Font del Jan, a Molins de Rei (6-9-2017) (nº 7 del catàleg)

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Número 124 de les fonts visitades pel Drac i jo. Ha estat traslladada i reconstruïda. La paret frontal i la bassa són de totxo, tres dels quals estan pintats de groc. A vegades raja. Està situada al costat dret de la llera de la Rierada, entre Can Planes i Can Rabella. L’aigua d’aquesta font ve canalitzada per dins l’hort, des de la mina de la font  de la Granota. La font de la Granota és a pocs metres a dins de la propietat, i no és visible. Intentare veure-la aprofitant una futura visita a Can Rabella (restaurant). A pocs metres també hi ha la Font del Ferro, però no vaig ser capaç de veire-la.

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Font de Can Rabella, a Molins de Rei (6-9-2017) (nº 8 del catàleg)

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Està situada a l’interior d’una propietat particular. Desaigua a un estany molt gran, situat a prop del riu i d’uns grans plàtans. Nº 123 de les vistades per el Drac i jo. Programaré una visita a Can Rabella a veure si em deixen veure-ho de més a prop, així com la font de la Granota que és una mica més a la dreta, en uns horts. La font és en la petita construcció que es veu a la dreta a mitja alçada, entre un pal que hi ha en primer pla, i a sobre de les dues primeres fulles de l’arbre. A sota es veu la  marca de l’aigua que baixa per la paret de la bassa, quan hi ha aigua. Avui no n’hi havia. No m’he pogut acostar més per les tanques de la propietat privada (Can Rabella, restaurant). Vista més general Pou que hi ha al costat, amb

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In Our Time, by Gerard Byrne (1969 Dublin); artwork for Skulptur Projekte Münster 2017

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In Our Time 2017, Skulptur Projekte 2017 Material Video, unspecified duration Gerard Byrne (* 1969 Dublin; lives in Dublin) uses his audio and video recordings and his photographs to scrutinize how media are constructed and manipulated, for example, in documentary footage, photographs, interviews, and writings. He examines how historical concepts and myths promote the possibilities of defamation and the rise of fictional facts, and how they dominate an evaluation of cultural production and debates about present and future socio-political events. His films appear in high-end formats, they steal the show with their excellent picture quality, their cinematography and decor, and the acting, speaking performances, and entertaining dialogues they contain. And yet they are fragmentary in nature. Byrne montages sequences from documentary footage and restaged scenes that he interrupts with black screens and spatially dramatic cuts, as well as close-ups of faces or functional objects. The works reveal themselves in installations

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HellYeahWeFuckDie, by Hito Steyerl (1966, München); artwork for Skulptur Projekte Münster 2017

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3-channel-video installation, environment, 4 min., HD video (2016) Hito Steyerl’s films, installations, and writings come out of a systemic way of thinking and working, in which artistic production and the theoretical analysis of global social issues are closely linked. Steyerl investigates the interaction and synthesis of technological and artistic imagery, for example, at the level of visual mass culture—and its function within the overall dispositif of technocracy, monetary policy, the abuse of power, and violence. See more following the link: https://www.skulptur-projekte.de/#/En/Projects/2017/843/STEYERL    

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FONT DEL TRULL, a El Papiol (4-9-2017)

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Font número 5 del catàleg de fonts de Collserola. Font número 121 en la cronología de fonts de Collserola visitades per el Drac i jo. Construcció molt deteriorada. Té una paret frontal formada per una part de totxo i una altra de pedra d’on surten dos tubs de ferro. L’inferior raja a una bassa situada a nivell de terra que desaigua a un gran dipòsit soterrat. Situada prop del carrer del Pi d’El Papiol i sota d’un pi gran que destaca. Cal fixar-s’hi. Avui era completament seca. Dany Álvarez a la revista Guiaparcollserola del mes de juliol de 2010 diu: La font dita del Trull fa referència a un molí d’oli o recipient per a moldre olives. Això fa pensar que en aquesta zona, dita el Trull, potser fa molts anys hi havia un gran nombre d’oliveres. Ara sols hi trobem un terreny ben buit. http://fontscollserola.com/?page_id=19 Vista general on es

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FONT DE LES ESCLETXES, a El Papiol (4-9-2017)

