta.html www.baselinenoise.com www.mattin.org/recordings/BillyBao.html www.openmem.com
Ramon Churruca-COMO TE PONGO? El controvertido artista de la margen derecha pondra la banda sonora en directo a su obra maestra cinematográfica Mente Mutua.
POSTKAKOFUNK Proyecto en solitario del que fuera uno de los artífices del grupo kakofunk, actitud brikoleur para una experimentación enemíga del sonido digital. Acción basada en el juego de la retroalimentación con pletinas de cinta marnética.
TÜSÜRI & XEDH El joven gipuzkoano Tüsüri proviene del dark ambient, los drones y las atmósferas de espacios industriales; El Gasteiztarra XEDH sin embargo del noise, el sucio-pop descompuesto (Baba llaga) y de intensidades de tiempo industrial. Pero en los últimos tiempos ambos parecen estar explorando cada uno por su lado nuevos camínos que, en mas de una ocasión, conviven a la perfección. Presentaran una obra de claras implicaciones conceptuales, en la que las grabaciones de campo previamente realizadas en los alrededores industriales de Beurko seran las protagonistas.
FLAMA Flujo acústico matériko es un combo de improbización ruidosa sin más restricciones que las impuestas por los materiales empleados. Flujos de sonido donde el único criterio compositivo es aceptar los accidentes, las limitaciones y todo lo que entre en el tiempo de acción.
Maite Arroitajauregi & Ibonrg Contraste musical unido por el poder de la improvisación. Maite Arroitajauregi ha estudiado el violonchello en el conservatorio en Donostia e Ibonrg (Eten) viene del postrock desde Sestao. La unión hace la fuerza!
Josetxo Grieta es el proyecto de Josetxo Anitua (Cancer Moon), Iñigo Eguillor (Gringo) y Mattin (Billy Bao) que nace en Febrero de 2006 con la única premisa de aunar improvisación y ruido a los aspectos más oscuros del rock’n’roll. Acaban de publica su segundo trabajo "Euskal Semea" en el sello w.m.o/r.
Baseline (Pilar Baizán), proyecto sonoro electrónico de texturas profundas, contrastes, manipulación de loops a partir del tratamiento minucioso de pequeños fragmentos sonoros y largo alcance emocional.
Billy Bao es el cantautor nigeriano (Lagos, 1970) influenciado por los Stooges y que vive en Bilbao desde mediados de los ochentas. La gente ha intentado definir su música como Punk, Noise Punk, Post-Punk, Punk conceptual, Rock Concrete o como el eslabon perdido del Rock Radical Vasco (Alan Courtis) pero nada de estas definiciones se acerca a la realidad. Esta noche Billy Bao contara con la presencia de Alberto Lopez (ex-La Secta, ex-Yogur, ex-Atom Rhumba), Xabier Erkizia (ex-Gutariko Bat) y Mattin (Josetxo Grieta)
Noise
festival #7
is going to
happen
Location:
Ljubljana @ Menza pri koritu
REDGLAER
(USA)
ERIC
BOROS
(Canada/France)
ANALOG
SUICIDE
(Turkey)
RINUS VAN
ALEBEEK (Holland)
MASSACCESI
(USA)
ORDZ
(Italy)
& URBAN CULTURE AND
EDUCATION (Croatia)
PAMBA
(Serbia)
CITIES IN
DESOLATION (Greece)
still
unnamed
band from Bre?ice (Slovenia)
MATTIN
solo
(Basque
Country)
NO EXIT
(Switzerland) (to be
confirmed)
MY DEER
CHILD
(Serbia) (to be confirmed)
DJ
program by
DJ PERO-FOTAR (Bevke)
16th April,
16h-20h,
workshop in Zagreb VENUE:
Skladista
tisine, (Silence
reservoirs)
>> SKLADISTA TISINE
ime je prostora u kom se
IMPROnedjeljci/IMPROmondays
>> odrzavaju od
listopada 2006. godine.
Nalazi se iza backstagea
Mocvare u
>> zgradi Tvornice
Jedinstvo, uz Trnjanski
nasip. Otprije je
poznat kao mjesto
>> za pokuse i izvedbe
skupina BAD Co. i House of
Extreme Music
Theatrea. U
>> sklopu
IMPROnedjeljaka/IMPROmondays
odrzavaju se radionice za
sve sudionike
>> koje interesira
izraz u zvuku i pokretu, a
vole
eksperimentirati i
>> prezentirati svoje
ideje pred umjetnicima iz
drugih konteksta.
Za
>> sudionistvo
potrebno je ponijeti
sredstvo izrazavanja, i
opremu za
>> ozvucenje, a
razglas u prostoru je
dostupan na slobodno
koristenje.
2th May
Mattin (solo) galerie
Immanence,
Paris
The Spectacle of Being The
Spectacle:
A homage to Guy Debord's
first film: Hurlements en
faveur de Sade.
Using light, noise and its
antonymous in order to
expose the way that
roles and hierarchies
are created once you enter
the concert situation .
Usually the performer is the
one to dictate what happens
and the
audience has to accept
whatever decisions the
performer takes such as
when to begin and when to
end. This type of concerts
helps the
reproduction of
stereotypes and an easy
consumption of culture, in
which the passivity
of the audience is often
regarded as ''respect''.
During this concert
we will question this ''role
creation'' by extending
notions of
improvisation to the
psyche of the spectators:
the spectacle of being the
spectacle.
Mattin
8th April 2007
Berlin
ONGAKU:enjoy_sound
and INTERLACE present: Two
experimental music concerts at
Shunt Lounge,
London in June 2007
1. At 8:30pm sharp on 14
June 2007:
man and machine
·
Benedict Drew (laptop)
· Phil
Durrant (laptop)
· John
Lely (laptop)
·
Sebastian Lexer (laptop)
· Mattin
(laptop)
The laptop is a musical instrument
being defined. Five of its most
innovative pioneers will gather and
play together for the first time.
Each of them has a drastically
different vision of what the new
instrument can do and be.
Venue:
Shunt Lounge,
Joiner Street, London
SE1, UK.
Tel: 020 7378
7776. Shunt Lounge entrance is a
little door on Joiner Street in
London
Bridge tube station, London ,
SE1.
Entry: £5, free for members (see www.shunt.co.uk
for
membership and directions).
Additional donations encouraged.
13 July NMM, electronic
church,
Greifswalder Str. 223,
Berlin -CANCELLED
R 20 Juli/July 2007
20 Uhr / 8pm sharp
***********************************************************************
ACHTUNG: dieser Abend findet auf
dem DACH DES PARKHAUSES statt, das
sich hinter der Durchfahrt
Skalitzer Str. 133, rechts neben
dem
WestGermany-Eingang
befindet!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
NOTICE: this soiree takes place on
THE ROOFTOP OF THE PARKHOUSE,
Skalitzer Str. 133, pass by
on the right hand side of
WestGermany-entrance and go to the
backyard!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
************************************************************************
WestGermany: presents
Im Rahmen des Pony Pedro -
Projekts
„Kampf auf dem
Parkdeck"
(www.pony-pedro.de)
„WestGermany – Vom Vordeck aufs
Parkdeck"
(„– (Kunst)-Business am Rande des
Existenzminimums")
>>>>>
!!!!!!>>>> cars needed
for this piece,
if you have one or can get
hands on for this night, get it
and drive to the top of the
parkhouse
at 9pm / 21:00
Uhr<<<<<<<<<<<<<<<<!!!!!!!!!!!<<<<<<<<<<<<<<<<<<<<<
DHHK are Tim Goldie, the Abjector,
and Mattin, a Virtuoso Rape
Genius,
two of Europe's (London/Berlin)
most prolific conceptual improv
musicians. Having played/recorded
with the likes of Eddie Prevost
and
Philip Best (Whitehouse), they
have mastered their way around a
block,
that leads straight to the deeper
bond between sound, head,
instrument
and heart. Gorily sophisiticated,
Goldie kicks the shit out of his
drums, tends to them with a
beautiful caress in return, and
then
simply ignores them altogether;
while Mattin explores and
retrieves an
array of sounds from the magical
depth of contrast in computer
technology. As friends and foes
they unite with a firm grip on the
trigger in a rapacious battle of
liberation against the obvious.
Cathartic to say the least.
"A concert or album of unrelenting
ferocious noise, whether by
Hijokaidan,
Borbetomagus, Merzbow or The Dust
Breeders, may be a highly
enjoyable
rush of pure adrenaline, but it's
no longer exactly a surprise.
Mattin
and Goldie can burst eardrums as
well as the above - watch your
speakers on the apocalyptic
"Submucosa" - but they've learnt
their
lowercase lesson well, and use
disturbingly quiet passages and
slow
menacing drones to equally
devastating effect.....Luxury is
an album
of awesome intensity, one that
deserves to be blasted mercilessly
from
a 40,000W PA outside Huntingdon
Life Sciences every day until the
torture ceases."
Kreisend inmitten der Elite
konzeptueller Improv Musiker, kann
sich
das Duo Deflag Haemorrhage/Haien
Kontra (Berlin/London) mit der
musikalischen Freundschaft zu
Eddie Prevost and Philip Best
schmuecken, aber ist schon seit
Jahren auf einem eigenstaendigen
Pfad
der Erleuchtung, wenn es sich um
das filigrane Verhaeltnis zwischen
Geraeusch, Kopf, Instrument und
Herz dreht.
In blutiger Kopfmarnier drischt
Goldie auf sein Schlagzeug ein, um
es
danach zu umarmen und dennoch
wieder links liegen zu lassen.
Schweigen
wird auch hier zu wahrem Gold.
Mattin kreiert Toene aus den
Tiefen des
Kontrasts in Computer Technologie,
deren Ursprung einem jedoch auf
mysterioese Weise verborgen
bleibt, um sich immer wieder zu
versoehnen
am Gewehrabzug in der Schlacht des
Befreiungskrieges gegen das
Offensichtliche. Eine tonale
Erloesung.
ushi hupe kommt auch! es wird
dunkelbunt und hupt sich in den
äther
oder umgekehrt. womöglich werden
wir den ansatz einer ushi hupe
portfoliosierung miterleben &
wenn sie ihre texte findet, dann
wird
womöglich auch gesungen. ushi
hupt, projiziert und gibt gas:
tutut
*************************
WestGermany
Büro für post-postmoderne
Kommunikation
Stephan Kallage / Paul Carlin /
Ingo Gerken / John Fitzgerald
Skalitzer Str. 133 – zwischen
Schatz e.V., Türkische Gemeinde
Berlin,
Dr. Fahimi, Efendi Optik und Misir
Carsisi
Zentrum Kreuzberg
Berlin
westgermany@gmx.de
***
Mit besonderem Dank an Barbara
Speer und Frederik Fört.
18. August
07
* STRALAU
68
21.00
H*
Field Recordings Festival 2
daskleinefieldrecordingsfestival.org
*Mattin (Bilbao/Berlin): *live recordings*
*http://www.mattin.org
*Michael Peters (DE): *field recordings
**http://www.michaelpeters.de
*Origami Republika: *performance*
*http://kunst.no/origami Alt-Stralau
68
10245
Berlin
01577/4291266
-S- Treptowerpark/Ostkreuz
*
Friday 28/9
at Sound of Mu
- Oslo. Doors open 20.00.
Concert-start
21.00
Collaborations with
Mattin, Lucio Capece, Lene
Grenager, Harald Fetveit
and
Tonny
Kluften.
21th October,
Phillippe Simon (super drone)
survet musulemans (swing manouche)
Mattin (solo)
"Galerie" de la Miroiterie,
19 hours sharp, everything has to be
finish by 21 hours.
88 rue de Menilmontant, Paris XX
Junko,
Michel Henritzi &
Mattin Tour:
- worm,
rotterdam 24 october
- argos
festival,
bruxelles 25 october
- festival
densite, fresnes en woevre, 26
october
“Abjection: what disturbs identity,
system, order. What does not
respect borders, position, rules.
A place where meaning collapses.”*
FRIDAY 2 November 2007
RAIONBASHI & KUTZKELINA (CHLORAL
WORKS)
CONSUMER ELECTRONICS (Philip
Best from WHITEHOUSE)
JUNKO & MATTIN (Junko from
HIJOKAIDAN, duo release party, LP
on TOCHNIT ALEPH )
"
"
[sic] GOLDIE ("ABJECTOR" [sic]
release party, double debut cd on
hibari music & w.m.o/r !!!) Ausland,
lychener str 60 | 10437 s- &
u-bahn schönhauser allee
10PM PUNCTUAL
5 EURO
***
SATURDAY 3 November 2007
SIXES
SLITHER
PHILIP BEST &
DEFLAG HAEMORRHAGE / HAIEN KONTRA
TAKU UNAMI
(release party of his new
MALIGNITAT cd on skiti records)
JUNKO (acoustic solo
voice)
ZAA, Marienburger Str. 47, Prenzlauer
Berg
6PM PUNCTUAL, EVERYTHING HAS TO BE
FINISHED BY 11PM
VERY LIMITED SPACE!!!
5 EURO
***
MONDAY 5 November 2007
TAKU UNAMI & MATTIN (Tokyo/Berlin)
Presentation of their new cd
“Attention” out on hibari music and
w.m.o/r.
Improvisation in the form of
interrogation. Kule,
Auguststrasse 10, 10117 Berlin-Mitte
10PM PUNCTUAL
5 EURO
> > > > > > > 6
NOV: mattin + dj lenar [turntables
] / josef novotny [laptop]
> > > > > > > 8
NOV: mattin + sophie agnel [piano]
/ piotr bukowski [guitar]
> > > > > > > 9
NOV: mattin + andrzej izdebski [g]
/ marcin dymiter [g] / piotr bukowski
[g]
16 November Festsaal
Kreuzberg, Berlin
Muscular Movement
(now called Pregnant Testicles:
Marcelo Aguirre, Miguel Prado &
Mattin)
Grind-core was never that free,
free-improvisation was never that
grinding!)
Full Fucking Moon (with Torban from
MINIT, New Zealand)
Circle (Finland masters!)
22 December
20:30hours
Bar Keseacava, (C/Muelle
de
Ripa 3,Bilbao) Bilbao BILLY BAO
+ KARPENTERS.
Release party of the "Dialectics of
Shit" LP on Parts Uknown
and his new EP on S-S records "Fuck
Separation".
Only expect brutality!
4 April Billy
Bao, Galeria
Parafernailia,
9pm,
Donostia 10
April Billy
Bao,
villa de Bilbao, Bilborock,
Bilbao
11 April Josetxo
Grieta, Matadero de Azkoitia 12
April DEFLAG HAEMORRHAGE/HAIEN
KONTRA () RE | BOOT, Area
10, London 18 April Evol, Mattin,
DJ
Pato, Studio 23,
Jannowitzbrucke,
Berlin CANCELLED
21 April, Luciano
Maggiore
+ Mattin/Guionnet/Murayama,
COMÈTE
347,
Paris 27
April
Karin Schneider & Mattin,
(part of
Melanie Gilligan exhibition), Transmission
Gallery,
Glasgow 8 May,
21hours
Diumenge 25 Maig.
A "l'Antic Teatre", carrer Verdaguer
i Callís nº 2
Urquinaona
16:00 - "Les ReligionsSauvages",
films de Le Dernier Cri
17:00 - "American Mess",
presentació i films de Bryan
Boyce.
18:00 - grup local per confirmar
19:00 - Daniel Gutierrez (Ven)
20:00 - Tubular Balls (Esp)
21:00 - Mattin + Arnau Sala (Uk /
Cataluna)
27-29/5 –
MUSRARAMIX 08 Festival for the
arts,
Jerusalem - International music
program curated by Eran Sachs
feat. Keith Rowe (UK), Mattin
(Bilbao), OKOSANU (PL)
http://www.naggarschool.com/en/
5/6 with Eran Sachs and Alex Drool @
Levontin 7, Tel-aviv 9pm
6/6 – MATTIN / GRUNEWALD /
FINKELSTEIN @ Zimmer, Tel Aviv 2pm
9 June, 21 hours
Seiji
Murayama
Seiji Murayama
(Japan) - snaredrum
Francisco
López &
Diego Chamy
Francisco López
(buenos aires) - recorder
Diego Chamy -
dance
alberto ukebana
urbanstr.116 /
2.HH aufgang 5 1.OG (links)
berlin-kreuzberg
5 euros
21
June
Seiji Murayama,
Jean-Luc Guionnet
& Mattin
La Grippa Festival
21 JUinn 08 16H/4H
7 euros
L'Autre cafe
St Laurent de
Terregatte (50)
26
June Jean-Luc
Guionnet,
Seiji Murayama
& Mattin Atelier
Tampon-Ramier
14 rue Jules Vallès Paris
Mattin / Axel Doerner / Alfredo
Costa Monteiro
Nikos Veliotis / Klaus Filip
DAY TWO (26th)
Mattin / Taku Unami / Jean-Luc
Guionnet
Ko Ishikawa / Klaus Filip
Will Guthrie / Alfredo Costa
Monteiro
Masahiko Okura / Nikos Veliotis /
Axel Doerner
Annette Krebs (solo)
DAY THREE (27th)
Taku Unami / Annette Krebs / Nikos
Veliotis
Charlie Charlie (Guthrie / Latimier)
Axel Doerner / Klaus Filip
Ko Ishikawa / Masahiko Okura /
Jean-Luc Guionnet
Alfredo Costa Monteiro (solo)
ZAA,
Marienburger Str.
47, Prenzlauer Berg,
Berlin
3 euros
2
August
Ray Brassier, Seiji Murayama,
Jean-Luc Guionnet & Mattin
JAZZ EN GATINE
Festival NPAI
7 RUE DE LA CITADELLE
79200 PARTHENAY
18 September
Carbon
Barry Weisblat
Mattin
John Wiese
West Nile
Brooklyn
25
September Mattin
in
conversation with Kurt
Gottschalk
Music in the big Bilbao
1983-1993 from Punk to Getxo
Sound (Vulpes,
Eskorbuto, Cancer Moon, Lord
Sickness, Inte Domine...)
6-9am USA time wfmu
(listent)
We're an
independent freeform
station broadcasting
at 91.1 fm in New York, at 90.1 fm
in the Hudson Valley, and with gobs
and gobs of online offerings. You can download Kurts
programs here
25
September
Mattin solo at: > >
> ISSUE
Project Room
> > > at the (OA) Can
Factory
> > > 232 Third Street
> > > Brooklyn, N.Y. 11215
> > > 718-812-1129
18
October Nate Davis
& Mattin
The Leaning Room,
Yale University
New Haven
27
October Nate Davis,
Jeff Perkins & Mattin
10 pm. 142 Fulton st. 10038,
Manhattan
12-15
November Catherine
Diverres La maison
du sourd
with live sound by
Jean-Luc Guionnet
Seijiro Murayama
Mattin TNB
Vilar, Rennes
21
November 11/21 Friday (TCBS) 8 and 10 pm John
Zorn Improv Night II—A
Stone
Benefit Okkyung
Lee (cello) John Zorn (sax) Nate
Wooley (trumpet) Brian Chase
(drums,
electronics) Thomas Herberer
(trumpet) Carlos Giffoni, Mattin
(electronics) Surprise guests. These
are the nights that pay our rent
and expenses.
Only with your help can
we continue to bring you the best
and most diverse programming in
New
York.
Come out and support The Stone!
TWENTY DOLLARS The
Stone the
corner
of avenue C and 2nd street, New York
22
November Margarida
Garcia + Mattin
Barry Weisblat + Michael Evans
moss forests
+ one more tba (most likely) Philli
Sound Forum
@ VOX
POPULI Gallery
319 North 11th Street 3rd floor
Philadelphia, PA 19107
8pm, $5-10
25
November
8:30 pm punctual Margarida
Garcia, Barry Weisblat & Mattin
Freddys Bar & Backroom 485 Dean Street
Brooklyn, NY 11215
phone: 718.622.7035
That's the corner of Dean Street and
6th Avenue in Brooklyn.
Freddys Bar & Backroom
6 December 2008 Gill/Andrew/Barry
Tandem Electrics/Bryan
Margarida/Mattin
Grace Space at 840 Broadway in
Brooklyn.
Review
of Margarida
Garcia/Mattin set from Brian
Olewnick
Yet
another new-ish (to me) space in
Brooklyn, Grace Space, alongside the
elevated J line, hosted an event
last evening, three sets, all
problematic in one way or another
but all at least somewhat
intriguing.
The room is pretty nice and
spacious, though there's a bar to
the rear
which engenders typical bar noise
and patter, if that's a bother to
some.
Lastly was the duo of Mattin and
Margarida
Garcia. Margarida began by herself
in, to me, a surprisingly rockish,
even heavy metal-redolent style,
doing a series of hums followed by
strong, tonal strums of her bass
thingy that immediately brought old
Black Sabbath to mind. She did
blocks of attacks punctuated by near
silences. When she took the bow to
the bass, she summoned forth
amazingly evocative echoes of
portions of Hendrix' "Star Spangled
Banner" and other guitar freak-outs.
Not sure if this was intended,
but...These portions were a little
odd; interesting in a way but
kinda...non-nutritional. Better were
the between moments when she
subtly manipulated some humming
tones by applying pressure near the
bridge--that was really nice. She
played for some 20 minutes, said
"Thank you" and that was that.
Mattin's contribution to the set was
listening as a member of the
audience.
