This approach might possibly have led to an antiquated, even static attitude to art. On the one hand, the Processions offered a permanent opportunity for the team to recycle its own works. On the other, they might have provided chances for the employment of principles of repetition akin to those of say Indian ragas. In addition, like pre-twentieth century artists, Thek and his team seem to have made decisions according to a shared theory of beauty, though, in contrast to those of pre-twentieth century artists, their aesthetic was their own invention.

The urge to solve the problem of vocation seems to have troubled Thek for years. Deeper, he wrote in a letter to his longtime collaborator Franz Deckwitz early in I want to make a real place to rest and worship in, not just art.

Indeed, at stages in his life a powerful tension existed between his career as an artist and his urge to retire from the world. By this time his faith was being buttressed by periods of meditation in a Benedictine monastery in Vermont.

Despite his failure to make a living and letters from museums saying they could no longer manage to keep his installations in permanent storage, it still seemed to him that with his large-scale retrospective organized by Suzanne Delahanty at the ICA in Philadelphia the tide might have turned.

He was wrong. Around 76, his luck gave out. By he was working in a New York supermarket, then cleaning in a hospital. After that, his hopes of entering a monastery were dashed by a doctors confirmation of his status; he was HIV Positive.

By this time Thek had been reasserting his dedication to the nave, as a means of making art as well as leading ones life, with the series of bronze sculptures called The Personal Effects of the Pied Piper, regarded as a lay saint. As usual, his hyperactive mind refused to settle on a single theme for very long, and the Piper became confused with Mr Bojangles from the song by Jerry Jeff Walker and Uncle Toms Cabin. Somehow the Tar Baby from Uncle Remus also became part of the mix.

By this time the newspapers which had been a permanent feature of the installations were being used as a paint surface. Sometimes religious, usually satirical, frequently apocalyptic, permanently disillusioned in its vision of a New York that featured the half-built World Trade Center towers he called Sodom and Gomorrah, Theks approach was that of a man at the end of his tether.

Ten years later he presented his own completely unrealistic Richard Serras Tilted Arc project, retitled Tilted Ark, with holes bored through it in the shape of stars, a small zoo and a park with flowers. Yet the uneven standard of the paintings should not blind us to the genuineness of the vision: Uncle Toms Cabin in Flames and Bo Jangles in Flames are premonitions of an American apocalypse; byThek was making Album) with titles like Turquoise Potato Peelings in a Sea of Piss and Shit.

His titles are a delight. But there is no point in pretending that the last years of Theks life gave rise to his finest art. Forget the last years of bitterness and disillusion and illness and return to his retrospective in Philadelphia in Imagine the camp and tacky raised to the point of intellectuality and far beyond: to a state of childlike belief, as viewers encountered a sea of sand Its water you can walk on; its time, Thek explained unhelpfully a barge with kitsch forests and stuffed animals, the wooden model for Album) tower, King Kong, a homage to Picasso, the Warhol Brillo Box again, a bathroom and a shanty and a stuffed bird and If people had told him to stop, Thek would have taken no notice.

For, as his paintings show, he already felt that time was running out. He was right. He never retired to a monastery as he had planned, nor did he make peace with those who had hurt or ignored him. Like Dr Johnson, he was a good hater. Did he ever relax into the situation as it was, or did he continue to look straight through it to something else, somewhere else, as he seemed to have done for the whole of his strange, confused, cryptic, inspiring life?

Estate of Stuart Morgan. It consisted of my trying to move a piano across a stage, and people kept coming up to ask if they could help, and I said, Certainly not! I mean the point is that I cant move this piano, and Im struggling to move it, and its obviously not going to get moved across the stage, and Im putting out a great exertion of energy, and Im on a public platform, and you are all viewing me, which is the whole point of this thing. I said. You figure it out. Developed over a lengthy period init remains a complex and engaging work, allowing readings on many levels, but is perhaps dominated by the artists own perception that it was made as a testament to my involvement with performance, with film and with video from a principled perspective which I no longer maintain in relation to these media.

In the piece the artist talks directly to camera about a whole series of works that he has conceived but never made, while on the other monitors these works are played out for the camera.

The piece is exceptionally entertaining and even daring for a video work of this era, but at its heart there remains a compelling glimpse into the mind of an artist wrestling with the core of his practice. In the single-channel version of the piece the one that most viewers will experience today the monologue is intercut with repeated elements of one of the pieces he never did the artist stripped to the waist screaming the words shut up until he is hoarse and unable to emit more than a squeak.

As the work evolves, this voice returns again and again as a. The presentation of so many actions, each of which could so easily have formed individual works, as non-actions, lays open the predicament of an artist who has discovered little value in the domain of his success and seeks to find another corner to turn. The 16 individual pieces which include shouting, throwing oneself against a wall until it crumbles, running away from a camera that keeps catching up, onanism, standing in corners each individually speak of a challenge to find the principle inherent in a formal interrogation but collectively portray an artist in command of his medium, yet approaching a conclusion of rejection.

That the rejection came shortly after this work's completion is now a matter of personal and anecdotal histories. Critchley admits to having burnt in all his paper and documentary photographic work and placed all his own copies of his videotapes including master tapes in his possession in plastic sacks outside the London Video Arts building in Soho, for the garbage collectors to take away.

Martin Kippenberger liked to overplay his hand. He did it on principle, turning comedy into farce and grand drama into opra bouffe. Ever the Oedipal rebel, he treated artists of the past as parental figures who had to be provoked.

And he gave his work a throwaway quality; even his biggest projects come across as doodles, as disposable pieces, put together on a whim.

One of the common refrains in the literature on Kippenberger is that, for all his humour, he was a deeply serious artist. That misses the point; it is precisely because he viewed seriousness as a vandal views private property that his work retains a trashy, carnivalesque power.

On the rare occasions when he tried to strike a more solemn note, he made strangely tepid pieces. When confronted with exalted reputations or principled positions, Kippenberger responded like a person with Tourettes Syndrome. In he painted a mock-Cubist piece, a swirling mass of red and grey beams against a black background, and called it With the Best Will in the World I Cant See a.

For no discernible reason, he represented the Nazi emblem in dislocated form and then, in the title, feigned the incomprehension of the untutored viewer who couldnt, with the best will in the world, make sense of a difficult canvas. At a time when many in Germany, including of course Anselm Kiefer, were trying to find responsible ways of remembering the atrocities of the Third Reich, Kippenberger treated the subject in flippant, deliberately mystifying terms, while using the title to snub a certain class of gallery-goer and to disown, or pretend to disown, his own provocations.

In fact, the painting was so turgid, its aping of Cubist devices so crude and laboured, that the viewer was bound to wonder whether it wasnt just a pretext for its title. Many of his taunts were aimed at other artists. For his seminal show, Peter, he crammed Max Hetzlers gallery in Cologne with customized furniture, jerry-built sculptures and assorted other knick-knacks.

Among the pieces was Wittgenstein, a lacquered wood construction that looked like a modular piece by Donald Judd but also, and more clearly, like a slightly flimsy closet it even had a clothes rail.

