IVE STEVENHEYDENS - THIS PLACE IS DREAMING : RETHINKING AND TRANSFIGURING THE SITES AND SOUNDS OF BRUSSELS

COMPTOIR DU NYLON
Fri, 15 Oct 2004
continuous
In the presence of Angelo Vermeulen

Sat, 16 Oct 2004 - Sat, 23 Oct 2004
continuous

RMX²
Angelo Vermeulen

installation

The show window space of Comptoir du Nylon is transformed into an artistic/ ecological testing station by Vermeulen. An aquarium accommodates an algae culture, ‘remixing’ the culturally, socially and ethnically highly mixed Sint-Katelijnestraat. Sounds from neighbourhood shops are sent through the aquarium and the evolution of the microscopic cells results in a constantly varying sound sculpture, which resounds out in the streets. Lasers minimally visualise the installation, functioning day and night. RMX² combines the rational with the fantastic and the utopian with the real.

Angelo Vermeulen
Angelo Vermeulen got his Ph. D. in Biology, studied at the Academie voor Schone Kunsten of Louvain and HISK in Antwerp. In his work he often applies his scientific background by making use of laboratory-like testing equipment in installations. In them natural processes often play an important part. Vermeulen’s work has been shown, among others in STUK (Louvain) and in Lokaal01 (Breda).

GALERIE RAVENSTEIN
Fri, 15 Oct 2004
18:00 - 21:00
In the presence of Emilio Lopez-Menchero

Sat, 16 Oct 2004 - Sat, 23 Oct 2004
09:00 - 19:00

Swimming Rotonda
Emilio Lopez-Menchero

In the presence of Emilio Lopez-Menchero

The Ravensteingalerij, covered in sky-blue mosaics, reminded the artist of a swimming-pool, and he set up an acousmatic sound installation there. He made field recordings in various swimming-pools in Brussels, moulding them together into a soundscape. Menchero’s action is playful, naïvely dreamy and it constitutes a criticism as well as a homage to a well-know spot in Brussels, to be renovated in the future. Afterwards it will never look the same again.

Emilio Lopez-Menchero
Emilio Lopez-Menchero (1960) lives and works in Brussels. He is a licensed architect and he studied visual arts at La Cambre in Brussels. With his projects– video, audio, performances and installations – he asks the question what the identity of the ‘artist’ is in society. He puts things into perspective and investigates the myths that go with it and in the process he likes to make use of existing icons from literature, music, cinema and even cartoons. His work has been shown, among others, at the SMAK (Gent), the Fondation pour l’Architecture (Brussels) and the Venice Biennial.

RIJKSADMINSTRATIEF CENTRUM / CITE ADMINISTRATIVE DE L’ETAT
Fri, 15 Oct 2004
18:00 - 21:00
In the presence of Mark Bain

Sat, 16 Oct 2004 - Sat, 23 Oct 2004
continuous

Slider
Mark Bain

installation

With Slider Mark Bain subtly transforms the esplanade of the Rijksadministratief centrum (to the right behind the Congreskolom). His installation makes use of a horizontally placed laser controlled through a sound loop and a micro-FM. Slider spotlights the feet and shadows of the passers-by. Take along your radio, tune into the frequency indicated on the spot and slide along with the sound of Slider.

Mark Bain
Mark Bain (b. 1966) was born in Seattle. He holds a Master’s degree in visual studies from MIT, the Massachusetts Institute for Technology (Cambridge, USA) and studied at the Rijksakademie in Amsterdam. He currently lives and works in Amsterdam. Sound and architecture are the central vectors of his work. With the help of experimental technology, he seeks new means of artistic production. In more concrete terms, he designed a system with which to ‘listen to buildings’, using equipment that acoustically transcribes the travel of sound through materials and structures. Installing dozens of seismological sensors, he traces the microvibrations that occur in buildings. He then turns these into sound. In 2004, Bain completed (sound) installations imbedded in their locations for the towers of the Boijmans Van Beuningen Museum in Rotterdam, for the interior courtyard of the Cologne city hall and for a shopping street in Istanbul. Along with fine art sound projects, Bain is also an active musician, both as a soloist and, for example, as a member of the Mutant Data Orchestra.Selected discography‘Start End Time’ (CD, Staalplaat, 2004)‘Vibronics’ (CD, Staalplaat, 1999)‘Mommy and I are One’ (CD, De Appel Foundation (‘In the Mean Time’ catalogue), 1996)
https://www.simulux.com

MAISON D’ART ACTUEL DES CHARTREUX
Fri, 15 Oct 2004
18:00 - 21:00
In the presence of Justin Bennett and Fällt

Sat, 16 Oct 2004 - Sat, 23 Oct 2004
14:00 - 19:00

Berlaymont Dreaming
Justin Bennett

2004
installation

An environment reflecting in image and sound on the social-cultural evolutions in the metropolitan European district. The heart of this area is the Berlaymont building, which changed in appearance over the past years, whereas its inner shape remained the same. In this renovation Bennett sees a reflection of the expansion of Europe, and the Berlaymont building/Europe are shown as a modernist utopia where the transparency of the architecture constitutes a metaphor for democracy.