For myself, there was a
little bit more since, as it
happened, I didn't notice him
sitting
there. So there was an element of
tension for me, waiting for his
arrival on stage. I was
half-anticipating a blood-curdling
scream
coming from a few feet behind me,
for instance. But, no.
Discuss amongst yourselves....
13
or14 December Zaimph
& Mattin, COOL
FEST,
Montreal
Subway: L to Halsey St, M to
Wyckoff Ave
| Directions
Prices
Tickets: $TBA
Description
Welcome in ’09 with all manner of
ultravisceral cacophony at this
sure-to-be-insane Queens affair.
Indulge in noise punk
(Homostupids),
noise rock (Drunkdriver, Pink
Reason, Twin Stumps) and just
plain noise
(Mattin, Circuit des Yeux).
Michael
Berdan
& Josh Anzano
+
Emma Hedditch, Marcia Bassett,
Margarida Garcia & Mattin
West Nile
285 Kent Ave #2 Brooklyn
14th
February
Melissa St. Pierre (solo on prepared piano) Michael Johnsen (solo on homebuilt electronics) Tusk Lord (solo on electronics) Mattin (solo) 7pm $7 Future Tenant downtown Pittsburgh at 819 Penn Ave.
15th February
7pm punctual
Mattin
Moon Pie
Jeff Carey
Pyramid Atlantic
8230 Georgia Avenue
Washington DC Sonic
Circuits
Nina Bogin / F & USA
Philippe Boisnard / Angoulême
Giovanni Fontana / Roma
Hortense Gauthier / Angoulême
John Giorno / New York
Nadège Maillon / Besançon
Jean-Marc Montera / Marseille
Thibaut Quittelier / Besançon
Liping Ting / Paris
Michel Vogel / Paris
Présentations de films et de vidéos
d’artistes :
Mattin / film / New York
Marisa Vallone / video / Frosinone,
Italie
Gérald Colomb / vidéo/ France
Christian Xatrec / Performance / New
York / un document de Jacqueline
Sigaar
Fabrika est un laboratoire sonore
d’expérimentation en art et en
poésie
et un festival réalisé par le
collectif Montagne
Froide/Cold Mountain.
Plus de quarante artistes
internationaux ont été
présentés lors de ces
événements atypiques.
www.montagnefroide.org
12th March
The Renderers (NZ)
Naked ON the Vague (AU)
Pink Reason (Kevin Failure &
Mattin)
Khyber, Philadelphia, Pennsylvania
18th
March
Trigal
Mattin Monkey
Town,
Williamsburg
22th
March
Bryan Eubanks & Mattin Listen/Space 195 Skillman
Avenue
corner of Skillman and Humboldt
Williamsburg, Brooklyn.
19
avril 09 / Auditorium
de San Juan de Compostela
23
avril 09 > 24 avril 09 / Festival
Madrid en Danza
Monday 13th April 7pm
Interventions by:
Ilya Lipkin
+
Loy Fnkbnnr +
Michael Berdan & Kristy Greene
+
Emma Hedditch
Marcia Bassett
Margarida Garcia
Jeff Perkins
Mattin 142
Fulton
st. Manhattan, New York 10038
Tuesday 14th April 7pm
Henry Flynt on Communism: what could
it be and how to get there 142
Fulton
st. Manhattan, New York 10038
20th April Mattin, Galeria
DF,
Santiago de Compostela
21th April Roberto
Mallo, Miguel
Prado & Mattin, 20h.
LSO, A Casa das Atochas, Atocha Alta
14, La Coruna
22th April Mattin 22:30, San Vicente
Ferrer 33, Malasana, Madrid
Friday
15th May 6-9pm
Ilya Lipkin, David Baumflek, Mattin
& Emma Hedditch
Whitney Independent Study Program
final show Art
in General
79 Walker st, 10013, Manhattan, New
York
Saturday
16th
May 7pm
Sonic Youth
Bardo Pond
Rafael Toral with C.
Spencer Yeh,Trevor
Tremaine
Sons of God
Pedestrian Deposit
Blank Dogs
Yellow Tears
Mattin
Pulse Emitter
DJs:
Invernomuto, DJ
JONBENET No Fun Fest
Music
Hall of Williamsburg, Brooklyn
Deflag
Haemorrhage/Haien
Kontra North America Tour 2009 20th
May
Deflag Haemorrhage/Haien Kontra
Tribute to Pierre Mercure, Je Me Souviens 2.3 with Mario Gauthier composers : Monique Jean, Joshua Bonnetta, Dreamcatcher Sala Rossa, 4848 boulevard Saint-Laurent, Montréal Mercredi 20 Mai / Wednesday May, 20 . 2009 Portes : 19h30 - Spectacle : 20h15 Doors: 7:30 pm - Concert: 8:15 pm - 10$ Montreal
22th
May
Hatred Surge
Homopolice
Country
Club,
Drunkdriver/Mattin
Deflag Haemorrhage/Haien
Kontra Beerland,
Austin, 711
Red
River St. Austin TX 78701
Texas
23th
May
Deflag Haemorrhage/Haien Kontra
Heco's, the (De)Composed
series
705 Peralta St. West Oakland CA
24th May
Deflag
Haemorrhage/Haien Kontra
The Hub
1819 23rd Street
Sacramento,
CA 95816
9pm
Barry
Weisblat & Margarida Garcia
Deflag
Haemorrhage/Haien
Kontra
The Chinese Restaurants
Michael
Berdan
Twin Stumps
Baldwin Plaza
Park City Experimental
Music Festival-May 28th
41 Cannon Street, Bridgeport CT
Five-Ten
PM
29th May
Deflag Haemorrhage/Haien
Kontra 119gallery.org
119
Chelmsford St, Lowell MA 01851
978-452-8138
30th May
Mind Eraser
Heathen
Shame
Drunkdriver
Deflag
Haemorrhage/Haien Kontra
Gay
Gardens in Allston MA (part of
Boston)
31st
May
Drunkdriver
Deflag
Haemorrhage/Haien Kontra as220,
93 Mathewson, Providence
1st June
Deflag
Haemorrhage/Haien Kontra The
Rotunda, Philadelphia
First North
American tour coinciding with
their
new
release:
Humiliated CD Tochnit
Aleph
(Berlin)
And a reissue
of their first
work
Luxury CD Tochnit
Aleph
(Berlin)
DEFLAG
HAEMORRHAGE/HAIEN KONTRA
"Defusing preconceptions
of what a live event should be and
degrading its components - the
sound, the performance, the
audience - without imposing
aesthetic or
moral limits: this is the reason
for being of Deflag
Haemorrhage/Haien Kontra, the
project born in 2001 from the
minds of
two of the most unpredictable and
'conceptual' contemporary sonic
activists: Mattin and "
"[sic]
Goldie. Ferocity and
immobility, instruments abused and
unused, musicians zombiefied in
their 'stage persona' and in
general the sense of psychosis, of
necessary superfluousness that
gushes from every gesture, from
each
decision taken by this anglo-basco
duo make their live event an
experience that is all but
impossible to relate to, at least
until
they've stripped you of the
costuming of dominant culture. "
"[sic] Goldie is one of the most
original noise
musician/performers on the
European scene. His double album
"ABJECTOR"[sic] is a violent and
considered examination of
the fragmentation of language, the
de-composition of instrumental
research and the painful suffering
that accompanies it. Far from any
current or cultural influence,
Goldie's work places itself in a
unique conceptual universe, and
its cruel voice warbles a mix of
agony and ecstasy. Netmage
Festival, Italy 2009"
"The
most abject music ever made
against the reproduction of
stereotypes.
When noise becomes impotence, when
impotence becomes a
weapon.
Noise and improvisation never done
before, including elements
of
performance and conceptual art.
Overdose of meaning, sucked
into vacuum of dissolution. You
never know where your are. DEFLAG
HAEMORRHAGE/HAIEN KONTRA formed in
2001 in Hackney, East London.
Noumenal power improv where
anything can happen. The
improvisation is
no longer happening just with
musicians and their instruments
but on
the head of the spectator.
Frustration as psychological
danger.
We
all are spectators: appearance of
dissolution mirroring the
averageness of our
lives. Something must be done."
Mattin
2009
DEFLAG HAEMORRHAGE/HAIEN KONTRA
collaborated with some
of
the most radical and legendary
musicians in the
avant-garde such
as Eddie Prevost (AMM) and Philip
Best
(Consumer Electronics,
ex-Whitehouse).
DEFLAG HAEMORRHAGE/HAIEN KONTRA
performed in
European festivals
such as Netmage (Bologna),
Abject Music
(Berlin), MEM (Bilbao) and
TheErrorIsMedia
(London). They
recently depleted a residency at
Worm
(Rotterdam).
14th
June
Francois Martig & Mattin
Gantner-Belfort
16th
June
Billy Bao
Sudden Infant
Alfredo Costa Monteiro & Pascal
Battus Les
Trinitaires
Metz 17th
June
Billy Bao
Sudden Infant Instants
Chavires
Paris
17-21
August
Miguel Prado & Mattin
netlabels meeting, Arteleku
Donostia/San Sebastian
19
August
Mubles
Donostia/San
Sebastian
20
August
Mubles
netlabels meeting, Arteleku
Donostia/San Sebastian
¿De
qué manera la improvisación necesita
aprender de la
okupación para
habitar y crear un espacio social lo
más autónomo y libre
posible?
¿Cómo podría afectar a la
gestión de los gaztetxes si la
música improvisada los
okupara?
¿Qué pasaría si los okupas
empezaran a hacer música
improvisada y los músicos de
improvisación empezaran a
tomar espacios
para su libre gobierno?
¿Cómo podríamos violar los
roles
e identidades que incluso en los
ámbitos alternativos se van
reproduciendo?
Os invitamos, desde la
práctica experimental a
producir
situaciones irrepetibles e
irrepresentables que colapsen tanto
la idea
de okupa/músico/público como la de
charla/asamblea/concierto.
Situaciones que nos ayuden a la
confeccion de nuevas estrategias.
No hay futuro (R.I.P)
Okupemos el presente (A.V.C.)*
“En esta constelación de locales
ocupados en los
que se
expresan, digan lo que digan,
diferentes formas de agregación
colectiva
fuera de control, asistimos, en un
primer momento, al crecimiento de
nuestra fuerza. Organizamos nuestra
supervivencia elemental
recuperación, robo, trabajo
colectivo, comidas comunes,
compartir
técnicas, materiales, inclinaciones
amorosas y encontramos
formas de
expresión política conciertos,
manifestaciones, acciones
directas,
sabotaje, panfletos-. Después, poco
a poco, hemos asistido a la
transformación de lo que nos rodeaba
en un medio y de ese medio
en
escena. Hemos asistido a la
promulgación de una moral que vino a
sustituir la elaboración de una
estrategia. Hemos asistido a la
solidificación de normas, a la
construcción de
reputaciones, a la
puesta en funcionamiento de
hallazgos, y al hecho de que todo se
haya
convertido en extremamente
previsible. La aventura colectiva ha
mutado
en triste cohabitación. Una
tolerancia hostil se ha
adueñado de todas
las relaciones. La gente se las
apaña. E inevitablemente, al
fin, lo
que parecía ser un contra-mundo, no
hacía más que
reducirse al mero
reflejo del mundo dominante: el
mismo juego de valorización
personal en
el terreno del robo, de la pelea, de
la corrección
política o de la
radicalidad; el mismo liberalismo
sórdido en la vida afectiva,
las
mismas preocupaciones de territorio,
de dominio, la misma
escisión
entre vida cotidiana y actividad
política, las mismas paranoias
de
identidad. En el mejor de los casos
se disfrutaba del lujo de huir
periódicamente de la miseria local,
llevándola a sitios
donde aún es
exótica. No atribuimos estas
debilidades al formato de casa
ocupada. No
lo negamos ni desertamos de él.
Simplemente afirmamos que ocupar
casas
sólo volverá a tener sentido si lo
entendemos en base al
acto de
compartir en el que estamos
comprometidos. En las casas
ocupadas, como
en cualquier otro lado, la
confección colectiva de una
estrategia es la
única alternativa al recogimiento en
una identidad, a la
integración o
al gueto.”
LLAMAMIENTO
¿Qué tipo de relaciones pueden
establecerse
entre la okupación y la
música improvisada? En la okupación se
intentan generar
espacios
autodeterminados y autogestionados. En
la improvisación se
intenta
tocar los instrumentos de maneras
fuertemente personales rechazando la
obligatoriedad de su historia y
tratando de establecer una forma
también autodeterminada de música y de
relación
entre los músicos. De
esta manera se puede llegar a
conseguir producción de
subjetividad más
allá de la lógica del mercado, pasando
esta subjetividad
por la
producción de objetividad, esto es,
por las condiciones
materiales en
las que ocurre (hay un espacio
concreto con problemas materiales
específicos; si se construye un
escenario o no, arreglar
baños, montar
una barra o una cocina, etc.).
La improvisación y la okupación
comparten una
actitud a la hora de
cuestionar maneras convencionales de
habitar el espacio o la
relación
con el instrumento y/o el espacio. En
los gaztetxes suele haber mayor
libertad de comportamiento en términos
de sexualidad, moral,
pensamiento político, etc. La
okupación es la
intensificación del
presente en lugares determinados, una
improvisación con nuestros
cuerpos en la cual el futuro es
siempre incierto e inestable y lo que
nos une es la responsabilidad del
momento, del aquí y ahora.
En Euskal Herria existe una tradición
muy potente de
espacios
okupados y autogestionados con fines
sociales; los gaztetxes. En la
historia de los gaztetxes siempre ha
habido una fuerte conexión
con el
punk, una tradición que aún se
mantiene. El punk daba
fuerza, coraje y
mala ostia a esas primeras patadas
cuando los okupas abrían
espacios
por primera vez. El punk fue mucho más
que sólo
música: fue toda una
movida social que incluía diferentes
aspectos desde radios,
fanzines,
música, literatura, política, etc.
Pero la fuerza de la
música ha sido,
y sigue siendo especialmente
importante.
En la relación con los gaztetxes, el
punk ha sido clave a la
hora de
canalizar muchísima energía y
creatividad. Por necesidad
la gente tenía
que buscarse espacios donde poder
tocar. Muchos gaztetxes empezaron
siendo locales de ensayo y muchas
okupaciones han nacido de esta
necesidad, convirtiéndose así estos
músicos en
okupas.
Para tocar punk uno necesita hacer
canciones y un espacio
donde
ensayar. En el caso del punk, la
energía se ha traducido a
menudo no
sólo en ese primer momento de
okupación, sino
también en acciones
concretas y cotidianas para mantener
la posibilidad de hacer
música. En
los gaztetxes, entre muchas otras
cosas, la gente se ha organizado para
seguir una programación de conciertos
con todo lo que eso
implicaba
desde el punto de vista social.
Pero en estos momentos el punk-rock
esta de camino a la tumba
a
causa de una constante reproducción de
clichés y
estereotipos, debido a
un progresivo ejercicio de
auto-agotamiento. Hay “manuales” de
buen
punk-rock, reglamentos implícitos que
se han ido instituyendo
con los
años de práctica y experiencia social.
La
“solidificación de las
normas” ha ido instaurándose en esa
práctica de la que
nacieron muchos
espacios. ¿Cómo afecta esta
normalización desde la
música al resto de
actividades de los espacios?, ¿no es
una nueva
institución dentro de
los espacios la que hace que casi todo
sea tan “extremadamente
previsible”?
Sin embargo, en la improvisación, la
producción
musical tiene lugar
al mismo tiempo que su presentación.
No hay ninguna estructura
prefijada tipo “canción” que medie de
manera previsible entre
los
propios músicos o entre los músicos y
la audiencia. Por
esto, es
posible que cualquier persona se una a
la improvisación en
cualquier
momento, o se retire de ella cuando
quiera. La canción punk
está
fuertemente sujeta a ciertas
estructuras como riffs, estribillos,
intros, coros, melodías, etc. Sin
embargo, la práctica de
la
improvisación está abierta a cualquier
elemento que pueda
aparecer en
la situación concreta en la que los
improvisadores se
encuentran. Esta
apertura hace posible que, por
ejemplo, se pueda mantener una
conversación al mismo tiempo que se
tocan los instrumentos. Los
improvisadores se escuchan e
interactúan, al contrario que, por
poner
un caso, un guitarrista de punk que
sólo interactúa con
los otros
músicos o incluso sólo consigo mismo.
Aunque el punk trate de romper con
nociones de virtuosismo y
de
“tocar bien”, en su versión “rock”
todavía se necesita
tener un
instrumento y tocarlo. La
improvisación trata de romper con
valores y
jerarquías convencionales de lo que es
calidad musical. Pero la
improvisación también tiene sus
convenciones. En los
conciertos todavía
se reproduce la división entre músico
y público:
normalmente los
músicos suelen ser respetados por sus
capacidades y aptitudes
musicales. Cuando se empieza una
improvisación, puede no saberse
bien
quién está definitivamente dentro y
quién
definitivamente fuera, y esto
hace que el tipo de relación entre los
participantes tenga un
carácter
público y político. Como dice Jean-Luc
Guionnet, cada vez
que
improvisamos tenemos una nueva
oportunidad de construir una
pequeña
sociedad momentanea y está en nuestras
manos decidir de
qué tipo será:
anárkika, democrática, totalitaria,
aristocrática,
etc. La
improvisación, como experiencia
social, pasa por la
“confección
colectiva de una estrategia” para
levantar el espacio de los
allí
presentes.
En estos momentos gran numero de
gente improvisando en Euskal
Herria
y en numerosas ocasiones se han
organizado conciertos de
improvisación
en diferentes gaztetxes. Pero
raramente se ha tenido en cuenta la
relación entre esta práctica musical y
las connotaciones,
repercusiones
y posibilidades con este tipo especial
de espacios. Con este
experimento queremos expandir y
explorar lo que puede llegar a ser la
improvisación en relación con la
okupación.
Experimento: Queremos
colapsar los formatos de charla,
conversación, asamblea y
concierto
para producir un espacio social lo más
abierto posible.
Palabras,
gestos, ruido, silencios… Cuestionando
las barreras habituales entre
okupas, músicos y público. No se trata
de definir este
experimento de
una manera concreta (situación
cotidiana, performance o
concierto),
sino de crear una situación única e
irrepetible para
todas las personas
que participemos. No necesitamos
escondernos en expectativas. Se trata
de intentar abordar la relación con el
entorno desde una
perspectiva
diferente, sin reproducir roles ni
jerarquías pre-establecidas
(ej. que
los músicos son agentes activos y el
público un ser
pasivo).
Hablaremos, tocaremos y nos
relacionaremos de diversas maneras que
no
tengan que ser ni una cosa ni la otra,
pero sobre todo de manera que la
propia práctica nos descubra sus
posibilidades. Con este
experimento
queremos no sólo conocer mejor la
situación actual de los
gaztetxes en
Euskal Herria, sino producir
situaciones que nos ayuden a entender
qué
puede llegar a ser la okupación en
relación a la
improvisación y
viceversa,
qué relaciones pueden existir
entre estas dos
prácticas y de
qué manera se pueden complementar en
una experiencia social y
cultural
tan potente como la de los gaztetxes.
Fechas:
- 24 de agosto presentación Txorimalo
Gaztetxea,
Algorta 7pm
- 25 de agosto Udondoko
Gaztetxea,Udondo Enparantza 18.Leioa)
7pm
- 27 de agosto Matadeixe, Azkoitia 7pm
- 28 de agosto La kaxita, Irun
7pm
¡Que venga el que quiera, ni se
cobrará ni se
pagará por participar! *(Asociación de
Victimas del
Capitalismo)
Nota: en algunos casos los gaztetxes
han sido contactados y la
gente
ya sabe que vamos. En otros casos
donde no hemos conseguido contactar
simplemente nos acercamos sin que
sepan nada.
Seguimos buscando más fechas, si
sabéis de algo por favor
avisarnos
mattin@mattin.org /
aizmad@gabone.info
13th
September Emma
Hedditch, Anthony Iles, Howard
Slater & Mattin
Kaxerna Gaztetxea Ertz
Festival, Bera
19 September 3pm No Fun
Festival
Afternoon at Ronnells John
Olson Mattin
(Noise & Capitalism
book
presentation) Dylan
Nyoukis Par
Thorn Book Shop on Birger
Jarlsgatan
in Stockholm.
26 September
Jakob Kierkegaard
Lucas Abela
Mark Bain
Mattin Spui
Theater, TODAYSART
The Hague
Krisi garaian egon arren badirudi
Larraskiton berriz ere
zarata plusbaliak hasi direla
agertzen.
Aunque estemos en tiempos de crisis
parece que en Larraskito comienzan
a surgir plusvalías de ruido.
urriaren 21a asteazkena /
miercoles 21 de octubre
carretera rekalde errepidea -
larraskitu kalea 33, 4ºd . BILBO
20:00
JUSTICE YELDHAM: El
australiano Lucas Abela
lleva
el sello Dual Plover, se hacía llamar
Dj Smallcock y hace un
ruido
maravilloso restregando su cara contra
un trozo de cristal. Uno de los
mejores conciertos de noise que he
presenciado fue de él. (www.myspace.com/justiceyeldham).
ZAN HOFFMAN: Desde
Louisville, mítico
cintista ochentero e incansable
establecedor de redes. (www.myspace.com/zanhoffmanlive).