While the title inflated the intellectual span of Judds work, the sculpture itself effectively likened the artist to a maker of cheap furniture. And in another, still more brazen piece of Oedipal sabotage, Kippenberger acquired one of Richters grey paintings and used it as a table top; that too was in the show in Cologne. At least Kippenberger was even-handed. He offended progressive, liberal and conservative sensibilities, he scoffed at artists and curators, and most of all he made fun of himself his appearance, his lifestyle and his artistic pretensions.

He was his own favourite model, playing a variety of roles from the tragic hero to the drunken oaf and hamming them all up. When he was beaten up for raising the price of beer at S. Surely remembering Vincent van Goghs images of his own injured head, Kippenberger recycled the old figure of the artist-martyr only to undercut its pathos by suggesting that even then he was playing to the galleries.

For the early series Dear Painter, Paint for Mehe collected snapshots of himself in various locations and commissioned a billboard painter to recreate the images on large canvases. In one, he spread himself out on a discarded sofa amid piles of rubbish on a New York pavement, looking every bit the cut-price flneur.

He had a talent for pratfalls and schmaltz, for playing puffed-up parts in a trivializing key. Whether he painted himself chained to a beer can or dropping his trousers, he gave his outward persona an aura of boozy inanity and hinted at the pleasure he took in his own ridicule. Inspired by a photo of a proud, ageing Pablo Picasso standing in his briefs next to his greyhound, Kippenberger took to painting himself in oversized underwear. Exposing his growing beer gut, he adopted bold.

That was the point of the constant Oedipal jibes he played them for laughs. They were never meant as effective slurs; rather, they were designed to reflect back on the artist himself, to show him up as an infantile character whose jeering only exposed his own failings.

Kippenberger was always on the move, working for periods in Italy, Brazil, Greece, Spain and Austria, and the same restlessness is apparent in his work; he never settled on a given manner or medium. Looking over his career, you get the sense that he worked not to build on an idea but to exhaust it and move on to another.

All the same, he developed over the years a repertoire of preferred motifs, including the frog, the fried egg and the lamp post, and some of them plainly served as self-images. In fact, he made relatively few pieces that werent in some sense self-portraits.

Certainly, the crucified frog with a beer mug was a stand-in for the artist; so were the drunken street lamps that merged the perennial comic duo of the drunk and the lamp post into a single, wavy fixture. That preoccupation with his own projected persona, whether it was clearly identifiable or displaced onto another figure or object, lasted throughout his career. The Dear Painter series included a huge close-up of pens clipped to the outside pocket of a suit; that was Kippenbergers shorthand for the application and competence of the clerk or middle manager.

But the suit was a cheap one the kind the artist himself affected to wearsuggesting that the clerks work was poorly paid and that his pocket display of efficiency was the expression of a tenuous standing and a leery, defensive pride.

And Kippenberger returned again and again to the Ford Capri, the quintessential budget coup of the s, which appeared in drawings and photos, even in an installation Capri by Night,standing for movement and escape and, by extension, for the dream of upward mobility. Yet no one who could afford a classier model would ever have dreamt of buying a Capri.

It was to the expensive sports car what Kippenberger-in-underwear was to the old Picasso an image of aspiration that had failure written all over it. Failure, of course, was an obsessive concern for Kippenberger, who cast himself as a failed artist and his work as failed objects and images. Here was a man who could paint with fluency but revelled in the grossly ham-fisted brushwork of pieces like With the Best Will in the World He presumably agreed with the critics who saw him as a hack and a dauber.

In he made Orgone Box by Night, a large container that was filled with discarded paintings and named. What, you have to wonder, would have pushed Kippenberger to bin a painting? This was failure squared, his rejection of the paintings hilariously compounded by the failure of the box to redeem them and by the artists identification with a discredited thinker. But you only have to remember what success meant for Kippenberger the crimped, delusional visions of social advancement and material comfort, of one day owning a Capri to see why failure had such appeal.

His most sustained essay in disfunction was the inspired Metro-Net projecta series of subway entrances and ventilation shafts. One entrance was built in a field on the Greek island of Syros, another in the small Canadian town of Dawson City; both were made using local techniques and architectural forms. They were stopping-off points in a hare-brained system of global integration, their vernacular details offering a witty gloss on their very remoteness from the true hubs of global transport and communications.

Adding another absurd twist, the artist then created Transportable Subway Entrancea fragmentary transport node that was designed to be ferried around by another means of transport. And, in a luminous final gesture, he crushed the transportable structure so that it could fit through the entrance to Metro Pictures in New York, where it was to be shown.

The puns here the entrance that didnt fit into an entrance, the subway station at Metro Pictures surely appealed to Kippenberger.

But the crowning joke was this: having created a grandly dysfunctional variation on a wholly functional theme, he all-but-destroyed it in an effort to squeeze it into an art gallery, that is, into the one place that could accommodate its uselessness. Kippenberger was a little like Alfred Jarrys Pre Ubu: a vastly restive and energetic figure who tipped everything he touched into a bilge of crude sentiment and doubtful humour, never missing a chance to rubbish a lofty view and always preferring the infantile to the measured and the pointless to the productive.

He had chutzpah even in his self-doubt, in his endless parade of comically abject self-images. His work was a counterpoint to the Neo-Expressionist grandstanding of older German artists like Kiefer and Georg Baselitz, its trashy quality serving as a way of recognizing that various artistic projects, including painting and selfportraiture, had reached a point of possibly terminal crisis while still using them as vehicles for passages of hammy, delinquent brilliance.

And then also the power-relationship is better than pseudo-equality when one is an assistant. The whole rainbow of irony with regard to real power systems is then under the magnifying glass. For myself, the 'concept' of rapid changes of mind is questioned. But changes are forced to occur as a joke, with a 'one for the road' fatality. Interestingly though, if I arrived into the full awareness of another's model society people would ignore me as one does a museum and talk to others and disagree with them.

One adolescent desire is to see your own name in print. I guess that when this desire fades, one starts to become boring, as Beuys did. The clear ambition gives way to a secondary clarity that is self-deception: a strong development of styles and ideas necessitated by the first incision.

These steps forward are big leaps into yawn city for the hungry and vacant audience. I may have inferred clear ideas from my employers so now I have the good opportunity to take this dusty road. We cannot break the back of this metaphysic because we were all dumb cowboys when we started. For example see all pop groups.

Anyway I have the suspicion that without rock guitar accompaniment my words are turquoise poisonous dust, radioactive razors, and lagoons of used plutonium on fire, sultry. Why was I an assistant? I wanted my entire personality to become an artistic obsession. I had already made myself into something like a picture on the back of a corn flakes packet, so I wanted to lose this strength.

Even though I was asked to do this job, I would not call it random subjectivity, although that would be the game side of the gamble. But in sentences like these I see my frightening middle class. Criss-crossing within radicality are the strings of the lumpen middle-class voices of unused brains, rasping small perspectives on small objects.

But because I'm second to my middle class I use this further: the stubborn stains of this dumbness are used as tests for my whiter-than-white superiority complex. So that the real pretences of this discourse have to enter the above system again, while all the time I treat you like a consistent ape because I remain one. Maybe I prefer the ideas that are really dumb with no joke. This brutality is an inferior aesthetic. But they both keep other techniques up their sleeves because the hard pose can suddenly dissolve, leaving only blackmail for no one.