Justin Bennett
At the end of the 1980s, Justin Bennett (b. 1964) moved from Nuneaton, in Warwickshire, England, to the Netherlands. Bennett studied art at the Cumbria College of Art and Design, video, sculpture, performance and sound at the Sheffield City Polytechnic, followed courses in sonology at the Royal Conservatory in the Hague and did graduate research and production at the Jan Van Eyck Academy in Maastricht. His widely ranging work is as rooted in the audiovisual and visual arts as it is in music. Central to his thinking and his work is a process-orientated approach and an interest in the elasticity of the concept of ‘space’. Bennett produces (reworked) field recordings, drawings, performances, installations, photographs, videos and essays. He brings the characteristic potentials and capacities of each medium into every new work, paying no heed to the divisions between these media. He gives lectures on his work throughout all of Europe, hosts workshops, produces soundtracks for experimental filmmakers, is an active curator for video presentations and a member of the performance group, BMB con., and the electronic improvisation trio, Grand Mal. He has recently exhibited in Rotterdam (‘Breeze of Air - Hortus conclusus’, Witte de With, 2001), Berlin (‘Crashcourse’, Meinebank, 2003) and Yorkshire (‘Yorkshire Sculpture Park’, Bretton Hall, 2004).Selected discography‘Surround Music’ (Justin Bennett & Fiber Jelly, DVD-audio, ZKM/ Wergo, 2004)‘Cacerolada’ (Justin Bennett, LP, Stichting Mixer, 2004)‘BMB con. 10’ (BMB con., CD, (BMB con.), 2003)‘Noise Map’ (Justin Bennett, CD, Spore, 2003)‘Perfect Fit’ (Grand Mal, CD, Unsounds, 2002)‘Live in Bruxelles’ (242.Pilots, DVD, 242.Pilots, 2002)‘Magnetic City’ (Justin Bennett, CD, Spore, 2001)‘Dervish’ (Justin Bennett, CD, Spore, 2000)‘Ocean’ (Justin Bennett, CD, Spore, 2000)‘Just About Now’ (Justin Bennett, CD, V2, 2000)‘LoopERS’ (Justin Bennett, 12 inch LP, ERS, 2000)‘Sonic City’ (Justin Bennett, CD, Arc en Reve, 2000)‘Music in Movement Electronic Orchestra’ (Justin Bennett, CD, Perdition Plastics, 1999)‘BMB con. 9’ (BMB con., CD single, (BMB con.), 1999)’Reconstructies’ (Justin Bennett, CD Single, 1999, CELL)‘Sound Mirror’ (BMB con., CD, (BMB con.), 1999) ‘Demolitions’ (Justin Bennett, CD, Spore records, 1998)`Sonambiente’ (BMB con., 12 inch LP, Staalplaat, 1997)`Tanger’ (Justin Bennett, CD single, Staalplaat, 1997) `Sonderangebot’ (BMB con., CD, Staalplaat, 1996)‘Toybox’ (Justin Bennett, CD-rom, Moviola, 1995)‘BMB con.7’ (BMB con., CD, Staalplaat, 1995)’Radio Works’ (Justin Bennett, C30 cassette, JB, 1993)’Ocean’ (Justin Bennett, C60 cassette, JB, 1992)’site’ (BMB con., C15 cassette, (BMB con.), 1991)’Accelerator/Accumulator #1 The Burning’ (Justin Bennett, C30 cassette, JB, 1991)‘BMB con.2’ (BMB con., C60 cassette, (BMB con.), 1991’De Kapel II’ (Justin Bennett, C45 cassette, Maldoror, 1991)’BMB con.1’ (BMB con., C60 cassette, (BMB con.), 1990)

https://www.bmbcon.demon.nl/justin

Invisible Cities
Fällt

installation

The Irish collective Fällt, which is run by a team of essayists, curators, engineers in electronics, (sound) artists and designers, operates on the section between visual arts and sound. The travelling installation Invisible Cities comprises sounds from fifteen cities, ‘designed’ by as many different artists. Invisible Cities grows: in each of the cities where the work is presented a local artist makes a contribution. For Brussels aMute or Jérôme Deuson thought up Million of Silences, a composition completely built around field recordings, focusing on sudden transitions between silence and noise.