MATTIN: Ruidista
bilbaíno,
dueño del sello
w.m.o./r, defensor del anticopyright y
tocador en mil grupos y
proyectos, entre ellos dos de mis
grupos favoritos: Josetxo Grieta y
Billy Bao. Además, es parte de la
nueva y apoteósica
formación de
Consumer Electronics. Y el cabrón
tiene dos discazos con la
diosa del
noise Junko. En directo…nunca se sabe!
(www.mattin.org/).
KRAPOOLA: Uno de los
organizadores del
evento. Gran
reciclador madrileño que lleva años
haciendo de pegamento
de escenas y
últimamente engulle micros de contacto
como si fueran
malvaviscos. Se
dice que tiene una colección de
contenedores envidiable! (www.myspace.com/indhecenter).
22 November
Nick Relph Karin Snyder
& Mattin
Performa Radio
Co-curated by Mark Beasley
and Anthony Huberman more
info Performa
Festival Artist
Space 12 pm Free New York
24 & 25 November
Noise & Capitalism reading group
at CalArts
4pm - 8pm
1st day:
Genre is Obsolete by Ray Brassier
Towards a Social Ontology of
Improvised Sound Work by Bruce
Russell
2th day:
Prisoners of the Earth Come Out! Notes
Towards 'War at the
Membrane' by
Howard Slater
Anti-Copyright: Why Improvisation and
Noise Run Against the
Idea of
Intellectual Property by Mattin
Herb Alpert School of Music at CalArts
(california institute of the arts) http://music.calarts.edu/
All welcome 25
November
Mattin solo
M. Fink, E. Backer, U. Krieger
& Mattin
Tatun Lounge, CalArts
CHANGE!!!
The Noise & Capitalism
presentation/discussion this Friday
(27th November 2009) is not going to
happen in 16 Beaver
but at the Emily Harvey Foundation:
7-9pm (sharp)
The Emily Harvey Foundation
537 Broadway, 2nd Floor, New York,
NY 10012
between Spring & Prince
Chat
Noir
76, rue Jean-Pierre Timbaud
Paris XI
M° Parmentier / Couronnes
Sacrilegio experimento navideño!
Miguel Álvarez-Fernández, Ruben
Gutierrez, José Manuel Costa
y el menda mantuvimos una
conversación/improvisación en los
estudios rtve, aprovechando la
publicación del libro ruido
y capitalismo.
Me han pasado los archivos de audio y
los he trabajado a
posproduccion y creo que han quedado
exhuberantes/marcianos, vamos como para
dar un susto a la
patata de los habituales oyentes de
radio clasica. El primer programa se
emitirá el próximo viernes, día 25
de diciembre de
2009, por la noche, a las 24:00h. (en la
programación de
Radio Clásica,
http://www.rtve.es/rne/rc/programa/20091226,
figura el
sábado 26, a las
00:00... pero siempre me parece que esta
referencia es más
confusa). El segundo programa se
presentará, como decía, la noche
del día 1 de
enero de 2010, a las 24:00 (o, dicho de
otra forma, el
sábado día 2 a las
00:00h). Radio Clásica puede
sintonizarse en Madrid tanto en el
96.5 como en el
98.8 FM, pero las frecuencias de
recepción cambian en cada
lugar. Adjunto a
este mensaje una tabla, en pdf, con las
referencias para
todo el estado, por
si sirven de algo. El programa también
se emite en "streaming", a las
mismas horas
mencionadas, a través de
http://www.rtve.es/radio/radioclasica/,
o de
http://www.rtve.es/radio/ (en este
último caso,
seleccionando "Radio
Clásica"). Unos días después de la
emisión, el programa pasará a
estar disponible
en el podcast de Ars Sonora, accesible
desde aquí:
http://www.rtve.es/podcast/radio-clasica/ars-sonora/,
y
también desde
http://www.arssonora.es/ (las
actualizaciones del podcast
han experimentado
un pequeño retraso en las últimas
semanas, pero espero que
pueda ponerse al
día antes del próximo viernes).
2010
11 January
Noise & Capitalism
Alan Courtis, Anders Bryngellson
& Mattin
Instituto Cervantes Bryggarg.
12 A 11121 Stockholm, Sweden http://www.cervantes.se/
7pm,
21 January Noise
& Capitalism
presentation:
Howard Slater, Anthony Iles, Ilya
Lipkin & Mattin Basso-Berlin
187 Koepenicker str.
Berlin
24 January
Lucio Capece, Alan Courtis, Ignaz
Schick
Mattin
Raum 18, Ziegrastrasse 11, 1205,
Berlin
SATURDAY
the 20th Febuary FESTIVAL
CABLE#3
HAMA YOKO + GHEDALIA TAZARTES + DEFLAG
HAEMORRHAGE / HAIEN KONTRA + CONSUMER
ELECTRONICS
7/9euros - 20h @ BITCHE 3 rue de
Bitche, 44000, Nantes SUNDAY
the 21st Febuary
DEFLAG HAEMORRHAGE / HAIEN KONTRA La
Bascule, Rennes MONDAYthe
22th Febuary
HOWARD STELZER + DEFLAG HAEMORRHAGE /
HAIEN KONTRA Instan
Chavires, Paris
24-25 February
Unstable, Fragile but Daring
Together
(Emma Hedditch, Anthony Iles, Howard
Slater & Mattin)
26 February
Mattin
27 February
Performance/experiment Emma
Hedditch, Anthony Iles, Howard
Slater & Mattin Kill
Your Timid Notion Festival
Dundee, Scotland
"Object of Thought" release presto!? tour with Lorenzo Senni and Lasse
Marhaug
CANCELLED 13 October, ROMA @Dal Verme 14 October, BOLOGNA@Raum
15 October MILANO @Hundebiss secret
place
11 December
Mattin
Ruben Patino Ausland
Berlin
Tuesday, 21 December 2010. 19:30h Forms of
Formless Knowledge
Noise & Capitalism
Bulegoa z/b Solokoetxe 8 bajo. 48006 -
Bilbao
Noise
& Capitalism is an ongoing collective
research platform dedicated
to reflect in the way that capitalism
conditions our life in relation
to the practices of noise and
improvisation.
The practices of
noise and improvisation have historically
claimed to be able to achieve
some emancipation, agency and empowerment.
We want to explore and
question this potential.
Noise and improvisation are considered
practices of certain risk in regards not
to just to the music industry
but also to the current spectacularisation
of contemporary culture.
This initiative takes these risks as a
practice of social
responsibility that in fact could take us
beyond a phoney sense of
freedom into possible unities of
differing.
The project
comprises different stages and approaches
as the publication of a book,
the organisation of seminars,
presentations and conferences and other
public presentation such as concerts and
improvisational collective
events. It was initiated through the
publication of a book edited by
Mattin and Anthony Iles and has
contributions by authors: Ray Brassier,
Emma Hedditch, Matthew Hyland, Anthony
Iles, Sara Kaaman, Mattin, Nina
Power, Edwin Prévost, Bruce Russell,
Matthieu Saladin, Howard Slater,
Csaba Toth, Ben Watson.
The publication was launched within the
context of a seminar entitled Noise &
Capitalism: Undoing,
Understanding and Sharing time together
held in Audiolab-Arteleku,
Donostia-San Sebastián.
More recently the project has been
presented at Centre d’art contemporain de
Brétigny in France under the
title Noise & Capitalism Exhibition as
Concert (August-October
2010). Taking as a starting point the book
Noise & Capitalism the
CAC exhibition context became an
improvised concert lasting for two
months. By collapsing the formats of
exhibition and concert into each
other, the potential of the different
usages of the noun noise explores
rather than simply perpetuated noise as a
musical genre. The exhibition
included interventions by Mattin, Loïc
Blairon, Ray Brassier, Emma
Hedditch, Esther Ferrer, Jean-Luc
Guionnet, Anthony Iles, Matthieu
Saladin and Howard Slater.
Bulegoa zenbaki barik
is an office for art and knowledge based
in Bilbao and committed to
developing research and discussion. It is
a collaborative initiative
created around a common interest in
processes of historization,
cultural translation, performativity, the
body, postcolonialism, social
theory, archival strategies and education.
Bulegoa z/b is a
platform inspired by the desire to bridge
the gap between practice and
theory. Its aim is to build a space of
sustained discourse and hybrid
situations where debate, discussion and
exchange of ideas can take
place and artistic projects can be
materialized. To achieve these
objectives, Bulegoa z/b organises
seminars, presentations, screenings,
performances, talks, conversations and
other activities.
Members of Bulegoa z/b are: Beatriz Cavia,
Miren Jaio, Isabel de Naverán and Leire
Vergara.
Why I didn't come to my concert
(Mattin in conversation)
On
the 11th of December, Ruben Patino and
Mattin played a couple of solo
concerts at Ausland, Berlin. Mattin's
contribution to his concert were
his absence and a couple of instructions
to be realized by the
organizers.
For some reason or another the
organizers did not follow all the
instructions. During the concert
there was a sense of confusion in the
room. Mattin will explain why he
decided not to be present at the concert
and why he still considers
this a concert of improvisation. Hopefully
through this conversation we
will understand better what happened in
the room and the confusion that
came out of this concert.
12 January 2011
19:30 h
NK
Elsenstr. 52
2.Hinterhaus Etage 2
12059 Berlin Neukoelln
"It
is not just a place to hear works.
It is also a theater where the
members of the audience observe each
other. And themselves. It is a
space where we come to look at those
who listen. Where we go to see
people listening, or even to listen
to people listening. Listening to
(oneself) listening is also making
the work into a battlefield: a
theater of operations of listening
where various camps clash with each
other."
P. Szendy
"[…] The authority whose duty it was
to know these
regulations, and, when known, to
apply them in its judgments and to
penalize the disobedient, was not a
pipe nor, as now, the mob's
unmusical shoutings, nor yet the
clappings which mark applause: in
place of this, it was a rule made by
those in control of education that
they themselves should listen
throughout in silence, while the
children
and their ushers and the general
crowd were kept in order by the
discipline of the rod.
In the matter of music the populace
willingly submitted to
orderly control and abstained from
outrageously judging by clamor; but
later on, with the progress of time,
there arose as leaders of
unmusical illegality poets who,
though by nature poetical, were
ignorant of what was just and lawful
in music; […] they unwittingly
bore false witness against music, as
a thing without any standard of
correctness, of which the best
criterion is the pleasure of the
auditor, be he a good man or a bad.
By compositions of such a
character, set to similar words,
they bred in the populace a spirit
of
lawlessness in regard to music, and
the effrontery of supposing
themselves capable of passing
judgment on it. Hence the
theater-goers
became noisy instead of silent, as
though they knew the difference
between good and bad music, and in
place of an aristocracy in music
there sprang up a kind of base
theatrocracy. For if in music, and
music
only, there had arisen a democracy
of free men, such a result would not
have been so very alarming; but as
it was, the universal conceit of
universal wisdom and the contempt
for law originated in the music, and
on the heels of these came liberty.
[...] Next after this form of
liberty would come that which
refuses to be subject to the rulers;
and, following on that, the
shirking of submission to one's
parents and elders and their
admonitions; then, as the
penultimate stage, comes the effort
to
disregard the laws […]"
Ruido y Capitalismo Taller/Presentacion
de la version en castellano que se acaba de editar!!!! Ruido y
Capitalismo pdf castellano
Miércoles 16
- Viernes 18
11:00 - 14:00 Centro Cultural de Espana, Mexico DF
domingo
20 Concierto,
Laboratorio Arte Alameda
Gira en Mexico con Rogelio
Sosa, Juan Jose Rivas y Gregg
Kowalsky
Miercoles 22 Marzo: Concierto @
Guanajuato
Jueves 23 Marzo: Viernes 24: 1 x
taller de 3 horas @ Morelia
Jueves 23 Marzo: 1 x concierto @
Morelia
Idée extrêmement
simple qui amène la situation
insupportablement loin.
Comme
appuyer sur un bouton interdit qui
ouvre une boîte de Pandore.
L’art
comme excuse pour concevoir une
logique différente,
où
la signification n’est pas un
recours pour valider l’être.
Réfutant
l’esthétique avec une série de
questions :
Qu’est-ce
qui pourrait dépasser
l’auto-référentialité ?
Le
nihilisme ?
L’auto-vandalisme
?
mais
c’est quoi, le soi ?
C’est
quoi, l’auteur ?
C’est
quoi, l’audience ?
C’est
quoi, le cadre ?
Comment
peut-on concevoir les limites sans
les avoir atteint ?
Relégation
ultime, responsabilité ultime.
Deferral
until you are there!
Ultra simple idea
that takes the situation unbearably
far.
Like
pressing a forbidden button which
opens a can of worms.
Art
as an excuse for conceiving a
different logic,
where
meaning is not a resort for validating
being.
Refuting
aesthetics with a series of questions:
What
could go beyond self-referentiality?
Nihilism?
Self-vandalism?
but
what is the self?
What
is the author?
What
is the audience?
What
is the frame?
How
can we understand the limits without
having
actually reached them?
Ultimate
relegation, ultimate responsibility.
2 July 2011
Anarchism
Without Adjectives:
On
the Work of Christopher D'Arcangelo, 1975-1979 CAC
Bretigny
22 July
Loty Negarti
Inigo Eguillor
Jon Mantzi
Mattin
free concert
7pm
Cafe a Gogo
Arkotxa 13
Getxo
phone: 944 602 267
_____________________
29-31 July 2011 IMPROKUP!
Euskal Herria
to be informed send an email to:
improkup@hush.com
12 November 2011
Saturday 11.45-13.30
Michele Masucci and Mattin presenting the paper:
"Learning from Alienation.
Radical art practices and political struggles :
Paris 1971, Italy 1977, Occupy Wall Street 2011" Historical
Materialism Conference Program
London
_____________________
17 November 2011
ANSWERS
DECIMUS
SIGHTINGS Fylkingen
Stockholm
Unofficial Channels - feat. Mattin + guests
Friday, November 25 & Saturday, November 26,
2011 | 8PM
Free panel Saturday, November 26, 2011 | 6:30PM
VIVO (1965 Main Street) Vancouver
$15 Friday night | $10 Saturday night | $20 both
nights
Tickets and 2-day passes available at the door.
Featuring Mattin, Masa Anzai & Anju Singh
(Vancouver), EDR (Vancouver), Hitori Tori
(Vancouver), Holzkopf (Vancouver), and the
Vancouver Electronic Ensemble.
Unofficial Channels features two-days of
performances, a panel discussion and interactive
computer installation that explores alternative
forms of music distribution, authorship,
net-labels, noise and improvisation. http://newmusic.org/events/unofficial-channels/
_____________________
1-2 December 2011
Workshop: Towards Conceptual Improvisation
1st December: Mattin solo concert Funen
Art Academy
Odense, Denmark
_____________________
12 January 2012
Noise & Capitalism
Funeral and Zombification
with Anthony
Iles D.A.I.
Arnhem
If previously, in improvisation, we tried to play
our instruments against the grain, against the way
they have been conceived and designed, what if from
now on we don’t just deconstruct the instruments but
try to change the conditions that we are living in?
Can we use these material conditions as instruments
of improvisation in order to change them? If the
material conditions that we are living in are
immersed in a capitalist logic, can we
pervert this logic by improvising ourselves?
What do I mean by ‘unconstituted praxis?’ It is a
praxis without a false sense of agency, without
self-congratulation. It is a praxis subsumed in
alienation, not liberation. A form of play in which
one does not know whether one is having fun or not.
It is social in the sense that it questions what
individual subjectivity is and how we are produced
in a given situation. In this sense, an
unconstituted praxis is the opposite of escapism.
This praxis is like jumping into the void of the
situation that you are in, where you will discover
uncertainty in the certainty of where
you are as if you were a nyctalopic idiot.
Center for Cultural Studies Goldsmiths College
London
_____________________
31 January 2012
1pm-4pm
Intellectual Property in an Open Source Culture
3 day elective course introduced by Prof Marysia
Lewandowska
with participation of invited speakers. Konstfack
Stockholm
_____________________
Dark Drives. Uneasy
Energies in technological Times
transmediale 2012
curated by Jacob Lillemose
with artworks from Ant Farm, William S. Burroughs
and Antony Balch, Art
404, Bjørn Erik Haugen, Bureau of Inverse Technology
(B.I.T.), Chris
Burden, Chris Cunningham/Aphex Twin, Constant
Dullaart, Costanza
Candeloro and Luca Libertini, Daniel García Andújar
/ Technologies To
The People, Heath Bunting, Jack Caravanos
(Blacksmith Institute), Vibek
Raj Maurya, Jaromil, Jennifer Chan, JK Keller, JODI,
jon.satrom, Junko
& Mattin, Marcelina Wellmer, Matteo Giordano,
Karla Grundick and
Mistress Koyo, Paidia Institute, Peter Luining, Ruth
White, SPK, Steina
and Woody Vasulka, Sture Johannesson, Nikola Tesla,
Jay Dahl, TR
Kirstein, Tracy Cornish, UBERMORGEN.COM, VNS Matrix,
[epidemiC], Franco
Berardi, Eva and Franco Mattes aka
0100101110101101.ORG
_____________________
1 February 2012
12:00 – 18:00
reSource Methods In-compatible
material | intervention with Martin
Howse, Anthony Iles, Jonathan Kemp, Mattin, Baruch
Gottlieb, Shu Lea
Cheang
Regarding textual
psychosis, I would like to try to understand how it is
created and whether
there could be ways to use language without producing
personalising
effects, that one does not feel attacked by it, that
is simply
material that is there (a language without
interpelletion, could that
be possible?) these are difficult and abstract
questions but some of
the ways that we have been working deal with this even
though through
deep personalisation (check in) but once is
said/performed in public
everybody has access to those descriptions so people
can relate to
them even though they might not feel the exactly same
experience.
Emma Hedditch, Howard Slater, Anthony Iles, Mattin
Esther Ferrer (maybe performance) CAC Brétigny
Friday
13.4
2012 at 8pm
Unconstituted Praxis - book launch
at Pannrummet/The Boiler Room Note! Entrance
from Cigarrvägen 16
Contributions
and
responses by:
Rasmus
Fleischer
Malin Arnell
Kim Einarsson
Anna Ahlstrand
Sofia
Wiberg
Joanna Zawieja
Ylva K Rosvall
Anna
Högberg
—
What
could
unconstituted praxis be?
A
praxis that
takes into account any possible contingency.
It does not accept the
way things are but does not have ready-made
methods to change them. One
tries but is not sure. In this fragile process a
collective disorganisation
occurs which makes it impossible for any form of
consensus. There is no
common ground simply because we are ungrounding
ourselves. We can no longer
say: we are this and we do that.
T-bana:
Hökarängen (green line 18 towards Farsta
Strand)
info@konsthallc.se
________
17 April 2012, 1-4pm
Artist presentation as part of Marysia Lewandowska's
class Konstfack
Stockholm
____
27 April 2012 7 pm
Spazio Carbonesi Cristina Rizzo/Lucia Amara (I) Loveeee - Terzo discorso con esercizi di grazia
special guest: Mattin (Basque
Country)
salon/performance, production Xing/Live Arts Week
LIVE ARTS WEEK FESTIVAL
Bologna
13.00 – 21.00 Communisation – the abolition of
capitalism by communism.
Michele Masucci & Mattin in open discussion
together with members
of the magazine riff-raff followed by dinner and a
Non-Concert.
13.00 –
15.00 Book
Table, Film Loop.
15.00 –
18.00 Open
discussion
What is Communisation?
Crisis, social struggles
and sparks of communisation in the present.
The role of cultural production
in a communist scenario.
19.00
Dinner:
Vegan Peanutbutter-Soup, bread, salad, chocolate and
rum.
20.00
Non-Concert:
Anonymous improvisation without instruments.
AMMMRB#III Arteleku,
Donostia
In times of extreme economic crisis and hard core
funding cuts for culture, we get strength from our
biceps brachii, in order to say:
WE STILL BELIEVE IN THE POWER OF IMPROVISATION!
We will get together for 5 days playing, discussing
and thinking of what it means to do what we do under
a crumbling system that tries to suck whatever blood
is left out of us
Everybody welcome, just turn up on the first of
August!
Program
25th & 26th October, 2012, The Malevolence of our Times
Mattin & Taku Unami
open 11:00 / start 22:00
1000
yen+1 drink
l-e, Tokyo, http://www.l-e-osaki.org/map,
event
Querido John
Cage Rattling #3 with Bridget Hayden
and Kelly Jayne Jones, Emma Hedditch and
Mattin, Will Holder, Charlotte Prodger, Verity
Susman
12 November 2012, 8pm
Kings Place, London
£9.50 advance booking online or £7.50
telephone booking offer +44 (0)20 7520 1490*
-
Querido John brings together a number
of meditations and performances departing from
a correspondence between Basque artist Esther
Ferrer and John Cage.
In the process of realising his final
work, the mesostic lecture poem
‘Overpopulation and Art’, Cage sought opinions
from various friends and posed to Esther
Ferrer the question, ‘does anarchy have a
future?’. Embedding her compelling, almost
manifesto-like response into the structure of
the piece, ‘Overpopulation and Art’ brings
together Ferrer’s thoughts on the potential of
an ideology without dogma and Cage’s own
visionary insights into the future of digital
communication and bio-technology, amongst
other wide-reaching concerns.
