sammy slabbinck – “toe dipper” (2017)

“Toe dipper”. Original paper collage by Sammy Slabbinck, 2017.

Sammy Slabbinck (°1977) renders dynamic collage prints & original paper collagescombining  found imagery with contemporary compositional styles. The images are cut up into pieces and redistributed, playing with exaggeration and proportions .Other times, the images are placed in a reverse context, juxtaposing modern ideals with traditional states of mind.

More collage work HERE.

fleurmach at a4 arts foundation, 13 september 2017

Fleurmach (Rosemary Lombard) playing at the opening of the A4 Arts Foundation, 23 Buitenkant Street, Cape Town. Photo: Thobani “Nqalastyle” Mbhele.

Last night at the opening of the new non-profit space, A4 Arts Foundation, I had the wonderful opportunity of playing music that responded to artworks in the wide-ranging exhibition curated by Ziphozenkosi Dayile and Kemang Wa Lehulere.

Here’s the blurb, and I urge you to pay a visit if you’re in Cape Town.

The Propeller Group, The Living Need Light, the Dead Need Music, 2014. Film. 21 min. 15 sec.

You & I – A group exhibition curated by Ziphozenkosi Dayile and Kemang Wa Lehulere

Please join us for the opening of our inaugural exhibition, “You & I”.

13 September 2017 at 6pm, at A4 Arts Foundation, 23 Buitenkant Street, District Six, Cape Town

About You & I

You & I is a group exhibition that looks at how people come together, asking after the conditions and dynamics of the collective.

Curators Ziphozenkosi Dayile and Kemang Wa Lehulere pull back from any attempt to survey collective practice, opening instead with a series of lyrical articulations. Across the exhibition, instances of community are placed alongside searching questions of who ‘you’, ‘I’ or ‘we’ may indeed be?

The exhibition includes photographs, sculptural installations, films and an instruction piece – and extends for three months with public programme of live performances, screenings and discussions.

Participating artists include Yoko Ono, Zanele Muholi, Santu Mofokeng, Glenn Ligon, Moshekwa Langa, Eija-Liisa Ahtila, Malick Sidibé, The Propeller Group, Eugene Paramoer, Goddy Leye, Molefe Pheto, Meshac Gaba, David Goldblatt, Mwangi Hutter, Adrian Melis, Haroon Gunn-Salie, James Matthews, Mushroom Hour Half Hour, Pierre Fouché, Billy Monk, Brett Seiler & Luvuyo Nyawose, Gugulective, Avant Car Guard, B4 Food, Dan Halter, and more.

Image: Goddy Leye, We Are the World, 2006. Video (detail). 4 min 52 sec

About A4

You & I is the first exhibition at the new premises of A4 Arts Foundation – opening to the public as an arts centre from 13 September 2017.

A4 Arts Foundation is a not-for-profit organisation dedicated to supporting the arts in Southern Africa. A4 is grounded by an understanding of art as a reciprocal resource, a catalyst for innovation, and a medium of collectivity.

Configured within a three-storey warehouse on Buitenkant Street in Cape Town, the A4 Arts centre hosts a gallery and project space, as well as a multimedia library.

gently down the stream…

“All that we see or seem is but a dream within a dream.” – Edgar Allan Poe

Take this kiss upon the brow!
And, in parting from you now,
Thus much let me avow-
You are not wrong, who deem
That my days have been a dream;
Yet if hope has flown away
In a night, or in a day,
In a vision, or in none,
Is it therefore the less gone?
All that we see or seem
Is but a dream within a dream.

I stand amid the roar
Of a surf-tormented shore,
And I hold within my hand
Grains of the golden sand-
How few! yet how they creep
Through my fingers to the deep,
While I weep- while I weep!
O God! can I not grasp
Them with a tighter clasp?
O God! can I not save
One from the pitiless wave?
Is all that we see or seem
But a dream within a dream?

holly herndon – chorus (2014)

Holly Herndon / Akihiko Taniguchi – Artist / Video Director Statements

Holly Herndon: “So much of Chorus was constructed by spying on my own online habits. It felt fitting to invite Akihiko, who I had been spying on online for a long time before my approach, to contribute the visual treatment of the piece.”

