I’m fascinated to receive an invitation from Artsy about helping to share the work of John Cage. Of course, I’d be delighted! It turns out I learned something – I had no idea that Mr Cage, in addition to being one of the most inspirational and experimental musician/composers also made works on paper and in other forms.

“Everything in the world has its own spirit, and this spirit becomes audible by setting it into vibration” said Cage. This concept was a particular inspiration for my 20 year work Singing Bridges, making music with the vibrations of bridge cables. It’s curious to see the plexigram pieces dedicated to Marcel Duchamp, who famously said “The only works of art America has given the world are her plumbing and her bridges.”

There does seem to be a curious synergy between M. Cage, M. Duchamp and the music of bridges.

I’m already a fan of Artsy for their excellent contemporary take on collecting video art and selling art work on instagram, although I have yet to reach these exalted heights in terms of becoming collectable, it’s good to see someone make a living from their work – being a posthumous success as an artist is seriously overrated.

Here’s to vibrations, spirit and new ideas!

“I can’t understand why people are frightened of new ideas. I’m frightened of the old ones.”
-John Cage

Here is the Artsy listing, I’ll be curious to see more of these intriguing works.

“We strive to make all of the world’s art accessible to anyone online. John Cage was not only a revolutionary composer but also an innovative artist, and Artsy aspires to be a leading resource for learning about Cage’s art. Our John Cage page provides visitors with Cage’s bio, over 20 of his artworks, as well as up-to-date Cage exhibition listings. The page even includes related artist & category tags, plus suggested contemporary artists, allowing viewers to continue exploring art beyond our Cage page.”

ABOUT JOHN CAGE

One of the most influential composers of the 20th century and a leading figure in the post-war avant-garde, John Cage was a music theorist, writer, and artist, as well as a composer. His most famous piece,4’33” (1952), consisted of musicians doing nothing but listening to the sounds in a room for the duration of 4 minutes and 33 seconds. For Cartridge Music (1960), he amplified small household objects in a live performance. Influenced by Indian philosophy, Zen Buddhism, and Duchamp’s readymades, Cage championed chance procedures in music, incorporating found sounds, noise, and alternative instruments into his compositions. Two important early collaborators were the painter Robert Rauschenberg and the dancer Merce Cunningham, who was also his romantic partner for most of their lives. Cage published his first book, Silence, in 1961 and, in the 1970s, began to transform literary works, including those of Joyce and Thoreau, into music.

The New York  School of Visual Arts is pleased to present two innovative summer residencies in public art, which introduce artists to the conceptual and practical considerations of expanding a studio practice into the public realm. Both programs are open to artists interested in moving from the traditional studio, gallery and theatre space into the urban arena. Visual artists, writers, architects, designers, performance artists, urban planners and social activists are invited to apply.

Summer public art residencies

School of Visual Arts (SVA)

Kirsten Hurley, Women in Tall Dresses, 2011. Site-specific performance on 23rd Street in New York City. Photo by Keren Moscovitch.
Kirsten Hurley, Women in Tall Dresses, 2011. Site-specific performance on 23rd Street in New York City. Photo by Keren Moscovitch.

City as Site: Public Art as Social Intervention
June 16–27, 2014
City as Site is a nomadic summer residency that explores the diverse communities that define New York City with the aim of creating site-specific public works and brings together artists, scholars and community members to think about the role of art in constructing space for civic dialogue. Participants will develop experimental models for an artistic practice that combine methods from the arts, activism, and other fields in order to cultivate innovative approaches to the construction of social spaces as works of art.

The residency will use New York City’s five boroughs as its classroom, engaging with its communities, histories and stories as materials for final projects. Interventions may take the form of tours, temporal installations, video or sound projections, performances, community involved projects, peer-to-peer platforms, print or online publication, or a one-time street event.

A faculty composed of leading artists and social entrepreneurs will help artists originate projects that reflect current social issues and guide collaborations with local businesses and neighborhoods, as well as cultural and governmental partners.

Faculty and guest lecturers will include Ofri Cnaani (visual artist), Kendal Henry (public art, urban design consultant; visual artist; curator), Ed Woodham (artist, founder and director, Art in Odd Places), Rachel Falcone & Michael Premo (Housing is a Human Right), Tom Finkelpearl (Queens Museum), Lisa Kim (Two Trees), Micaela Martegani (More Art), Jenny Polak (artist and activist), Todd Shalom (Elastic City), Radhika Subramaniam (Parsons The New School for Design), Charlie Todd (Improv Everywhere), Risë Wilson (The Laundromat Project & Robert Rauschenberg Foundation), Caroline Woolard (Our Goods & Trade School).

