mai 28/jozef van wissem
Donnerstag, 28. Mai/20 Uhr:
Jozef van Wissem (NL)
+ Steve Gunn/Heidi Diehl (of GHQ/Vanishing Voice) (US)
+ "Blue" by Derek Jarman (UK/1993)
+ JD ZAZIE (IT)
Blue. The Image as Emotion.
For the evening of May 28, Film Director Derek Jarmans "Blue" will be screened inbetween the live-sets of Jozef van Wissem and Gunn/Diehl as metaphor for the human or "not-so-human" condition of receiving daily impressions of things lively-felt, circling in and out like waves, with their constant need to be tagged - as images that become an emotion. "Blue" is the color that comes to mind while listening to the hyper-fragile string-works of Brooklyn-based Steve Gunn/H. Diehl (of GHQ/Vanishing Voice/Nautilus), "Blue" is the color that draws a line from the 16th century painter Hans Holbein, to Kandinsky/Marc`s 1910s Expressionist collective Der Blaue Reiter, to Brücke with Otto Mueller "Landschaft mit Badenden", to Yves Kleins work in the 1950s and the contemporary deconstructed, palindromized Renaissance Lute Compositions by Netherlands born Jozef van Wissem. Derek Jarman`s final movie "Blue" (UK 1993), a memory map spoken on blue-screen, mostly from ill-in-hospital-beds point of view, a collage of recurring monologues, sound- and music interplays, is driven by the need to finally "be released from image".
Jozef van Wissem (NL) *** Bio Deutsch/Englisch:
Van Wissem wurde vor einigen Jahren das erste Mal bemerkt, wegen seines radikal konzeptualistischen Gebrauchs von Lautenmusik der Ranaissace: er dekonstruiert vorhandene Kompositionen, beispielsweise in dem er sie rückwärts abspielt. Ebenfalls hat er eigene Stücke für die Laute komponiert, dabei nutzt er Palindrome und Spiegelstrukturen. Die ungewöhnliche Vereinigung von Komposition und Improvisation, lässt eine nie zuvor gehörte Mischung aus zeitgenössischem Folk und früher Musik entstehen. Van Wissem hat gekonnt das kuriose Kunststück vollführt, eine Brücke zu schlagen zwischen der Eigentümlichkeit der Sprache der Lautenliteratur des 17.Jahrhunderts und der Musik der 21.Jahrhunderts. Obschon er subtile elektronische Soundmanipulationen nutzt, ist er der speziellen Klangfarbe, Resonanz und Spieltechnik der Laute treu geblieben. Seit 1999 erforscht Jozef van Wissem palindromische Kompositionenstechniken der Laute, 2008 führte er im Auftrag der London National Gallery „Sola Fide“ auf, welches eine auditive Beschreibung des Gemäldes „Die Gesandten“ von Hans Holbein, aus dem Jahre 1533 ist. Wissem betreibt sein eigenes Incunabulum Label in Brooklyn, und spielt regelmäßig weltweit als Duo mit Gary Lucas (bei Captain Beefheart), Maurizio Bianchi, James Blackshaw, Chris Forsyth, Tetuzi Akiyama und Elliot Sharp.
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Van Wissem first came to be noticed a few years ago because of his radical conceptual approach to Renaissance lute music: he deconstructed existing compositions, for instance by playing them backwards. He also composed his own pieces for lute, using palindromes and mirrored structures. The unusual wedlock of composition and improvisation creates an unheard amalgam of contemporary folk and early music. Van Wissem has accomplished the strange feat of bridging the idiom of seventeenth century lute literature and twenty-first century contemporary music. Although he uses subtle electronic sound manipulation, he has largely stayed faithful to the particular timbre, resonance and playing technique of the lute. Since 1999 Jozef van Wissem studies palindromic composition technics of the lute, and in 2008 "Sola Fide," a work commissioned by London's National Gallery, was held as an aural depiction to "The Ambassador," a painting by Hans Holbein from 1533. Wissem runs his own Brooklyn based Incunabulum label, and performs regularly around the world in duo with Gary Lucas (of Captain Beefheart), Maurizio Bianchi, James Blackshaw, Chris Forsyth, Tetuzi Akiyama and Elliot Sharp.
BLUE by Derek Jarman (UK/1993)
A Blue screen provides the canvas for the visions of the audience, conjured up from the evocative words and music of the remarkably rich soundtrack by Simon Fisher-Turner. Jarman’s own words are delivered by John Quentin, Nigel Terry, Tilda Swinton and Jarman himself. Quite without sentimentality, self pity or polemic, eloquently spare and vivid in its verbal imagery. And at times very funny, BLUE is a remarkable work by one of Britain’s most extra-ordinary filmmakers. A courageous personal testimony about his experiences with AIDS, BLUE is Derek Jarman’s most radical and daring film and was hailed as a master-piece when it premiered at the Venice Biennale.
Text "Blue" bei artificial-eye.com
Übersetzung: Theresa Lunau
DVD Blue/Derek Jarman (deutsch/englisch) ist bei Edition Salzgeber (salzgeber.de) erhältlich.
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artists/links:
Jozef van Wissem:
http://www.jozefvanwissem.com/
http://www.myspace.com/vanwissem
http://www.myspace.com/thebrethrenofthefreespirit
Steve Gunn/Heidi Diehl (of GHQ/Vanishing Voice/Time Life/Nautilus):
tapes: JD ZAZIE
location/info:
http://www.gdk-berlin.de/
http://www.white-rabbit-berlin.com/
support:
http://www.a-musik.com/
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Donnerstag, 28. Mai/ 20 Uhr;
White Rabbit Berlin/Galerie der Künste
Potsdamer Strasse 98/10875 Berlin
U-1: Kurfürstenstrasse/U-2 Bülowstrasse - Metro-Bus: M29/M48/M85 bis Potsdamer Brücke
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