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Font número 2 del catàleg de fonts de Collserola. Font número 120 en la cronología de fonts de Collserola visitades per el Drac i jo. Construcció moderna de paret de pedra. Formada per un frontal ample i alt, el costat dret del qual continua amb un seient també de pedra. Té una aixeta de bronze amb polsador que està connectada a la xarxa municipal. Està situada a la vora del camí. De relatiu poc interès, per ser moderna i amb aigua de xarxa. Però és el punt de partida per la visita de altres fonts de més interès. A la cruïlla de la Avinguda de Can Monmany i del Cami  de Can Puig. Els noms dels camins no están indicats. La font és a la vora del Camí de Can Puig, perfectament localitzable.

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3 V, by Aram Bartholl (1972 in Bremen) artwork for Skulptur Projekte Münster 2017

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Another interesting temporary installation: Turning on LED’s with the energy of candles. Just amazing idea. Aluminium, acrylic glass, thermoelectric generator, electronics, LEDs, tea candles, steel chain in the Underpass at the palace square Schlossplatz 46, 48143 Münster. Bartholl’s installations in Münster are all based on thermoelectric devices that directly transform fire—the primeval medium of communication—into electrical energy. https://www.skulptur-projekte.de/#/En/Projects/2017/817/BARTHOLL  

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Nuclear Temple, by Thomas Schütte (Oldenburg, 1954) artwork for Skulptur Projekte Münster 2017

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Thomas Schütte’s (* 1954 Oldenburg; lives and works in Düsseldorf) placement of his figural and architectural sculptures spotlights inconspicuous places or sites that have been forgotten. The development of his works is also influenced by references to architecture, history, and stories. At the same time, the references have a disturbing effect: they are strangely reinterpreted or interrupted by the surprising and thought-provoking motifs. In this way, the viewers’ awareness of urban space and the diversity of public life is sensitized. Urbanity is a key theme in Schütte’s artwork—he has been contributing to the discussion of art in public spaces since the 1980s. Yet he prefers to keep his distance to conceptual matters. In fact, his works are accessible to viewers even without contextual knowledge. This has been the second contribution of Schütte to the Münster Skulptur Projekte. The first one, the two cherries, was done in 1987, and has become

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Harsh Citation, Harsh Pastoral, Harsh Münster, by Ei Arakawa (Fukushima) artwork for Skulptur Projekte Münster 2017

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Ei Arakawa’s (* 1977 Fukushima; lives in New York) art is mostly performative and includes everyday objects, works of art, and people as his actors, as it were, with each accorded an equal footing. Music and lyrics play an important role in his installations and performances, as he draws on the artistic strategies of the Gutai group and Fluxus. For Skulptur Projekte 2017, Arakawa has staged a light and sound show on the south-western end of Lake Aa. He has grouped seven pixelated LED paintings he assembled himself on the grassy space. https://www.skulptur-projekte.de/#/En/Projects/2017/815/ARAKAWA

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Tender Tender, Michael Dean (Newcastle) artwork for Skulptur Projekte Münster 2017

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This is another of the remarkable works in 2017 projekte. How to fill a big atrium with all kind of rubbish, achieve that experts call it “art”, and get paid for it. Think abou it. It is not easy at all.  And I visited it twice! 2016 Turner Prize nominee Michael Dean takes over the atrium of the museum. He draped semi-transparent plastic sheets around the square space, creating a room within a room. Using peepholes, visitors can look at the sculptures inside the room. To enter the atrium, you have to take a walk around the historic halls. Michael Dean used materials from the streets, like rubbish, plastic, and concrete, to create an installation around an abstract semiotic system. https://www.skulptur-projekte.de/#/En/Projects/2017/822/DEAN  

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On Water (Auf dem Wasser), Ayşe Erkmen’s (Istanbul) artwork for Skulptur Projekte Münster 2017

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Following with the recent impressions in Münster, this is one of the interesting works to see and to experiment. Besides the official descriptions, this is a work that generates a variety of suggestions. Depending on the point of view you see people walking on water. Or you may recall the refugees phenomenon, that have to go through water to go from one place to another. Anyway it is a remarkable piece of art that requires that you put your feet into water to fully appreciate it. On Water (Auf dem Wasser) is the title of Ayşe Erkmen’s artwork for Skulptur Projekte Münster 2017. For Skulptur Projekte 2017, Erkmen selected Münster’s inland harbour as her location. Just below the surface of the water between the bustling Nordkai (northern pier) and the industrialized Südkai (southern pier) she installed a jetty that links the two riverbanks. It creates the impression that visitors are