‘Overpopulation and Art’ was performed
by Cage at Stanford University during a
festival to mark his 80th year, yet he
continued working on the piece to remove
gender specificity and emphasise the position
of patriarchal opposition. The evening takes
as its starting point these exchanges that
offer a glimpse of a Cagean gender politics,
amongst emblematic questions of collaborative
practices and autonomy, and the tension
between structure, chance and improvisation.
Frequent collaborators Bridget Hayden
and Kelly Jayne Jones, on slide guitar, flute
and throat mic will present a live
improvisation. Emma Hedditch and Mattin
contribute a new poster text, including a
specially conducted interview with Esther
Ferrer on the question of her letter as well
as wider thoughts on her practice, politics
and the historicisation of figures such as
Cage. The text is coupled with a live
performance by Mattin underlining certain
moments in this exchange.
Jo Freeman’s ‘The Tyranny of
Structurelessness’ will be read by Will Holder
to Cage’s ‘Score for Voice No 51′ (by Alex
Waterman), a new publication in Holder’s
series ‘…for single mothers.’ Artist Charlotte
Prodger will present a new spoken word tape
work which explores the tension between
language and material, relating to her
concurrent exhibition at Studio Voltaire,
Percussion Biface 1-13. Composer and musician
Verity Susman exchanges the cut-up samplings
of lesbian slash fiction that are usually
woven throughout her part-improvised,
part-composed live performance, with Cage’s
poem and Ferrer’s letter, meditating on the
appropriation of characters and texts both in
her own work and here between Cage and Ferrer.
-
Cage Rattling is a series conceived by
The Wire Magazine for Kings Place to mark John
Cage’s centenary year.
Image credit: Will Holder reciting John
Cage’s ‘Indeterminacy’, Jan Mot Gallery,
Brussels, 2008
-
Electra
Third Floor, Shacklewell Studios, 18
Shacklewell Lane, London E8 2EZ, UK
www.electra-productions.com
Viernes 21 diciembre 2012 dia de santo tomas concierto Entrada gratis
de 7pm a 9pm
tunipanea Enrike Hurtado Mattin
Fundacion BBVA la sala se encuentra al lado de la parada de metro del casco viejo, salida san nicolas plaza San Nicolás 4 48005 Bilbao, Bizkaia
This event is open to everyone, not only
students at Uppsala University with a valid nations card. However,
individuals without a valid nations card may only attend the event, and
cannot enter the pub.
“’To turn alienation into an enabling
condition in the context of noise and improvisation would be to render
opaque what is usually left transparent: to expose the envelopment of
content by the vehicule of
presentation and the necessary occlusion of the vehicule within the
presented content, thereby confronting the deception perpetuated by
those who refuse to acknowledge this envelopment, in a way that is
neither theatrical nor self-indulgent.’
- Ray Brassier METAL MACHINE THEORY#6
Which are the unspoken rules of improvisation today? We all know about
certain conventions that improvisation has fallen into. Just to name of a
few: concerts often have a conventionalized time span (let's say
between twenty minutes and an hour), they come to an end when the
performers look at each other as a way of finding a consensus, and then
people clap, or the performers wait for the audience to clap (thus
signaling that the performance has come to an end). Individuals work
with their instruments to find some kind of interactivity with other
performers present - the role of the performer are as established as the
role of the audience, an audience that need to respect the performer,
and in extent; the performance.
These conventions function as a
limit for improvisation. Through habit they have become natural, and
accepted without being questioned, therefore limiting the framework
where improvisation is supposed to happen. Improvisation understood as
that which constantly challenges its own conventions. How is it that a
practice that is supposed to put into question established modes of
music making, has fallen into so many traps. like any other type of
music?
I would like to take this opportunity to explore with
you what it would mean to expose the elements that usually constitute a
performance, without worrying whether what we are doing is either a
concert, a talk or a conversation.”
3
March 2013 Billy Bao + Nina Power + Consumer Electronics +
" " [sic] Time
Goldie,.. ABJECT BLOC 2013, Limehouse Townhall, London
2 March 2013 Billy Bao + Sons of God + La Ligne Claire + Sleafords Mods... KRAAK Festival, Aalst
TONIGHT AND TOMORROW AT KONSTAPOTEKET
TWO FREE NIGHTS:
Tonight, 7pm (PUNCTUAL)
Hong-Kai Wang & Mattin (Taiwan, Basque Country)
Two eclectic nights will bring disharmony to Stockholm.
Two acts exploring the potential of sound in very different ways
in their first ever performance in Stockholm.
''helt oslagbar natt!'' Tobias Billström
Hong-Kai Wang & Mattin
We want to collaborate but we don't want to do music as it is usually understood, nevertheless we
will do a concert.
We will reflect on the material conditions that we are embedded in and share concerns regarding a
city that we don't find particularly stimulating.
We want to learn if it is possible to experience the world we live in on the basis of differences
and not only in terms of identity, even though we might be tested and suffer in the process.
Phil Julian
Under both the Cheapmachines alias and his own name, Phil Julian has been venturing across various
strains of unorthodox sound since the late 1990′s, with his prolific output on a catalogue of
imprints encompassing sonic textures ranging from harsh squalls of noise to compositions using
hyper-minimalistic timbres and drones.
He currently lives and works in London, England.
Studio recordings and live performances within Europe and North America have focused on the use of
analogue electronics (particularly unstable and/or chaotic systems – modular analogue synthesizers,
feedback, contact microphones, objects and surfaces) and computer based works.
Audio works by Julian have been published on labels including Entr’acte, Banned Production,
Tapeworm, Harbinger Sound, Staalplaat (Open Circuit imprint), con-v, Anarchymoon, Second Layer,
Beartown Records, Homophoni, Zeromoon as well as numerous compilation appearances.
He also runs the Authorised Version label.
Julian has collaborated on remixes, recordings and performances with Maurizio Bianchi, Tomas Korber,
Michael Renkel, Ryan Jordan, Jason Kahn, Daniel Jones, Kostis Kilymis, John Macedo, Nihilist Assault
Group, The New Blockaders and GX Jupitter-Larsen of The Haters as well as being a member of the
improvised drone ensemble Signals with Mark Beazley and Chris Gowers and playing as part of Mark
Wastell’s improvising group The Seen.
The Basque anarchist artist Mattin has spent the last decade
establishing a highly distinctive practice in noise and 'free'
improvisational music. His work pays homage to the histories of these
genres, while simultaneously undertaking a provocative and often
humorous interrogation of the rules and standards to which they
adhere—the proposed anti-sociality of noise, the implicit 'freedom' in
improvisation. Mattin considers this testing to be a process of
'distributing vulnerability' across the core assumptions made by
audiences and performers alike.
Disembraining are bringing Mattin to Melbourne, Sydney, and Brisbane in
May, to stage a series of non-concerts, concerts, silences,
conversations, and other activities in response to the question 'What
isn't music?' This question nods to Australia's long-running
experimental festival What Is Music? The festival largely provided its
own answer, embracing John Cage's maxim 'everything we do is music',
philosophically assimilating all sound (and action) into the 'project'
of music. This radical opening up of 'music' to sound plays out overtly
in the 'noise' tradition, but abates the discerning of experimental
sound's 'non-musical' possibilities. In a context of Cageian consensus,
it becomes crucial to reframe the question as a negation: What sounds
remain impossible to assimilate? What isn't music?
SYDNEY _ _ _
THURS MAY 2 - The NOW now @ Hibernian House
FRI MAY 3 - Collaboration with Douglas Kahn in an Anechoic Chamber at Sydney University
MELBOURNE _ _ _
SAT MAY 4 - International Noise Conference @ New Low Gallery, Goodtime Studios. Hosted by Sabbatical and NO PA [Starting 2pm]
SUN MAY 5 - Non-Concert / Why Noise? [post-INC] @ Goodtime Studios
TUES MAY 7 - Make It Up Club @ Bar Open
WED MAY 8 - Art Forum Series @ VCA
BRISBANE _ _ _
THURS MAY 9 - Performance (after Luke Fowler after Cornelius Cardew) @ Institute of Modern Art [6pm]
SAT MAY 11 - Talk / Listen / Non-Concert @ The Loft QUT [4pm]
SUN MAY 12 - Real Bad, Mattin @ Real Bad, Moorooka
15th May, Artist talk given by Mattin at Taipei University of Fine Arts, Taipei
16th May, Performance with Hong-Kai Wang at Z Space, Taichung
17th May, Mattin at TCAC, Taipei
18th May, Performance with Hong-Kai Wangat Losing Sounds, Noise Kitchen, Taipei
19th May, Performance, zajia lab. Beijing 8:30 pm
We can stop paying the rent then we can become animal.
The Bureau of Melodramatic Research (Alina Popa and Irina Gheorghe)
Mattin
chaired by Michele Masucci
organized by Benjamin Fallon
A
series of presentations and a conversation on what might new strands of
thought in eliminative materialism, speculative realism and object
oriented ontology mean when they interface with the idea of activism and
questions of labour.
Of
late there has been an increase of interest in more ‘pure’ philosophy
through the emergence of ‘speculative realism’, taking its name from a
2007 conference bringing together Ray Brassier, Ian Hamilton Grant,
Graham Harman and Quentin Meillassoux. In the intervening 6 years there
has been a significant increase in interest in this but still there is
no adequate definition for the term. In very broad strokes it is
concerned with the critique of correlationism, the dominant mode of
thought since Kant that suggests the world is entirely relational to
human thought. The term has quickly gained hold in the art world,
possibly due to the slipperiness of its meaning, being used as an easy
justification for the return of object based practices.
Post-marxist
discourse has long held the hegemony on discourse within a sphere of
political and critically engaged cultural and activist practices. From
this perspective it would be easy to dismiss this move as at best a
passing fad with nothing to say for practice and at worst an act of
academic navel gazing. With this event it is intended to instead face it
and open a partial conversation.
To potentially address some of these questions:
What
does it tell us about the world that feminism, marxism,
post-colonialism and other discourses grounded in an idea of
emancipation?
How does a non human conception of the world show the deficiencies of these ideas?
If we are to adopt a position of rational nihilism then where does it leave us in the conversation on immaterial labour?
Does it negate what we have learnt from these other discourse?
An “stranged conversation” between Stockholm based artist Mattin and
Brussels based artist Kobe Matthys.
Through this conversation they will
be sharing their different experiences regarding their contexts while
looking at the
relationships between conflicts and struggles, changes in
politics and economics and the role of culture within these processes.
Conversation
as a form of improvisation exploring current social noise and how artists
can learn from it.
Are you interested in participating in the workshop and concert of Gentrified Improvisation? Please, send an email to: info@augmented-spatiality.org
What
does it mean to freely improvise in a context where cultural
expressions are being instrumentalised in order to promote a
neighborhood as an artistic hub?
Free
improvisation is a term that emerged in the 60s coming out of free
jazz and contemporary modern music. It is supposed to be a practice
without rules or hierarchies, where the relationship between the
individual and the collective is in constant negotiation. However,
today neoliberalism has turned our individual freedom into nothing
more than the freedom to be consumers. Therefore, we will not start
from our presupposed freedom but rather by acknowledging our lack of
freedom. Through the workshop we will analyze and discuss what
freedom means under today's economic conditions, taking as our
starting point the context where we will be: a neighborhood in the
process of regeneration, an art space which has been used to promote
this regeneration and an exhibition which might trigger further
promotion.
In
Sweden we see rapid privatization connected to a process of
individualization, which disintegrates the social formations
developed by the social democratic tradition.
An
example of this, which is having an effect in the neighborhood:
In
2009 the Swedish Parliament adopted a new law regarding publicly
owned housing companies. Before this change all publicly owned
companies were prohibited by law from operating within the principal
of commerce, instead the public interest was the ambition. The new
legislation means an exception from the prohibition of publicly owned
companies to make profit. Now profit is the main target.
With
this experiment we want to work collectively, starting from an
examination of a concrete situation and try to generate an
improvisation that acknowledges its contextual resonances. At the end
of the workshop there will be a concert/performance where we will try
to embody what Gentrified Improvisation might be; an improvisation
that acknowledges its context and its complicity, nevertheless
believing in the critical potential of a collective action that could
still pose challenges to its own commodification.
Everybody
is welcome. No musicianship is necessary.
Musical
instruments are welcome but we will also acknowledge the musical
qualities of our discussions and our movements. Bring material in
relation to the processes that are happening in Hökarängen in
particular and its relationship to the ongoing neoliberalisation of
Sweden.
*Augmented
spatiality is
a public sound art project for the suburb of Hökarängen in
Stockholm in which the artworks, performances and other comprised
events are integrated into the social and spatial processes taking
place in public space.
The
project addresses on the formation of social space in the city and
reflects on the ways in which public art is assimilated or not by the
networks operating in a specific place. Augmented
Spatiality proposes
a collaborative framework for artists, citizens, institutions and
public structures; so that the project itself and its development may
highlight the on-going cultural, educational, economical and
political events in this suburb of Stockholm.
Ultra minimalist beach rave without PA
improvisation and collective listening
as protagonists:
waves as beats, your subjectivity as
instrument and
Emma Kim Hagdahl : Name Given By The Spectator Au-dehors : Louis Laurain, Rodolphe Loubatière, Yoann Durant Mattin
Doors open at 7.30pm Starts at 8pm Söder Mälarstrand 27 118 25 STOCKHOLM
Ultra minimalist beach rave without PA
improvisation and collective listening
as protagonists:
waves as beats, your subjectivity as
instrument and
the coast of Bizkaia as a revelatory
stage.
Another unforgettable night with you!
Wednesday 24 July 2013
21:30 Algorta´s exit of Metro de
Bilbao
2014
04 MAR 2014 (Ter), 20h30
Lançamento de edição discográfica 8MM http://www.8mmrecs.com/
"Regler" (LP) de REGLER
(Anders "Drajan" Bryngelsson e Mattin),
com a presença de Mattin
Sismógrafo, Praça dos Poveiros, 56, 1.º andar, Porto
Welcome to the ground zero of music. Regler is the new, unbelievable
project from Anders "Drajan"
Bryngelsson (Brainbombs, No Balls) and Mattin (Billy Bao, Josetxo Grieta) . Dancing on the ashes of a whole
cultural breakdown, they bring us to a non returning point, where the
dead body of rock first explodes, then implodes upon itself. There is
no joke, people: this is the punkest record ever made! Mastered by
Rashad Becker. Edition of 200 copies." (label info)
Fundação de Serralves
Rua D. João de Castro, 210
4150-417 Porto Portugal
06 MAR, 22h00
1 - Introduction to Subjective Depersonalization of the Voice
07 MAR, 22h00
2 - Evacuating Self-Representation
08 MAR, 18h30
3 - Non-significance Speech
09 MAR, 18h30
4 - Mechanisms of Human Voice
10 MAR, 22h00
5 - Evacuation of Gender
EVACUATION OF THE VOICE
from 06 MAR 2014 to 10 MAR 2014
06 MAR, 22h00 1 - Introduction to Subjective Depersonalization of the Voice
07 MAR, 22h00 2 - Evacuating Self-Representation
08 MAR, 18h30 3 - Non-significance Speech
09 MAR, 18h30 4 - Mechanisms of Human Voice
10 MAR, 22h00 5 - Evacuation of Gender
- See more at: http://www.serralves.pt/en/activities/evacuation-of-the-voice/#sthash.cC9dO9U2.dpuf
EVACUATION OF THE VOICE
from 06 MAR 2014 to 10 MAR 2014
06 MAR, 22h00 1 - Introduction to Subjective Depersonalization of the Voice
07 MAR, 22h00 2 - Evacuating Self-Representation
08 MAR, 18h30 3 - Non-significance Speech
09 MAR, 18h30 4 - Mechanisms of Human Voice
10 MAR, 22h00 5 - Evacuation of Gender
- See more at: http://www.serralves.pt/en/activities/evacuation-of-the-voice/#sthash.cC9dO9U2.dpuf
Capitalism provides the face as a visual representation of the “I” and
“One cannot dismantle the face without also evacuating the voice."*
Under the conditions of real subsumption that prevail in contemporary capitalism,which demand from us different forms of hypersubjectivation, we will investigate the possibilityof performatively evacuating the voice from our body.
During ten one-hour sessions, we will seek to evacuate our voice from an specific viewpoint: improvisation and thought will be linked together in order to investigate not only how our voice is produced,
but also how we are produced by it. We will examine ourselves in order
to try to understand how are we determined biologically, psycologically
and culturally.
We will contemplate the soundproduced in this experiment as a non-autopositional noise:
a noise that abjures generic aesthetic idioms, but without being reflexive or entirely discursive.
We will see this evacuation of the voice as an attempt at a process of“subjective depersonalization” where “we” will be become digital registration for future possible analysis through the recording of these sessions. We will start by trying to understand how we are constituted as subjects in this context followed by the attempt to generate a distantiation from our thoughts. "We" becomes a material for experimentation.
By doing this we will force a defamiliarized perspective of our thinking,
not only as inseparable activity of the correlation between reality and our mind,
but also in direct connection with the proposed structures of each session.
This distantiation will allow us to understand our psychological, physiological and neurobiological conditions from an outsider's pespective: thinking from a physical body connected through our nervous system to physical reality, but maintaining the gap between
concepts and objects.
After the sessions we will share this process through publication containing the recordings and texts, and exploring further the aftermath of this evacuation.Listeners and readers will have the chance to examine the results.
* Robin Mackay (2011) on Nick Land´s KatasoniX in the indroduction to his Fanged Noumena: Collected Writings 1987-2007, Falmouth: Urbanomic. p. 41.
Execution by Mattin and Miguel Prado
07 MAR (SEX), 15H30: Mattin e Miguel Prado na Aula Magna da FBAUP
Uma apresentação na Faculdade de Belas Artes da Universidade do Porto
pelos artistas Mattin e Miguel Prado sobre o seu percurso artístico e o
seu projeto Evacuação da Voz.
Entrada livre.
In
May 2013, Disembraining invited Mattin to Australia to conceive a
series of works addressing the question ‘What is not music?’ The
question refers respectfully to the long-running Australian
experimental festival ‘What is Music?’ reframing it as negation
in
order to investigate -What
sounds remain impossible to assimilate? What isn’t music?
Mattin responded
by creating the 5th edition of his songbook series: an
ongoing work that uses “improvisation
as a way or exposing structural clichés in pop/rock music” and
“song structures to demystify the so-called spontaneity and freedom
of improvisation.”
Songbook 5 was
created according to a strict set of conditions generated through an
obsessively literal reiteration of the number 5. Yet it is clearly a
‘rock’ record in sound and feeling. As such it may be the most
structurally determined ‘’rock’ album ever. An album that holds
a mirror to rock’s ‘freedom’, celebrating its own mediation.
Songbook 5
features contributions from Joel Stern and Alex Cuffe (of Sky
Needle), Andrew McLellan (of Cured Pink) and the legendary NZ
guitarist Dean Roberts (Thela, White Winged Moth, Autistic
Daughters).
7-8
May 2013, Melbourne, Australia.
1:
5 musicians record 5 improvised songs of 5 minutes each addressing 5
concepts described in 5x5 word titles
What Isn’t Music After Cage? - Aware Of Its Own Mediation -
Stuck In Our Own Trap - Alienation As An Enabling Condition - The Act
Acting On Itself
2:
Mattin performs a 25 minute concert with 5x5 minute sections
structured by 5 instructions based on the song titles given to 5
members of the audience.
3:
Mattin records vocals for the 5 songs in the form of a singing
lecture at the Victorian College of the Arts. The audience only hears
Mattin’s voice (he listens to the backing tracks on headphones).
4:
Recordings of parts 1, 2 and 3 are superimposed to create a 25 minute
album consisting of 5x5 minute songs.
5:
Record released in an edition of 555 copies.
Distribution:
USA – Little
Big Chief - brock.kappers [at] gmail [dot] com
Europe –
mattin [at] mattin [dot] org
Australia –
Disembraining – joel [at] otherfilm [dot] org
TIP OF THE TONGUE 02 MARCH 2014 VOLCANIC
TONGUE (Glasgow)
Stunning new album of deconstructed/overloaded avant rock
wildmanisms dedicated to the memory of Lou Reed and Carlos Artiach:
Songbook #5 was created in five parts between 7th-8th
May 2013 in Melbourne. Part one involved five musicians – Mattin, Joel
Stern of Sky Needle, Dean Roberts of Thela/White Winged Moth et al,
Alex Cuffe and Andrew McLellan of Greg Boring and Bitter Defeat – who
recorded five spontaneous ‘songs’ each in response to five different
concepts. Part two consisted of a 25 minute concert in five minute
sections structured by five instructions based on the song titles given
to members of the audience. Part three saw Mattin recording vocals for
the five songs in the form of a ‘singing’ lecture where the audience
only heard his vocals as he listened to the backing track on
headphones. Part four consisted of superimposing recordings of parts
one, two and three to create a 25 minute album consisting of five x
five minute songs while part five is the release of the album proper in
an edition of 555 copies. This is one of the most rocking and crankily
DIY releases from Mattin to date. His vocals orbit the whole
shackles-raising school of a Genesis P-Orridge or John Lydon circa PiL
while the band come over like a post-Industrial fourth world folk punk
orchestra, with ripping fuzz leads, stumpy Moondog-style rhythms,
all-out psych/rock blare and moments of weird stunted dialogue that
come over like Peter Christopherson’s use of suspect tapes. Can’t think
of anyone who combines such a degree of formal rigour w/creative binds
and yet who makes rock music that sounds so great that it more than
transcends its critical genesis. Another killer from Mattin and the
cream of the Oz/NZ underground, highly recommended!