Fällt
Since the mid-1990s, operating from Hillsborough in Ireland, Fällt has straddled the line dividing the visual arts and sound. A six-man core team of writers, curators, electronics developers, (sound) artists and designers run the organization. Because of the different backgrounds and spheres of interest of its participants, Fällt ensures individualistic undertakings with a range of diverse approaches. After releasing several sound art works (the label has by now produced CDs, CD-Roms and MP3s with Stephan Mathieu, Pimmon, Christophe Behrens and others) and objects (pins and badges by Otaku Yakuza or the ‘Primer’ poster and text series), the Irish initiative has recently established ‘Invisible Cities’. This installation, a brainchild of Fehler, Fällt’s in-house designer, travels around the world, offering viewers the opportunity to discover different cities in an intimate fashion. The installation is only barely visual: on a (part of a) map of the world, you plug in a headphone and listen to a portrait of the corresponding city, painted in sound. ‘Invisible Cities’ is a growing installation. In each of the cities where the work has been presented, a local sound artist makes an audio contribution of his or her own. Taken together, the sound works range widely: the recordings run from raw, unedited field recordings to highly condensed compositions. Today, ‘Invisible Cities’ includes portraits of 24 cities. Selected discography aMute:‘Une centaine d’arbres secs/ A Hundred Dry Trees’ (CD, Intr_version, 2004)

https://www.fallt.com
https://www.amute.net

ARGOS
BEURSSCHOUWBURG
Wed, 20 Oct 2004
18:00 - 19:00
Thu, 21 Oct 2004
18:00 - 19:00
Fri, 22 Oct 2004
18:00 - 19:00
Performance & Concerts

R20 Brussel [binnen] (Ringwegen in België)/ R20 Brussels [inner] (Ring Roads in Belgium)
Maria Blondeel

R20 Brussel [binnen] (Ringwegen in België)/ R20 Brussels [inner] (Ring Roads in Belgium): evolving light circumstances converted into sound during a sonory bus ride.

Maria Blondeel
In terms of technology, light and sound, inter-media artist Maria Blondeel (b. 1963) has an experimental approach. With the help of a system she invented herself, which can transform light into sound, she explores time-based concepts. Her oeuvre embodies an artistic investigation centred on light in both urban spaces and the countryside. In the form of changing bundles of sound, she draws, amongst other things, the meteorological variables of daylight and the transitions between day and night. Blondeel is cofounder of the Experimental Intermedia Art Foundation in Ghent, has exhibited and produced performances at the Centre de Cultura Contemporània de Barcelona, the Glasgow School of Art, Puddles Tokyo (Japan) and the Lasalle-Sia College of the Arts in Singapore.Selected discography ‘HH’ (Maria Blondeel & Heinz Weber, CD, Spritzenhaus Hamburg, 2001)‘A10;E40’ (CD, 2001)‘SOUND 2000 – Maria Blondeel (1992-1999)’ (CD, 2000)‘E(stutt)11.8.99 – 1999’‘Ag(SP)20h’(CD, 1998)‘G(BAR)’ (CD, 1997)‘MOS ’ (CD, 1994)‘BLEU DE TRAVAIL’ (CD, 1992/ 1994)
https://users.pandora.be/MariaBlondeel

ARGOS
BEURSSCHOUWBURG
Wed, 20 Oct 2004
18:00 - 19:00
Thu, 21 Oct 2004
18:00 - 19:00
Fri, 22 Oct 2004
18:00 - 19:00
Performance & Concerts

Hildegard Westerkamp

2004

A ‘lecture/ demo’ by a highly influential soundscape pioneer.

Hildegard Westerkamp
Hildegard Westerkamp (b. 1946) moved in her twenties from her native Osnabrück in Germany to Vancouver, where she joined the World Soundscape Project at the Simon Fraser University. Under the guide of composer and ‘soundscape godfather’, R. Murray Schafer, the World Soundscape Project maintains that collective field recordings are ecological statements. Their recordings, such as the now classic ‘Vancouver Soundscape’ (1973) form detailed studies of the local (sound) environment and carry an inherent, objectivized critique of (noise) pollution. Westerkamp’s considerable work is characterized by a concern about noise, a great interest in the power of cultural expression of sound in the environment and a manifest attitude in acoustic ecology. Her long list of compositions and sound environments for, among others, Canadian Broadcasting Company Radio, Vancouver Art Gallery and the Museum of Québec are in disproportionate contrast to the brevity of her list of disk releases. In the 1980s, she taught acoustic communications at Simon Fraser University and she currently organises lectures and soundscape workshops internationally. She is founding member of the World Forum for Acoustic Ecology (WFAE, 1993) and holds a seat on the publishing committee for ‘Soundscape—The Journal of Acoustic Ecology’, a WFAE publication. Selected discography‘Into India’ (CD, Earsay, 2002)‘Transformations’ (CD, empreintes DIGITALes, 1996)

