This closing concert brings together a spectrum of experimental and progressive sonic and cross-genre live acts to explore its themes of intense transmission between bodies of all kinds, in the tranquil ruins of an inner city monastery. Following the more contemplative and eccentric earlier events, ‘Paradise Found 3’ dials up on its pop inclinations, with Los Angeles-based rising pop star Dorian Electra presenting their futuristic sound and queer satire, along with the wit and humour of London lyricist and DJ Shygirl. Multidisciplinary artist and Quantum Natives artist i.Ruuu, as well DJ and curator of “post-gender avatar” Agatha Valkyrie Ice‘s mixtape series Brooklyn Bridge also take part.
Taking place at the Deptford Church Hall, this event titled Sonic Bodies, Broken Lines, Reversible Time sees Jamila Johnson-Small aka Last Yearz Interesting Negro & Rowdy SS present their work Fury1. The piece features movement and sonic performance, which the artists describe as “Sound and bodies in wordless dialog like light that refracts in the prism of the moving crowd.” The event will also present a screening of Italian artist duo Invernomuto’s filmNegus (2016).
The potential for political organisation and direct action in Creamcake’s Euromall at Goethe Pop Up Minneapolis, June 15 & 16
12 June 2019
Berlin-based music platform Creamcake will be in Minneapolis this weekend to present Euromall with Goethe Pop Up Minneapolis at the city’s Skyways Center & Honey Club running June 15 & 16, 2019.
The premise of the event lies in a “belief in the possibilities of political organisation and direct action” and takes inspiration from Creamcake’s previous Europool series, developed in response to the socio-political upheaval occurring within the European Union of late. With Euromall, Creamcake will place a similar emphasis on progressive action coming out of arts and music communities, “spotlighting grass-roots initiatives, cultural collaborations, and artistic practices” and within that reflect upon the ties that exist between Europe and the United States today.
Through talks and performances, the two-day event will draw together musicians, artists and researchers from the fields of art, law, sociology, politics and media. Euromall will open with a discussion led by sociologist Aleksandra Lakić on recent EU parliamentary elections. Producer FAUNA will provide insight into the “right-wing populist movement of Austria’s FPÖ party and the “Ibiza scandal.”” and AQNB’s Steph Kretowicz will give a specially developed performance exploring “the personal effects of fear, fake-news and new technologies across continents.” Media artist and founder of Centre for Emotional Materiality, Surabhi Saraf will give a sound performance, followed by a night of music at Honey Club, along with Alobhe and DJ Larry.
Image credit: Salim Bayri’s ‘Road to Schengen’. Video still. Image courtesy the artist and Creamcake, Berlin.
Responding to themes of human and non-human relations in a time of climate crisis, the exhibition considers how “humans face the responsibility of acknowledging multispecies entanglements and the need to renegotiate existing interspecies relations.” The show features work by Finnish duo nabbteeri, whose installations incorporate compost and organic waste from the Biennale, as well as a sanctuary for birds among the swarming tourist hub. Norwegian artist Ane Graff creates mineral-like new materialist sculptures that draw from research into scientific disciplines of microbiology and chemistry. Swedish artist Ingela Ihrman uses craft, costume and performance traditions to playfully and “critically analyse culture-nature divisions and to open up the prevailing male and scientific gaze to queer horizons.”
The Nordic Pavilion is a space for collaboration between Finland, Norway and Sweden, with commissioning duties alternating between the three countries with each Biennale. This year’s iteration is commissioned by Kiasma, Finland. The artists will work with the interior and exterior surrounds of the exhibition space, playing with the show’s theme and the way in which the pavilion itself — constructed around large indoor trees and susceptible to external weather factors — is at stake with future climates.**
As part of UNITI’s PLUR (Peace Love UNITI Rave) event series, this spring equinox party will feature live sets from Vancouver’s x/o, Mun Sing (aka Giant Swan’s Harry Wright), UNITI founder Englesia, as well as DJ sets from Eastern Margins Allstars and DJ Pussiephuss. The event is a pairing of two forward-thinking London club initiatives: Eastern Margins, who provide space for East and South-East Asian club musicians, along with UNITI, a platform that foregrounds LGBTQ+, womxn as well as non-binary DJs and producers.
