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.

chantelle gray live at the window (2017)

Chantelle Gray live at The Window, an evening of experimental music, performance and visual art at the Theatre Arts Collective, Observatory, Cape Town, 29 January 2017.

Chantelle’s movements are captured by a 3d motion sensor and translated live into controller data for a musical piece written in Supercollider by Aragorn Eloff.

lliezel ellick, rosemary lombard & roxanne de freitas live at the window (2017)

Live non-verbal improvisation performed in absolute darkness, interacting with a cellphone recording from the day before, at The Window, an evening of experimental music, performance and visual art at the Theatre Arts Admin Collective, Observatory, Cape Town, 29 January 2017.

“It’s not easy to improvise… It’s the most difficult thing to do. Even when one improvises in front of a camera or microphone, one ventriloquizes or leaves another to speak in one’s place the schemas and languages that are already there. There are already a great number of prescriptions that are prescribed in our memory and in our culture. All the names are already pre-programmed. It’s already the names that inhibit our ability to ever really improvise. One can’t say what ever one wants, one is obliged more or less to reproduce the stereotypical discourse. And so I believe in improvisation and I fight for improvisation. But always with the belief that it’s impossible. And there where there is improvisation I am not able to see myself. I am blind to myself. And it’s what I will see, no, I won’t see it. It’s for others to see. The one who is improvised here… no, I won’t ever see him.”

— Jacques Derrida, unpublished interview, 1982, reproduced in David Toop’s Into the Maelstrom: Music, Improvisation and the Dream of Freedom: Before 1970, Bloomsbury, 2016, pg 21.