What the former super-stupid method leads to is a. And the fact that this doesn't even work is an embarrassment not forgotten, like using the metaphor of 'driving'.

I won't make this mistake again. What does it mean when I laugh at myself in public for having my uncertainty trick? How long can this joke last? Bttner asked me what I wanted to stretch by writing 'I was an Assistant'. I couldn't give Kippenberger all my ideas fast enough.

I needed his assistance to dispose of them. And working for artists who are so important makes me see things in terms of portentious predestined significance. But they possess the necessary force to eliminate this kind of horror thinking. Each time my route through the shit is exploded, the beautiful constitution of the future is cracked open. Now I prefer the music of B.

But then again I won't make this mistake again either. Is it intelligent to question the nature of intelligence? But seriously am I intelligent? We could make a contextual analysis leading to an untouchable sixties levelling, or we could ask what are the sick and sordid reasons why I should have problems with such a thing. There is always the likelihood of putting an erroneous question in a central position and letting it breed because there is no caring.

Asking 'am I intelligent? But what are the problems? When can they be forgotten? If I was now to make work in a funny triple-derivative style who would know when to laugh? Perhaps I should, and say, 'you are allowed to not like this work. Even though avoiding dinner means it comes back by itself and the menu is always the same, I didn't want to speak so I didn't. And I don't regret my silence. I was ready to colonize every new city into my boredom. But it was a new thing to move again, causing a structural confusion, with effects on mood.

But what exactly does this 'confusion' between two strange thought-nostalgia-effects lead to? It could be the most unconfused and reactionary methodology. French philosophers might say it is good to make oneself 'we' instead of 'I' and more accurately reflects that the 'I' condition is always unjustified.

But perhaps the 'I' can be maintained as a device, so it is really someone else who is 'I' and who is forever wrong. There are other forms of responsibility than that of the enlightened subject. Speculation aside, let me describe the above history. Suffice to say that before my assistantship my favourite art was by The Cult.

Kippenberger taught me I could say I'm the best right now and be as right as the other guys. Bttner taught me to. Oehlen taught me that this was not going to be easy. So now there's a lot to be tossed away because I'll never learn a damn thing. Or if I have tried to learn the technique could be equated with a new feature on Knight Rider's car: 'Rapid Pursuit Mode'. I have also been pursuing any context. The time has come for a strong defence of postmodern architecture.

Especially good are the cheapest versions with bricks and geometric shapes, or where it becomes a neo-fifties vernacular. Fitting in with the 'urban environment' is crazy, but more interesting than late modernist aesthetic kitsch. Having said this, it's only an example of the last romantic words I said, which hopefully increased the viciousness of their replacement.

It's a method to take each set of ideas to its kitsch extreme, which makes it easy to grasp and remove. I won't make you a proposition you came to see, because this is not a form of communication.

Each entry into the nasty tries to occur by irritating a meta-position or imagined consensus. Now it is seven months later and this is what I have done. I'm nothing more than you might expect after this experience. Look at me as an example of English art failure, before it happens. I'm not trying to change the fact that I am a symptom of my circumstances.

Furthermore, could you please only see me in your terms, as part of one thing that you already know. My work will always be within Kippenberger's. I was only interested in the conditions by which I liked, described or worked for my employers. But they stand squarely against this type of interest.

To them it is a sign of the crowd, of idiot thinking without quality. They make good bad art instead of bad bad art. They are not wseak for one second because their techniques are of weakness. Could you please stop reading for five minutes, to prove how amazing everything is. A crude dialectic is more revealing than any amount of shedding light on pen-chewing and mark-making. Conceptual art relied upon an existential loss of centre on the part of the viewer, a state of mind created by a subjectivity-oriented tradition, which rendered the simplest thing 'interesting'.

My employers destroyed this via a side-effect of their work. But if we now started from cars'n'girls, and the knowledge that misunderstanding rises like the sun every day, and then got conceptual maybe it would be great. Most of the criticism in magazines and brains is a variety of second-rate deconstruction. We cannot take a deep breath and leap past this position, because this is the fuel of its growth. It is a form of insidious niceness that makes all misery unreal and useless.

We must see that this is cruelty, and make it crueller, nicer and worse. But perhaps the centrifugal force of categoric disintegration could already have flung the centre beyond the edges of real space. If this is the case there is only an apology to be made for drama within pluralism and crimes of generality.

The conservative step is to accept as givens those aspects of critique which. Of course artists are normally trying to make something so big it can't be accepted. But this is also a critical side-step, being a captured metaphysic leading to the rot scene etc. My employers make art so gracefully that the critical capture is made too early or too late, as an abortion, so it doesn't work, but also disrespects the holistic goal.

This critical abortion slowcoach-effect is something that was revealed to me in a dream, as a symbol of the idealism of youth. If techniques like this are taken seriously they are instantly childish, and stick in the hair like chewing gum. As an assistant you try to make the work for the artist as good as his own work, but obviously since you are within his systems only an ersatz creativity is possible. This is good because creativity is always ersatz.

Here I risk turning the negative aspect into a positive mess. But even so the stakes become more and more twisted and confused. Old things like 'too serious' can start to sound like kitsch, and the dissipated dinner companions we are faced with can be dislodged from their conditions of prevention and disclosure.

But I have also enclosed everything I have attempted and bought it a one-way ticket to anywhere, this very nearly destroys my right to speak. But this is what I want, if I can want at all. This is all a soft and pedantic description of ideas I had by random instinct some time ago, the methodology of a very old artist. But the ways of losing interest are so visible now that one falls into them at a young age. And that last line of mythologizing is also a myth, an old idea.

In fact the whole mythologizing structure is a myth. The idea that you assist me in making my assistantship into a supra-degraded form of power, while I confiscate my carefully-cooked totality from myself and give it to everyone as a present is a lie. But since I want to destroy even the ghosts of my ideas, I have to make a note of each one as it goes. Maybe I should be afraid of writing fast.

How does it reflect back on me later? Meanings change in ways not connected with intention. The same words are memorialized in other places. The only simplicity is in 'theory', and that only for a little while whilst you can hate it. This is a report on transparency and confusion.

But why am I so confused? This is a ricochet from transparency and confusion, like late Bowie, trying to make new friends. The methodologies are extended into the future from a present which is in the neighbourhood of complete death as well as post-linguistic life.

At this point I will mention Michael Krebber, as a joke voodoo charm. And I will say that this article is waiting for its punishment. The motive behind the stupidity without responsibility has been to capture future dialectical developments. The reality of working for other artists has been elided, but only temporarily. Luc Tuymans demands a certain coolness, a detachment in his work, which is also found in the work of historical artists he admires such as El Greco, Velzquez, Lon Spilliaert, and even Magritte.

Tuymans describes this quality as indifference1 and achieves this bloodlessness through a variety of means, most obviously through a reliance on photography as a constructive tool in the creation of an image, but also by rigorously limiting the time spent painting each image to a single day.

Tuymans paints from photographs rather than from the actual object thereby overcoming the modernist injunction against depiction by only depicting representation. This indirectness is continued through the representation of incidentals rather than the main subject, and through the use of substitutes and stand-ins such as models, dolls, mannequins or other peoples drawings for the real thing. Tuymans relishes the ambiguity that only painting can offer: are we looking at a painting of a real person or a painting of a photograph or a painting of a model of a person?