Collapsing Ourselves – Eine Performance zur Präsentation des gleichnamigen Albums HONG-KAI WANG (Sprecherin) & MATTIN (Sprecher)
Die
aus Taiwan stammende und nach vielen Jahren in New York nun in Wien
lebende Künstlerin Hong-Kai Wang geht in ihren Arbeiten vom Hören als
spekulativem Werkzeug zur Erforschung von Beziehungen und der
Konstruktion kulturellen Gedächtnisses aus. Dabei stellt sie
kollaborative und Prozess-orientierte Zugänge in den Mittelpunkt. Für Collapsing Ourselvesarbeitet
sie mit dem baskischen, in Schweden ansässigen Künstler und Musiker
Mattin zusammen. Die KünstlerInnen nehmen die Aufnahme eines ihrer
Gespräche über die materiellen Bedingungen ihrer Arbeit als
Ausgangspunkt und überlagern diese mit Aufnahmen weiterer Gespräche dazu
in sehr unterschiedlichen Kontexten. Das so entstandene Album wird von
den Labels Mount Analogue (Stockholm) und Audiovisualarts (New York)
gemeinsam herausgebracht. Mattin ist ein international konzertierender
Improvisator wie auch Autor (gemeinsam mit Anthony Iles) des Buches Noise andCapitalism.
Hong-Kai Wang präsentierte ihre Arbeiten unter anderem bei der
Venedig–Biennale 2011 und im Museum of Modern Art (2013, New York). VK
Alte Schmiede Kunstverein Wien
Anschrift: Schönlaterngasse 9,
1010 Wien, Österreich
Bürozeiten: Mo-Fr 9-17.00 Uh
MATTIN / ALBERTO DE CAMPO & HANNES HOELZL /
HACKLANDER \ HATAM, FREDRIK OLOFSSON & DOREEN KUTZKE / MATTHEW
GOODHEART / PAUL BRODY / ALEXEY KOCHETKOV’S THE NEW BERLIN ORIENTAL
QUINTET / LEAKED FILM SCREENING LARS EIDINGER & JOHNATHAN LETHEM
N.K. curates an exceptional evening with musicians and artists
responding to data politics, surveillance & privacy issues, cultures
of fear and Snowden’s actions. Come hear sonified metadata;
experiments in both computer-controlled instruments and stroboscopes;
algorithmic composition using various programming environments; and see
familiar NSA slides in a new light.
Elsenstr. 52/
2.Hinterhaus Etage 2
12059 Berlin Neukölln
0049(0)17620626386
Actividades Sónar+D
A l'Escolta
Encuentro internacional sobre el giro sonoro en las artes
¿En qué consiste y qué implica el acto de escuchar? Partiendo de esta pregunta de carácter general, CaixaForum Barcelona presenta, en el marco de la 21ª edición del Festival Internacional de Música Avanzada y New Media Art de Barcelona Sónar,
el encuentro "A l'Escolta". El objetivo de este programa de charlas,
performances y otras experiencias alrededor de la escucha es plantear y
discutir algunos de los interrogantes que suscita esto que habitualmente
denominamos como "arte sonoro".
¿Qué es el arte sonoro? ¿No se trata, tal como señalaba Max Neuhaus,
de una denominación más bien ambigua y poco informativa? ¿No revela en
sí misma una excesiva atención por el sonido entendido como un simple
medio, dejando de lado los aspectos que forman parte de su correlato?
¿Esto que se denomina "arte sonoro", no tendría que servir,
precisamente, para examinar de forma crítica la acción de escuchar y
proponer formas alternativas de prestar atención?
El encuentro "A l'Escolta" reúne por primera vez en nuestro país a
varios de los principales expertos internacionales para repensar la
aproximación teórica y crítica a un arte del sonido y de la escucha. Seth Kim-Cohen o Salomé Voegelin
son algunos de los participantes de este encuentro pionero donde
también habrá lugar para la puesta en práctica de la reflexión. La
instalación sonora "Last Days. Réquiem por las Glòries",
que recoge y transforma el antiguo paisaje sonoro alrededor de plaza de
las Glòries, o un trabajo creado para la ocasión entre Seth Kim-Cohen y
Mattin (en su primera colaboración) son dos de las propuestas que
complementan las diversas ponencias y debates del programa.
La instalación funciona como correlato sonoro de la imagen gráfica
del encuentro “A l'Escolta”. Inspirada e la célebre fotografía del
puente de Brooklyn que Max Neuhaus (1939-2009) dedicó en 1976 a Jo
Jones, y donde se puede leer con grandes letras mayúsculas la palabra
“LISTEN” (“ESCUCHA”), la fotografía está tomada debajo de la anilla
viaria de las Glòries. De este modo, las instalación sonora de Edu
Comelles complementa el homenaje a ese pionero del arte sonoro en el 75
aniversario de su nacimiento.
Ciclo comisariado por Arnau Horta.
10 y 11 de junio CaixaForum Barcelona
Av. Francesc Ferrer i Guàrdia, 6-8
Gratis para acreditados profesionales de Sónar+D. Plazas limitadas. Para la inscripción previa es necesario escribir a jaume.colomer@sonar.es
Público general: 6 € por día 50% de descuento a clientes "la Caixa"
Durante la semana del 30 junio al 3 de julio se desarrollará un taller que concluirá en un concierto final en la picnic del día 3 de julio.
Durante esos días trataremos algunas preguntas en relación la
improvisación libre hoy en dia: ¿En las condiciones en las que vivimos
quién, de qué tipo de libertad estamos hablando? ¿Cómo entendemos el
sujeto improvisador? ¿Acaso necesitamos instrumentos para improvisar?
finalmente ¿Qué tipo de improvisación hoy en día puede realmente ser un
ejercicio de libertad? Durante los taller trataremos estas preguntas
discutiendo y haciendo diferentes ejercicios como forma de preparación
para el concierto final
3 julio CONCIERTO DENTRO DE LAS PICNIC SESSIONS:
20:30 H. Laboratorio: ALEX MENDIZABAL LABORATORIO DE OREJAS
21:30 H. IMPROVISACIÓN LIBRE. MATTIN CON PARTICIPANTES DEL TALLER IMPROVISACIÓN LIBRE: ¿PERO QUIÉN ES LIBRE?
22:15 H. CHUS DOMÍNGUEZ
Centro de Arte Dos de Mayo
Avda. Constitución 23
28931 Móstoles, Madrid
T (+34) 91 276 02 21
“What is real
subsumption? Marx defines ‘formal subsumption’ as the process in which
capital integrates an existing labour process: techniques, markets,
means of production, workers, etc. But the development of capital
inexorably transforms social relations and modes of labour in accordance
with its own requirements. The real subsumption of the labour process
occurs once every aspect of the latter has been subordinated to
capitalist production, whose end is simply the self-valorisation of
value”. Ray Brassier, ‘Wandering Abstraction’
Following the financial crisis and the ongoing social struggles all
over the world, we witness the rich getting richer and the poor getting
poorer and yet don't seem to have a credible political horizon able to
stop the process. What theoretical tools would allow us to think
adequately about this particular time in history? Where could we find
such tools in this cultural landscape of ruins? What is clear is that we
are without a compelling narrative of this crisis; however, theory is
still a necessary background to common action. On one hand, social
action is more urgent than ever, but on the other, dominant ideology is
tending to atomize and fragment us collectively. The Internet has given
us increased connectivity, but is also generating more and more
individual forms of subjectivation. Working collectively appears to be
very difficult, and when it does occur, it does so under very generic
terms and demands, such as we are the 99% or ¡Democracia real YA!
This reading group will discuss notions such as 'collectivity' and
'organisation', and consider what a revolutionary subject could be
today.
In order to do so, we will attempt to analyze the state of
contemporary capitalism and ask what kind of politics could be critical,
desirable and effective under real subsumption. At the same time, we
will attempt to explore implications and consequences of these politics
in relation to contemporary art practices. To this purpose, we will look
at different emerging theories which consider the possible defeat of
capitalism. We will take as a starting point a recent text by
philosopher Ray Brassier which looks at two theoretical tendencies:
Communisation and Accelerationism. Both of these tendencies take Marx as
a starting point, but call into question the proletariat as a
revolutionary subject under real subsumption. Communisation here differs
from its deployment by Tiqqun and Invisible Committee and revolves instead around its theorisation by Marxist ultra-left collectives such us Théorie Communiste, Endnotes, Blaumachen, Riff-Raff which together run SIC- International Journal for Communisation.
Accelerationism is a term coined by Benjamin Noys in 2008 in order to
criticise British philosopher Nick Land and his idea that capitalism
has liberating qualities that should be embraced and even taken to their
ultimate consequences to bring about radical change. The idea came
about with the failure of '68 and resulting disenchantment. Historical
references for it are Jean-François Lyotard’s Libidinal Economy and Gilles Deleuze and Félix Guattari’s Anti-Oedipus.
Accelerationism has been reconsidered recently by Alex Williams and
Nick Srnicek in the “#Accelerate Manifesto”.
Communisation as understood by the collective Endnotes is
the direct destruction of capital as self-valorising value and the
destruction of the relationship of reproduction of workers as workers.
This notion of Communisation is against the notion of Programatism: a
theory and practice of class struggle in which the proletariat finds, in
its drive toward liberation, the fundamental elements of a future
social organisation which become the programme to be carried out.
Accelerationist politics instead thinks that a certain Programatism is
not only possible but necessary in order to preserve the gains of late
capitalism and its technologies while progressing beyond its value
system and governance structures. Here we have two different views on
how to think about our future. From them emerge several crucial
questions: is thought entirely instrumentalised for capitalist
self-valorisation or can we use it in order to comprehend the processes
which lead to our own commodification? How can we consider the link
between the conceptual and the social at a practical level?
These questions are applicable to all capitalist societies, but are
pertinent in Bilbao considered from the specific context of the Basque
Country, where we are experiencing a new political situation following
the ceasefire of ETA. Spain is simultaneously witnessing a series of
struggles and protest demonstrations against financial cuts and an
authoritarian administration that favours capital imposed by corrupt
government. How can these theories be related to our particular context?
This is the fifth and last session of the “What Is to Be Done Under Real
Subsumption?” reading group series. The series will conclude with a
workshop on the 28th and 29th of November 2014. Anna O'Lory, Federico
Corriente, Ray Brassier, Marina Vishmidt and Anthony Iles will take part
in the workshop. Loty Negarti and Mattin coordinate both reading sessions and workshop.
On Alienation is a doctoral research in different chapters and formats on the concept of alienation.
For each chapter, Mattin does a performance in which abstract, theoretical ideas are explored in a
concrete situation. Mattin is interested in collapsing scientific experiment and experimental music,
and in reconsidering the correlation between cause and effect when particular factors and concepts
are manipulated in real life.
On Alienation’s first performance is hosted by 98weeks, and will take place at the Mansion on
November 6th at 7pm.
The following day, Mattin will present his theoretical research in conjunction with an account of
the performance realized the night before.
7th of November, Friday
On Alienation A Talk by Mattin Artiach
2pm, Art History Department, AUB. Bldg. 37 (behind Lee Observatory)
The talk is hosted by FAAH (Department of Fine Arts and Art History) and AHI (Art and Humanities Initiative).
The
concept of ‘alienation’ is both intrinsic to the development of
modernity and closely connected to aesthetics. For Schiller, the
fragmentation of the individual in mechanized modern society causes
humans to lose their natural wholeness; only through aesthetics and
playfulness in particular, could this wholeness be recovered. For
Hegel's dialectical thinking, the notion of alienation is central as it
is the manifestation of mediation, a process that is constitutive of
human self-consciousness.
For Marx, alienation happens in capitalism
when the worker objectifies her activity in exchange for a wage. Today,
neuroscience is showing us a different type of mystification: it exposes
our spontaneous beliefs about ourselves, and about what it is to be a
self, as illusions. In particular, the work of Thomas Metzinger shows
how the self is a projection generated by our brains; a projection which
produces what he calls “the illusion of transparency”. This is an
appearance that makes us believe that the self is real because we don’t
have access to the processes that produces this illusion. In aesthetics,
the notions of alienation, estrangement, and defamiliarization have
been used specially in modern art, theatre, literature, and cinema in
order to render unfamiliar that which seems familiar, thereby
encouraging us to question mechanisms of production that appeared to be
natural or neutral. In noise and improvisation -the contexts in which I
work - some of these techniques have been used before and have
obtained powerful results. However, my contention is that they have
become conventionalized and emptied of their original critical purchase.
This is particularly the case when they continue to invoke the self as
the decisive agent of freedom. My research seeks to synthesize the
theoretical resources that deal with alienation in order to develop new
techniques for a contemporary use of alienation in aesthetics, and more
specifically in the practices of noise and improvisation, a field I work
in.
Biography
Mattin is an artist from Bilbao
(currently living in Stockholm) working with noise and improvisation.
His work seeks to address the social and economic structures of
experimental sonic artistic production through live performance,
recordings and writing. Using a conceptual approach, he aims to question
the nature and parameters of improvisation, specifically the
relationship between the idea of ''freedom''and constant innovation that
it traditionally implies, and the established conventions of
improvisation as a genre. Mattin considers improvisation not only as an
interaction between performers and instruments, but as a situation
involving all the elements that constitute a concert situation,
including the audience and the social and architectural space. He tries
to expose the stereotypical relation between active performer and
passive audience, producing a sense of strangeness and alienation that
disturbs this relationship. He is currently doing a PhD at the
University of the Basque Country under the supervision of Ray Brassier
and Josu Rekalde. He has edited with Anthony Iles the book Noise &
Capitalism and in 2012 CAC Brétigny and Tuamaturgia published
Uconsitituted Praxis, a book collecting Mattin´s writing plus interviews
and reviews from performances that he has been part of. Both books are
available online.
Friday, 21st November 2014
Concert
Homage to Roberta Settels
Fylkingen, Stockholm
Saturday December 6 2 – 6 pm: Pi, 1987 – a work by Esther Ferrer
3 pm: introduction by Hinrich Sachs followed by a conversation between Esther Ferrer and Mattin
Esther Ferrer’s Performance Art: Theory and Practice and Pi, 1987 – are
the final manifestations in “Persistent projects, open-ended
(hi)stories – practices of four unrelated artists”, a series of
presentations/micro-exhibitions during spring and autumn 2014, where OEI
Colour Project applies itself to the works of four European artists,
all of whom emerged in the late 1960s or early 70s with certain
repercussions: Rémy Zaugg, Claus Böhmler, Manfred Mohr, and Esther
Ferrer. Belonging to the same generation, but emerging independently in
different contexts, their practices intensively carried forward the
experimental and self-reflexive strand of the visual arts that began to
identify itself as contemporary; investigating the aesthetics of
minimalism, conceptual art, Fluxus, text, performance and video art. On a
formal level, their respective works exchanged exclusive iconography
for permutation, acts of combining and ongoing inquiry. With their
particular operations, these artists have pointedly expanded – and
continue to expand – the range of working attitudes within the current
field of visual arts.
The
series “Persistent projects, open-ended (hi)stories – practices of four
unrelated artists” is curated by Hinrich Sachs in collaboration with
Cecilia Grönberg and Jonas (J) Magnusson.
OEI Colour Project
Lövholmsgränd 12
117 43 Stockholm
Tram: Trekanten
Subway: Liljeholmen
Collapsing Ourselves by Hong-Kai Wang and Mattin
Release of twelve-inch vinyl record by Hong-Kai Wangand Mattin 11 December 2014, performative presentation by the artists at 7 pm At Mount Analogue, Lundagatan 57, Stockholm http://www.mountanalogue.org
When artists collaborate, they collapse themselves – or that would be
the promise, at least. They see their practice reflected in someone
else’s and they try to pass through the mirror. What Hong-Kai Wang and
Mattin have attempted in this record, and these recordings, is to
reflect on that process of reflection and to explore the possibilities
of collapse.
Since December 2012, Hong-Kai and Mattin have been developing a
dialogue focused on the material conditions in which they find
themselves embedded as artists, using oral conversation as a formal
expression. They started with a private one-hour conversation about
their respective practices, which they recorded. Then in a sequence of
live performances they incrementally layered their original conversation
with more dialogues, all of which were duly recorded in turn, including
the contributions (witting or otherwise) of their live audience. In the
performances, both of them would listen to the previously recorded
conversations on headphones, whilst simultaneously addressing the
audience and each other in a sparse, ambiguously dialogic manner. The
final result, which is not at all final, is a recording consisting of
the four layers (temporalities) of conversations superimposed.
– Above excerpt from liner text by Mike Sperlinger
Born in Huwei, Taiwan, Hong-Kai Wang
works and lives between Vienna and Taipei. She is currently a PhD in
Practice candidate and part of the Spaces of Commoning research team at
the Academy of Fine Arts in Vienna. Her works are concerned with the
questions of geo-politics and invisible social organization within
listening and construction of cultural memory, focused on a
collaborative and process-driven approach to research and production.
Wang has presented her works at Liquid Architecture (Melbourne/Sydney, 2014), Kunsthall Trondheim (Trondheim, Norway, 2013), Para Site (Hong Kong, 2013), Museum of Modern Art (New York, 2013), among others. Her work spans performance, workshop, text, video and installation.
Mattin
is an artist from Bilbao (currently living in Stockholm) working with
noise and improvisation. His work seeks to address the social and
economic structures of experimental sonic artistic production through
live performance, recordings and writing. Using a conceptual approach,
he aims to question the nature and parameters of improvisation,
specifically the relationship between the idea of ”freedom”and constant
innovation that it traditionally implies, and the established
conventions of improvisation as a genre. Mattin considers improvisation
not only as an interaction between performers and instruments, but as a
situation involving all the elements that constitute a concert
situation, including the audience and the social and architectural
space. He tries to expose the stereotypical relation between active
performer and passive audience, producing a sense of strangeness and
alienation that disturbs this relationship. He is currently doing a PhD
at the University of the Basque Country under the supervision of Ray
Brassier and Josu Rekalde. He has edited with Anthony Iles the book
Noise & Capitalism and in 2012 CAC Brétigny and Tuamaturgia
published Uconsitituted Praxis, a book collecting Mattin´s writing plus
interviews and reviews from performances that he has been part of. Both
books are available online.
Collapsing Ourselves was written in Stockholm, on
28 March 2013 at EMS; and 30 March at KONSTAPOTEKET; in Z Space
Taichung on 16 May 2013; and then at Noise Kitchen in Taipei on 18 May
2013. All the recordings were made on a ZOOM H4.
Thanks to EMS, KONSTAPOTEKET, White Fungus, Lacking Sound festival and Mike Sperlinger.
a polyphonic wave of concrete elements flowing through the air
proposes a series of encounters where the exhibition is explored as a
performative event. Questioning the central role the body has had in the
history of performance, the program presents works where the centrality
of the performer’s body is fragmented and transferred to intangible
elements such as sound, text, or image. The immersive environment
emerging out of the dialogue between the pieces creates a network of
echoes between the space of presentation and the bodies of the audience,
where the fragmented materiality of the works returns to a concrete
state and designs a porous scenario where the represented and the real
are blurred.
Schedule
5pm
Venue
ARTES
Complexo Mota Galiza
Rua Calouste Gulbenkian, 233 - Porto
EVACUATION OF THE VOICE: 5 PERFORMANCE CONCERTS
from 17 DEC 2014 to 21 DEC 2014
The need for "evacuation of the
voice" emerges as a process that is inseparable from dismantling the
"face", as the representation of the "I" that is conveyed by
capitalism.
The final five performances within a set of ten,
in which the artists will attempt, through their performances, to
evacuate the voice from their bodies, via a process of "subjective
depersonalization".
Detachment from thinking, through refusal
of "idiomatic aesthetic expressions of a generic nature" arises as a
means of trying to "understand our psychological, physiological and
neurobiological conditions, from an external perspective. "
These
performances will be recorded and later published, together with the
theoretical research carried out by the artists, thereby enabling
further analysis.
Production and Performance: Mattin and Miguel Prado
- See more at: http://www.serralves.pt/en/activities/evacuation-of-the-voice-5-performance-concerts/#sthash.9Mhb4fPy.dpuf
EVACUATION
OF THE VOICE:
5 PERFORMANCES/CONCERTS
from
17 DEC 2014 to 21 DEC 2014
Serralves, Porto
The need for "evacuation of the voice" emerges as a
process that is inseparable from dismantling the "face",
as the representation of the "I" that is conveyed by
capitalism.
The
final five performances within a set
of ten, in which the artists will attempt, through their
performances, to evacuate the voice from their bodies, via a process
of "subjective depersonalization".
Detachment
from thinking, through refusal of "idiomatic aesthetic
expressions of a generic nature" arises as a means of trying to
"understand our psychological, physiological and
neurobiological conditions, from an external perspective. "
These
performances will be recorded and later published, together with the
theoretical research carried out by the artists and other writers, thereby enabling
further analysis.
Production
and Performance: Miguel Prado and Mattin
2015
2015
venerdi
30 gennaio h 20.15
Xing
e Teatro Comunale di Bologna
presentano
Mattin
No
No Nono No NO!