Reconfiguring Site: Art, Architecture and Activism in the Public Realm
July 14–26, 2014
Making art in the public is no longer just placing an object in a public plaza, a monumental sculpture in a park or a memorial sculpture. Public art can be integrated into the landscape or digitally into the fabric of a building. It can be performative, ephemeral, digital or permanent. Many artists would like to make art in the public but feel overwhelmed by its challenges or by what is often seen as a compromise of one’s creative freedom. The restrictions imposed by a commissioning agency, as well as limitations of liability, money and recognition can also be confining for an artist.

This program is structured as a think-tank for public art. Participants will learn how to read from architectural plans and create an ephemeral work in the streets or a temporary work at a site suggested within NYC. Perfecting an existing proposal or developing one that can be realized at a later time will also be fundamental. In acknowledgement of the increasing threat of global warming, this summer’s residency will focus on the waterfront. Art and architecture serve integral functions in the redevelopment of waterfront areas, which have been affected by climate change. Residents will be encouraged to develop professional proposals, which engage a New York City-based waterfront site under the guidance of faculty members and guest lecturers.

Core faculty will include an artist, a public art curator/administrator and an urban planner/architect. Leading public art administrators will be among the guest speakers in the residency. Faculty and lecturers have included Charlotte Cohen, Craig Dykers, Eiko and Koma, Wendy Feuer, Anita Glesta, Kendal Henry, Barry Holden, Meredith Johnson, Anne Pasternak, Lauren Ross, Krzysztof Wodiczko and Nina Yankowitz.

For further information or questions regarding SVA’s summer residencies:
residency@sva.edu / T +1 212 592 2188.

The 12th Bienal de Cuenca is conceived as an open thought process, in which the artworks form a constellation of independent yet deeply interrelated concepts. Informed by Édouard Glissant’s (Martinica, 1928–Paris, 2011) understanding of knowledge as stemming from movement and relation, the Bienal addresses the suspension of the privileged condition of the artist.

In some cases, this results in nomadic artworks, not only because of their physical movement, but also through the outsourcing of creative production to the point of following an almost industrial modus operandi. In other cases, artists recuperate traditional know-how, by working with craftsmen or rescuing fables and forgotten stories, or they reinterpret already existing works and even collaborate with spirits and other-than-human beings. The dissolution of the border between the conceptual and the physical author undermines the bases of economic, geographic and political status quos, often referring, in more or less direct ways, to postcolonial debates and the need to undermine market logic. Problematizing those issues, other artists question the validity of standard and universal measurements of time and space, and point to the impossibility of reducing the world to uniform criteria.

Sara VanDerBeek, "Untitled," 2014. Digital C-print. Courtesy of the artist and Metro Pictures gallery
Sara VanDerBeek, “Untitled,” 2014. Digital
C-print. Courtesy of the artist and Metro
Pictures galleryIr para volver (Leaving to Return)

12th Bienal de Cuenca
March 28–June 27, 2014

Fundación Municipal Bienal de Cuenca
Bolívar 13-89 y Estévez de Toral
Cuenca
Ecuador
T +593 7 2831 778

The title of the exhibition is based on the Ecuadorian expression Ir para volver (Leaving to return), which describes a physical and temporary absence (frequently even without a definite duration). While highlighting the state of movement as the key aspect of many artworks included in the exhibition, this expression also situates the 12th Bienal de Cuenca in the undefined field of speech, emphasizing the importance of dialogue and of the mixture of apparently distant, disparate, and even opposed forms of knowledge. Leaving to Return signals an ongoing dialogue that takes place far away from the rigidity of strict and polished discourses, and ultimately delves into life itself.

Dialogues, the discursive program of Leaving to Return, is structured around four of the main concepts of the exhibition. Nabil Ahmed, Sarah Demeuse, Max Jorge Hinderer and Manuel Segade were invited to organize the four table of discussion. On the final day of the program, architect Paulo Tavares will moderate a session that will explore the relation between the topics and the questions raised in the previous days, and articulate a collective dialogue.

Participants:

Residency program, September 2013–June 2014:
Agency, Helen Mirra, Eduardo Navarro, Julia Rometti and Victor Costales, Jorge Satorre, Marinella Senatore, Sara VanDerBeek