Is the painting to be believed in, or is it part of some elaborate and self-referencing sham? Paintings of stills taken from television or films, such as Animation or Blessingwhich are blurred, indistinct and ambiguous, ensure we never know what we are looking at.

The inadequacy of Tuymans painting becomes its strength at this point, for in its weakness and ineptitude it can shift effortlessly between the roles of icon, index or symbol. Critic and curator Stephen Berg has described Tuymans practice as having a profoundly boneless semiotic character.

At the very beginning of his career as a painter Tuymans realized that nothing new was possible in painting, and as a result he created the oxymoronic notion of authentic forgery. The term simultaneously suggests a distancing from the act of painting and a self-conscious association with the formal and anecdotal language of the amateur and the bourgeois.

Critics have even noted that technically and stylistically Tuymans creates forged paintings through works that have a distinctly faded palette, denoting paintings prematurely aged, as if they had been painted with a stain rather than paint for example, Gaskamer. Tuymans has said that as his practice is a painting of memory, he wants the paintings to look old from the start. While Richters own second order representational strategy5 involves a knowing oscillation between PhotoRealism, abstraction and gesture, Tuymans version is much more multi-layered and elusive.

According to critic and curator Ulrich Loock, Tuymans alibi for painting rests not just on the representation of representation the indexbut also on other less distinct or conceptually beneficial qualities such as clumsiness, lack of commitment, amateurishness and deliberate inconsequentiality. But a false memory is very different from the act of forgetting and then remembering.

What Tuymans does is create paintings that recreate the act of remembering. An important early painting, La Correspondancedepicts remembrance both on a literal and metaphorical level. La Correspondance is a painting of a postcard which is one of numerous examples sent by the Dutch author J. The series of paintings which depict Christs Passion for example ChristPetrus and Paulus and Judas are another reenactment of remembrance, for they are really paintings of the performances of the Passion Plays at Oberammergau in Germany, described in a stylistic language borrowed from a notorious forger.

The performances are themselves an elaborate and ritualized enactment of memory, but they are also tainted by their association with anti-Semitism and the Nazis. Not only did these religious productions continue without interruption during the era of National Socialism ironically not far from Dachau concentration campbut they were also visited by Hitler in and praised for their demonstration of vile Jewry and Roman superiority.

In these paintings, the image itself starts to dissolve and all we are left with is the thin veil. Tuymans has layered these images with so many bluffs and double-bluffs that the true subject of the paintings has become invisible. Loock has pointed out that Tuymans paintings are allegories for a memory that has lost its object forever: Tuymans' gaze is melancholic, contemplating empty rooms and isolated objects; a lack of connection is clearly delineated.

So painting as reproduction fails continually in his work, and this failure, this disguise, allows him to depict the unrepresentable, for example, the Holocaust. We need to view Tuymans entire oeuvre as an act of remembrance, flitting as it does in its subject matter from the significant and collective to the incidental and absurd. Mobile case 7. Mobile decoration 5.

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Appreciate your kind response. Hi There, s nd y a n d frie il! I ho n a wo y holiday a v e h Enjo May your filled with joy, cherishing all the blessings you have. Even the most apparently steadfast structures have collapsed. Values considered inviolable have been eroded. A key word that opens up new per- spectives in the narrow field of specialisation, it crosses disciplines, allowing us to think no longer through the multidisciplinary method, but through necessity.

Crisis: a noun that aptly describes dramatic disarray, without assurances; the more or less permanent state of contemporary imbalance. At the same time, it is an opportunity for renaissance, reinforcement or change. It is not just an unpredictable catastrophe, an economic— financial disaster, an avalanche that crashes over us from afar; from the United States to Europe, from finance to the real economy, from above to below.

The crisis is a process that puts the focus on social, political and cultural practices. Studio Roma investigates collective practices, their capacity to assert and to orientate change, insti- tuting new forms of collective life.

The theme for focuses on cases of change, the conditions that can produce new institutions, between the transformation of rules and creation of a new balance between related forces. A research on forms of life in the crisis, and the crisis of life-forms. Observing virtue in research. This meet- behaviour.

The density and narrow circles of meaning and practice. What kind of knowl- in a time of crisis and formative practices edge can enrich the capacity of shared Perhaps he was fearful lest, if the author the intentions of the author; what is said of the crisis. A debate that involves many and individual experience?

Where can we he was studying should express himself and what wants to be said. How hearer would ask him to expound it or dis- programme of Studio Roma, and with the tal practices, the players of the world of can we put institutional practices and cuss some of the more abstruse questions, specific method they employ, they enrich cultural production and its research rules to the test?

With these questions, so that he could not get over as much its approaches and open spaces. Studio Roma launches a discussion material as he wished, if his time was In the present economic, political These allow multiple positions to imagine with the city to reflect on the shared and occupied with others.

Augustine, Confessions, by Sigmund Freud can resume its origi- Chapter 3. It has The readings in common were ini- tially developed by the LUM — Free Metro- Istituto Svizzero di Roma Catastrophe in always been an instance of the critical and creative elaboration of knowledge; politan University. Studio Roma has decided to include these activities in its literature The Earthquake in Chile by Heinrich von Kleist a tool for the unification of differing expe- riences; a form of connection between otherwise unrelated reactions and reflec- programme, tracing a route through the places of the city that have launched this collective practice in the past.

The Reading tions. We propose an experiment aimed Biblioteca Angelica was the first European The culture of catastrophe. To give priority and lioteca Vallicelliana, a work by Francesco collective body to the concepts and theses Borromini, called for the reading of reli- Catastrophe plays a central role in the breakdown and disruptions which are that come before doctrine, to open the gious texts during meals.

These are places annual theme of Studio Roma Research catastrophe starting the conference with ally engaging us in events while inscribing cover or rediscover together prior to any based on participation, dialogue and a reading of The Earthquake in Chile by them in cultural memory.

Depicting possible reinterpretation the project and discussion. Heinrich von Kleist. On the borderline disaster, literature unleashes an aesthetic between nature and culture, we are seeing creative energy which disrupts all limits.

For di Roma stand the causes of the crisis in progress Teubner, on the other hand, we need to and to outline hypothetical solutions, observe this phenomenon from the correct We live in an age of metascreens. The because networks are for the moment investigating different methods and fields position; we are faced with the emergence screen not the computer and digital net- reachable only through computer screens: of knowledge.

The screen is an object that pro- invisible walls we keep in our pockets. Here communicative behaviours that allude to ble. In other words, the space of global law time reconciles, isolates and protects. It is not in-finite locations of the Internet, the tutional processes. Examining the sur- such. In other the overwhelming new populations of discuss how change cannot be effected new partial rule sets; civil constitutions, words, the screen cannot transmit a com- avatars — through painting, printing from the outside, but only through the beyond the state.

In recent years science to the sociological approach, perceive when it comes to trees, rivers, nature at large. It means attempting, yet again, of the state monopoly over the production systems and subsystems. The research seminar is free, not interactive, open, ready for Something so cutting edge that it has to tion it. This can only happen, however, if it is composed of two working sessions the taking. Faced with this crisis, many generations and also artists and research- authors have reacted by emphasising ers concentrate on a discussion of these the need to return to a sovereignist option, closing off juridical pluralism within the themes.