(prima
assoluta)
una
commissione di Xing
all'interno
di RESISTENZA ILLUMINATA. Omaggio a Luigi Nono nel Settantesimo
anniversario della Resistenza
e
della guerra di Liberazione 1945 – 2015
in
collaborazione con Fondazione Teatro Comunale di Bologna
si
ringrazia la Fondazione Archivio Luigi Nono
Teatro
Manzoni
Via
De’ Monari 1/2 - Bologna
No
No Nono No NO!è
il titolo della nuova composizione del musicista e compositore basco
Mattin,
commissionata da Xing in occasione del progetto RESISTENZA
ILLUMINATA.
Omaggio a Luigi Nono nel Settantesimo anniversario della Resistenza e
della guerra di Liberazione 1945 – 2015.
Cinque
persone di diversa età ed estrazione prestano la propria voce per
un'azione lanciata dalla platea del Teatro Manzoni, come preludio al
programma della serata. L'opera di Luigi Nono, il suo impegno
estetico e politico, forniscono lo spunto per questa nuova
composizione di Mattin, un polemos
corale che assembla frammenti testuali a discorsivi, brevi asserzioni
e statements, che hanno caratterizzato la cultura del novecento nel
dibattito tra realismo e formalismo, infuriando negli anni '30 nella
discussione tra Ernst Block, Georg Lukàcs, Bertolt Brecht, Walter
Benjamin e Theodor Adorno. Buona parte dell'esplorazione
sonora di Mattin è radicata nel contrasto sonoro (rumore/silenzio) e
contestuale (attenzione/distrazione), e trova in questa evocazione
proattiva
un impiego ambiguo delle nozioni di alienazione/straniamento,
polarismo che ha contraddistinto quel dibattito lasciando una lunga
scia problematica che, anche attraverso l'opera di Nono, si prolunga
mal dissimulata fino ai nostri giorni.
Xingè
un network nazionale che progetta, organizza e sostiene eventi,
produzioni e pubblicazioni contraddistinti da uno sguardo
interdisciplinare intorno ai temi della cultura contemporanea, con
una particolare attenzione alle tendenze generazionali legate ai
nuovi linguaggi.
Dirigido
a interesados en arte contemporáneo, performance y prácticas sonoras,
el taller parte de la resonancia histórica de la Sala de bóvedas,
situada en el sótano del Museo incidiendo en las cualidades de la voz
relacionadas con la locura.
La producción sonora, performativa y
teórica de Mattin se centra en distintos aspectos políticos del ruido y
la improvisación. Su trabajo engloba desde discos de noise a
obras conceptuales e identitarias sobre la voz, así como colaboraciones
con otros improvisadores o grupos como Sakada, La Grieta y Billy Bao. En
muchos de sus proyectos, destruye la idea de espectáculo musical o hace
evidente su organización social y jerárquica.
20 mayo, 2015 - 19:30 h
Performance colectiva para bóvedas y voces
Performance
Edificio Sabatini, Sala de bóvedas. Planta -1
Esta
intervención colectiva busca apropiarse de las subjetividades y
temporalidades que conforman la resonancia histórica del Edificio
Sabatini. Pensada en el taller de convocatoria pública e interpretada
por los mismos participantes, tendrá lugar en la Sala de bóvedas, uno
de los espacios más antiguos del edificio que, hasta el cierre del
Hospital General en 1963, acogía las habitaciones para dementes.
En los últimos años se han mostrado en este espacio trabajos e
intervenciones de artistas como Fernando Arrabal, Isidoro Valcárcel
Medina y Alejandra Riera.
Date: Monday 1 June.
Time: 5 pm.
Place: The Swedish Arts Grants Committee, The Studio.
Address: Maria skolgata 83, 2nd floor, Stockholm.
Language: English.
Guests: Seth Kim-Cohen + Regler (Mattin and Anders Bryngelsson)
Seth
Kim-Cohen is an artist, musician and critic. Together with Regler
(Mattin and Anders Bryngelsson) he will present a performance lecture.
For each performance or recording, Regler choose one genre of music
to work in and impose a strict set of rules on themselves. The
collaboration will revolve around Kim Cohen´s 2013 book Against
Ambience. Ambient will be the chosen genre. Using text from the book and
other sonic sources they will work within a set of rules to create an
ambient critique of ambience. There will be discursive musical and
conceptual content.
20 June 2015
University of the West of England (UWE) Philosophy Annual Graduate
Conference
Philosophy of Sound:
Collaboration in Ontology, (Meta)Physics, and Experience
Spike Island, Bristol
9 July 2015
Mattin Dreck (Dirt): AN APPARATUS
Uferstudios, in the Heizraum
Wedding, Berlin http://www.dreck-apparatus.de/
Proyección del DVD Realismo antisocial (2012: Bilbao, Estocolmo,
Luasana) y debate
LE LARRASKITO KLUBA
Errekalde-Larraskitu Errepidea 33, Bilbao.
Uztailaren 28a, asteartea, 21etan / Martes 28 de julio, a las 21
horas
En el 2012 realicé tres conciertos en colaboración con otras
personas que incorporaban cierto realismo social a la improvisación,
tratando problemas sociales concretos mediante el lenguaje al mismo tiempo que se le interpelaba al público.
Su respuesta fue mínima en los dos primeros casos y
muy frustrante en el último, pudiendo así trazar un paralelismo entre la impotencia para cambiar las
cosas en la situación específica de los conciertos y una impotencia
general para cambiar la realidad dadas las condiciones actuales.
En los conciertos se puede observar por qué sucede esto:
O bien por la aceptación de una autoridad establecida y de
ciertas convenciones sociales, o bien por la dificultad de ponerse de
acuerdo en qué es lo que hay que hacer para afrontar determinados
problemas.
En estos tres conciertos los medios de grabación se convirtieron
en un instrumento más para la improvisación. La documentación
revela así un material de análisis que no se pudo ni percibir ni
descifrar en el momento del concierto.
Tres años más tarde y coincidiendo con la publicación del DVD por parte del sello
pekinés Sub Jam, las grabaciones serán presentadas en los mismos espacios donde los conciertos tuvieron
lugar.
Mattin en colaboración con Oier Iruretagoiena, Marcelo Expósito,
Germán Navarro,
Santiago Mostyn y miembros del público del festival LUFF en
Lausana.
1) Nadie respondió, Club Le Larraskito. Bilbao, 11 de febrero de
2012
2) La audiencia no es la madre de la autoinvención, Index.
Estocolmo, 29 de septiembre de 2012
3) Un público abucheándose a sí mismo, LUFF Festival. Lausana,
17 de octubre de 2012
Gracias a Eric Mattson, Pierre Bal-blanc, Yan Jun, Santiago
Mostyn, Xabier Erkizia, Anthony Iles, Hugo Castignani, Diana Baldon,
Oier Iruretagoiena, Thibault Walter y la gente del festival LUFF,
Dave Phillips, Philippe Simon, Iñigo Eguillor, Wolfgang Rufnacht,
Marcelo Expósito y Germán Navarro.
con subtítulos en castellano, francés, inglés y chino mandarín.
DVD co-producido por Sub Jam y Pierre Bal-blanc/CAC Brétigny
31 July-13 September 2015
Exhibition IKERSOINU
Opening concerts on the 31st July:
Jon Mantxi,
Sarah Resines
Azunak
Mattin Centro Huarte (Nafarroa, a 4,5 km. del centro de Iruña
Elsenstr. 52/
2.Hinterhaus Etage 2
12059 Berlin Neukölln
0049(0)17620626386
It's a strange world, and we are strangers to ourselves.
There are all these things around; they seem to be alive, some people
think they are alive. Indeed they are moving, but not only that; they
are moving us.
But these things, they can't think. I can, but then: how lonely I am!
At least I know I can always trust my feelings because they must be
real, as real as a self-model. How can we achieve objectivity given the
phantasmal qualities of reality?
During four days we will discuss texts and try things out in order to
see if we can unground ourselves as individuals and become a subject
which acknowledges its own conditioning. We'll end with a grand finale
where we try to overcome some of those conditions, not in an act of
liberation but of defecation.
Between Self, Subject and Commodity
16-19 September 2015
Workshop and Collective Performance
M.1 / Arthur Boskamp-Stiftung
Breite Straße 18
25551 Hohenlockstedt
Presentation of
the book recently published by Archive Books, Anguish
Language: Writing and Crisis, by the
editors: John Cunningham, Anthony Iles, Mira Mattar and Marina
Vishmidt, with contributions by Sean Bonney, Karolin Meunier &
Mattin.
Archive Kabinett Dieffenbachstraße 31 10967
Berlin http://www.archivekabinett.org/ U8 Schönleinstraße U7 Hermannplatz U1
Kottbusser Tor
Anguish Language Readings
9pm Monday 23 November
B_Books Lübbenerstr. 14, 10997 Berlin
Presentation
of materials related to the publication, Anguish Language: Writing and
Crisis, by the editors: John Cunningham, Anthony Iles, Mira Mattar and
Marina Vishmidt, and guests
NO-HOW: A critical series of embodied studies or, in other words– putting ourselves on the line.
From 18:00-21:00
This is a weekly meeting for those interested in understanding how we
are conditioned in different ways. If we consider the possibility of
actual transformation, first we need to understand ourselves in relation
to this world.
We will explore our own determination from different perspectives:
linguistically, socially, sexually, culturally, racially, economically,
historically, biologically, and more. We will also take into account
Berlin and the changes that is going through.
Launched by a group of musicians and artists, this experimental
series starts with a critical standpoint towards current culture and
music in particular, including the avant-garde, popular and obscure:
does music contain transformative qualities? Or is it just a soundtrack
for our fucked up times? Are extreme actions, improvisational
approaches and noise enough to dismantle our conditioned selves? Or do
we need to radically reconsider the critical potential of these
practices? Can we still say no to the unfairness of this world through
cultural practices or do we need something else altogether?
Each week a text will be proposed which should be read before
attending. The first part of the meeting will be discussion; here we
will collectively draw notes and create a ‘score’ to guide us through
‘embodied exercises’ in the second part of the meeting. We wish to
learn not only discursively, but through embodied practice, so we can
experientially understand what experience is. By collectively using
ourselves -including our bodies- as material for the exercises, we
attempt to understand our conditioning through action.
PREPARATORY SESSIONS (to precede the coming ‘Perspectives’):
2. März: Some Remarks on Kant’s Theory of Experience by Wilfrid Sellars
9. März: Introduction to The Essence of
Christianity from The Fiery Brook by Ludwig Feuerbach AND Christianity
and Heathenism chapter from The Essence of Christianity by Ludwig
Feuerbach
16. März: Feuerbach: Opposition of the Materialist and Idealist Outlooks chapter from The German Ideology by Marx-Engels
23. März: Chapters 1-6 in Dialectics of Labour by Chris Arthur
30. März: Chapters 7-11 in Dialectics of Labour by Chris Arthur
6. April: The Doctrine of Being: Quantity, Quality & Measure in The Encyclopedia of Logic by Hegel
13. April: §112-131 from chapter The Doctrine of Essence in The Encyclopedia of Logic by Hegel
20. April: §132-159 from chapter The Doctrine of Essence in The Encyclopedia of Logic by Hegel
27. April: Marx, Hegel and the Value-Form by Chris Arthur
Third Perspective: Approaching Conditioning, Economically
WK1: Willing Slaves of Capital (PT.I) by Frédéric Lordon
WK2: Willing Slaves of Capital (PT.I) by Frédéric Lordon
WK3: Selected Chapters from The Making of the Indebted Man by Maurizio Lazzarato
WK4: Misery and Debt by ENDNOTES
PAST PERSPECTIVES (from autumn 2015):
First Perspective: Approaching Conditioning, Linguistically. Texts by Wilfrid Sellars.
14. Okt: Meaning as Functional Classification
21. Okt: Language as Thought and as Communication
28. Okt: Behaviorism, Language and Meaning
4. Nov: Language, Rules and Behavior
11. Nov: Discussion with Ray Brassier via skype on Wilfrid Sellars
Second perspective:
Approaching Conditioning of Sexuality and Gender
25. Nov: Text by Endnotes The Logic of Gender
2. Dec: Texts by Monique Wittig
The Category of Sex
One Is Not Born a Woman
The Straight Mind
9. Dec Texts by Shulamith Firestone
Dialectics of Sex
The Ultimate Revolution: Demands and Speculations
16. Dec Text by Paul B. Preciado
TECHNOGENDER
Please RSVP for each session to info@nkprojekt.de. We will
then provide the reading materials. There is no cost to attend and is
open to people of any field. Organized by Mattin, Sacha Kahir, Farahnaz
Hatam, Colin Hacklander & NK. Location: NK Projekt. Start Time:
18:00. End Time: 21:00.
Location: NK Projekt.
2.Hinterhaus Etage 2
12059 Berlin Neukölln
0049(0)17620626386
Regler Tour December 2015:
10 December Sonic Protest, Instants Chavires, Paris
11 December Forma Festival, Angers
12 December Skopje
27 February, Emeka Ogboh, Xabier Erkizia & Mattin "Lagos Sessions Presentation", Oslo
Hoy viernes 11 de marzo escucha de las “Lagos Sessions”, el nuevo
disco de Billy Bao grabado en Lagos con mùsicos locales.
Bar Malamba (Calle Iturriza 9, Bilbao) de 8:30pm
a 9:30pm (puntual)
Munster Records
presenta, junto a Billy Bao y Night School Records, “Lagos
Sessions”.”¿Experimental? ¿Conceptual? Son términos que suelen
utilizarse cuando las referencias no son nada obvias: en el
sentimiento, en el sonido, en la impresión visual… Sobre todo
cuando las nociones a las que estamos acostumbrados se atascan. Nos
falta la expresión necesaria para lo supuestamente desconocido.
Incluso teniendo eso en cuenta, creo que una reseña amable de esta
exploración electrónica en vivo describirá sus cuatro secciones
como cercanas a la locura.No podría ser de otro modo. Dos soñadores
nadan contracorriente y se adentran en Nigeria para recoger muestras
de arte en ruinas, de ruido de cubos de basura, de gritos, bocinazos
y frenadas chirriantes sobre el asfalto, generadores destartalados…
¡Con un plan en mente! ¿Para qué? ¿Qué creen estos tipos que
están haciendo en Lagos? Yo lo describo como un renacer.Así de
sencillo.¿Cómo encontrar un punto central en esto? ¿El resultado?
El runrún del ambiente cotidiano de la calle provoca la sensación
de lo inmediato, lo terrenal; y luego está ese eco primitivo del
Bing Bang y su onda sonora que al mismo tiempo libera la sensación
de reverb de Sun Ra sobre el fin de los tiempos. Esto no debería
bailarse pero estos tipos están sugiriendo la posibilidad de ritmo
en lo imperfecto. Créeme, aquí puedes encontrar retazos de Lagos
Faaji,Awurebe, flow Sakara,Afrobeat; ecos de jazz, highlife/Euro-Afro
funk/rock/rap y el ambiente enrarecido de la noche. Pero en una
dimensión de otro mundo.Aunque reciban elogios, recomendaré algún
tipo de terapia para los creadores de esta producción”. Sola
Olorunyomi, poeta, bajista, y coeditor de Glendora Review. Kunle
Tejuoso, Jazzhole, Lagos. Con la participación de Billy Bao, Ambido,
Diana Bada, Duro Ikujenyo, Mark Ido, Oduyomi Isaiah Oluseye, Joel
Isioma Okoh, Orlando Julius, Mendo y Emeka Ogboh.
16-18 March 2016
The Order of Noise
An Art/Music Symposium
With contributions by Stuart Bailey, Mathieu Copeland, Beatrice Gibson,
Yann Chateigné, FM Einheit, Pauline Julier, Mattin, Doreen Mende,
microsillons, Muscha, Nils Röller, Laurent Schmid, Paolo Thorsten-Nagel,
Franz Treichler, Tris Vonna-Michell, UN Unruh
Devised by the Master in Visual Arts Programs at HEAD – Genève CCC / Trans / Work.Master
__________
Sites
HEAD – Genève (BH)
Boulevard Helvétique 9
1205 Genève
Noise & Reality:
The Malevolence of Our Times 11-13 April 2016 Cafe Oto, London
"Nothing to do, nothing
to say.. waiting for the gift of Sound and Vision."
David
Bowie, 1977
This could be a good description to understand
our times. A lack of general vision for the future while most
people's present sinks into oblivion. Somebody is getting a good
deal out of if.
What to do given this abject picture?
We could start by
understanding our own conditioning, genarating agency or at least
recognising our lack of it. Certainly there is a lack of harmony in
reality and complexity is expanding to unprecedented levels of
undecipherality. Nevertheless we have the best tools to understand
our times as we never before in history had more cultural
inscriptions. During these three days we will engange with
conversations, concerts and performances dealing with noise,
economic crisis and experiments in language that acknowleds our
alienated condition.
Let's try to understand the noise and
reality of our present so we can consciously produce the sound
and vision of the future
(without waiting for anybody's gift).
Cafe OTO
18–22 Ashwin street
Dalston
London
E8 3DL
11th
NOISE,
EPISTEMOLOGY AND ABJECTION
Inigo Wilkins and Cecile Malaspina conversation on noise and epistemology
"
" sic Goldie
Billy
Bao
VOMIR
12th
LANGUAGE, VOICE AND
CRISIS Anguish Language editors and friends
Miguel Prado and Mattin
Xabier
Erkizia
13th
ALIENATION AS AN ENABLING CONDITION
Ray
Brassier (via Skype) and Mattin conversation on alienation
Laboria
Cubonics
Seymour Wright and Sally Golding
Social Realist
Score (Working Draft)
Workshop
12th & 13th
April
10am-2pm
Social Realist
Score (Working Draft) How
do we perform a score that deals with the fuckedupness of this world?
Refugee crisis, economic meltdown, cold and hot war, Europe moving to
the right and there is no vision for the future. Nevertheless we can
generate an score with the information that we get from the present
state of affairs and try to find ways to interpret it. If John Cage
brought to the surface the sounds of the room in his composition
4'33'' changing the foreground and background relationship in music
(i.e. no sound of a proper musicians is more valid that that produced
by an audience member, or the room), we would take an step further
and bring to the foreground the reality outside of the room, and find
ways of engaging with it from our privileged position. We will take
the apparent impossibility of changing the course of reality in
parallel with the paralysis that might occur in the room out of
accepting certain social conventions. Without shying away from
contradictions and confrontation, we will play with this paralysis
and we will deal with our anxieties in order to understand how do we
become subjects in a given situation. In concrete terms, the score is
a way to link the global affairs with the context of an art academy
through processing social relations by sonic and performative means
using ourselves as instruments.
14th April
The Ex + Guttersnipe + Deflag Haemorrhage/Haien Kontra
Reading Group 2016 | Wednesdays March 2, 9, 16, 23, 30, April 6, 13 & 20, 2016.
18:00-21:00
This is a weekly meeting for those interested in understanding how we
are conditioned in different ways. If we consider the possibility of
actual transformation, first we need to understand ourselves in relation
to this world.
We will explore our own determination from different perspectives:
linguistically, socially, sexually, culturally, racially, economically,
historically, biologically, and more. We will also take into account
Berlin and the changes that is going through.
Launched by a group of musicians and artists, this experimental
series starts with a critical standpoint towards current culture and
music in particular, including the avant-garde, popular and obscure:
does music contain transformative qualities? Or is it just a soundtrack
for our fucked up times? Are extreme actions, improvisational approaches
and noise enough to dismantle our conditioned selves? Or do we need to
radically reconsider the critical potential of these practices? Can we
still say no to the unfairness of this world through cultural practices
or do we need something else altogether?
Each week a text will be proposed which should be read before attending.
The first part of the meeting will be discussion; here we will
collectively draw notes and create a ‘score’ to guide us through
‘embodied exercises’ in the second part of the meeting. We wish to learn
not only discursively, but through embodied practice, so we can
experientially understand what experience is. By collectively using
ourselves -including our bodies- as material for the exercises, we
attempt to understand our conditioning through action.
PREPARATORY SESSIONS (to precede the coming ‘Perspectives’):
2. März: Some Remarks on Kant’s Theory of Experience by Wilfrid Sellars
9. März: Introduction to The Essence of
Christianity from The Fiery Brook by Ludwig Feuerbach AND Christianity
and Heathenism chapter from The Essence of Christianity by Ludwig
Feuerbach
16. März: Feuerbach: Opposition of the Materialist and Idealist Outlooks chapter from The German Ideology by Marx-Engels
23. März: Chapters 1-6 in Dialectics of Labour by Chris Arthur
30. März: Chapters 7-11 in Dialectics of Labour by Chris Arthur
6. April: The Doctrine of Being: Quantity, Quality & Measure in The Encyclopedia of Logic by Hegel
13. April: §112-131 from chapter The Doctrine of Essence in The Encyclopedia of Logic by Hegel
20. April: §132-159 from chapter The Doctrine of Essence in The Encyclopedia of Logic by Hegel
27. April: Marx, Hegel and the Value-Form by Chris Arthur
Third Perspective: Approaching Conditioning, Economically
WK1: Willing Slaves of Capital (PT.I) by Frédéric Lordon
WK2: Willing Slaves of Capital (PT.I) by Frédéric Lordon
WK3: Selected Chapters from The Making of the Indebted Man by Maurizio Lazzarato
WK4: Misery and Debt by ENDNOTES
PAST PERSPECTIVES (from autumn 2015):
First Perspective: Approaching Conditioning, Linguistically. Texts by Wilfrid Sellars.