https://www.sfu.ca/~westerka/

BEURSSCHOUWBURG
Wed, 20 Oct 2004
20:00 - 00:00
Performance & Concerts

Lionel Marchetti
Olivier Capparos
Pierre-Jean Giloux

2004

An audiovisual performance in which piano, electro-acoustic sounds and digital images interpret stories by inhabitants of Brussels.

Lionel Marchetti
Lionel Marchetti (b. 1967), who lives in Lyon, belongs to a small circle of sound artists who, in the mid-1990s, succeeded in shifting the electro-acoustic music of the academic world into the world of improvisation. He has worked as a composer and teacher, for example, at the Centre de Formation Professionelle Musique of the Université Lumière in Lyon, and as a composer with the Groupe de Recherches Musicales in Paris (INA-GRM). Marchetti improvises both as a soloist and with Jérôme Noetinger and the audiovisual collective, Le Cube (Christophe Auger, Étienne Caire, Christophe Cardoen, Xavier Quérel, Jérôme Noetinger and Gaëlle Rouard). In addition, he plays in France, across Europe and in America with dozens of improvising performers and electronic and acoustic musicians. He is also an active poet and written a number of critical essays on musique concrète and the art of the loudspeaker, an instrument with which he is deeply involved. Marchetti works regularly with musician, composer and writer Olivier Capparos (1968). Since 1992, the duo has been producing the Atelier de création radiophonique for Radio France Culture and has created dozens of projects focussing on the voice and the interpretation of the voice through loudspeakers. As sound artists, Marchetti an Capparos work together with Pierre-Jean Giloux, producing the sound tracks and tapes for Giloux’s multimedia videos. Selected discography‘Chasser (première étude naturelle)’ (Lionel Marchetti, CD, 2004)‘Equus (grand véhicule)’ (Lionel Marchetti & Olivier Capparos, CD, 2004)‘Ce que l’œil voit’ (Lionel Marchetti & Olivier Capparos, CD, 2004)‘Livre des Morts’ (Lionel Marchetti & Olivier Capparos, CD, 2004)‘A rebours’ (Lionel Marchetti, CD, Auscultare Research, 2003)‘Mère feu 40 têtes’ (Christophe Cardoen/ Lionel Marchetti/ Emmanuel Petit, CD, Boxmedia, 2003)‘Zizi/ Docteur Kramer & Emmanuel Petit/ Lionel Marchetti’ (Zizi/ Docteur Kramer & Emmanuel Petit/ Lionel Marchetti, CD, Corpus Hermeticum, 2003)‘L’incandescence de l’étoile (version 2002/2003)’ (Lionel Marchetti, CD, Stichting Mixer, 2003)‘Riss (l’avalanche)’ (Lionel Marchetti, CD, Erewhon, 2002)‘Train de Nuit (Nord 3.683)’ (Lionel Marchetti, CD, Metamkine, 2002)‘Knud Un nom de serpent (le cercle des entrailles)’ (Lionel Marchetti, CD, Intransitiverecording, 2001)‘Double Wash’ (Voice Crack/ JérômeNoetinger/ Lionel Marchetti, CD, Grob, 2001)‘Mort aux vaches’ (Jérôme Noetinger/ Lionel Marchetti, CD, Staalplaat, 2001)‘28 (Memory machine)’ (Peter Morrens/ Jérôme Noetinger/ Lionel Marchetti,CD, Among others tree, 2001) ‘Rouge gris bruit’ (Sophie Agnel / Jérôme Nœtinger/ Lionel Marchetti, CD, Potlach, 2001)‘Sirrus (Micro-climat, Passerelle, Sirrus)’ (Lionel Marchetti, CD, Auscultare Research, 2001)‘Portrait d’un glacier (Alpes, 2173m)’ (Lionel Marchetti, CD, Ground Faultrecordings, 2001)‘Trio’ (Lionel Marchetti, Jérôme Noetinger & Mathieu Werchowski, CD, Corpus Hermeticum, 2000) ‘L’œil retourné’ (Lionel Marchetti & RLW, CD, Séléktion, 1999)‘Duo avec Jérôme Noetinger’ (Lionel Marchetti & Jérôme Noetinger, CD, Selektion, 1998)‘La grande vallée’ (Lionel Marchetti, CD, Metamkine, 1997)‘Roger de La Frayssenet (Kitnabudja town)’ (Lionel Marchetti, CD, Metamkine, 1996)‘Dans la montagne’ (Lionel Marchetti, CD, La Muse en Circuit/ SACEM Hörspiele 2, 1996)‘L’incandescence de l’étoile’ (Lionel Marchetti, CD, Divided, 1994)‘Mue (la demeure brillante)’ (Lionel Marchetti, CD, Metamkine, 1993)