The results Amalia Ulman but also protects, conceals and borders. In learning to read well, scholarship, Agrigento. It defined time and space, before becomes the desktop on which some of shaded and dense like those generated W. Auden, and after, creating memory and dictating the artworks from those gathered prior to by analogue processes.

Trans- out; it draws us backwards, infinitely. This territory many levels of information, almost like history. The research, however, does not approach the catastrophe as a univocal, linear reflects multiple open questions of Euro- the stratification of contemporary realms phenomenon, and instead hypothesises new directions, free of the constraints of pean culture and, in particular, of Italian of knowledge.

But what does it mean to existing narratives. Thematising the possibility of knowing a territory by sounding its culture: the relationship with memory read a territory? What tools are required? How can we neously one of geography and of knowledge. Is it possible to simplify a interpretation of the territory from that position, intertwining their own knowledge result or, say, the effect of a one and only map?

What might be the results of such an and expertise with that of others. Scientists say that the palm tree line, that is the climate suitable to converged. He also uttered the words snarl, testing the very possibility of a cognitive growth of the palm, is moving north, five hundred metres, I think it was, or knot, or pickle as they said in his experience.

The palm tree line I call it the coffee line, the strong black hometown, or muddle. And the legal terms coffee line Presentation of the workshop Various locations in Rome and Exercises in imaginationWorkshop Sabaudia Crises are not a twenty-first-century reverie opposite the dream. In Bologna, become historical documents.

Day- dreams are both means of subversion and Samuel Beckett on going outside. They decided to write subordination; they remind us of our Imagination Dead Imagine ghost stories and read them aloud to one freedom and confinement under given enacted by Francesca Mazza another. Mary Shelley created Franken- circumstances. Daydreams belong to those stein, or The Modern Prometheus. For learn to use it? And finally, how much psychoanalysis, which arose at exactly the pleasure and knowledge is possible beyond same time as cinema, the dream became academic capitalism and self-reflexive a language requiring decoding, and like every interpretation, it reduced what was interpreted.

The surrealists largely ignored routine? The path to the ciation, film screenings, as well as field dreaming collective was hereby sketched out. In deliberate distinction from Sigmund research and site visits in Rome and Sabaudia. His artistic universe involves a cast made up of friends and relatives. Everyday life as an adventure Touch of joy proposes an encounter with the author and his vast cinematic production.

An introduction with Tonino De Bernardi and Peter Friedl Introducing the study and fieldwork on everyday social interstices, is followed by a series of screenings. Billy Ehn proposes a cultural and empirical analysis of daydreaming With the participation of Fulvio Baglivi, Pia Epremian and both in the private sphere and in collective representations.

Donatello Fumarola. The barracks were founded at the time of the first Italian colonial period in the Horn of Africa, during Fascism, it then Sala Elvetica Adwa. An African Victory became the headquarters of the Republican National Guard, and here97' many partisans prisoners were tortured. Nowadays it is a shelter for refugees, the main characters of Stanze. Twins Gianluca and Massimiliano De Serio Cinema Hans Richter decided to experiment with a technique of rapid and simultaneous Sala Elvetica Dreams That Money Can Buy hypnosis, the first trial of this kind, and they then become both the subject80' and the object of the narration that they develop between each other under hypnosis.

Karen Guided walk starting at Piazza dei Cavalieri di Malta Pinkus analyses through cinema, art, natural sciences and literature the complex relationship between soil and climate change which is under- standable through the temporality of geological transformations. The places and the historical buildings of the town of Sabaudia are toured with Mia Fuller, a cultural anthropologist whose studies on rationalist Cinema Jia Zhangke architecture, cinema, the urban planning of towns with a Fascist establish- Sala Elvetica 24 City ment and the Italian colonies combines archival resources with field' research.

For this occasion to dive into their desires, create a new biography, contemplate the future, or review the the Villa Maraini and its garden will host film screenings till late at night.

Devoting yourself to your fantasies is like shooting a film in your mind. Day- dreams are a part of our creative imagination. The aim of the website daydreamfactory. Canteen istitutosvizzero.

Exercises in Akira Kurosawa, Dreams' imagination, is to collect research material. Everyone is welcome and encouraged to Satoshi Kon, Paprika90' contribute their daydreams. The event is open to the [The Seashell and the Clergyman]32' mances, installations and the release of public, and held in the spaces and garden Pier Paolo Pasolini, Che cosa sono le nuvole? Not only economic, political or social crisis, but one that also has an impact on knowledge and the tools of science and art, and can be approached by questioning the very categories by which we organise our experience, without taking for granted all the things we tend to consider as given.

Facing the crisis by problematising methods, values and criteria of artistic production and scientific research means situating our- selves, in a certain sense, at their border, multiplying it: as an area of research capable of creating tension in the relationship between the subject and the object of study, as a cognitive tool and a space to be crossed. We have chosen the border between Greece and Turkey in the Mediterranean, to observe its capacity to join and divide, to give form to the reality we experience by connecting and separating, splitting and overlap- ping.

What interests us about this place is not so much its ability to construct a clear line between a presumed interior homogeneity and a hypothetical exterior, but its ability to produce indistinct zones, to express contradictory perspectives and ambivalent viewpoints.

With its interferences, disso- The border, then, is a multifaceted and nances, continuities and discontinuities, flexible institution, with its multiple tions, their dissonances and frictions. When we talk about borders, borders in subjectivisation is one way exposing differences and overlaps between institutions we are talking about their capacity to direct to produce knowledge. How does in a continuous series of places, functions and geo- flows, managing them in time and space.

When art develops the criteria and standards Borders — the material ones that cross the an epistemological question concerning metropolis, the immaterial ones that mark the production of knowledge and the for production, the result is sufficiently articulate bodies — are the driving force of the recon- boundaries that have been produced to resist academisation; instead becoming a new form figuration and multiplication of labour.

Beyond academic carica- tures, it is this path we want to follow, proposing a programme of activities by which to test the values and the balance of forces which are necessary to discuss.

This third part marks the experimental moment of the work- Brett Neilson and Giorgio Grappi, phasis on ethnography, ethnomethodology, shop, as participants are invited to engage followed by the book launch of Border as Method and experimentation. The workshop is in and to reflect upon interdisciplinary organised into three parts.

Through the presentation of research and stigmatisation, mobility, places of duction to field research in multi-sited projects in progress, the first initiative of identity and representation. The annual Studio Roma investigates and Studio Roma programme explores the sheds light on a series of key words such method of ranking and selection, connec- as logistics, space and cartography, in tion and contiguity with an open studio: order to disrupt the established lexicon of a fertile, free space for students, artists research.

The latest projects by Sandro and scholars, replacing the formality of the Mezzadra and Brett Neilson are investi- conference with the complicity of conver- gating the transformation of institutional sation.

How does the of exclusion and belonging, contiguity border work? Historians, cultural institutions are invited to contribute. Istituto Svizzero di Roma and and Lidia Curti various locations in Rome Histories hidden in 16 Feb Album) Elvetica Maria Thereza Alves Botanical evidences of movement, plain sight Workshop migration and commerce Introduction to the workshop Critical thought has learnt from art, in critical and artistic work.