14. Okt: Meaning as Functional Classification
21. Okt: Language as Thought and as Communication
28. Okt: Behaviorism, Language and Meaning
4. Nov: Language, Rules and Behavior
11. Nov: Discussion with Ray Brassier via skype on Wilfrid Sellars
Second perspective:
Approaching Conditioning of Sexuality and Gender
25. Nov: Text by Endnotes The Logic of Gender
2. Dec: Texts by Monique Wittig
The Category of Sex
One Is Not Born a Woman
The Straight Mind
9. Dec Texts by Shulamith Firestone
Dialectics of Sex
The Ultimate Revolution: Demands and Speculations
16. Dec Text by Paul B. Preciado
TECHNOGENDER
Please RSVP for each session to info@nkprojekt.de. We will
then provide the reading materials. There is no cost to attend and is
open to people of any field. Organized by Mattin, Sacha Kahir, Farahnaz
Hatam, Colin Hacklander & NK. Location: NK Projekt. Start Time:
18:00. End Time: 21:00.
18th September, Sunday, 8pm
Yan Jun and Mattin
DJ N.M.O.
Studio 8
Grüntaler Straße 8 13357 Berlin
23th September, Friday, 8pm
first NOISE TESTAMENT Festival Berlin:
GNOD
NOXAGT
RAMLEH
REGLER (Anders Bryngelsson and Mattin)
TSYZ FYST
GALL
– festival tickets available at the box office for 40€/ticket and
single day tickets for 25€/ticket only if there are tickets left after
the presale
URBAN SPREE
Revaler Strasse 99 (Warschauer Str. x Revaler Str.), Berlin
17th October, Monday, 8pm
bar opens at 8pm, first concert starts at 9pm.
Labor Sonor
CLOVELLY BEACH
Sabine Vogel – video, tape & flute
FREEDOM AND IMPROVISATION
Mattin
KLANGTAGEBUCH II – ÚTILES SONOROS
Ana Maria Rodriguez – live electronics, kemanci, moonstring
Emilio Gordoa – vibraphone
14th December LAG OS video installation
Mattin DJ Echo Bücher
Grüntaler Straße 9,
Weddin, Berlin
18th and 25th December Yan Jun & Mattin installation improvisation and democracy ohrenhoch
Weichselstr. 49 12045
Berlin-Neukölln
2017
13 January Mattin
Krapoola Good Bye Party
West Germany
Skalitzer Str. 133,
10999 Berlin
14th January
Stine Janvin Motland and Morten J. Olsen
Mattin
Mario de Vega
Michael Barthel
Patrice Quice Rumpsti
Pumsti (Musik)
Am Treptower Park 17, Berlin
23th February
17:15-18:15
Alienation after Metzinger
Lecture at Phenomenology
and the Framework of Givenness
2017 Winter School with Ray Brassier
Universität Tübingen
Doblerstr. 33, 72074 Tübingen
11th March
9-11am
The Commodification of Consciousness:
Alienation from Below
Talk at Historical
Materialism, Beirut
AUB, organised by BICAR
15th March 6-9pm Social Dissonace workshop organized by Walid Sadek AUB Art Faculty Beirut
18th April Social Dissonance performed
at a night on Xeno-Arquictecture
organised by Markus Miessen and Armen Avanessian KAAI Theater Brussels
26th April
Evacuation of the Voice
performed by Martina Raponi and Margherita Morgantin Live Arts Week
Bologna
Bulegoa z/b | Solokoetxe 8 bajo, 48006
Bilbao www.bulegoa.org
En esta sesión de cine_ilegal se proyectará un fragmento de la única entrevista realizada a Amadeo Bordiga justo antes de morir. En esta entrevista Bordiga discute sus diferencias con Antonio Gramsci en torno al fascismo.
Contaremos con la participación de Blas Etxebarria quien nos introducirá tanto la figura de Bordiga como a sus ideas. También contaremos con la presencia de gite-ipes (Gizarte Ikerketarako Talde Eragilea - Instituto Promoción Estudios Sociales).
Amadeo Bordiga es una figura emblemática dentro del comunismo pero también es un gran desconocido. En 1921 fundó el Partido Comunista de Italia junto con Antonio Gramsci, del que fue expulsado en 1930 por defender a Trotsky. Bordiga se oponía totalmente a la participacion parlamentaria y por esto fue criticado por Lenin en su famoso texto de 1920 ¨La enfermedad infantil del 'izquierdismo' en el comunismo¨. En 1926 criticó a Stalin cara a cara y propuso que la unión sovietíca debiera de ser dirigida conjuntamente por todos los partidos comunistas del mundo. En 1945 fundó, junto a otros ex dirigentes comunistas, el Partido Comunista Internacionalista (en italiano Partito Comunista Internazionalista). Este pequeño partido, que se consideraba fiel al marxismo y enfrentado al estalinismo, denunciaba "desde la izquierda" a la URSS, cuyo sistema económico consideraba como capitalismo de Estado.
Para terminar esta sesión también se hablará de la evolución del movimiento bordiguista en los años posteriores a la muerte de Amadeo.
Blas Etxebarria formó parte en la Venezuela de los años 60 del primer grupo de militantes comunistas ajenos al Partido Comunista que fue bautizado OCHO JOVENES IRACUNDOS por la izquierda tradicional venezolana. Posteriormente vino a Europa donde se incorporó al movimiento bordiguista, llegando a participar en una reunión con el propio Amadeo en Milán. En 1970 organizó la sección bordiguista de la Suiza francoparlante y en 1978 la sección venezolana. En 1982 abandonó la militancia activa.
The audience is your instrument, play it in order to practically
understand how we are generally instrumentalised.
Prepare the audience with concepts, questions and movements as a way to
explore the dissonance that exist between the individual narcissism that
capitalism promotes and our social capacity, between how we conceive
ourselves as free individuals with agency and the way that we are socially
determined by capitalist relations, technology and ideology.
Reflect on the I/We relation while defining social dissonance.
Help the collective subject to emerge.
Communism
will be the collective management of alienation*
Nadia
Bou Ali, Ray Brassier, Dimitra Kotouza, Mattin and Paul B. Preciado
Previous
revolutionary theories envisioned that it was possible to live in
unalienated conditions. However, the question of mediation and how we
understand ourselves is being radically questioned today: technology
accelerates certain forms of socialisation but also shapes our
interactions and the way we think, neuroscience challenges the notion
of selfhood, and computers know more about ourselves than we do.
Alienation this time has no connotations of authenticity. What
does it mean to be a subject under conditions of real subsumption,
when our most intimate details are being commodified (from our DNA to
our choices and social relations)? What is our room for agency? These
questions are preliminary requisites in order to answer how we can
have a common idea of what emancipation means. The concept of
alienation forces us to ask what it is that is being alienated, what
is producing it and what can be done about it, which inevitably hits
at the question of subjectivity. Answering these questions might help
us understand better what is and could be a political subject today.
Representative democracy produces its own forms of democratic
alienation. The refugee crisis shows that it cannot be dealt with
politically at the national level but on the other hand it is very
difficult to generate forms of collectivity strong enough to change
the course of things. An ongoing tension is occurring
between the lack of vision for the future — which makes people go back
to questions of identity (such as race and nationality) — and an
economic situation pushing more and more people to the limits. This is
a time bomb which urges the question of collectivity beyond identity
and to reconsider the notion of universalism in opposition to the
universal equivalent of money.
*This
sentence comes from Samo Tomšič at the Historical Materialism
conference in Beirut, March 2017
14th September
14 To The Floor’s fourteenth installment, auspiciously timed to occur
on September 14: ready your discerning ears and dancing feet for one
final blowout of musical impressions as documenta 14’s weekly club night
readies itself for a big-boned, grand finale in fine thunderstruck
style.
Fittingly, for a project initiated by the people for the people,
documenta 14 artists and team members take center stage in the persons
of Mattin, Royal Jelly Benefits, Tatsuya Takahashi, and Izabel, Jules
and Jondo, back to back—a final, lasting reminder of the centrality of
the sound of music to documenta 14 as a whole: learning from the night…
documenta 14 artist Mattin has worked predominantly with noise and
improvisation, compiling over seventy releases on numerous international
labels. His collaborators include the likes of Tony Conrad, Taku
Sugimoto, Oren Ambarchi, Junko, and Bruce Russell, among others, and
he’s written about improvisation, free software, and against the notion
of intellectual property. He’ll be bringing some of the rhythmic
treasures he’s come across during his travels for the final culmination
of 14 To The Floor.
Tatsuya Takahashi is a synthesist and instrument
builder. Until recently, he was the chief engineer at Korg, responsible
for developing the Monotron, Volca, and the Minilogue series of
synthesizers, among many others. For 14 To The Floor, “Tats” will
perform original compositions during his live-set European premier.
Booyakasha!
After years of listening to and experimenting with all
kinds of music, Royal Jelly Benefits (1/3 of wemustbeinlove and 1/2 of
Brooklyn Zoo) hosted a daily two-hour radio show during the week for
five years on former Mojo Radio 107.7 in Patras, Greece and created an
abundance of podcasts for InterSonik Net Radio. This led him dig deep,
ultimately to explorations of tropical jazz, Brazilian psych keys, and
street corner disco. In his sets, he’ll take jazz, Latin, and disco over
house any day. Freestyle all over the place.
Melbourne native Izabel is founder of the record label
Lullabies For Insomniacs. Since relocating to Amsterdam in 2015, she has
played at clubs and festivals all over Europe, including frequent
appearances at famed nightclub De School, Amsterdam.
Jules’ (Salon des Amateurs / NTS Radio) boundless
sense of enthusiasm and curiosity for a range of music results in sets
packed with surprising moments. His approach reaches beyond mere
eclecticism and is coupled with a talent for weaving together disparate
sounds to produce exciting juxtapositions. All that combined with a
capacity for versatility and a well-honed appreciation of context—be it
his residency at Dusseldorf’s beloved and unique Salon des Amateurs or
on his monthly slot on NTS Radio, one can expect anything from textures
of ambient and experimental music to eccentric New Wave and forgotten
B-sides to beautifully sinister and propulsive electro.
A talent from Cologne, Phillip Jondo (Salon des
Amateurs / NTS Radio) weaves together Dadaistic tape experiments,
minimal synth, and mutant disco to form ceremonial rhythms. In addition
to his residency at Salon des Amateurs in Dusseldorf, he hosts a monthly
show on NTS Radio, alone or with guests.
Fourteen To The Floor is a weekly club night run by a shape-shifting
collective of documenta workers in parallel with the exhibition’s
fourteen-week duration in Kassel. documenta 14 extends into the night …
Entrance fee: 6 €
17th September DJ FINAL PARTY DOCUMENTA Tofu Fabrik
Line-Up for „Digging the Global South“ from November 2–4
The preliminary Line-Up for the three-day feature Digging the Global
South is complete. Amongst others, it will include Maha El Nabawi (Cairo / Egypt), FAKA (Johannesburg / South Africa), and Moor Mother
(Philadelphia / USA). The event takes place at Stadtgarten and Studio 672. It combines talks, concerts, and parties that reflect on artistic
strategies, production, and distribution of mainly electronic music from Africa and the African diaspora. The event is curated by the program
coordinator THOMAS GLÄSSER/Zentrum für Aktuelle Musik e.V.
Line-Up:
Angel Ho (Capetown / South Africa) tbc
Benjamin Noys (Chichester / UK)
C-Drik (Berlin // Belgium)
DJ Marfox (Lisbon // Angola)
DJ Lag (Durban / South Africa) tbc
Don´t DJ aka Florian Meyer (Berlin / Germany)
Elsa M´Bala (Berlin // Cameroon)
Endeguena Mulu (Addis Ababa / Ethiopia) tbc
FAKA (Johannesburg / South Africa)
Felix Klopotek (Cologne / Germany)
Jaquelines Georges (Cairo / Egypt)
Luka Guindo (Bamako / Mali)
Lukas Ligeti (Irvine / USA)
Maha El Nabawi (Cairo / Egypt)
Mahmoud Refat (Cairo / Egypt)
Mattin (Berlin // Spain) "Songbook #7" feat. Moor Mother, Lucio Capece, Marcel Dickhage, Farahnaz Hatam, Colin Hacklander, Cathleen Schuster
Michael Baird (Utrecht // Zambia)
Moor Mother (Philadelphia / USA)
Rough Americana (Amsterdam // USA)
… more to be announced
2th November at Stadtgarten, Cologne
Mattin "Songbook #7" feat. Moor Mother, Lucio Capece, Marcel Dickhage, Farahnaz Hatam, Colin Hacklander, Cathleen Schuster
1 December
Abstract Tits Præsenterer 4/4:
Vilde&Inga + Mattin, Mayhem, Copenhagen
2018
fri.feb.9th:
20:00 DOORS
21:00 VORDEMFALL
22:00 MNHM
23:00 BILLY BAO
00:00 TRANSITIONAL
01:00 ORTURE
02:00 HUMAN INFERNO
03:00 NERVØS!
10. Februar 2018
Karnevals-Samstag / 20 h
King Georg, Sudermannstr. 2
Köln Billy Bao kommt erstmals nach Köln. Der Auftritt des
seit ca. 2004 aktiven baskischen Bandprojekts aus Bilbao (Spanien) ist
deutschlandweit erst der zweite überhaupt. 2015 erschien ihre bislang
letzte Veröffentlichung, das Doppelalbum „Lagos Sessions“, ein
Kooperationsprojekt mit nigerianischen Künstlern und Musikern wie z.B.
Emeka Ogboh und Mark Ido. Dabei treffen Noise und Punk auf Spoken Word,
Fieldrecordings, Dub-, Afrobeat-, Jazz- und HipHop-Elemente. In bestem
Sinne „experimentell“ konfrontiert die Band um den
Noiseaktivisten ‚Mattin‘ das Publikum beim Konzert in Köln anhand zweier
Schlagzeuge, Gitarre, Laptop und Stimme mit energetischer Motorik,
spannenden Soundcollagen und überraschenden Brüchen oder diskursiven
Einschüben. Die Praxis spontaner Änderungen oder Irritationen des
Konzertformates sind ebenso Teil der Themenpalette von Billy Bao wie
bspw. kulturelle Appropiation, Postkolonialismus, Globalisierung,
Warenform von Musik im Spätkapitalismus und Politics of Noise. Ob mit oder ohne Gehörschutz, zuhören ist unbedingt empfohlen – „no way to fail“ am Karnevalssamstag im King Georg.
Muzeum Sztuki Nowoczesnej w Warszawie oraz Powidoki zapraszają na
koncert Billy Bao – projektu, którego fikcyjnym liderem jest pochodzący
z Lagos w Nigerii wokalista o tym samym imieniu i nazwisku.
Jak głosi plotka, po przybyciu do Kraju Basków i pod wpływem fascynacji
tamtejszą sceną punk rockową Billy Bao postanowił założyć zespół, aby
wyrazić swój gniew wobec hipokryzji oraz samozadowolenia społeczeństw
bogatej Północy. Powstała w 2004 roku w Bilbao grupa to radykalne
połączenie estetyki punka, noise’u oraz muzyki konkretnej z otwarcie
polityczną i antykapitalistyczną retoryką. Od momentu swojego powstania
zespół opublikował serię konceptualnych i nieporównywalnych z niczym
płyt, takich jak „May 08” (Parts Unknown, 2009), na której oprócz
gitarowych riffów rodem z The Stooges oraz wściekłego występu wokalisty
zsamplowane zostały przykłady z czterech dekad rewolucyjnego rocka,
noise’u i funka, „Buildings from Bilbao” (Burka For Everybody, 2013),
stanowiącą portret dźwiękowy ubogich i zamieszkałych przez emigrantów
dzielnic największego baskijskiego miasta, czy „Communisation” (Fuck
Yoga Records, 2015), na której za partyturę posłużyły między innymi
wykresy handlu wysokich częstotliwości na rynkach finansowych.
Najnowszy album Billly Bao „Lagos Sessions” (Munster Records, 2015)
nagrany został z nigeryjskimi muzykami oraz artystami (m. in. Orlando
Julius, Mark Ido, czy Emeka Ogboh) i stanowi fascynujący miks noise’u
i punka z elementami field recordingu, dubu, jazzu, afrobeatu oraz
nigeryjskiego popu. Oprócz tematów kulturowego zawłaszczenia,
globalizacji, utowarowienia muzyki w dobie późnego kapitalizmu oraz
polityki hałasu/szumu, które cechują twórczość Billy Bao, baskijski
zespół w swoich występach na żywo stara się także dekonstruować format
koncertu oraz zaburzać towarzyszące mu relacje społeczne.
Pełna biografia lidera oraz wszystkie nagrania Billy Bao, zgodnie z zasadą anti-copyright, do pobrania ze strony zespołu: http://www.mattin.org/2_Billy_Bao.html
Sensory Futures #1: The work to end all labor
THE WORK TO END ALL LABOR Performative & critical gathering Saturday, 2 June, 14:00-20:00 c.off, Körsbärsvägen 9, Stockholm
Welcome to a performative and critical gathering,
organized by Marianna Feher as part of a degree project within Curating
Art, International Master’s Programme at the Department of Culture and
Aesthetics.
We recently celebrated the revolutionary legacy of both 1968 and 1917
– two recurring references in history, politically as well as
artistically. But what do we have to celebrate today? On the one hand,
we are demonstrating for the right to fully integrate ourselves as
subjects in the economic system of capitalist modes of production (the
right to work, equal rights, equal wages). On the other hand, we are
drifting more towards a situation where humanity itself becomes
superfluous when it is no longer necessary for the reproduction of
capitalist society (unemployed, migrants, people without papers).
Therefore, the revolutionary energies seem to remain captive in the
menagerie. In a current state of rising xenophobia, fascism, nationalist
fronts, neoliberal depression and climate destruction to name a few –
the bleak reality of modernity tells us nothing else than to urgently
stress new formulations and reinventions of emancipatory politics. Is it
therefore time to abandon previous revolutionary legacies...or perhaps,
are they even more relevant today?
Art as a counterpower to state politics has been central to many
20th-century avant-gardes. From constructivism, dadaism, surrealism, and
to the boom of artistic movements of the 1960’s such as happenings,
situations, performances, and fluxus; art has been considered a
political standpoint that remains influential to approaching social
issues and crisis through aesthetics and critique. If we reflect on the
legacy of political and artistic interventions in revolutionary terms,
how are we to understand art in late capitalism?
Together with artists, writers and theorists, who all address or
reflect upon these notions in their work – this one-day session aims to
approach these questions through a hybrid format including talks,
discussions, performances and screenings. This is an attempt to, in
various ways, address and conceptualize critical aspects on (art)work,
value-criticism, and revolutionary legacies – in order to put forward
notions of critical thinking across and beyond capitalist modes of
production, and to cross-think some (im)possible future directions.
Den baskiske konstnären Mattin uruppförde verket "Teser om inkompetens".
Filmstill från framförandet i UNDANTAGET.
----------------
Mattin deltog i Documenta 14 med verket "Social Dissonance".
Läs mer om Mattins konstnärskap: www.mattin.org
Mattins egna ord om verket Social Dissonance. (Utdrag ur Rebecka Thors intervju för, KUNSTKRITIKK)
"_Det är ett partitur inspirerat av John Cages 4’33, men som inte bara
handlar om ljud utan även om sociala relationer – samtidigt som det är
en konsert. Social Dissonance utgår både från Cages verk och från
begreppet «kognitiv dissonans» som syftar till glappet mellan en
människas föreställning om verkligheten och hur verkligheten faktiskt
ser ut. Vi tror att vi är fria att agera, men egentligen är vår tillvaro
villkorad av kapitalistiska relationer, teknologi och ideologi. Vi kan
inte förändra så mycket, även om idén om demokrati bygger på tron att en
förändring är möjlig. Jag tror att vi befinner oss vid en historisk
tidpunkt där detta glapp mellan våra föreställningar och de egentliga
villkoren är akut. Och det är den dissonansen jag vill iscensätta.."
UNDANTAGET
is an old, half-decayed duplex situated on a farm on the eastern side of
Öland. At Undantaget the artist Johanna Karlin wanted to present kinds
of art that deal with time, in the form of growth and dissolution, human
processing and the course of nature. The farm, known by locals as
“Gustav’s” is in a village founded in the 16th century, in which the
farm and its surroundings represent timelessness and a cyclical course
of events in which birth and death are constantly present in the form of
animal life and cultivation of the earth. At Gustavsgården, which can
be seen as a readymade, Karlin is planning a bigger project. The
activities in Undantaget can be seen as a precursor to this coming
project.
UNDANTAGET
Öland
ENCUENTROS:
MRB_AMM IV: MUSIKA RADIKLAL BRASCA_AUSKAL
MUTURREKO MUSIKA
Fecha
15 - 16 de septiembre de 2018 - Todo el día y
la noche
Acceso
Con inscripción
Plazo de inscripción
Hasta el 5 de septiembre
Dirigido a
Gente interesada en músicas, ruidos, escuchas y
otras artes sonoras
MRB_AMM son unos encuentros entre gente interesada en
músicas, ruidos, escuchas y otras artes sonoras.
