NEW ALBUM: ZERO DE CONDUCTA#2 PISCODÈLIC EMSEMBLAE

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Get it here:    https://antonirobertgadea.bandcamp.com/album/zerodeconducta-2-piscod-lic-emsemblae
Montserrat Marfany, percussions, glockenspiel, xilophone, voice, bourou
Jordi offscope Buscà, Martin acoustic guitar, effects, VoxLabEchoes & loops
Sir Pere Canals Miró, Roland synthesizer, guitar & freshly made ratatouille
Jaume Martín, xilophone & harmonica, cassiotone & drums
Dr Antoni Robert, Fender Squire synthesized, guitar, Roland GR-55, Blofeld synthesizer & beatstep
Captain Enric Solà, drums and percussions, bass & mushrooms

NEW VIDEO! Steppin’in’n’out (The dance of the bowlers) by Zer0 de Conducta, 2017

Improvised & played by: offscope Jordi Buscà, Martin guitar, echoLab, mac, loops, Jaume Martín, Roland piano, Montserrat Marfany, voice & objects, Lieutenant Enric Solà, drums, percussions, tea & sympathy, Sir Pere Canals, synthesized guitar, Dr Antoni Robert, Blofeld synth, sequencer, home made synth.

from Garcilaso session, 16-09-2017

Visit our bandcamp site:  https://antonirobertgadea.bandcamp.com/releases

Images from: Hans Richter, 1928 Dadaist Film Man Ray, Le Retour a la Raison (1923) Maya Deren remix of Le Squelette joyeux, 1943 Auguste & Louis Lumière, Le Squelette joyeux (1895) Marcel Duchamp – Anemic Cinema, 1926 Martin Fish – N.O.Z.E.R.O – Viking Eggeling’s Symphonie Diagonale experimental film (1924) NOSEYBONK stop motion animation with creepy ass dolls WALTZINBLACK, 2013 Rhythmus 21 (1921) By Hans Richter VHS VCR Interference Noise, Pauls Vids, 2014

PRIMO GABBIANO & EMILIANO HERNÁNDEZ-SANTANA a Gràcia Territori Sonor Barcelona, LEM, 12-10-2017

PRIMO GABBIANO & EMILIANO HERNÁNDEZ-SANTANA a Gràcia Territori Sonor Barcelona, LEM, 12-10-2017

Feliç encontre el d’aquests dos inquiets artistes, Emiliano Hernández-Santana (EHS, Veneçuela) i Antonio Clavijo Victori, aka Primo Gabbiano (Barcelona). EHS és artista plàstic i experimentador sonor i de vídeo. Després de participar de l’escena electrònica de Nova York, torna a Veneçuela i es converteix en pioner de l’escena Netlabel al continent americà, fundant segells com ara Microbio i Angustia. Ha participat a festivals a Amèrica i Europa. Primo Gabbiano és músic i artista visual. Explora la faceta més experimental de la música, emprant drons, paisatge sonor, noise, ambient i electrònica primitiva. El 2012 va guanyar el Primer Premi de la Taula de les Arts Visuals de Manresa per Contradansa. Col·labora amb el grup d’art contemporani Fame Chimica. EHS i Gabbiano habiten en una intersecció sonora. Electrònica, sorolls, noise, textures. Formalment, és el fragment allò que excita la intuïció i possibilita la dialèctica de música, paraula, gest i silenci.