Exhibition, March 28–June 27:
Agency, Meriç Algün Ringborg, Armando Andrade Tudela, Julieta Aranda, Martha Araújo, Adrián Balseca, Alessandro Balteo Yazbeck, Néstor Basterretxea, François Bucher, Mauricio Bueno, Saskia Calderón, Pia Camil, Daniel Gustav Cramer, Juan Downey, Patricia Esquivias, Mario García Torres, Ximena Garrido Lecca, José Hidalgo-Anastacio, Runo Lagomarsino, Little Warsaw, Maria Loboda, Claudia Martínez Garay, Benjamin Meyer-Krahmer, Ana Maria Millán, Helen Mirra, Felipe Mujica, Eduardo Navarro, Rivane Neuenschwander, Pedro Neves Marques, Wendelien van Oldenborgh, Juan Pablo Ordóñez, Bernardo Ortiz, Adrian Paci, Rita Ponce de León, Mauro Restiffe, Manuela Ribadeneira, Julia Rometti y Victor Costales, Jorge Satorre, Marinella Senatore, Daniel Steegmann Mangrané, Cecilia Szalkowicz, Sara VanDerBeek

Performances, March 28–30:
Saskia Calderón, Juan Pablo Ordóñez, Marinella Senatore

Dialogues, March 29–31:
“Table 1—History, Body, and Aesthetic Condition”: Valeria Coronel, Carles Guerra, Max Jorge Hinderer Cruz
“Table 2—Appropriation”: Pierre Bal-Blanc, Christian León, Manuel Segade
“Table 3—Of Men and Measure”: Sarah Demeuse, Fernanda Laguna, Alexander Provan
“Table 4—Material Movement: Forests”: Nabil Ahmed, Mario Melo, Nancy Lee Peluso;
Discussion: Paulo Tavares

Curators: Jacopo Crivelli Visconti (curator), Manuela Moscoso (adjunct curator)

Director of the Fundación Municipal Bienal de Cuenca: Katya Cazar

Venues: Museo de Arte Moderno; Salón del Pueblo; Proceso Arte Contemporáneo; Casa de los Arcos; Capilla del Museo de la Medicina; Colegio Benigno Malo

Media contact: Sebastián Lazo, comunicacion@bienaldecuenca.org

Mischa Kuball
Les Fleurs Du Mal (Flowers for Marl)

23 March–December 2014

Skulpturenmuseum Glaskasten Marl
Creiler Platz 1, Rathaus
D-45768 Marl, Germany

www.skulpturenmuseum-glaskasten-marl.de

Mischa Kuball’s public intervention Les Fleurs Du Mal (Flowers for Marl) both provokes and quotes Charles Baudelaire, yet at the same time, offers possibilities for identification for the inhabitants of Marl, who will be participating and are invited to bring along flowers: participation and discussion are the project’s two non-material components. The distinctive logo made up of white illuminated letters positioned high above the museum on the upper edge of the Town Hall’s façade becomes a kind of signpost, visible from afar, to the Sculpture Museum and the large vase of flowers on the left adjacent to the stairs is to be understood as an invitation to the townsfolk to bring along the aforementioned flowers for Marl and to put them in this prominently placed receptacle. It is situated immediately next to the stairs to the Register Office in the upper floor of the Town Hall—plenty of reasons then for bringing flowers! The vase and its contents will be tended by employees from the Sculpture Museum.

Mischa Kuball, Les Fleurs Du Mal (Flowers for Marl). © Archive Mischa Kuball.
Mischa Kuball, Les Fleurs Du Mal (Flowers for Marl). © Archive Mischa Kuball.

Mischa Kuball, conceptual artist, has developed a site-specific concept which he calls a “public preposition,” or in other words, suggestions and ideas for the public and for public space. The installation itself, planned as a temporary artwork, could also become a more permanent fixture; the artist would like to determine the actual duration of the installation in consultation with the people of Marl.

In the form of his project series “public prepositions,” Mischa Kuball repeatedly poses the question of the contemporary definition of public art within an extended context. He always begins with a precise analysis of the site where the interventions are to take place, and this approach includes an engagement with the public which has become an established feature of his artistic position.

Every place has its social and political peculiarities which the artist incorporates into his planning. His works tend to be temporary because they are geared towards the potential of an altered perception of seemingly familiar urban contexts.

Mischa Kuball has realised such concepts in different cities at home and abroad, including the work Intervento in the Caserma Cornoldi in Venice, as well as his Marfa Floater, silver / gold in Marfa, Texas, GhostTram in Katowice, Poland and his current contribution solidarity grid in Christchurch, New Zealand as part of the SCAPE Public Art Christchurch Biennial. A total of over fifteen comparable “public preposition” projects are to be published in book format, which means that the intervention in Marl will rub shoulders with works in an international context.

This project was kindly supported by the Ministry for Families, Children, Youth, Culture and Sports of the State of North Rhine-Westphalia, the City of Marl and realised by Elektro Decker, Essen.

Mischa Kuball
Born in 1959 in Düsseldorf, Germany, lives and works in Düsseldorf, Germany

Mischa Kuball has been working since 1984 in public and museum-based spaces. Using light in installations and photography, he explores architectural spaces and their social and political discourses. He reflects a full range of differing facets from cultural social structures all the way to architectural interventions that highlight or recode the overall emblematic character and architectural/historical context. Public and private space coalesce in his political, participatory projects. They enable a form of communication between participants, the artist himself, the artwork and urban space.