The under- literature and cinema the importance of employing a close-up view as well as a look standing of such spaces, let us call them heterotopic, for they already exist even Screening Maria Thereza Alves from afar. This is where the routes of if they are not yet registered nor recog- Iracema de Questembert History and histories intersect inexorably. Digging into this construction, transform- Screening Isaac Julien immaterial confines that signal transit ing it into a building site, means to Western Union: Small Boats between different territories of under- re-open the languages that have tended to18' standing and belonging.

Borders, however obfuscate an altogether more messy and flexible and shifting they turn out to be inconclusive rendering of the present. Borders seek to contain and separate, to define and direct, from various European cities, look closely at flora in Rome.

At the same time, as we know so well, for plants that arrived via people and animals. The nineteenth-century botanist Reading Igiaba Scego they are constantly being traversed and Eliabetta Fiorini Mazzanti listed Sala Elvetica Identity in-between betrayed by the continual passage of species.

How did these plants arrive in bodies, histories, cultures, languages and knowledge that refuse to remain fixed Rome? What are the non-indigenous plants? What non-indigenous plants have Presentation Bring a plant, and respect their rules and requirements. This refusal opens up a paradoxical ten- as native? Where do the ingredients Sala Elvetica sion within modernity. On one hand there of Roman dishes come from originally?

Always intent on the new, narrations and from other potential Sally Schonfeldt, Karamba Suawareh, Ebrihima Traore, Hannah modernity necessarily refuses stasis. Experiments are made only through practice. It is dedicated reconstruction and restaging of the works to artistic work that exists in relation to of Schlemmer. In the arts, Western culture. McLuhan also predicted that we are approaching the end of the from transmission to humanities and sciences the printed book has been the authoritative medium of Gutenberg Galaxy.

Since the advent of the World Wide Web in the s, prophecies performance Workshop scholarly communication for more than years. Books are manageable individ- ual objects with a long lifespan and books concerning the death of the book have been repeated again and again. There is no doubt that we are witnessing a retreat of are containers for preserving what we paper, as digital publications are on the The works of set design produced at paradigms that form an inherent part think is part of the intelligibility of the rise.

This development is strengthened by Bauhaus have contributed to the forma- of artistic modernity. They deserve to world. The book has been as important for political initiatives such as Open Access tion of plastic, visual and choreographic be explored and carefully studied.

This shift is profoundly chang- ing the ontology of contents. Whereas of the Gutenbergian book, but gives way to integrate different cultures, practices and values ranging from the arts to 21 Mar Lecture Villa Maraini Dagmar Varady Crafting digital art: the content of a printed book is exclusively directed towards human readers, assum- the sciences? Or should we regard it as a vaccine against the arbitrariness of the practices and problems ing that this content is intelligible to web?

Hence, the content culture and the relationship between Villa Maraini Visual design in the office: is transformed into data, which is analysed according to given algorithms. These artistic and scholarly work. We tackle the history and ontol- ogy of the book, reflect about their function Lecture Michael Hagner posed by the German philosopher Hans in the scholarly and artistic worlds, and Villa Maraini Books unbound: Blumenberg, they also bring us to reflect upon the role of the printed book in a include publishers, book makers and artists who present their views both from concluding remarks digital environment.

Does it have a future, both practical and theoretical perspectives. Are we already witnessing changes as a kind of boundary work, by which we in the culture of books that might lead in new directions? Could the book of the offer a view on the book in a state of conflict between paper and digital, quanti- 25— Album) in situ future serve as a kind of boundary object, which has lost the exclusive dominance fication and narration, commons and commodities.

It crosses Bulgaria and after a journey for almost a hundred years. It is a means of dividing territory and dividing itself, of kilometres it reaches its mouth at its history and its stories have been trans- Lecture Roger Eberhard the Aegean sea, close to the city of Enez which is currently Turkish territory. When does between Turkey on the east bank and the history of a border river stop being the 20 Mar Lecture Biblioteca Christoph Schifferli The dematerialisation Greece on the west bank.

But every river is a repository of an infinite weave ing, taking a horizontal direction? Those who live near a river see it back into the headlines when thousands of Lecture Stefan Scheidegger as a mentor, an encyclopedia, a compass. Rivers have such a dominant place women and men, journeying or fleeing from Asia and Africa began to cross the Biblioteca Writing in the age of machine in literature and in the imaginary realm river, to leave their places of origin and Casanatense translation across all latitudes that it is impossible to cite examples without getting mired in enter Europe.

To use the borderline? A place currents of two seas. A meeting between workers, artists, researchers and activists from the taking of a position, the definition of a twice, under his breath — that cry that different countries to imagine a new geography of knowledge and practices. These expe- who knows what image, what vision — and to promote a solidarity economy based on social struggles. An ex- riences of indefinable value burst into accompanies us along all rivers where the periment to foster cooperation between both formal and informal institu- fiction, which has been long awaited by the delusions of the omnipotent grandeur of tions which are able to move beyond preexisting divisions, first of all the hyperbaric chamber of objectified knowl- the so-called Western man who never national one, transforming the border into a welcoming site of connection.

In situ, rhetoric and proof are in- ceases to impose and defend his so-called The artist Benjamin Valenza enacts a performance originating from exorably linked. The horror! During the meeting a common flag was created by all the participants on white silk. The artist Hannah character. While any discourse on the value of intellectual work seems to be transformed today into a discussion about its thematic context, is it possible to make communicative, moral, ethical and social values the field of study and the elements that define or add value to a work of art?

Can the category of surplus value be useful to problematise the process of assess- ment and assert values alternative to the classic values of economics, instead proposing those of equivalence rather than the exploitation of scientific research for commercial purposes? Like a swing between questions and answers that recedes and advances, descends and rises, the different activities of the Studio Roma programme investigate processes of evaluation, the notion of value and that of surplus value.

It provides a forms of institutional action. So we see a interpretation of the capital cycle and its Smith and Ricardo, whom Marx studied moment in which to rethink institutional dense construction of societal spheres crises, internal imbalances through to from a class perspective. If the city is the place that ground of cultural and political action. How does can provide diverse forms of education; Studio Roma wants to cross the city in in wage—goods and labour controlled this crisis of measurement that is surplus experiencing the relationships among the order to rethink institutions by investigat- by capital.

To appreciate its historical— value present itself today? Part 1: History of surplus value in the political economy they are capable of supporting forms of Part 2: The creation of surplus within globalisation and economic financialisation knowledge as collective experience, moving beyond the unhealthy isolation of specialisation.

The book uses a direct lan- guage, typical of spoken conversation, organised around a work table with a circular, informal debate. The Swiss economist delves into the category of surplus value, leading non-specialised readers on an exploration of the history of this category through the theories of the great authors of political economics. Marazzi explains the frictions intrinsic to the theory of value in terms of the government of the contradictions of capitalism, which, from imperialism to financialisation, by way of the welfare state, has continuously captured that social production of value that should be recognised and remunerated at a global level today.

The Port of Genoa is a border with transnational customs, and thus provides the infrastructure within from Asia, the Middle East, the US and which to investigate the current produc- The complex network of logistics, the the metropolis pose challenges to our South America. Recently a faster gateway tion of surplus value. To find it again, we have border procedures and to reduce conges- forwarders, truck and ship loaders, long- conflicting elements capable of disturbing to go back to the roots of the creation tion at ports of entry.