Olivier Capparos
Olivier Capparos (1968), composer and writer, works regularly with Lionel Marchetti.Since 1992, the duo has been producing the Atelier de création radiophonique for Radio France Culture and has created dozens of projects focussing on the voice and the interpretation of the voice through loudspeakers. As sound artists, Marchetti an Capparos work together with Pierre-Jean Giloux, producing the sound tracks and tapes for Giloux’s multimedia videos. Selected discography‘Equus (grand véhicule)’ (Lionel Marchetti & Olivier Capparos, CD, 2004)‘Ce que l’œil voit’ (Lionel Marchetti & Olivier Capparos, CD, 2004)‘Livre des Morts’ (Lionel Marchetti & Olivier Capparos, CD, 2004)

Pierre-Jean Giloux
Pierre-Jean Giloux (born in 1965 in Mâcon, France) studied visual arts at the Academies of Lyon, Cheltenham and Marseille-Luming. He combines elements from photography, video and 3D animation into visual, imaginative ballads, their storylines often inspired by myth and legend. For them he works together with Lionel Marchetti (music) and Raphael Kuntz (3D). Their work has been shown, among others, at the Musée d’Histoire Naturelle (Lyon), the Centre Pompidou (Paris) and the Centre d’Art Contemporain (Meymac). Giloux lives and works in Brussels.

Stilluppsteypa

2004

A ‘remix’ shifting between guitar improvisation and beats, sprinkled with stories.

Stilluppsteypa
Stilluppsteypa was founded in 1992 by three Icelandic artists, Heimir Björgúlfsson, Sigtryggur Berg Sigmarsson and Helgi Thorsson, to experiment with acoustic and homemade instruments. In their working process, they used the studio and the tape recorder as their referee. The sound work was largely determined by interventions with digital and analogue electronics. In the mid-1990s, the trio met Andrew McKenzie of the Hafler Trio. As a result, their experiments, brewed in the spirits of a do-it-yourself punk, took a turn to more introverted, yet sparkling and humorous performances in which audiovisual material and light (installations) bore equal weight. In 1997, the three travelled to the Hague to study sonology at the Netherlands Royal Conservatory. At the same time, Stilluppsteypa was internationally active with installations in which, in an absurd, somewhat removed fashion, they confronted their personal experiences with clichés from Icelandic tradition – in the form of video images taken in ‘domestic’ circles. Following a string of releases and after working with a horde of internationally known experimental artists, including American improvisers TV Pow, Japanese singer Hanayo and German filmmaker Oliver Kochta, in 2001, the group became a duo. Heimir Björgúlfsson, since moved to Amsterdam, left the band to concentrate on a solo career and his visual work. Since then, Helgi Thorsson and Sigtryggur Berg Sigmarsson continue the project, performing both solo and together under the name Stilluppsteypa.Selected discography‘ATAK’ (Stilluppsteypa, CD, ATAK, 2004)‘the immediate past is of no interest to us – 10 years of continuous pointless activities’ (Stilluppsteypa, CD, Bottrop-Boy, 2002)‘A Little Lost’ (Sigtryggur Berg Sigmarsson, CD, Bottrop-Boy, 2002)‘Stories Part Five’ (Stilluppsteypa, CD, Ritornell/ Mille Plateaux, 2001)‘We are everyone in a room’ (Stilluppsteypa & TV POW, Erstwhile, 2001)‘This One Comes Highly Recommended’ (Sigtryggur Berg Sigmarsson, CD, FIRE inc., 2001)‘A Long Wait Produced Nothing Further’ (Sigtryggur Berg Sigmarsson, LP, ERS Recordings, 2001) ‘SHIP’ (Sigtryggur Berg Sigmarsson, CD, Trente Oiseaux, 2000)‘not a laughing matter but rather a matter of laughs’ (Stilluppsteypa, FIRE inc., 2000)‘Interferences are often...’ (Stilluppsteypa, CD, Ritornell/ Mille Plateaux, 1999)‘mort aux vaches’ (Stilluppsteypa, CD, Staalplaat, 1998)‘has (or has not) happened’ (Stilluppsteypa, CD, meme, 1998)‘reduce by reducing’ (Stilluppsteypa, 12 inch/ CD, FIRE inc./ SOME, 1998)‘tpith or tetapth’ (Stilluppsteypa & irr.app.(ext.), CD, FIRE inc./ SOME, 1997)

Heimir Björgúlfsson

2004

Voices and tradition intertwine with clicks, guitar and icy soundscapes.