Eastern Margins have compiled a Spotify playlist of some their favourite tracks by the artists performing at the event. Listen to a 2018 track from x/o called ‘Orchid Dream’ below.**
Described as “an experiment in radio broadcasting which plays in the boundaries of conversation, performance, distribution, and access through the lens of contemporary art,” the project is headed by New York, London, and Hamburg-based publisher Montez Press. Their first summer residency program ran July 19 to August 19, 2018, and included the likes of Hard to Read, NYC Trans Oral History Project, Triple Canopy and Berlin Community Radio, as well as AQNB’s own Content Prole: A journey into the depths of the online gig economy collaboration with Matthew O’Shannessy.
A new project named after Kafka’s fiancée pays tribute to late-The Cranberries lead singer Dolores O’Riordan with a cover of ‘Dreams’
15 January 2019
felice bauer release a tribute to Dolores O’Riordan on the anniversary of her death with a cover of ‘Dreams’ today. Named after 20th century Czech novelist Franz Kafka’s fiancée, the newly-surfaced project was recording and producing the track when the late-The Cranberries lead singer passed away tragically last year, making its dizzy atmospherics and delicate keys all the more poignant.
The Irish alternative rock band was an unmistakable force in many parts of the world in the early 90s. ‘Dreams‘ was released on The Cranberries’ debut album Everybody Else Is Doing It, So Why Can’t We?, which included other hits like ‘Sunday’ and ‘Linger‘. Their Northern Ireland conflict protest song ‘Zombie‘ came a year later in 1994.
While the singing on ‘Dreams’ makes no attempt to replicate O’Riordan’s defiant Irish brogue or trademark nuanced yodel, some of the choral synth lines resemble those used in 1996 single ‘When You’re Gone‘, which was played on radio stations across the world on the day of the performer’s funeral. Together with artwork by Nora Berman and Daniel Swan, this rendition of ‘Dreams’ is a gentle eulogy to a powerful voice in music.**
Angel-Ho unveils her global neo-pop with the lead single from her upcoming ‘Death Becomes Her’ album, Mar 1
6 December 2018
Angel-Ho announces new album Death Becomes Her, released via London’s Hyperdub on March 1, with lead single ‘Like A Girl’ featuring Brooklyn-based emcee K Rizz.
The Capetown-based performer, producer and DJ released her Ascension EP via Halcyon Veil in 2015, followed by an EP and Red Devil album debut on the NON Worldwide label, which she co-founded with Nkisi and Chino Amobi.
Inspired by Lady Gaga, Missy Elliot, Bjork and Kanye West among others, Death Becomes Her features transatlantic collaborations with the likes of Nunu, Baby Caramel, Asmara Maroof of Nguzunguzu, Bon and Gaika.
Along with the exhibition — that also includes commissioned and site-specific works — there is a weekly series of after-hours events, called Friday Lates, where artists are encouraged to elaborate on and exchange ideas around their work with visitors in a more intimate setting.**
Nico Niquo shares the hyperreal landscapes of his askew New Age & ambient journeying into an antipodean jazz fusion on Timeless
14 September 2018
Nico Niquo (aka Nico Callaghan) is releasing album Timeless via Melbourne’s Daisart on September 26, with a preview of the title-track premiering via AQNB today. The Australian jazz aficionado presents the LP’s hypperreal sonic landscapes on the new label founded by ju ca, alongside a book called Snakes in the Grass exploring the evolution of and ultimate corporate intrusion on ambient music in a contemporary context.
Callaghan is joined by saxophonist and childhood friend Jared Becker in creating an impassioned homage to its influences that include Billy Strayhorn, Miles Davis, John Abercrombie and the ECM records. The track listing, with its titles like ‘Silent Feet’, ‘Lush Life’ and ‘(In My) Solitude’, are deeply contemplative sound pieces that swell with the minimal echoes of their internal monologues. ‘Timeless’ in particular draws saxophone, vocal patches, violins and guitar together under a canopy of elemental dub and synth sequences with a New Age touch.**
A first-time show in the UK for both artists, Sister said to Satan will gather together a number of moving image works by Haines and Arnell alongside texts and posters to explore their shared interests in ‘ideas of destiny, collective experience and mysticism’.
