APRIL 11
Architektur Defekt - Performance As Extended Gesture Of Sound
Galerie Weissenseer Freitag, Brückenstrasse 5-6, Berlin – Kreuzberg.
U-S-Bahn Jannowitzbrücke/U-Bahn Heinrich-Heine-Strasse
20 Uhr
(flyer by schlafzeug.)
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Gesture and Sound both interact in a functional and disfunctional way. They create architectures and landscapes on their own. Architektur Defekt is to recognise the increasingly visible aspects in experimental music through expanding gesture in relation to performance. Architektur Defekt will source other artistic fields but focus on Sound as the main point of reference.
Artistic languages are more and more contaminating each other no matter from wich particular field an artist is apparently coming from. Not only Performance can show something of the artist’s particular discipline, it can also reveal all the colors and intensity of this inteference.
This event will feature Steven Wray Lobdell, a musician and guitarist who did time with legendary Krautrockers FAUST, as an example of the “original” performer.
In addition, Vice versa we will present three emerging artists – Andrea Lange, Michal Dudek and Bearytheblonde – who, sourcing from visual arts developed through the conceptual use of the body, are exploring sound performance as memory through an extension of gesture and space.
An extremely different approach will be taken by conceptual sound artist Stefan Roigk. His idea is to play a set of the same length as the other performers, but to remove his own physical presence, instead let perform an installed piece.
The Skull Defekts will conclude the evening with an expanding drone-set that will serve as statement of steadiness & permanence.
Vjs: Servando & Diegonante
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the skulldfx/photo:alisa wolfson
1. The Skull Defekts (SE) / The Drone Chronicles
dfx black"Okay, now if you need meditations that keep you right in the driving seat throughout the duration of the trip, then check out The Skull Defekts and their album BLOOD SPIRITS & DRUMS ARE SINGING. With their line-up of double drums, guitarists and machinery, The Skull Defekts conjure up an unlikely and unkind meltdown din somewhere between the arid No Wave of CHAIRS MISSING-period Wire, the contemporary ramalama of Sweden’s excellent Krautrock-wannabees Audionom and the artless pummelling early-70s proto-Kiss proto-Cleveland blues-free white blues of Germany’s Tiger B. Smith amped up to a heartless degree." - Julian Cope.
2. Stefan Roigk (DE) / Tapekonzert
"es wäre allerdings vollplayback... live spielen liegt mir nicht wirklich, aber ich denke, dass können die leute schon vertragen..."
“es ist halt eine völlige negation der live-situation mit all ihrem schweiss, rock und improvisieren, hier ist nichts ungeplant, zufällig oder unkontrolliert... aber vor allem ist es eines: es lenkt nicht durch optischen brei vom eigentlichen ab... DEM KLANG...“
(Stefan Roigk / E-Mails /March 1st to 3rd /2008.)
3. Andrea Lange (DE) / Performance
„Alles kann sich leicht verändern, ohne Erwartung mit Gedanken, die nach außen kommen. Oder innen bleiben. Durch Kontakt. Der Sound, der zu hören ist, beschreibt den Ort, an dem wir uns befinden und bietet die Möglichkeit sich in ihm zu verlieren. Sein Rhythmus schafft eine, diese besondere Atmosphäre.“
4. Bearytheblonde (IT) / Performance
“Boredom as a permanent state of mind that surrounds reality.
Boredom to escape - escaping the Boredom.
Boredom Boredom Boredom…
Bored-Om!”
5. Michal Dudek (PL) / Performance
Raumstimmen: Durch Anhebung des Volumens mikrophonierter Räume generiert sich ein Resonanzklang des Gebäudes. Die Dynamik variiert je nach Tageszeit und entsprechender Aktivitäten im Gebäude.
6. Steven Wray Lobdell (USA) / Smoke Signals
The music of Faust lay somewhere between the sonic freakouts of Can and the instinctive emotiveness of Neu!, but its work was touched with a certain macabre humor — look to tracks such as “The Sad Skinhead,” off its most accessible album, “Faust IV.”
Lobdell, however, was less interested in the music as such, is in the way the band made the music. “I was always interested in the recordings themselves, in the actual sound,” he says, such as “the directly recorded guitars, the over-the-top sounds and the sparse moments of silence.”
Lobdell’s first recording with Faust was 1994’s “Rien,” on which he played alongside such luminaries as Keiji Haino (head-crushingly heavy guitar legend of Fushitsusha) and Jim O’Rourke. He left after 1997’s “Faust Wakes Nosferatu” when, in Germany during Ramadan, he went temporarily insane.
photocredit: steven lobdell