Heimir Björgúlfsson

Heimir Björgúlfsson (b. 1975) was born in Reykjavík and today lives and works in Amsterdam. At the end of the 1990s, he moved to Amsterdam in order to study sonology at the Royal Conservatory in the Hague. He later took classes at the Mixed Media department of Amsterdam’s Gerrit Rietveld Academy and completed a graduate course at the Sandberg Institute, also in Amsterdam. Björgúlfsson’s work focuses on the overlapping of the visual arts, performance and sound art. In 2001, he left the Stilluppsteypa sound and art project, a trio he had been part of since 1992, in order to concentrate on a solo career, both in music and the fine arts. His drawings, photographs, videos and mixed-media installations balance on the borderline between reality and fantasy. Björgúlfsson processes, consistently with a considerable dose of self-irony in the back of his mind, countless autobiographical facts into his architectural installations. With, for example, natural elements such as plants, living organisms and images from landscapes, he indicates the land of his birth. In a sublimated way, Björgúlfsson’s work also often evokes associations with Icelandic mythology, twisting the situations in his photographs and videos into – sometimes quiet, sometimes grisly – dream images. Although his detailed drawings of native birds, such as the puffin, for example, may at first seem naturalistic, on a second look, the representations are of mutated versions. Björgúlfsson’s music, a mixture of reworked field recordings, analogue and digital electronics, also present in his installations, equally simmers with humour and self-criticism. He is an active solo musician and a member of the experimental, ironic ‘break dance quartet’, The Vacuum Boys. In addition, he has collaborated on projects with the musicians Pimmon, Helgi Thorsson (van Stilluppsteypa) and Jonas Ohlsson.selected discography:‘Still Important Somekind Not Normally Seen (Always Not Finished)’ (Björgúlfsson/ Pimmon/ Thorsson, CD, Crónica, 2004)‘Space Breakdance Challenge’ (The Vacuum Boys, CD, Takashi Mobile, 2004)’Fur Your Bears Only’ (Heimir Björgúlfsson & Jonas Ohlsson, CD, Bottrop-Boy, 2003)’Unspoken Word Tour’ (Heimir Björgúlfsson & Jonas Ohlsson, CD, Staalplaat/ Extrapool, 2002)‘Songs From the Sea of Love’ (The Vacuum Boys, CD; FIRE.inc, 2002)’Stream Conversation at the Bottom of a River/ Moving Inwards to Colder Waters/ Passing Out in Calmness/ Wind Conversation at the Surface of a Frozen River/ Moving Outwards to Salt Tasting Grounds/ Ending in a Spiral Loop’ (Heimir Björgúlfsson & Olafur Eliasson (’Thermochromic Island’ art edition), 12 inch EP, EN/ OF, 2002)’Circulations’ (Heimir Björgúlfsson, 12 inch LP, ERS, 2001)’Machine Natura (An Interpretation Inconsistent with the Actuality of a Situation)’ (Heimir Björgúlfsson, CD, Staalplaat, 2001)’Discreet Journey Digitalis’ (Heimir Björgúlfsson, CD accompanied with ’MOBILIS in MOBILI, Motto of Captain Nemo’ text by Mike Tyler, Ritornell, 2000)’The Opposite’ (Heimir Björgúlfsson, miniCD, FIRE.inc., 1999)

https://www.bjorgulfsson.com

Yannis Kyriakides

2004

Wordless: a headphone concert during which Brussels’ inhabitants discuss a city, albeit without words.

Yannis Kyriakides
As a child, Yannis Kyriakides (b.1969) and his family emigrated from Limassol in Cypress to England. He studied musicology at York University and took classes with Louis Andriessen at the Royal Academy in the Hague. Now living in Amsterdam, Kyriakides is active in a variety of musical fields, from electronic improvisation on theatre music to concert music. He regularly works for contemporary dance and theatre, both alone and in collaboration with the electronic composer and theatre-maker, Dick Raaijmakers. Kyriakides has been part of diverse contemporary music ensembles, including Icebreaker, LOOS, ASKO, MAE, Ugly Culture, Slagwerk-groep Den Haag (The Hague Percussionists), De Volharding Orchestra and MIMEO. In 2001, he released his first album, ‘a conSPIracy cantata’, a cantata based on the performance of the same name, for which he won the prestigious Gaudeamus Prize. For the production, he founded his own label, Unsounds, a platform for contemporary music, now also working with Andy Moor, John Butcher, Kaffe Matthews and others.selected discography:‘The Thing Like Us’ (Yannis Kyriakides, CD, Unsounds, 2004)‘Red Vs Green’ (Yannis Kyriakides & Andy Moor, CD, Unsounds, 2003)‘a conSPIracy cantata’ (Yannis Kyriakides, CD, Unsounds, 2001)