Estos encuentros se realizaron por primera vez en el año 2006
con un grupo de artistas del ámbito de la música experimental a lxs que la realidad del momento les sobrepasaba y quisieron buscar soluciones
compartiendo inquietudes. Doce años y tres ediciones más tarde (2008, 2012), volvemos a convocar estos encuentros abiertos en los que durante
dos días y una noche, podamos compartir ideas y opiniones con otras personas y proyectos con trayectorias y experiencias de vida y musicales
diferentes. Todo ello tratando de responder, ya sea a modo de conversación o a modo de concierto, a varias preguntas que nos atañen:
¿Cuál es la función de la música
en la sociedad actual?
¿Qué formas existen para hacer
frente al individualismo y la competitividad reinante?
¿Cómo hacerlo a través de la
música y/o lo sonoro?
¿Qué modos hay de producir y
distribuir música comprometidos con este contexto?
Y tú, ¿dónde te ubicas en torno a
estas cuestiones?
Si te interesa tratar de responder a estas preguntas o
escuchar posibles respuestas, participa en estos encuentros, haciendo escuchar o escuchando hacer. No hay un programa cerrado, pero
entre todxs podemos hacer todo los que queramos.
Juntarse es la clave, la música saldrá sola.
CÓMO PARTICIPAR
Para participar en este encuentro puedes inscribirte
rellenando el formulario hasta el 5 de septiembre. Ten en cuenta que MRB_AMM no es un festival ni se trata de un par de días de conciertos,
sino que la idea es generar algo entre todxs (aunque no sepamos muy bien a dónde llegaremos).
Por otro lado, los recursos técnicos son limitados y se van a
compartir entre las personas participantes, pero se dispondrá de un proyector u otros materiales básicos en caso de que sea necesario.
Escribe las ideas que tengas en mente y veremos cómo se pueden llevar a cabo.
El Centro Huarte costeará algunos gastos básicos (dependiendo
de la cantidad de participantes) y ofrecerá comida para todxs durante los dos días. Para dormir será necesario traer una esterilla, un saco,
una almohada, una manta o lo que normalmente utilices. Si no puedes participar durante todo el encuentro escribe en el apartado de
comentarios los momentos en que vas a poder estar.
Os contactaremos para organizar el programa definitivo.
10 October, Mattin, performance, show curated by Matti Blind, Art Academy of
Szczecin
What is to be Done under Real Subsumption?
Workshop, Event Series and Collective Performance/Concert
15-20 October 2018, Museum of Modern
Art in Warsaw
Participants: Beata “Bobo” Bąk, Sean Bonney, Colin Hacklander,
Farahnaz Hatam, Anthony Iles, Edyta Jarząb, Sacha Kahir, Mattin, John Nzoka, Mikołaj Ratajczak, Marina Vishmidt
Introduction
Following the financial crisis and ongoing social struggles all over the world, we witness the rich getting richer and the poor getting poorer, but
don’t seem to have a credible political horizon able to prevent this from continuing. We’re aware that we urgently need to intervene in social
reality, and that in order to do so we first have to understand it; but social reality is becoming increasingly sophisticated, accelerated and
changeable. What theoretical tools would allow us to think adequately about this particular time in history? Where could we find such tools in
this cultural landscape of ruins? Once again, we come to the same question: what is to be done? Or, to put Lenin’s famous question and
Marx’s concept together, what is to be done under real subsumption?
Since the last 4 years we have been editing a book trying to answer this question by looking back
at the concept of subsumption and the discussions around it. We would like to share our findings with you in a performative way.
Subsumption
Subsumption, following Marx’s description (in Capital Vol.1 and in The Results (the unfinished Volume 4 of Capital)), pertains strictly to the
description of the production process. Attempts to use the term to describe the rationalisation of aspects of social life falter because the
category ceases to critically describe a dynamic relation between formal subsumption – the employment of relations of production as capital finds
them – and real subsumption – the seizure and development of social production in its own image, as it suits capital’s ends. Since the
rediscovery of Volume 4 of Capital in the mid-1970s subsumption began a rich afterlife with intense debates ensuing over whether it should be
understood as an historical or logical category. Attempts to use subsumption as a category of periodisation are arguably problematic
because what are proposed as distinct ‘phases’ of capital’s development in fact reappear and continue to co-exist historically. Not only do forms of
real and formal subsumption coexist, they are distributed unequally geographically. These ‘phases’ do appear to take place sequentially in
certain branches of industry and one can outline the shift from one ‘stage’ to another, but equally those industries move geographically,
resettle and reincorporate the ‘earlier stage’ in a new setting and integrate it vertically into a global system of production which includes
highly developed technological production and apparently ‘artisanal’ or ‘primitive’ forms.
Scoring Subsumption: Workshop
During this workshop we will work through short excerpts from the book we are working on which represents a first critical Marxist anthology on the
concept of subsumption. We will not shy from the philosophical origins of the concept, nor its wilder post-Marxist theorisations. We will use all
the tools at our disposal, theoretical, philological, pedagogical and performative to work together to understand subsumption both historically
and in our present moment through the surreal conditions and fears it continues to accurately or innaccurately name. Each day we will
gather notes and materials in order to make together a score. We will collectively performed this score on Saturday, trying to answer in
practice to the question ¨What is to be done under real subsumption?¨ (even if it might be in the most minimal or humble
way). A reader with some of the texts will be given to each participant in order to prepare beforehand.
Subsumption and Society
Real subsumption is a crucial concept in that it acknowledges one of the fundamental conditions of advanced capitalism. Under real subsumption, in
its relation to real abstraction, capital develops an apparently absolute hold on society; and as Jacques Camatte has asserted, capital
tends through this process to become constitutive of society itself. This means that the famous question is harder than ever to answer today, what
is capitalism and what is the world? What is capitalism and what is the human, when even thought itself is potentially undergoing a process of
subsumption and becoming completely conditioned by the arrangement of the world on capital’s terms? Yet, wild totalisations also tyrranise and can
fall into the trap of only presenting the agonistic prospect of false exits, fool’s utopias. How we understand capitalism determines how we end
capitalism. We obviously have no coherent narrative for the present crisis, but we still have a need for theory as a foundationg for common
action. The Internet has given us increased connectivity, but is also generating more and more individual forms of subjectivation. On one hand,
social action is more urgent than ever, but on the other, dominant ideology is tending to atomise and fragment us collectively. Working
collectively appears to be difficult, but it must be experimented with and developed at each step resistantly. If capital fails us now, as always,
can we live up to the demands not only of survival, but of our own potential as a species for self-directed and collective emancipatory
development?
Program:
Monday 15 October
3-6 pm:Workshop
8 pm: Anthony Iles & Mattin presentation on “What is to be Done under Real Subsumption” book and project
Tuesday 16 October
3-6 pm: Workshop with Mikołaj Ratajczak
8pm Mikołaj Ratajczak on Subsumption on the Polish context
Wednesday 17 October
3-6 pm: Workshop
8 pm: voice intervention in the city by Edyta Jarząb
Thursday 18 October
3-6 pm: Workshop
8 pm: talk by Marina Vishmidt, „Subsumption, Exception, and the Search for Other Pathologies”
9 pm: Talk / Performance using a blend of theory, poetry, and visuals including video and stills by Sean Bonney and Sacha Kahir, „The World as
Learned Terror and (Un)Knowing Eyes”
Friday 19 October
3-6 pm: Workshop
8 pm: sound performance by Hacklander / Hatam
8:30 pm: music and dance by John Nzoka / Beata „Bobo” Bąk
Saturday 20 October
6 pm: Collective Performance/Concert
11 November, 10 am
Panel on the upcoming book What is To Be Done Under Real Subsumption? at Historical
Materialism Conference, SOAS, London, Russell Square, London
with Marina Vishmidt, Rob Lucas (Endnotes), Anthony Iles, Andrés Saenz de Sicilia and Mattin
17 November, Presentation of the documentary on Cancer Moon Haunter by the Snake, Moviemento Kino, Baskisches-Filmfestival-2018 Berlin
DEPARTURE | ARRIVAL | RETURN organised by Lagoon Parliament hosted by Kunsthaus Kule as part of Vorspiel 2019
Departure | Arrival | Return will take place during the last weekend of January at Kunsthaus Kule. The space will be transformed into a fictive travel agency playing with alternate concepts of time and metaphorical ideas around place and placelessness. Be prepared to step into a hybrid between real and fictive atmospheres with a manipulated sense of displacement and abundance. The first event (Departure) starts with a festive takeoff evaporating you from familiar ground with concerts and performances. Departure invites you to a harmonious sleepover in which you will awake into the next event (Arrival) with a cosmic breakfast, workshops, screenings and performances. The last event (Return) will investigate the business of aeroplane windows and whether a return is ever really possible.
Program:
DEPARTURE 25th Jan.
8:15 PM Vernissage With performances, interventions and video by Lagoon Parliament, Dovilè Aleksaité and Mattin.
Free Entrance
12:00 AM SLEEPOVER- a long distance flight
Sonic trips with Lukas Grundmann Jacob Eriksen Felipe Vaz Kurort Spandau MOUTH (Katrine Hoffmeyer Tougård & Hugo Esquinca) Fraser Bowers
Free entrance, booking required - waitlist available
20:00 FREE OF DUTY-an improvised participatory waiting room revue w. Bruno Siegrist The piece combines elements of show with others of discussion and gamification. Loaded terms, like freedom or duty, function as a starting point, but as well as ideas to constantly return to.
Free Entrance
RETURN 27th Jan.
4:00 PM THE BUSINESS OF AEROPLANE WINDOWS with Theresa Reimann-Dubbers A lecture performance on the peculiar coexistence of (screen)window and (window)screen on aeroplanes. One screened off whilst other screens view of former. An exploration of a suspicious trajectory.
Free Entrance
5:00 PM BAULAND with Yannick Spiess Screening of film about returning to homeland followed by Q&A with the director.
Manipulation Studies is a series of
exercises in social relations.
These exercises take improvisation as a starting point, as a way to explore ‘social
dissonance’; a form of cognitive dissonance at the collective level, where our beliefs are
contradicted by our actions. (The impossibility of stopping climate change would be an extreme example of
this). This ‘social dissonance’ can produce a confusing and fragmented reality. Increasingly we
try to deal with this confusion individually, however, this only reproduces it further since it is a
collective question.
These exercises attempt to deal with this confusion collectively by listening to each other and by trying
to make the private public by thinking out-loud. Through the manipulation of our expectations and
projections, resonances of this social dissonance will fill the room, generating a form of conceptual music
where the materials are both the sounds in the room and the psychological noise of our perception of
reality.
Please note: The performance will start at 7 pm sharp.
Doors open at 6.30 pm
* Mattin is an artist from Bilbao - living in
Berlin- working with noise and improvisation. His work seeks to address the social and economic structures of
experimental sonic artistic production through live performance, recordings and writing. Using a conceptual
approach, he aims to question the nature and parameters of improvisation, specifically the relationship between the
idea of ''freedom'' and constant innovation that it traditionally implies, and the established conventions of
improvisation as a genre. Mattin considers improvisation not only as an interaction between performers and instruments,
but as a situation involving all the elements that constitute a concert situation, including the audience and
the social and architectural space. He tries to expose the stereotypical relation between active performer and passive
audience, producing a sense of strangeness and alienation that disturbs this relationship. He has recently completed a
PhD at the University of the Basque Country under the supervision of Ray Brassier and Josu Rekalde. Along with
Anthony Iles they edited the book Noise & Capitalism in 2009. In 2012 CAC Brétigny and Tuamaturgia published
Uconsitituted Praxis, a book collecting his writing plus interviews and reviews from performances that he has been
part of. Both books are available online. Mattin took part in documenta14 in Athens and Kassel in 2017.
CHANGING ROOM / Wedding: is a new
project space which focuses on sound art and performance. The programming consist of interdisciplinary projects
based on sound art, speech/voice and movement and will offer talks, performances and deep listening sessions on a
regular basis. Changing Room is situated in a former horse stable on Lüderitzstraße in Berlin Wedding’s African
Quarter which soon will be renamed to Cornelius-Frederiks-Straße.
CHANGING
ROOM
Lüderitzstr. 11
2nd yard
13351 Berlin
Lydia Lunch är en amerikansk sångerska, poet, författare och
skådespelerska. Hon var en central del av det som skulle kallas No Wave, en inflytelserik undegroundscen för musik, film, och samtidskonst som
uppstod i New York i slutet av 1970-talet.
Lydia Lunch kallar själv sina ord för virus, som infekterar. Om folk
förstår vad hon pratar om eller inte är inget som bekymrar henne. Hon bröt ny mark med det inflytelserika bandet Teenage Jesus and the Jerks
och allt sedan dess har Lydia Lunch fortsatt utmana med en mängd olika uttryckssätt, bland annat i samarbete med musiker som Brian Eno, Sonic
Youth, Omar Rodriguez Lopez och Nick Cave. Till kvällen i ära läser hon poesi som både skyddar oss från och samtidigt får demoner att dansa
långt inom oss. Hon kommer att kompas av REGLER, ett musikaliskt och konstnärligt projekt som präglas av att röra sig kring noise,
improvisation och repetition.
Support: Chroma (ES)
Chroma är ett band baserat i Barcelona som består av tre kvinnor. De har tidigare spelat i band som Las Otras, Rakta och Siega. 2015 släppte de
sin debut-LP ”Cuerpos Dóciles”. Deras sound är skvalpande, mekaniskt och repetitivt – en slags hemsökt fabriksmusik. Simpel, omedelbar men
punkigare än deras industriella influenser. Som de själva säger: ”vi är arga, livet är våldsamt, samhället är skit. Vi vill inte att vår musik
ska låta bra, vi vill att den ska vara obekväm”.
On t’invite à la soirée du 6 avril au Cirque Electrique dans le cadre
du Festival Sonic Protest avec notamment Dylan Carlson (Earth).
Envoie nous nom, prénom à l’adresse suivante : concours@noisemag.net
Les gagnants seront prévenus par mail après tirage au sort.
JANDEK [États-Unis] CONFUSIONAL QUARTET [Italie] SOCIÉTÉ ÉTRANGE
[France] 14€ (+ frais de location) en prévente
16€ sur place
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – SAMEDI 30 MARS THÉATRE DE L’ÉCHANGEUR – BAGNOLET
Lahcen AKIL & LES CHA BI BROTHERS [France / Maroc] Suzanne CIANI
[États-Unis] THE COOLIES [Nouvelle-Zélande] LEMONES [Belgique] LES STATONELLS [France] π- NODE [France]
16€ (+ frais de location) en prévente
18€ sur place
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – MARDI 2 AVRIL MONA BISMARCK AMERICAN CENTER – PARIS
Dylan CARLSON [États-Unis] Julien CLAUSS [France] HERMINE [France /
Royaume-Uni] Lee PATTERSON [Royaume-Uni] UT [États-Unis / Royaume-Uni] BLENNO DIE WURSTBRÜCKE [France] ET AUSSi NOWHERE #2 // L’ATELIER DE Lee
PATTERSON
15€ (+ frais de location) en prévente
17€ sur place
Mondays 1:00-4:00pm EST, 19:00 (CET), UTC +1, starting March 11, 2019.
Justin Shaffner, Mattin and Miguel Prado, in
collaboration with The New Centre for
Research & Practice, would like to invite you to a
transdisciplinary reading group on Intelligence and Spirit by Reza Negarestani.
We’ve reached an impasse of generic destruction, decomposition and cynicism; not only in coming to terms with the state of the world --
global capitalism, climate change, etc. -- but also in terms of what it means to be and live as human. The crux of who and what we are at all
scales of organization is up for grabs. There are no clear ways forward offered from any sector of society, especially from academic philosophy.
Reza Negarestani’s Intelligence and Spirit, however, offers a provocative if not an absolutely original and unique perspective on ourselves as
sapient life-forms capable of radical construction, composition and transformation of both ourselves and the world. It does so by connecting
the Hegelian notion of Spirit with the potentials offered by artificial general intelligence (AGI), functionalism and theoretical computer
science, all the while problematizing and overcoming previous discussions on Anti-, Post- and Trans-humanism.
If self-transformation will be nothing other than a toilsome historical struggle, then we ought to understand how we are conditioned, how we can
overcome this conditioning in order to make a meaningful intervention in history. Talking in terms of a generic “we” might sound problematic to
many readers, however, in this book ‘we’ is understood as subjects of the ought to be and what might be, bringing Kant, Hegel, Sellars and Carnap
into the 21st century. In doing so, it offers a new refreshing perspective on the potential of a universalism without essence. If nature is not a
block of wax ready to be molded, nor are we necessarily defined by previous preconceptions of what the subject is. ‘We’, in this sense, is a
view from nowhere and nowhen. It is self-consciousness as a matter of practical achievement, rather than a theoretical or practical given. The
truth of what the human is coincides with the problem of the Good and the question of what it means to live a good life.
The potentials offered in this book are of historical magnitude. Now we just ought to understand it! Come join us in this collective reading!
Broad topics to be discussed in tandem with the overall scope of Intelligence and Spirit: Philosophy of intelligence, mind, time and
history, enlightenment, the meaning of a good life, re-engineering philosophy, and engineering as a philosophical ideal.
Building on recent efforts to open creative digital spaces for collaborative learning, the reading group will be hosted online by The New
Centre for Research & Practice, enabling participation, both synchronously and asynchronously, from anywhere in the world. The platform
will offer participants the chance to collectively summarize sections, arguments, questions and discussions.
This series of events are open to the public at no cost, but New Centre Members will be given priority to attend. No prerequisites, or prior
knowledge of philosophy, assumed. Reza Negarestani will also occasionally join us for discussion, and also to field questions.
11th March, Session #1
Introduction of the reading group and everybody
1-Between Conception and Transformation (1)
18th March, Session #2
1-Between Conception and Transformation (2)
25th March, Session #3
2-An Outside View of Ourselves as Experimental AGI (Problems,
Concepts, and Models)
1st April, Session #4
3-This I, or WE or It, the Things, Which Speaks (Forms of Intuition)
8th April, Session #5
4- Some Unsettling Kantian News, as Delivered by Boltzmann (An
Excursion Into Time) (1)
15th April,Session #6
4- Some Unsettling Kantian News, as Delivered by Boltzmann (An
Excursion Into Time) (2)
22th April, Session #7
5-This I, or We or It, the Things, Which Speaks (Objectivity and
Thought)
29th April, Session #8
6-This I, or We or It, the Things, Which Speaks (Dasein of Geist)
6th May, Session #9
7-This I, or We or It, the Things, Which Speaks (Language as
Interaction as Computation)
13th May, Session #10
8-Philosophy of Intelligence
20th May, Session #11
Appendix: Quandaries of Induction in Philosophy of Knowledge,
Philosophy of Mind, and Artificial Intelligence
27th May, Session #12
Roundup and Conclusions
11th May
Hangar
Barcelona
25th May
Regenerative Feedback, curated by Martina Raponi and Sonia de Jager
Worm, Rotterdam
28 September 2019, Butcher's Tears,15-23(entry 10e)
Noiserr - The Perrforrmance Edition
hosted by Martina Raponi and Max Hampshire
with talks and performances by
Company Fuck / Mattin / Arkadiusz Półtorak / Gabriel Paiuk / Sonia de Jager / Loma Doom / Vot'ress / Hellash / Nundata
Synesthésie ¬
MMAINTENANT
Mattin
Mardi 1er octobre à 20h
MMaintenant
8 passage de Jouy 93200 Saint-Denis
Tuesday, November 5, 19:00
Mattin
Editing Spaces, Part 5
How could this score be performed?
An improvised music that takes sharing the widespread inner effects of malevolence in contemporary society as a starting point. But this sharing will not bring harmony for a couple of hours. No unity, or, if you want, at most unity in fragmentation.
However, through interruption of logical expectations, the social room will be edited.
In order to understand forms of the individual mental state of noise, one needs to get deep into the general lack of coherence and its appearances. And perform it.
No one knows what breakdown will bring.
The Institute for Endotic Research
TIER.space
Donaustr. 84
Berlin 12043
theinstituteforendoticresearch@gmail.com
www.theinstituteforendoticresearch.org
6th November 2019
HMDK Staatliche Hochschule für Musik und Darstellende Kunst Stuttgart
Expanding Concert (Lisbon 2019-2023)
Expanding Concert will be a four year long concert distributed in time and space through different media: 5 public interventions in 5 different galleries in Lisbon and 5 texts published in the city.
The concert will be initiated by the invitation of a single artist but it will gradually expand; first by interacting with the audience,
then by asking writers to response to each intervention and finally by inviting other musicians to collaborate on the next interventions.
This concert will explore the notion of call and response in improvisation in an expanded form:
each public intervention is a form of call. As a response, a writer will be asked to attend the intervention and to write a text afterwards.
These responses will attempt to contextualize the intervention in relation to the artistic, political and economic situation of Lisbon at the time. For the following intervention another musician based in Lisbon will be asked to join and respond to the text as a way to open up the process. Each public intervention works as a proposition exploring our self-perception at a specific given time and place. By contrast the responses will be written outside of these public moments, taking its own time and allowing for reflection on broader issues such as different urban changes taking place in the city. One can think here of structural silences that in this particular case will take months.
The interventions will be documented and at the end a publication will be made, formed of documentation of the concerts and the texts. Expanding Concert will be a durational concert attempting to think itself historically while it is happening.
First intervention:
Call) Mattin
Response) Barbara Silva