Akihiko Taniguchi: “I was interested in exploring the textures of daily necessities and the embodiment / physicality of the computer and Internet. One of the most striking contemporary images is that of the desktop capture, which is seen commonly on YouTube as part of software tutorials. I like the shots of desktops that are poorly organized and ‘lived-in’.

Referencing one of my earlier pieces “study of real-time 3D Internet”, I considered how it corresponds to the personal environment outside of the screen and how particular it is to my identity and my friend’s identities. I asked several friends to photograph their desktop environments and then rendered these images with custom 3D software, shooting video by moving throughout this virtual space. This video is a collection of records of life of friends and their Internet environments.”

Herndon: “I love the idea of depicting the mundane and quotidian in high definition, and how evocative and individual each of these spaces are. Thinking about intimacy and the laptop is familiar territory for me. I’ve also been thinking a lot about privacy, particularly in light of the ongoing revelations regarding the NSA, which add a more sinister sub-narrative to Akihiko’s piece.

The most crucial conversations happening in technology at the moment focus squarely on our work space, our email, our iSight and our smart phone, and how much we can honestly claim those spaces to be ours at all in an era of indiscriminate and imperceptible surveillance.”

___

In this audio-visual talk recorded at Ableton’s Loop summit for music makers in 2016, Holly Herndon describes the role process plays in her creative vision. Drawing on her experience as a recording artist, her studies at Mills College and Stanford University’s Center for Computer Research in Music and Acoustics, Holly discusses the conceptual frameworks surrounding her process-based composition methods. Using audio and video examples from her recent work she reflects on how government surveillance, internet age aesthetics and collaborations with Mat Dryhurst, Metahaven and others inform her mission to capture the ‘sound of now’.

And here’s an interesting interview from 2015.

ruby swinney – ignis fatuus (exhibition, 2017)

Ruby Swinney, 2017, Mystery of Faith (Detail), Oil on paper, Approx. 290 x 270 cm

EXHIBITION OPENING
THURSDAY 25 MAY: 18H00 – 20H00
CLICK HERE FOR PREVIEW


Ignis Fatuus

Those–dying then,
Knew where they went–
They went to God’s Right Hand–
That Hand is amputated now

And God cannot be found–
The abdication of Belief
Makes the Behavior small–

Better an ignis fatuus–
Than no illume at all–

Poem 1551 by Emily Dickinson (1882)


WHATIFTHEWORLD is pleased to present Ignis Fatuus a debut solo exhibition by painter and installation artist Ruby Swinney. Swinney’s work explores what it means to live in a vanishing natural world that is growing progressively darker and unfamiliar. Through the blurring of both South African and imaginary landscapes her work evokes a sense of loss of faith in what it means to be human in a time of intolerance, mistrust, violence and environmental uncertainty. Drawing on this uncertainty Swinney creates surreal tableaux in which she revels in the strange and unpredictable moods of the natural world and its ability to both alter and transcend human experience.

 WHATIFTHEWORLD

edge of wrong 12 this week!

The Edge of Wrong invites you to join us for our twelfth annual festival of experimental, uncompromising and dangerous music.

Expect a variety of sonic and visual explorations of the edges from a huge range of international and local artists: drumming ensembles, thunderous noise musicians, avant-pianists, drone ensembles, ambient artisans, post-post-punks, sonic clay sculptors, algorithmic composers, fringe poets, sound theatre, dance, live painting, the melodies of knitting patterns.

In collaboration with Contour Vinyl we will also be launching our first vinyl series: 12 highly limited lathe-cut 7″s containing exclusive works by the artists performing at the festival. These 7″s, each available in a micro-run of only 10 copies, will be available for purchase at our 2017 events.

