MoT sound #14 | aSchismism

MoT sound #14 | aSchismism
18 Tháng hai 2020
Attiss Ngo experimental KREUSER/CAILLEAU duo set THE INTERESTS ARE AT STAKE an audiovisual performance machine / experimental analogue DJ/VJ set by KREUSER/CAILLEAU for prepared-Turntables, Super8 projectors and full audio-devices in three parts: TOXIC, COMPOUND, EXCHANGE. When and how does a piece of paper or an artwork acquire an exchange value? How is its' value determined and put into practice? Although we live in a globalized world and economy, local history, traditions, approaches and interpretations of exchange are different. What can be summed up with „Exchange“ in English requires many different words in German: Austausch, Umtausch, Eintausch, Abtausch. What they all have in common is a given or to be determined relation to a value. How do we define that value, what’s the exchange rate? How does value look like in artistic practice? Metal coinage was invented in the Iron Age almost simultaneously in Asia and ancient Greece. China invented paper money. Marco Polo brought it to Europe. China stopped using it right after Marco Polo left. It experienced the phenomena of inflation: the carrier of value isn’t materially worth the number printed on it. Europe invented capitalism. The United States (Nixon) abandoned the gold standard to win the Vietnam war, which they then lost, and accidentally laid the foundations for turbo-capitalism. Asia recently invented state-run capitalism. The Europeans called their revolutionary artistic experiments Avantgarde, and in China, Mao revolutionized the entire culture. John Cage used the I-Ching, Nam June Paik did Fluxus Art, Debussy copied Gamelan, Toru Takemitsu copied Debussy, Schönberg, Messiaen and John Cage. THE INTERESTS ARE AT STAKE is a visual and sonic cleansing of all that dirty money! Excerpts of our set can be found here: artistic statement: "We are two, Guillaume Cailleau, a french experimental filmmaker, and Timo Kreuser, a Berlin based composer, performer and sound artist. Together we are KREUSER/CAILLEAU. Mechanically connecting turntables and Super8 projectors, letting sound create the image and image create the sound, into audiovisual performance machines or an experimental analogue DJ/VJ set, depending on the perspective you choose to take, or the angle you are coming from. Our point of departure are found non-artistic subjects, objects and kontexts, which we build our sets on to turn non-artistic into an artistic surplus. currently we are working on the hidden inner images and sounds of money.“ bios: KREUSER/CAILLEAU is a duo project of the the german composer Timo Kreuser and the french filmmaker Guillaume Cailleau. Their fetish is approaching objects as container of signifying function, generalized meaning and sociocultural contexts. By ignoring the primary features of things, and instead focusing on the potential of the object itself as sonic and visual stimulator, meaning gets moulded into new contexts and the original understanding of it is violated. Their interest in creating installations and live events is a continuation of the dialog between the two artists and their individual confrontations with the corporealities of their subjects. Since 4 years the duo has been creating a dense body of works refining his precise audiovisual performances concert after concert. They have been performing regularly in various venues in Berlin, (Heimathafen, Ausland (Biegungen), etc.) and Internationally (Copenhagen (Figura Festspiele), Paris ( scratch Expanded), etc.). Next to their Duo constellation, Cailleau and Kreuser collaborate regularly in projects by the contemporary and experimental vocal music ensemble Phoenix 16. The latest example being the „Zeitgeist“ concert for this year festival Maerzmusik. Timo Kreuser composer, conductor and sound artist, studied at the music universities of Munich, Dresden and Berlin. His works cite elements of industrial music, punk provocation and avantgarde electronics and are often composed commentaries on modern society and political phenomena (the regime, the collective momentum, the individual), as well as on the music and culture industries. Timo is an active member of the Berlin improv scene and performs regularly as an experimental pianist, inside piano, or with an experimental turntable setup in various formations: duos and bands including NoiserKroiser, KREUSER/CAILLEAU, Christoph Guiraud feat. Timo Kreuser, S.A.F.T., Houligé Hobster & The Amazing Fire Ants, and as a soloist. Most of his works include his instrumental performance with ensembles such as POING !, S.A.F.T., FIGURA, PHØNIX16, KALEIDOSKOP, etc., at festivals such as ULTIMA, WUNDERGRUND CPH, KLANG Festival, AFEKT. Timo Kreuser is Artistic Director of the singer-collective PHØNIX16 and is a co-curator of it’s sixteen-part concert series POPPEN / ARBEITEN / ERSCHRECKEN / SHOPPEN in Heimathafen Neukölln since 2016 ,and the infinite series D.O.A. at silent green, Berlin. Guillaume Cailleau is a French artist and filmmaker, he studied at the Berlin University of the Arts. He also worked as a cinema projectionist in Paris and Berlin. In 2007 Cailleau shot his first short film Blitzkrieg, which premiered at the International Short Film Festival Oberhausen. Other films followed, such as Through, a reference to Michael Snow's installation Windowed Water (2007), the manually processed H(I)J (2009), and Austerity Measures (2012), a collaboration with Ben Russell shot in Athens. In February 2014 Cailleau was awarded a Silver Bear for his short film Laborat at the Berlin Film Festival. Cailleau developed numerous audiovisual performances, for instance with the experimental sound artist Werner Dafeldecker and the composer Timo Kreuser, which were featured at international venues such as the Edinburgh International Film Festival (2014), Scratch Expanded Paris (2013) and COLOR SOUND FRAMES (2015) at Serralves Museum in Portugal. Cailleau often foregrounds the creative process in his poetic compositions. His work is influenced by the American avant-garde and performative practices in Expanded Cinema. Experimenting with duration, multiple exposures, color separation and manually treated single images, in addition to other methods of image editing, the forms of his works relate directly to their subjects.

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