https://www.unsounds.com

BEURSSCHOUWBURG
Fri, 22 Oct 2004
20:00 - 00:00
Performance & Concerts

Yuko Nexus6 & Mariko Tajiri

2004

Traduction du Tourisme: an audiovisual performance based on actions by tourists in Japanese cities, as well as Brussels.

Mariko Tajiri
Mariko Tajiri (b. 1966), a visual artist specialized in installation and video art, who seeks to stir the different senses. Tajiri studied art at the Kyoto College of Art and the Ecole Nationale d’Art at Cergy-Pontoise. She has shown widely in Japan.

https://www.womens-performance-art-osaka.jp

Yuko Nexus6
Yuko Nexus6 Kitamura (b. 1964) studied sociology at the Kansai University in Osaka. She works as a journalist and teaches at the Nagoya University of Arts and Sciences and Chukyo University, both in Aichi, Japan. As a self-taught musician, she translates conceptual ideas into light-winged, pop-like final works. In 1995, in her book, ‘Cyber Kitchen Music’, she collected ironic recipes that describe how to brew up new compositions with the computer, a few old record albums and the popular software program, Max/ MSP. Yuko Nexus6 travels with her tape recorder and makes field recordings in urban environments. She later reworks this material in the studio, creating compositions in which she plays keyboard and reads aloud or sings, alternating between French and Japanese. Her very personal works are comparable to a diary in sound. Her daily concerns and mundane events have a universal character that alternatively makes you smile, is heart-warming or makes you stop and think. Selected discography‘Journal de Tokyo’ (Yuko Nexus6, CD, Sonore Records, 2002)‘NEKO-SAN KILL! KILL!’ (Yuko Nexus6 & Satoru Wono, Kaeru Café, 1999)‘Bit Diary’ (Yuko Nexus6, Kaeru Café, 1998)

https://www.womens-performance-art-osaka.jp

Aki Onda

2004

Cassette Memories: a concert working in the same way as a personal diary, on the borderlines between electro-acoustic music, improvisation and sound art.

Aki Onda
Born in Nara, Japan, Aki Onda (b. 1967) was raised in what he calls an eccentric environment. His father was a professor and very successful Olympic hockey player and his mother painted. Onda began studying painting and photography at a very young age. At 16, he left school behind to work as a photographer for magazines in Osaka and Kyoto. Inspired by the many musicians he photographed – an activity he still engages in – he bought a computer and sampler. In 1990, together with Eye Yamatsuka and Nobukazu Takemura, he formed the trio, Audio Sports, while at the same time acting as a producer for dozens of small bands. In London and later New York (where he lives today), he developed a series of highly personal soundscapes, calling them ‘radio dramas’. These are everyday tales, formed from a mesh of urban field recordings, text and sound fragments plucked from the ether and other media, personal musings and electro-acoustic tape experiments.Selected discography‘Ancient & Modern’ (CD, Phonomena Audio Arts & Multiples, 2003)‘Bon Voyage!’ (CD, Improvised Music from Japan, 2003)‘Don’t Say Anything’ (CD, EWE Records, 2002)‘Precious Moments’ (CD, Softl Music, 2001)‘Un Petit Tour’ (CD, All Access, 1999)‘Beautiful Contradiction’ (CD, All Access, 1998)

https://www.japanimprov.com/aonda

Pierre Hebert & Bob Ostertag

2004

Portrait of Buddha and Endangered Species: two audiovisual real time performances linking Japan and 9/11 to the current affairs in Brussels.

Pierre Hebert
In the mid-1960s, while studying anthropology at the University of Montréal, Pierre Hébert (b. 1944) began making small, independent films and engravings at the Atelier libre de recherche graphique. In his long, ongoing career as an animator for Film Board’s Animation Studio, he developed a style that combines abstract visual imagery with his concern for social and political issues. Although in real time, he prefers to scratch his images straight into the film emulsion, he also often uses new technologies and multimedia in his animation work. This brought him in contact with artists from the dance and performance world, writers and musicians. Since the early 1990s, Hébert has worked intensively with Bob Ostertag (b. 1957), a New Mexico-born musician now living in San Francisco, a composer and improviser with close ties to the New York music circles of John Zorn, Eugene Chadbourne, Wayne Horwitz and Fred Frith.Selected discography‘Living Cinema: Between Science and Garbage’ (Bob Ostertag & Pierre Hébert, DVD, Tzadik, 2004)