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Marginal Frieze, by Sany (Samuel Nyholm) (1973 Lund); artwork for Skulptur Projekte Münster 2017

Marginal Frieze, by Sany (Samuel Nyholm) (1973 Lund); artwork for Skulptur Projekte Münster 2017

Fallande ting, Pyrographic series in the Münster / Marl urban space

Sany’s work Marginal Frieze for the Skulptur Projekte links two different areas. On the one hand, a multi-part mural is being exhibited in the urban space, while, on the other, his cartoons are part of the exhibition’s accompanying advertising campaign: his work is being circulated as film trailers, on banners, bags, flyers, and stickers—as a patchwork of subliminal media fragments with a wide range of influence in the public space. For his Fallande ting Sany is installing large-sized pyrographies on the walls of several buildings in Münster and Marl, showing individual falling figures. For this project he turns to familiar characters from his cosmos of images: with Estrid, the Valkyrie, and Yggdrasil, the World Tree, he re-interprets two figures from Nordic mythology, who are joined by the monkey Apis and the Greek artist Stavros.

See more here: https://www.skulptur-projekte.de/#/En/Projects/2017/832/SANY

4 de 9 amb folre by Castellers de Barcelona, 8-10-2017

4 de 9 amb folre by Castellers de Barcelona, 8-10-2017

While thousands of spanish unionists were rallying against Catalonia right to decide on its future, catalans were happily enjoying their traditions. This is a beautiful example of human castles or towers building (Castellers) performed by the oldest group of Castellers of Barcelona, the Castellers of Barcelona. In the pictures you can follow step by step  the building of a tower called “4 de 9 amb folre”.  It means that the tower main body is formed by a group of 4 people in all levels (except the three highest ones), and the total tower height is 9 levels of people, and with folre means that the second level is helped by additional people that help to support the structure.

The pictures were taken in Sarrià, an old town now integrated in Barcelona as a quarter. A really charming place.

In the following pictures you can see the step by step process with explanations. Click on the images for a bigger picture.

Learn more about the Castellers of Barcelona here:  http://www.castellersdebarcelona.cat/

Learn more about this tradition here:  http://www.cccc.cat/

Sculpture, by Peles Empire; artwork for Skulptur Projekte Münster 2017

Sculpture, by Peles Empire; artwork for Skulptur Projekte Münster 2017

Material: Dibond, ceramic tiles, galvanized steel, Jesmonite

Peles Empire are:

Katharina Stöver * 1982 Gießen, lives in Berlin
Barbara Wolff * 1980 Fogarasch, lives in Berlin

For Skulptur Projekte, Peles Empire has erected a gable, nearly eight metres high, in the immediate vicinity of the city’s historic centre. The gable’s tiled façade shows an image of the castle’s crumbling terrace as well as the supports that keep it from collapsing. The façade is braced by poles and propped against a stepped volume, whose surface is covered with black-and-white streaks, mimicking a stone surface. This surface visually anticipates the Jesmonite bar inside. Both are black and white and thus create the effect of a photocopy. The object, which is located in a carpark, is not just for viewing from the outside—it can also be entered. The first impression suggests some intrinsic value, but this is misleading: what looks magnificent and solid from the outside turns out to be a print pasted on a sheet of thin aluminium-based material. The size of the tiles and the stepped element behind the façade were based on the size of standard A3 paper. This and the black-and-white imagery are a clear reference to the technology of photocopying where every copy increasingly becomes an abstraction of the original.

See more here: https://www.skulptur-projekte.de/#/En/Projects/2017/835/PELES+EMPIRE

Les masques célèstes [Celestial Masks], by Hervé Youmbi (1973 Bangui); artwork for Skulptur Projekte Münster 2017

Material: Wood, glass beads, wood glue, cotton thread, silicone

Youmbi’s installation is located in the disused Überwasser cemetery, near General Ludwig Roth von Schreckenstein’s grave. Suspended among the trees, four massive masks appear to hover some ten metres from the ground. Another four, smaller masks are mounted directly on the trees. Les Masques célèstes incorporates iconography from popular Western capitalist culture: immediately apparent is the Ghostface mask—from the American horror film Scream (1996)—which was in turn inspired by Edvard Munch’s 1893 painting. This icon of fear is juxtaposed with animistic tokens from many traditional African cultures. According to Youmbi, these animate the spirits of the dead by inviting them to enter and possess the masks during celebratory ceremonies. Youmbi commissioned the masks from workshops in Cameroon. His intervention at a Christian burial site, a location for the commemoration of the dead, raises questions about religion, spirituality, and superstition. Youmbi’s work highlights the objects and the sites where we make connections between this world and the hereafter and examines what parameters are used to decide whether these customs are valid, effective, or authentic.

