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design by: Ulaş Uğur
Friday, November 1, 2019
GUGUOU@Arkaoda_Kadıkoy_ 21.10.2019
Guguou
İstanbullu sanat ve performans kolektifi ha za vu zu ekibinden doğan yeni oluşum Guguou arkaoda sahnesinde. Ha za vu zu’nun müziği bir çok elementle birlikte kullanan durumsal estetik ve performatif yaklaşımlarına kıyasla müziği daha fazla ön planda tutan bir proje olan Guguou’nun temelleri 2017 yılında sanatçı Güneş Terkol’un Sao Paulo Biennale’ine gitmesi ve orada ha za vu zu ekibinden Güçlü Öztekin ve Oğuz Erdin ile bir performans vermesiyle atıldı. Grup, deneysel pop müziği olarak adlandırılabilecek tarzlarıyla bu yıl içerisinde Pas Matri isimli albümlerini yayınladı.
Guguou;
Güneş Terkol, Güçlü Öztekin, Oğuz Erdin, Bora Çeliker
---
The Istanbul-based collective, ha za vu zu, crafted their artistic mode of expression through situational aesthetics and performative gesture, often incorporating music among many elements. The collective has since spawned another grouping, guguou, where music plays the lead role. gugugou draws on the forms, techniques and the strategies of experimental pop music. They utilize electronic tools to manipulate sound and vocals, experimenting with, or stretching popular forms, as well as processed sounds, low technology, electro acoustics, repetition and highly rhythmic music, accompanied by short and simple idiosyncratic vocalism. The bands first record “Pas Matri” was released this year.
Guguou;
Güneş Terkol, Güçlü Öztekin, Oğuz Erdin, Bora Çeliker
İstanbullu sanat ve performans kolektifi ha za vu zu ekibinden doğan yeni oluşum Guguou arkaoda sahnesinde. Ha za vu zu’nun müziği bir çok elementle birlikte kullanan durumsal estetik ve performatif yaklaşımlarına kıyasla müziği daha fazla ön planda tutan bir proje olan Guguou’nun temelleri 2017 yılında sanatçı Güneş Terkol’un Sao Paulo Biennale’ine gitmesi ve orada ha za vu zu ekibinden Güçlü Öztekin ve Oğuz Erdin ile bir performans vermesiyle atıldı. Grup, deneysel pop müziği olarak adlandırılabilecek tarzlarıyla bu yıl içerisinde Pas Matri isimli albümlerini yayınladı.
Guguou;
Güneş Terkol, Güçlü Öztekin, Oğuz Erdin, Bora Çeliker
---
The Istanbul-based collective, ha za vu zu, crafted their artistic mode of expression through situational aesthetics and performative gesture, often incorporating music among many elements. The collective has since spawned another grouping, guguou, where music plays the lead role. gugugou draws on the forms, techniques and the strategies of experimental pop music. They utilize electronic tools to manipulate sound and vocals, experimenting with, or stretching popular forms, as well as processed sounds, low technology, electro acoustics, repetition and highly rhythmic music, accompanied by short and simple idiosyncratic vocalism. The bands first record “Pas Matri” was released this year.
Guguou;
Güneş Terkol, Güçlü Öztekin, Oğuz Erdin, Bora Çeliker
GUGUOU@ MONOTONE Music Dialogue_Kino ARMATA 26-28 September 2019
Kino ARMATA
MONOTONE Music Dialogue
Kino ARMATA
26-28 September 2019
MONOTONE is a three-day experimental music-related event held at Kino ARMATA (Prishtina, Kosovo) between 26-28 September, attempting to open the dialogue between local and international music artists, professionals, critics and researchers. Through concerts, lectures, presentations, jam and DJ sessions, films and other communication channels, MONOTONE gradually becomes an impromptu platform for experimentation and cultural reckoning.
PROGRAM
Thursday, 26 September
19:00h
Nenad Vujić (RS)
20:30h
Guguou (TR)
22:00h
Nike Eyes (RS)
Friday, 27 September
19:00h
Fré de Vos (BE)
20:30h
Sholto Dobie (UK)
22:00h
Tetris (KS)
Saturday, 28 September
19:00h
FILM: File Under Sacred Music (2003), 22 min.
Iain Forsyth and Jane Pollard (UK)
19:30h
FILM: The Third Part of the Third Measure (2017), 44 min.
The Otolith Group (UK)
20:30h
Millions of Dead Tourists (GR)
22:00h
Derberggroovt Improvisationskollektiv (DE)
MONOTONE is supported by Prishtina Municipality, Swiss Agency for Development and Cooperation (SDC) and Culture for Change program funded by the European Union.
-----------------------------
Sholto Dobie (UK)
Sholto Dobie is an artist and performer born in Edinburgh and living in London. His solo output is marked by live performances that are characteristically delicate, evocative and absurd. He uses his own instruments, crudely assembled from materials such as reeds, whistles, bin bags, fans and air compressors, alongside loose performative structures, to respond to places and situations.