Bob Ostertag
Bob Ostertag (b. 1957) is a New Mexico-born musician now living in San Francisco, a composer and improviser with close ties to the New York music circles of John Zorn, Eugene Chadbourne, Wayne Horwitz and Fred Frith. Ostertag studied at Oberlin College and Conservatory of Music in the 1970s, when he exchanged the guitar for a self-built modular synthesizer. Along with adapted synthesizers, he employs functional objects, such as telephone answering machines or helium balloons, and makes extensive use of tape improvisation. Ostertag is also an activist. In the 1970s, he organized demonstrations against the proliferation of nuclear power stations and in the 1980s, he disappeared from the music scene to devote himself to the guerrilla movement in El Salvador. He picked up the threads of his career as a musician in the 1990s, his compositions more than once expressing support for gay rights and the problems concerning AIDS. Ostertag is a member of Anthony Braxton’s Creative Music Orchestra, founded the Say No More Quartet with Mark Dresser, Gerry Hemingway and Phil Minton and extensively toured Europe, America and Japan with Otomo Yoshihide, Fred Frith and Mike Patton. One of the instruments thought up by Ostertag is ‘The Window’, a video camera connected to an illuminated piece of plexiglas. The instrument is played by someone drawing on the plexiglas. The camera sends the image to a computer, where a program translates the drawn shapes into musical data. Under the name of ‘Living Cinema’, and together with Pierre Hébert, he perfects ‘The Window’ in multimedia, real time performances.Selected discography‘Living Cinema: Between Science and Garbage’ (Bob Ostertag & Pierre Hébert, DVD, Tzadik, 2004)‘Say No More Project CDs 1 & 2’ (Bob Ostertag, Joey Baron, Mark Dresser, Gerry Hemingway & Phil Minton aka Say No More, 2CD, MVORL, 2001)‘Say No More Project CDs 3 & 4’ (Bob Ostertag, Gerry Hemingway, Mark Dresser & Phil Minton aka Say No More, 2CD, MVORL, 2001)‘Verbatim, Flesh & Blood’ (Bob Ostertag, Gerry Hemingway, Mark Dresser & Phil Minton aka Say No More, CD, Seeland, 2000)‘PantyChrist’ (Bob Ostertag, Otomo Yoshihide & Justin Bond, CD, Seeland, 1999)‘Like A Melody, No Bitterness: Bob Ostertag Solo Volume 1’ (Bob Ostertag, CD, Seeland, 1997)‘Twins!’ (Bob Ostertag & Otomo Yoshihide, CD, Creativeman 1996)‘Verbatim’ (Bob Ostertag, Gerry Hemingway, Mark Dresser & Phil Minton aka Say No More, CD, Rastascan, 1996)‘Fear No Love’ (Bob Ostertag, Mike Patton, Fred Frith, Justin Bond, Lynn Breedlove & band, CD, Avant, 1995)‘All the Rage’ (Kronos Quartet plays Ostertag, CD, Nonesuch, 1993)‘Burns Like Fire’ (Bob Ostertag, CD, 1992/ MVORL, 2001)‘Sooner or Later’ (Bob Ostertag, CD, MVORL, 1991/ 2000)‘Attention Span’ (Bob Ostertag, John Zorn & Fred Frith, CD, Rift Records/ RecRec Music, 1990/ MVORL, 2001)‘Voice of America’ (Bob Ostertag, Fred Frith & Phil Minton, CD, RecRec Music, 1982/ MVORL, 2001)‘Getting A Head’ (Bob Ostertag, Fred Frith, Charles K. Noyes & Bryan Medwed, CD, MVORL, 1980/ 2001)‘Fall Mountain: Early Fall’ (Bob Ostertag, Ned Rothenberg & Jim Katzin, LP, Parachute Records, 1979)

https://detritus.net/ostertag/

BEURSSCHOUWBURG
Sat, 23 Oct 2004
22:00 - 04:00
CLOSURE PARTY

Alexei Borisov & Anton Nikkilä

2004

Dark Russian spoken in a dialogue with guitar noise and electro beats. An alienating and provocative concert.

Pure

2004

The Austrian Peter Votova presents an electronic live set: staggering soundscapes with a twist.

Mira Calix

2004

Melancholy heart-warming electronics, inviting you to dance.

DJ Meeuw

2004

Into the night with a blend of shabby oldies over dancehall to rockabilly and screaming-loud techno. Crazy and, above all, wickedly fantastic.

This event is part of argosfestival 2004