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New Video: Ales fosques (I&II) (Excerpts) by Zero de Conducta from Garcilaso session 15-7-2017

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Montserrat Marfany, percussions, glockenspiel Jordi offscope Buscà, Martin acoustic guitar, VoxLabEchoes & loops Sir Pere Canals Miró, Roland synthesizer Jaume Martín, xilophone & harmonica Dr Antoni Robert, Fender Squire synthesized guitar, Roland GR-55 Captain Enric Solà, percussions Excerpts from the 19′ track to be released soon. Images from: Flying Dove Flock by mrtimtangblog White bird flapping on black background shooting with high speed camera phantom flex, by dizi sever White dove by vliegvogels

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Pierre Huyghe’s After ALife Ahead (2017) at Skulptur Projekte Münster: augmented reality

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This is for shure the most impressive work of Skulptur Projekte Münster 2017, and the most expensive one, and it’ll be destroyed after Octobert the 1st. A work including cancer cells, snails, algae, concrete, bees, mud, software and many other elements. While touring possible locations for his contribution to the 2017 Skuptur Projekte in Münster, Germany, late last year, the 54-year-old French artist found one such site, a sprawling, old ice-skating rink, no longer in use, tucked behind a Burger King on the edge of town. “This place will be destroyed, so I could actually act on it as I wanted,” he said, recalling what attracted him to the space in a Skype call from Brooklyn last week. Huyghe has transformed that abandoned rink into one of the most formidable and mysterious artworks that I have ever seen, an alien environment that seems secretly to teem with life and that

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New CD available: AMORGOS SOUNDSCAPE by Nikos Theologitis / Stamatis Theologitis / Giannis Theologitis / Antoni Robert

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A new and exciting project! 1. Katapola 01:05 2. Panorama 1 10:12 3. Wind On Water 01:52 4. Nikos 01:05 5. Water On Wind 03:36 6. Nikos 2 01:28 7. Panorama 2 19:01 8. The Cave Children 00:48 9. Nikos 3 01:54 10. Panorama 3 21:23 11. Farewell 02:12 about The notion of folk culture has definitely been transformed through the course of the centuries. More particularly, tradition and its authenticity and spontaneity in the context of orality seem somehow to have been mutilated and reconstructed, as soon as globalization and multiculturalism became one of the dominant discourses during the 21st century. Folk songs haven’t been an exclusion in this particular case, as revivalism and folklorism have emerged as a devastating force in the production of folk music. In “Amorgos Soundscape” by Antoni Robert, a paradox occurs: One could say that these folk songs are seen through the eyes of a foreign visitor and the recording could be seen as

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PHICUS: Ferran Fages, Àlex Reviriego, Vasco Trilla, March, 13th, 2017

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Ferran Fages – electric guitar Àlex Reviriego – bass Vasco Trilla – drums, percussion Robadors 23, Barcelona Why “Phicus”? What is a phicus? A fancy spelling of the plant? Or is the explanation more elaborate? I suppose I’ll have to ask… but in a post-truth society, it’s more fun to guess or fabulate… #phikenews? Well, whatever it means, what it is… is a new trio in Barcelona, comprising three beyond-busy stalwarts of the free improvisation scene. I was already tempted to check them out but when they described themselves as a “Keiji Haino meets AMM” kind of thing, that clinched it. So is it a good description? With a samurai unhesitancy, they plunge directly in – clang, rumble, and clatter – with plenty of power, an absence of fear, and manage to avoid both cliché and repetition. So far, so good. Fages utilises a nice big open, distorted tone, plenty of hollow twang beneath

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PHICUS+1: Ferran Fages – Àlex Reviriego –Vasco Trilla + Joachim Badenhorst. 13-7-2017