See more here: https://www.skulptur-projekte.de/#/En/Projects/2017/849/Youmbi

Beliebte Stellen / Privileged Points, by Nairy Baghramian (1971 Isfahan); artwork for Skulptur Projekte Münster 2017

Beliebte Stellen / Privileged Points, by Nairy Baghramian (1971 Isfahan); artwork for Skulptur Projekte Münster 2017

Material: Lacquered bronze, metal, lashing chain, tensioning devices, rubber

Baghramian chose one of the top locations in Münster for her work Beliebte Stellen / Privileged Points: the Erbdrostenhof (a baroque palace built by Johann Conrad Schlaun in 1757). In the palace forecourt she has placed an elegantly curved bronze landmark, consisting of three slender but heavy, interconnecting elements. They are held together by visible clamps and propped up in a few spots on the courtyard’s cobblestones. The open circle, measuring a diameter of approximately five metres, is explicitly interrupted by the dimensions of the objects, whose bronze casting makes for an optimal result. In the palace’s rear courtyard (which can be accessed from the St Servatii church square), six similar sculpture elements are piled up and can be used to assemble two more Beliebte Stellen / Privileged Points.

See more here: https://www.skulptur-projekte.de/#/En/Projects/2017/816/BAGHRAMIAN

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Nietzsche’s Rock, by Justin Matherly (1972 New York); artwork for Skulptur Projekte Münster 2017

Material: Concrete, fibreglass, ambulatory equipment, wood, metal

Justin Matherly finds the visual prototypes for his sculptures in books and writings, especially in philosophical texts and the ancient classics, which he refers to both in form and content. In many cases, he even names them specifically in his titles. His porous and often fractured sculptural interpretations made of cement, plaster, and plastic are supported by medical walkers. His work is complemented by photographs that are closely linked to the objects.

Matherly’s sculpture on the grassy area along the promenade looks as if it had fallen from the sky. The surface of the material exhibits cracks and holes in many places. The walkers clearly protrude in some spots and in others completely vanish inside the grey material. As ready-mades or everyday objects, they assume the function of a pedestal and also become part of the sculpture. In the artist’s conception, these objects introduce a scale that is closely related to the human body. Some of the walkers used in this sculpture are no longer new and come from the wider Münster area. Despite its massive presence, the sculpture emanates a lightness, appearing to hover above the earth.

See more here: https://www.skulptur-projekte.de/#/En/Projects/2017/831/MATHERLY

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Momentary Monument – The Stone, by Lara Favaretto (1973 Treviso, lives in Turin); artwork for Skulptur Projekte Münster 2017

Material: Tittlinger coarse-grained granite; Dimensions: ca. 420 × 140 × 155 cm

For Skulptur Projekte 2017, this series will be continued on the Promenade and in the neighbouring town of Marl, in each case with a hollowed-out granite boulder. At first sight, the four-metre-high stone seems to be an alien object or a glacial erratic. And yet, when you circle the boulder, it is evident that it was wrought by hand, which raises questions as to its function. There is a little slot that money can be dropped into. At the end of the exhibition the stone will be destroyed, the resulting gravel reused, and the collected money donated to charity. The artist has decided to give the money to the organization Hilfe für Menschen in Abschiebehaft Büren e. V. (offering help to people facing deportation).

See more here: https://www.skulptur-projekte.de/#/En/Projects/2017/826/FAVARETTO

Apparently a more sculptorical work, but much more. Fully integrated beside tha Promenade, could be left there, but this won’t happen. In fact it is a sort of huge piggy bank in order to collect money for political refugees. A bright idea from this italian artist.

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