In the context of the digital era the way to the point at which contradictions location of the densest Artifice - S O H N* - Tremors (Vinyl of the organisation of labour and the history dimension of globalisation and that of and conflicts manifest themselves.

This site visit, of the sea. On a daily basis a skilled, organised with Sergio Bologna, focuses flexible and efficient workforce loads and on and investigates traces of the changes 16 Feb — Studio Roma Atelier From the revolution of shipping containers to the digitalisation of labour, from the reduction of transport costs to the transformation of cities into operative unloads full-container ships, ro-ro vessels and cruise boats ready to raise the anchor. The Port of Genoa is also touched by of trade and professions impacted by the continuous evolution of technology, construction of giant ships and financial areas of the supply chain, this one day workshop with the high volatility of prices in the global adventurers.

At the same time, Evaluation in art, research, and artistic workshop participants to reflect upon the the book closely examines logistics, a science capable of altering our way of thinking, research is the key topic of this workshop. The quantity of It is based on empirical and critical situation, work, and evaluation — be it from paradoxes is visible, breaking down fixed oppositions without replacing them with approaches to current evaluation regimes a productive, analytic or critical perspec- intermediate positions, instead proposing conflicting models that put new processes and particular situations of evaluation.

In doing so, the conference title asks how Starting with this, we screen La Luce Romana Vista da Ferraniacolor [Roman Light As to avoid its ironic reproduction, whilst offering the promise of momentary Seen Through Positive Film], an experimental colour film shot on the rooftop of Villa solace in Rome.

The films of this geographically into the city, it provides a place well-suited so that we might make evident the excesses, and disproportion, extractive practices and historically diverse programme, to creation and valorisation between the singularities and ambivalences of the and tensions within the processes of that comprises documentary, fiction formal economy and the informal markets.

The notion of and experimental formats, focus on this During this workshop the ambiguity In the landed gentry forced the surplus value has famously been used by negative surplus. Starting with scenes of aesthetic, moral, ethical and social entry of their immense estates into the Marx to describe the difference between of manual work in the twenty-first values is investigated in the city of Rome, boundaries of municipal territory, shifting the value created by the worker and his century, the programme goes back to a territory capable of spontaneous self- Rome — which had become the capital — labour-cost, appropriated by the capitalist images of slavery, the Great Depression organisation on both an environmental from a state of agricultural feudalism to as income.

By striving to gain more profit of the s and colonialism in Africa, and social level. We will research to explore metropolitan feudalism. This infinite out of this relationship of expropriation, ending with the production of violence in the field of surplus and disproportion resource of land for construction made the capitalist economy has constantly incurred contemporary China.

Thus the modern city has fallen into ruin bit by bit: first its famous Ager Romanus, of the city seem to both lie in ruins. A ruination that clearly social forms often neglected in a short- An itinerary running from the last metro stop to the flint quarry aban- has its own economics, its own perverse, sighted way, or even openly obstructed by doned in the mids between Via Laurentina and the GRA the orbital corrupt, even mafia-type logic that some- the administration of Rome.

The site presents a how produces surplus value. This walk where entire city pieces become ruins capable of envisioning original urban leads to where Stalker, inactivated a collective action as a tribute to even before they have been finished and arrangements, beyond the many failures Robert Smithson, who in this same place in made Asphalt Rundown inhabited: from the Colosseum to the of the contemporary city and its ruinous by pouring asphalt over a ledge in the quarry.

Santiago Calatrava, the past and future 11 Feb 2 Archive in use Studio Roma The games of the Campo Boario — Rome stripped bare Atelier Stalker archive: Campo Boario, the zone of the former Testaccio slaughterhouse in Rome, is an area that has been abandoned since In May Stalker, invited Re act testimonies and places of experience by the Biennale dei Giovani Artisti, proposed the foundation of a centre within the multicultural context of Campo Boario to house a community The Stalker archive of collective experience, has come together over the last twenty of Kurdish refugees from Turkey.

It consists of the testimony of those who participated in various activities — events and walks — and it intersects with new actions yet to be carried out. The archive provides a trail for the exploration of the metropolitan territories of Rome.

We will try to know, share and renew the tools of research and action, to incite and promote radical practices of urban and social transformation. The walk stops at the Kurdish cultural centre Ararat, the Monte dei Cocci and then The Territori attuali [Actual territories] represent a negative of the con- the new market, following onto the Tiber, the places of Vivi le rive, one structed city composed of interstitial and marginal areas, abandoned of the first actions of Stalker in andit finishes with a glimpse spaces or spaces in a state of transformation.

Places of repressed between the fencing of the former Mercati Generali. Knowledge of them can only be gained through direct experience: they can be witnessed but not represented. A concept that investigates how to approach a reality that is somehow emerging, not yet known, which we do not know how to map. Maria Thereza Alves Mike Calvert Visual artist whose work questions the Visual artist, filmmaker and designer, social circumstances we take for granted based in Los Angeles.

He has shown and looks at how we identify ourselves his work in several exhibitions in the US and the things around us. In practice through different approaches he created a brand of handmade knitwear to the psychologist—patient relationship. Genuine unfeigned look of disgust on the part of Dom. I'd actually managed to lower myself in his eyes. Couldn't believe that someone would not only like it, but would publicly admit to liking it. The record? China Crisis. So if we now were playing this game, I concede that Carl has Artifice - S O H N* - Tremors (Vinyl a triumphant if possibly Pyrrhic victory with Meat Loaf.

I'm not disgusted exactly, but certainly incredulous that anyone could be emotionally moved by anything that passed through the vocal cords of Mr Loaf and the imagination of Jim Steinman. The fact that the British working class loved Bat Out of Hell is by the by, really it sold something like 4 million in the U.

Anyway, enough of shite, let's get back to the gold: my last volley of solos. Gene Clark's "Lady of the North" is amazingly not on Youtube, but you can hear it here The solo is in the last 45 seconds and now I'm listening it sounds like it might be a Moog or some other keyb so presumably the work of Craig Doerge but it has the keening feeling of a guitar solo.

But it also has a very nice lead bit that comes in first at 1. Sly and the Family Stone, "Don't Call me Nigger, Whitey" - not on youtube, but again, here in full Now this a talk-box solo isn't it--not to be confused with vocoder, very basic error made by many, including me.

Talk-box is like this tube thingy that connects the guitar and the guitarist's voice said tube gets full of spittle and quite smelly I seem to recall someone telling me and this enables the performer to sing the guitar, or "guitar" the voice, or something. I love the non-fluency, the stuck on one or two notes of this solo, like Young is trying to untie this unyielding knot of anguish Ted Nugent's "Stranglehold" appeared in Riffs but as i noted then, what really sends me is the solo--not the first typical Ted noisy-nonsense solo but what starts to unfurl from about 2 mins onwards, which is almost psychedelic and has been burned into my cranial membranes since a rather delicious evening with the Dazed and Confused soundtrack CD and the sacred herb.