In the press release, the curators tackle the common philosophical nature of the works on display, hinting that through a complex layering the exhibition will configure the ripple effect of myth and legend across time. We will be presented with characters – such as Apollo or Cassandra in Haines’ ‘The Stars Down to Earth’ or the hyped up puking teenagers in Arnell’s ‘Gag reflex’ – that ‘occupy the position of actors in a wider plan’, one that they seem almost incapable of working against. They will appear as intermittent images that ‘slip between screens and display systems scattered across the exhibition space’ evoking the sense of the characters’ continual drift on the ‘peripheries of reality’. However, in presenting these perverted prophecies, these fatalities, it comes across like the intentions of collective perception are being questioned, in some ways lamented through tragedy and we’re left wondering where we stand and what for.
To formally launch the exhibition, Arnell and Haines will give a public reading at the gallery on July 15 and there will be a number of other public events over the coming months. See Auto Italia’s website for forthcoming announcements**
The six-track album is an eerie collection of ambient drone, seamlessly tying together samples of everything from distorted bass and bagpipes, to sound bytes from the mouthpieces of various occult movements (notorious cult leader Jim Jones, among them). It’s a part of a performance project examining the role of the artist-as-witness in a court room, where “arguments and objections are mediated by legitimate physical hierarchy and shameless formality.”**
East meets west in the middle for Tallin Music Week’s week-long art, music + technology festival, Apr 2-8
26 March 2018
Tallin Music Week is on in various venues across the Estonian capital, running April 2 to 8.
A weeklong “celebration of talent, curiosity, creativity, freedom and equality,” the event is in its 10th year and features art, music, design and more from Eastern, Western and Central European communities. There will be a number of things going on around the city, including screenings and exhibitions at Positiiv, Okapi, Temnikova & Kasela and Vaal, as well Anna Slama and Marek Delong’s Sticky Moment at EAA Gallery, with a talk by gallerist Keiu Krikmann on the Tallin Tuesday, April 3.
All that is solid: Polido presents a non-linear model of an object’s physical continuity in the suspended minerals of ‘Trait’
22 March 2018
Polido premieres a video collaboration with Portugese artist Diogo Tudela for the ‘Trait’ track from his latest album, Time Is When, via AQNB today. The co-release, by Chicago-based label Lynn and the Berlin-based producer’s own Boyce Hatti, features 14 tracks fusing recorded instrumentals fed and filtered through the simulated moods and emotions of ambient reverb and distortion.
Similarly, the video for ‘Trait’ by Tudela features footage of solid sulfur, pyrite, azurite and quartz, processed through time displacement, promoting “a procedural defilement of these solids due to the manipulation of a video frame’s typical planar temporal–topology. Fractured depictions of minerals produced by the extrusion of a gaussian–tessellation across the fourth dimension, resulting in the corruption of the objects’ physical continuity, while rendering a non-linear model of its performance (time).” There’s a diagram on Tudela’s website showing how a slit-scan code interacts with and disorts the moving image.**
What’s on? AQNB’s weekly list of events + openings around London: Feb 14 – Feb 20
15 February 2018
Every week we trawl through our emails so you don’t have to, here is our pick of events and openings happening in and around London this week. Special shout out to Primary Lates at venues across Notthingham tonight, February 15.
The Melbourne-based artist’s paintings and fabric compositions consider the passage of time as a “way to progress that is not necessarily pre-determined; instead the direction to take is gradually revealed along the way.” A wall-length piece, produced in collaboration with students from Hedlands Senior High School in the Pilbara region of Western Australia early last year, responds to the landscape in a work that is described as “between a contemporary painting and a cumulative palimpsest.”
Manik has in the past been preoccupied with creating liminal space that skews a singular reference point and creates unpredictable compositions distorting perception, while seeming to “oscillate between reality and abstraction.” With Internal Audit, he moves toward “positive and negative space, posterity and erasure, and excess and restraint.”
The pop-up art school, facilitated by Victoria Anne Reis and manuel arturo abreu, based in Portland, Oregon, will present a multimedia curriculum of talks, exhibitions, poetry, physical education, and more, in order to create “welcoming contexts for critical engagement with contemporary art.” Applying the concept of a school field trip to the programme, the event references the MoMA PS1 building’s history as a neighborhood public school, offering opportunities “to question and reimagine the methods, purposes, and dynamics that connect art and education.”