“An edge is a special kind of being-in- place; it marks the transition between something and nothing. Edges are limits, and also shape-defining margins. To be at the edge is to exist in the “in” of the “in-between,” in the instant between one time and another. An edge cuts and changes whatever it encounters. It is where movement must stop or turn in a different direction; it is where people plummet into the abyss, or learn to fly. Things end, and begin, at this place—but nothing stays at the edge forever. Edges mark the boundaries of empty space, but they also represent the transformational places where new possibilities open up again.” – David Novak, Japanoise: Music at the Edge of Circulation

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FULL LINEUP

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WED 26th Amuse Cafe, 34 5th St, Linden, Johannesburg, 19:00
– Healer Oran
– Datsrok [Norway]
– MONOMORT [Norway]
– Thomas Holme [Norway]

THU 27th The Bijou, 178 Lower Main Rd, Cape Town, 20:00
– Jill Richards
– Coila Enderstein / Daniel Grey
– Darkroom Contemporary (short film)
– DATSROK (Kenneth Korstad Langås, noise) [Norway]
– Dolly Turing [UK]
– Khoi Konnexion

FRI The Bijou, 178 Lower Main Rd, Cape Town, 20:00
– Daniel W J Mackenzie [UK]
– Aragorn23
– RISK (lliezelellick, nonentia, choir, four drummers)
– As Is with Didi Didloff and Vasti Knoesen
– Belinda Blignaut and Jacques van Zyl
– Cara Stacey and Hanan Benammar [Norway]

SAT 29th The Common Room, 135 Albert Rd, Woodstock, Cape Town, 19:00
– Justin Allart and Thomas Holme [Norway]
– Gareth Dawson and Rhea Dally
– Jason Stapleton, Lucy Hazard (projection to audio by Justin Allart)
– Chantelle Gray and Anastasya Eliseeva
– MORKEN [Norway]

SAT Afterparty at the Common Room
– DJ’ing by 3EYE, Violet Beausoleil and Kenneth Angerhand [UK/SA/UZ]

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EXHIBITION

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Hanan Benammar (DZ/FR) – Giraffes don’t Whistle

Giraffes don’t Whistle is a silent karaoke video installation made in collaboration with the students of Brendon Bussy’s class at the Dominican School for Deaf Children.
The videos will explore the relationship between dream, landscape, night activities and perceived sounds from the narratives of the participants.

Mattias Cantzler (SE) – Marius Stocking Blues

Marius Stocking Blues is an experimental sound installation consisting of a self made busker organ.
The organ plays automatically by using a handle and based on a traditional Norwegian knitting pattern called the Marius pattern.
The knitting pattern used in the project is translated into braille, a script for blind people. Inspiration for the project is taken from phonography, cryptography, geometry, mosaic and textiles. The work relates to older forms of communications like for example telegraphy, smoke and light signals, but also has similarities to early computer technology.

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DETAILS

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R100 suggested cover charge per event (more or less according to means).

Right of admission reserved. Cellphones to be switched off during performances.

STUFF TO BRING: A comfy cushion you don’t mind getting dirty. Your own drinks. An open mind.

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A BIT MORE ABOUT EOW:

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HUNTER THOMPSON ONCE SAID that there is no honest way to explain the edge, “because the only people who really know where it is are the ones who have gone over.”

It is a kind of hidden place that is revered and feared by some – the hellish underbelly of the world. Yet it is also a place searched for, written about, and found in the music of the strange. And it is this edge we want to bring to you by creating a space which allows musicians to etch out the edge of wrong, pushing the boundaries so that new sounds might be found.

The EDGE OF WRONG festival is currently in its twelfth year and serves mainly to facilitate cultural exchange. Though it has become an established production network it is forever evolving, intent on creating a sustainable environment for quality art of an exploratory nature.

SITE: http://www.edgeofwrong.com/sa
FACEBOOK PAGE: http://www.facebook.com/edgeofwrong

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Perfection is death, as it leaves nothing to be desired.