Nugent was in Amboy Dukes who were on Nuggets right? Reminding me that there's loadsa grrrrreat guitarrrrr solos in garage punk but i cannot recall anything specific apart from The Litter's " Action Woman " and Positively 13 O'Clock's version of "Psychotic Reaction" Jane's Addiction: one hesitates to commend anything touched by the paws of Navarro but the praise must flow for "Stop" and "Been Caught Stealin'" Now this next song has a kind of "unconsummated solo" feel about it all the way through until it finally breaks loose to Do a Mascis at 3.

The guitar bit is uncommonly lyrical--passim but I'm talking specifically about from about 2. A retro-fake that surpasses the real thing in this case I'm assuming it's trying to be West Coast, late Sixties Wasn't the bee girl's life ruined or something? The solo comes in at around 1. Two things about this: Joy Div were a rock band, as rocking a rock band as you can get. So here, logically, is a Proper Guitar Solo. Now there are defter and dextrous-er pieces of lead guitar playing The nobility of ordinary pain and woe.

Or something like that. At any rate, good work Mr Sumner. Prime pleasure in that category is Rapeman's cover of ZZ Top's Just Got Paid — superb riff and then a big space is set aside for the cock solo and Albini does his thang — superb.

Then there would be the guitarist from Slab! Charlie Christian who played with Benny Goodman is often said to be the first guitar soloist, but however huge his influence, listening to him now it feels like he was interested in the guitar as extra instrument in the jazz group, rather than the guitar as lead instrument in itself.

Whereas someone like Charley Patton was more interested in the guitar being the standout sound no mean feat when you're playing with Howlin Wolf. Fast fwd to the late 60s and, as you say, jazz and Indian classical music are the influences on players like McGuinn, Garcia, Cipollina, Butterfield also worthy of note that Miles Davis's guitarist around Bitches BRew era was a white guy from Yorkshire! All those young kids listening to Zep in the 70s then grow up and form bands like Slayer, where all of these styles are given some good old-fashioned hardcore punk treatment Sunday, March 13, No doubt it also applied to jazz bands competing to become the house band at a nightclub, virtuoso musicians being an obvious drawcard to get paying customers through the door.

Another, more practical, reason for jazz solos would have been to enable other members of the band to have a break. As for the emergence of guitar solos in particular, there have probably been two major factors: the advent of guitar pick-ups and the mass production of guitars. The first enabled a guitarist to plug into an amplifier and compete with the brass section, which in turn enabled them to become more than just a part of the rhythm section. The second created a generation of bedroom musicians who could hear something on the radio and then try to recreate it at home.

Good points, Andrew. The first solo starts at about 3m 07" while the track chugs along like a Velvet Underground outtake. I admit the track is a bit boring for the first couple of minutes but then a groove just builds and builds. Not really a solo in the Nigel Tufnell sense - just beautiful noise!

First thing to say is that this is one of the all time great riffs in rock or jazz, a monolithic centre around which each player can improvise. And they improvise beautifully. It's Pharoah Sanders who shreds it on sax for the first section, playing some of his wildest lines since the early 70s.

Sharrock holds back until the final few minutes before unleashing a torrent of ecstatic slide work and furious tremolo picking.

All the while that riff burns beautifully in the background. The riff is so great there's absolutely no need to add anything fancy. That one repeated note, played with urgency, cuts right through. Pete Cosey deserves some love for his insane work with Miles Davis. I Can't Explain. I never could figure out how to play that one on guitar. Don't you just love this video?! You gotta love 'em. Wouldn't wanna be them, but glad they existed. The first two albums are chock full of solos that are everything a solo 'should be' melodic, virtuosic, elevates the song to climax.

Interesting also that the solo is the one element of the band that the American Emo movement didn't pick up. Just a short, perfect blast of maximum radio rock. Sly Roodminsen : u think of u aint seen nuthin yet as a groove song maybe but the lead breaks in this are pure AM rocknroll honey raining down.

Friday, March 11, But before the blow-out finale, perhaps it's time for some more general comments. I must admit I don't really know much about the history of the guitar solo, about how it came to be such a thing Until this past week-and-a-bit I've never expended an ounce of thought on the subject Your rock writers, generally speaking, don't talk about things like solos. Or indeed about any exhibitions of musicality for its own sake. That kind of thing is the preserve of the musicians magazines, the guitar monthlies Maybe it gets talked about in the metal mags?

It's as rare as a film critic pinpointing the nature of a cinematographer's achievement. Perhaps this is down to the long lingering influence of punk's anti-"technoflash" stance that's what they dissed it as, in - technoflash! It was probably quite different during the pre-punk music press days, the days of Beck Rules and Clapton-Is-God. I haven't read hardly any pre issues, but I'm imagining that you would have gotten some seriously slavish and drooling instrumentalist-worship and solo-attention from Melody Maker especially, and also ZigZag what with their West Coast fixation - and we've not really had any nominations for Quicksilver, Country Joe and the Fish, Airplane Hot Tuna or even - I don't think - Grateful Dead, amazingly.

But yeah punk must have wiped all that out and it never came back, really, give or take a Built To Spill. But anyway this is a preamble, I'm working up to wondering about the Guitar Solo, and I've not done any investigating, this is just scraps I'm pulling together from the alcoves of memory, plus some assumptions-- but, where did it come from exactly? Presumably the idea of soloing, as a long, extended exercise in expression - as a soliloquy in fact -- presumably that drifted over from jazz?

Chuck Berry and the other early rock'n'rollers didn't really do solos as such did they? They did short and to the point lead breaks. Same with the early Beatles. It's all concise and pithy, and while full of skill and flair, it's not exhibitionist, indulgent, or spectacular. And you're very quickly back to the Song. And then the blues The milestone in this evolution would be "East-West", the title track of Paul Butterfield Blues Band's album, which is over 13 minutes long and has Miles-influenced modal jazz flavours in it

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  1. Aug 16,  · Discover releases, reviews, credits, songs, and more about S O H N* - Tremors at Discogs. Shop Vinyl and CDs and complete your S O H N* collection/5().

  2. Tremors. S O H N Format: Audio CD. out of 5 stars. ratings. Price: $ Get Fast, Free Shipping with Amazon Prime & FREE Returns. Return this item for free. Free returns are available for the shipping address you chose. You can return the item for any reason in new and unused condition: no shipping charges/5().

  3. Signed to 4AD in April , SOHN is an English musician, songwriter and producer based in Vienna, Austria. Tremors is SOHN's debut album. Informed by a rich legacy of electronic music, SOHN creates a sound that blends his haunting vocals with a backdrop of analogue drum machines and synths, which makes nods to the past, but always forges forward into the new/5().

  4. Tremors Design, Layout?. Alison Fielding, S O H N. Mastered By?. Dick Beetham. Lacquer Cut By?.5/5(1).

  5. Mar 18,  · Watch the video for Artifice from SOHN's Tremors for free, and see the artwork, lyrics and similar artists. Play album Tremors. SOHN. , listeners. 6 more albums featuring this track Play album 3FM - 36 Serious Tracks. Various Artists. listeners. 5 more albums featuring this track.

  6. Listen to and download S O H N - Artifice. Sounds like: FYFE, Sir Sly, James Blake | What's so good? Listen to a curated playlist crafted from this song.

  7. Check out S O H N on Amazon Music. Stream ad-free or purchase CD's and MP3s now on Amazon.

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