I played a last official/inoficcial gig at ‚eXperimental electronics‘ in the Castle in London. I was not on the Setlist and blagged my way in. I had only one instrument, my trusty ZOOOM SOS. Lara gave me 10 minutes, I made good use of them, even if I started playing during the cigarette break to a pretty empty room.
the mighty mighty mighty mighty mighty Deux Boules Vanille (fr) are touring and we couldn’t let em slip past London without stopping them and forcing them to play some of their fine music …. 2 piece, drums and triggers and synths, etc and whatevs – come and explore these with us!! http://www.2boulesvanille.com/
The Dust Museum Of Joy – 2 piece, epic hypnotic drone masters … known about them for quite some time, but only managed to catch them at noise=noise a couple of months back!! … yes yess and of course yeessir. http://www.robface.com/tdmoj.html
maybe another act, maybe not … all money goes to the noise makers, aside from us, cos you know, that would be naughty … £3 entry // decent underground, bunker-ish type settings, piss over saturday and wreak it out on sunday with ussss!! …
It’s been close to a year now since I had the Night Shift show at Simon Oldfield Gallery. Yesterday, I was surprised in a very very nice way by Rebecca Helen Page, who has filmed bits of the performance I’ve done there and uploaded them to Vimeo.
It was quite a noisy performance with very weird sound and I had very short hair at that time.
The desk I had my instruments on was absolutely gorgeous. It felt like my own private TARDIS.
Oh, the randomness. The whole thing was disorganised as fuck! Of course, there was no projector, the Kaoss pad’s power adapter broke, I forgot the extra special cable for the Zoom 505 at home. The PA sucked big time and I was playing last, ending around 5:30. I was loud and obnoxious All in all, It was a pretty fun night.
Forman’s Smokehouse Gallery presents Of this Event, I cannot foresee the end. – video art / video performance / installation
Private view: Thursday 1st March 6-9pm Exhibition runs 2nd-30th March 2012, Thu-Fri 5-9pm, Sat-Sun 12-5pm
Stour Road, Hackney Wick, E3 2NT London, United Kingdom
The featured artists appropriate approaches from scientists in order to gain insights, accumulate data or choose their observational vantage point. By defining a framework wherein a staged experiment or action can take place, the artists test the boundaries of our earthly existence, everyday life, patterns of social behaviour and virtual reality. A distanced camera perspective witnesses and frames the performance – events with unknown outcome – wherein chance and failure play part. The video works go beyond documentation demanding independence from the prior event and share the element of suspense, surprise and humour.
Artists: Memo Akten ● Sophie Clements ● Callum Cooper ● George Eksts ● Kris Emmerson ● Samuel Levack and Jennifer Lewandowski ● Santiago Ortega ● Clifford Sage ● David Sherry ● James Stringer ● Anais Tondeur ● Helen Turner ● Pablo Wendel ● der Warst (Simon Schäfer)
Audio-visual performances at the opening night: der Warst (Simon Schäfer) Brood Ma (Quantum Natives) DJ Tesco (Quantum Natives).
Curated by Carmen Billows
The exhibition also marks the second anniversary of Forman’s Smokehouse Gallery. All welcome.
Night Shift explores the relationship between painting, sculpture and performance with new work by Simon Schäfer and Katy Kirbach.
The exhibition examines the tension between the handmade and ready-made; multiplicity and uniqueness; live event and still object; the diurnal and nocturnal. Night Shift is visually and aurally layered with texture, sound, digital feeds, colour and analogue electronics.
To acquire knowhow is to gain the practical skills or intelligence necessary to get something specific done. This is tacit knowledge in the sense that it can be withheld and kept confidential. It may also be difficult to transfer without practical instruction and the required cognitive faculty in the beholder. In the artist this skill has traditionally revealed itself as craft.
Since the dawn of the Readymade, craft in Art has continually been brought into question, and as a result any preconception of a definitive Artistic Knowhow has been blurred or expanded to involve a myriad of scenarios or conditions.
Knowhow aims not necessarily to pin down a definition of the word but to ask the artists to delve into their own practice or maybe push themselves beyond their normal bounds of proficiency. This might manifest itself in a cathartic exploration of an unknown craft, an engagement with a ‚knowing‘ failure or even through the use of prosthetic labour which utilises the employment of non-artistic intervention.
KNOWHOW is a curatorial project by Ben Newton in collaboration with Campbell Works