Since 2007, Mischa Kuball has been professor for media art at the Academy of Media Arts, Cologne where he founded the -1/MinusEins Experimentallabor (Experimental Laboratory).

For more information: www.mischakuball.com

Press contact: skulpturenmuseum@marl.de

Chocolate Vinyl: Music you can eat!

Julia Drouhin at Sonic Protest festival La Générale, Paris. April 12th, 2013

Playing two of my favourite things together: chocolate and music at the wonderful venue in an old power station La Générale Nord-Est, Coopérative artistique, politique et sociale. “An invocation in chocolate of dead singers, whose voices are inspired by a recording of Clair de Lune 1860.”

14, av. Parmentier Paris XIe – M° Voltaire.

Julia et ses disques en chocolat, Paris la Générale, Sonic Protest 14apr2013 from NO MORE RETURN on Vimeo.

DISCO GHOST, Julia Drouhin (création 2013 pour MoMa / MOFO / MONA, Hobart, Tasmanie). Une invocation chocolatière de chanteurs morts, dont les voix sont inspirées d’un enregistrement phonautographique d’Au Clair de la lune de 1860. Écoute la galette, partage l’ex-voto et digère la musique.

Disco Ghost - Julia Drouhin at Sonic Protest, la Générale, Paris 2013
Disco Ghost – Julia Drouhin at Sonic Protest, la Générale, Paris 2013

Sonic Protest Festival

Sonic Protest, 9ème édition, du 11 au 21 avril 2013 !

Cette année, le festival propose sur 10 jours plus de 50 concerts, dans 11 villes en France, Suisse et Belgique, des expositions et 4 évènements en entrée libre. Un panorama subjectif et non exhaustif des musiques expérimentales et des pratiques plastiques qui y sont associées.

Premiers concerts en France pour : THE DEAD C, TORTURING NURSE, URSULA BOGNER, PALAIS SCHAUMBURG, MECANATION (Pierre BASTIEN & ONE MAN NATION), Marc HURTADO with VOMIR et GRAVETEMPLE !

Au programme aussi : une performance inédite de The RED KRAYOLA en exclusivité européenne, plusieurs projets avec Thierry MADIOT, une collaboration CHEVEU & Xavier KLAINE (Winter Family), et une quinzaine d’autres concerts hors-normes parmi lesquels CUT HANDS, LES REINES PROCHAINES, Frédéric LE JUNTER, COMPUTER PIPA (Kink Gong et Li Daiguo), René ZOSSO & Anne OSNOWYCZ, Flo KAUFMANN ou MICRO_PENIS.

En première partie du festival, Sonic Protest propose une série d’expositions et d’installations, en accès libre, avec : les dessins de Nick BLINKO de Rudimentary Peni (dans le cadre de “HEY! modern art & pop culture exhibition Part II”) du 11 avril au 18 mai et du 12 au 15 avril le festival investit la Générale du Nord-Est avec 3 installations sonores et/ou vidéo : CORPUS (Art of Failure), YOU ARE THE LISTENER (Thierry Madiot) et CCRASH TV (Jérôme Fino & Yann Leguay).

Billetterie en ligne https://fr.yesgolive.com/sonic-protest
Pass jour (de 10 à 15 euros) et Pass festival (60 euros : 6 soirées du 16 au 21 avril + compilation double CD).

PARIS

VENDREDI 12 AVRIL
LA GÉNÉRALE DU NORD-EST
14, Av. Parmentier, 75011 Paris
Ouverture des portes : 18h30
Entrée libre

Vernissages
CORPUS
Art of Failure

FRANCE

YOU ARE THE LISTENER
Thierry Madiot

Jusqu’au 15 avril
FRANCE

CCRASH TV
Jérôme Fino, Yann Leguay

FRANCE

Concerts
Andy Guhl
SUISSE

Nicolas Maigret
FRANCE

SAMEDI 13
DIMANCHE 14 AVRIL
LA GAîTÉ LYRIQUE
3bis, Rue Papin, 75003 Paris
Ouverture des portes : 14H30
Entrée libre

PHONOSCOPIE
Thierry Madiot, Yanik Miossec

FRANCE
Réservation conseillée !

LUNDI 15 AVRIL
LA GÉNÉRALE DU NORD-EST
14, Av. Parmentier, 75011 Paris
Ouverture des portes : 18h30
Entrée libre

Séance d’écoute, conférence
et projections :
KINK GONG
FRANCE

Concert
Li Dai Guo
CHINE