Way ahead of his time… Tiny Tim on climate change.
Way ahead of his time… Tiny Tim on climate change.
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
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]
– 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]
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.
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.
A BIT MORE ABOUT EOW:
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.
Perfection is death, as it leaves nothing to be desired.
20:00 – Main Hall – Lliezel Ellick / Roxanne De Freitas / Rosemary Lombard (vocal performance piece)
20:25 – Main Hall – Louise Westerhout /Keenan Chas Ahrends / Nicola van Straaten (word/sound/dance)
20:40 – Minor Hall – Inka Kendzia / Jessica Smith (video and live performance)
21:00 – Main Hall – Rhea Dally / Justin Allart (sound/noise performance)
21:20 – Main Hall – Lucy Hazard / Puleng Lange-Stewart / Hannah Walton (video with spoken word performance)
21:35 – Minor Hall – FAITH XVII (video installation)
22:00 – Main Hall – Chantelle Gray (performance piece)
22:20 – Main Hall – Debra Pryor / Mark O’ Donovan (performance piece)
Continuous – Meeting Room 1 – Sydelle Willow Smith (photography)
Continuous – Meeting Room 2 – Miranda Moss (installation)
A window I. A partition. A voyeuristic interface between spaces. A civilizing constraint. Gazing. At the window, through the window, beyond the window. The voyeuristic gaze: preconditioned values, assumptions, desire. The civilizing gaze: conditioning values, assumptions, desire. Gazing. An act of memorializing (it suggests spectatorship, a fetishistic surveying; it suggests participation: in memory, in meaning-making).
A window II. A framing device. Commonly used in art and cinema. To exaggerate part or parts of a figure (forms, tones, shapes, shadows). To recompose an image. To slice up the world into smaller, more wieldy frames. To elicit metaphorical interpretation. (The audience is prompted to step into a world of windows.)
A window III. The window. A composing stratagem. (A perspectival arrangement.) A voyeuristic interface between artist and audience. An invitation to interact with the unknown, the unknowable, the known known. It is not a linear perspective of space, but a cutting up of, slicing into, carving through. (It suggests the existence of another, entirely otherworldly, place.)
“A concept is a brick. It can be used to build a courthouse of reason. Or it can be thrown through the window.”
– Gilles Deleuze
We will be at The Window on Sunday. You have been warned.
“In promotion of her fantastic “The Luv Show” CD (and in anticipation of her much later release, “Pretty Songs”), Ann Magnuson wowed the crowds at two live shows at Luna Park. Along with her own songs and a few other covers, she included this Kate Bush gem as one of the “pretty songs”…
Sadly, this was only 1997 or so…so this is recorded on a tape recorder and sounds a bit muddy. No matter. It’s still worth a listen. Enjoy.”
A selection of my favourites from Liszt’s Transcendental series, recorded in Prague on June 10, 1956 and broadcast on Czech Radio.
Tracklisting with times:
00:00 – Étude No. 1 (Preludio)
00:58 – Étude No. 2 (untitled – Molto vivace)
02:52 – Étude No. 3 (Paysage)
08:29 – Étude No. 5 (Feux Follets)
12:03 – Étude No. 11 (Harmonies du Soir)
“On a snowy day in Berlin, two days after Christmas 1841, Franz Liszt strode out onto the stage at the Berliner Singakademie concert hall. He sat at his grand piano in profile, beads of sweat forming on his forehead. He was 30 years old, at the height of his ability, and he was about to unleash a mania—a mania not in the sense of “Beatlemania”, or any of the other relatively mild musical obsessions, but a mania viewed as a truly contagious, dangerous medical condition that would affect women in Germany, Italy, France, Austria, and elsewhere.
“Using his whole body—his undulating eyebrows, his wild arms, even his swaying hips—Liszt dove into Händel’s “Fugue in E minor” with vigor and unfettered confidence, keeping perfect tempo and playing entirely from memory. It was the start of the phenomenon later called “Lisztomania,” and the women in the audience went mad.”
Read THIS ARTICLE on the romantic power of music like Liszt’s…