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PHICUS+1 Ferran Fages – electric guitar Àlex Reviriego – doublebass Vasco Trilla – drums, percussion + Joachim Badenhorst – saxophone Robadors 23, Barcelona july, 13th, 2017 Phicus return to Robadors 23, this time accompanied by Joachim Badenhorst on reeds. Last time, I burbled on about “matching and contrasting tones and textures… layered and discarded in an unstoppable kineticism,” and yes, I’ll stand by those words. Phicus are carving out their own intense brand of precision disorder. Passages of glorious frenzy alternate with more meditative minimalism, and throughout there’s a constant energy, a seething potential being tapped and channelled. With the variety of extended techniques on display from all four musicians, it’s difficult sometimes to identify which alien sound is produced by whom but to give a flavour… Read the complete review at the author’s blog. Text by Dave Foxall, from his blog: http://ajazznoise.com/phicus1-13th-ju…

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New youtube chanel: DELICATESSEN

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This is a chanel where I will share music related works that have had a strong influence on me , and so I consider them as “delicatessen”. I will not include the most obvious and commercial ones. No Beatles videos for instance, but less obvious stuff. I hope some of you will discover unexpected gems here. I hope you enjoy it. https://www.youtube.com/channel/UCnDsrOofWYYpgVzsTDfEwYQ/videos Last one included: the poet of Cape Town.

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Tomorrow Never Knows by Zero de Conducta, 2017

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Warming up at the beginning of the session shattering a great tune, with the greatest respect. A divertimento with improvised words by Sir Pere Canals Miró. Not all of us were aware that the recorder was on! Zero de Conducta Montserrat Marfany, percussions Jordi offscope Buscà, Martin acoustic guitar Sir Pere Canals Miró, voice and improvised words Jaume Martín, percussions Dr Antoni Robert, electric guitar Captain Enric Solà, bass & percussions (not at the same time!) from La Joncosa Piscodèlic Session 3-6-2017 Original song by Lennon & McCartney Images from: Kinetic Circles, videomapping (Pour l’amour de l’art), Modelo: Saray Diaz 60’s Garage, Surf, Freakbeat & Psychedelic Music – Vol. 4 & 22, (GrimlyFormingPW) Seventh Sense (Excerpt) / 第七感官 (五分鐘版) (Anarchy Dance Theatre)

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FREENETICS #37 with Tura Gómez Coll. 9-7-2017

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Last session of the season, and a special one. I went with some expectations. Freenètics are well known with their well balanced powers. The raw rumble of Ferràn giant saxophone, counterposed with the delicate vibrations of Juan Antoni cello and the versatile drumming of Pep always deliver powerful and subtile performances. Add to that a passionate and athletic dancer and you have all the necessary ingredients for a great session. But reality overcame expectations. Tura’s movements were magically paced with the evolving sound of the trio, as if they had been rehersing for years. And the music was demanding; and the scenario was demanding; in such a short distance every detail is magnified. No escape. And Tura filled the space with her brave mood and her flexible and trained athlete body and her precise and quick movements. Amazing. And the musicians were all the time following her movements and closing

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Exposició: Els barris de barraques de Montjuïc, Sants i Les Corts

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Del 20 d’abril al 23 de juny, l’Arxiu Municipal de Districte ens convida a gaudir de l’exposició: Els barris de barraques de Montjuïc, Sants i Les Corts. Del 20 d’abril al 8 de setembre, l’Arxiu Municipal de Districte ens convida a gaudir de l’exposició: Els barris de barraques de Montjuïc, Sants i Les Corts. La mostra, permet al visitant conèixer aquestes construccions informals agrupades que es van constituir en autèntics barris. Aquest és un projecte que compte amb la col·laboració Comissió ciutadana per la recuperació de la memòria dels barris de barraques de Barcelona, el Centre d’Estudis de Montjuïc, el Grup de treball de memòria històrica del Districte de Sants-Montjuïc i el Districte de Sants-Montjuïc. Al llarg de tot el segle XX, moltes famílies provinents de zones més desfavorides de la península van arribar a Barcelona a la recerca de treball i un millor futur. La impossibilitat de trobar un

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BRIAN ENO: New Space Music & 77 Million Paintings at Arts Santa Mònica Barcelona 2017

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Capturing the ambient. First in the New Space Music hall, only sound, and then in the 77 Million Paintings hall, just observing and listening to the generative sounds and images. You will never ever see the featured images or listen to the recorded sounds on live, because this is generative art, and so always changing and never repetitive.

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