He has performed internationally, including solo performances at Berwick Film and Media Arts Festival, Cafe OTO, Counterflows Festival, Glasgow International and was artist in residence at Syros Sounding Paths, Scottish Sculpture Workshop, C.N.E.A.I, Paris and CCA, Glasgow. He recently released ‘The Blue Horse’, a collaboration with Mark Harwood on Penultimate Press. He plays in the group Al Fresco with Lia Mazzari & Tom White and often collaborates with Ben Pritchard and Ashley Paul. He also runs Muckle Mouth, a concert series which he founded in 2014.
https://soundcloud.com/sholtodobie
-----------------------------
Nenad Vujić (RS)
Nenad Vujić is a cassette culture enthusiast from Belgrade, Serbia, and the founder of ”A Hogon’s Industrial Guide”, archival-research platform that re-evaluates marginal trends in Yugoslav popular culture. Nenad is also the editor of the still untitled retrospective LP compilation dedicated to Hungarian 1980s cassette experimentialism, of ”Hometaping in Self-Management” retrospective LP compilation dedicated to Yugoslav 1980s cassette experimentalism, as well as of “Sound Logography” music programme at the Centre for Cultural Decontamination in Belgrade since 2014.
"A Hogon’s Industrial Guide" is an archival-research platform set up by Nenad Vujić in late 2007, with the aim of reconstructing the network of Yugoslav 1980s cassette experimentalists. Cassette experimentalism is a catch-all term used to designate the plethora of marginal do-it-yourself experimental music – including industrial, noise, minimal electronic, ambient and improvised music, among other – that appeared in the body of 1980s cassette culture.
"A Hogon’s Industrial Guide" strives to provide a map for art historians, pop culture archaeologists and musicologists that lays out the main features and the topology of the cassette experimentalist field in 1980s Yugoslavia. Since a number of these pop culture productions developed and circulated within remarkably low key or near-to-invisible environments such as the international cassette underground, mail art network or various micro-local scenes, most of this music suffers from an inherent lack of visibility. This trait, coupled with the disappearance of the parallel audiences these productions were originally indented for, deaths of some of the vital protagonists as well as the displacement and deterioration of the physical cassette materials (during the war in Yugoslavia), present a danger of an irreversible loss of potential knowledge. For this reason, "A Hogon’s Industrial Guide"‘s main preoccupation is to collect the tape materials, get all the necessary information on the musicians’ activities, provide context about the music production and establish an archive of music and relevant visual material pertaining to this phenomena.
-----------------------------
Fré de Vos (BE)
Fré was born in The Year of the Tiger in Ghent (Kingdom of Belgium, a sovereign state in Western Europe bordered by the Netherlands, Germany, Luxembourg, France and the North Sea).
According to Fact Magazine (the world's most on-it music blog and magazine), he's "a Belgian sound archivist with an extensive, legendary library of rare and unreleased music from the late-70s to mid-90s".
According to Metropolis M (independent two-monthly magazine on contemporary art), he's "a cult record monger who offers a stage to the local and international sound underground through his Morbus Gravis – Music Space emporium”.
According to Frans Masereel Centrum (a place where national and international artists, researchers and graphic designers reside, meet and experiment), he's “a gabber expert, Ennio Morricone zealot, flashy turqoise Puma tracksuit wearer and headstrong purveyor to Antwerp's avant-garde elite and under-the-radar-ists”.
He occasionally publishes music on Forced Nostalgia (No bending to public taste; No concession to entertainment; No cultivation of contacts).
He occasionally co-releases with fellow Belgians STROOM 〰.
He occasionally vinyl-DJs oldskool techno-acid or obscure funky Italian library music.
He occasionally curates events large and small (e.g. https://fransmasereelcentrum.be/en/projects/there-is-a-storm-copy-that).
Oddly enough his real obsession is not music any longer but the Republic of the Union of Myanmar and also known as Burma.
-----------------------------
guguou (TR)
The Istanbul-based collective, ha za vu zu, crafted their artistic mode of expression through situational aesthetics and performative gesture, often incorporating music among many elements. The collective has since spawned another grouping, guguou, where music plays the lead role.
guguou was founded after Güneş Terkol was invited to Sao Paulo biennale in 2017. They were already performing with Güçlü Öztekin and for the performance in Sao Paulo, Oğuz Erdin joined on acoustic/electronic drums and sound processing, who have been collaborating for the last four years at their home studio.
gugugou draws on the forms, techniques and the strategies of experimental pop music. Experimenting with, or stretching the popular forms, as well as processed sounds, low technology, electro acoustics, repetition, highly rhythmic music accompanied by short and simple idiosyncratic vocalism. They utilize electronic tools to manipulate sound and vocals. And while the lyrics derive from everyday encounters, meticulously rehearsed music performances are born from collective improvisations.
As a result of expressing themselves across an array of different media, Pas Matri came out from the interdisciplinary nature of their practice. They decided to record this album in late 2018 and used various materials from old recordings as well.
Pas Matri was recorded between 2017 and 2019, mixed by Oğuz Erdin and mastered by Barkın Engin. Musicians such as Bora Çeliker (guitar), Emre Akçura (Saxophone) and Bulut Çavaş (Santoor) were featuring with guguou on some tracks.
Label: https://shalgamrecords.com/guguou/
Guguou - "Martı": https://www.youtube.com/watch?v=wmH3wxe3-Gk
Guguou at Dirimart Dolapdere (Live): https://www.youtube.com/watch?v=Uerm06AZ_PU&t=1241s
-----------------------------
The Third Part of the Third Measure (2017) / The Otolith Group (UK)
From the late 1960s until his death in 1990 at the age of 50, Julius Eastman, the queer African-American avant-garde composer, pianist, vocalist and conductor wrote and performed compositions whose ecstatic militant minimalism initiated a black radical aesthetic that revolutionized the East Coast new music scene of the 1970s and 1980s. No recordings of Eastman’s compositions were released during his lifetime. In January 1980, Julius Eastman was invited by the Music Department at Northwestern University, Evanston, Illinois, to present his compositions Crazy Nigger (1978) Evil Nigger (1979) and Gay Guerrilla (1979) at the Pick-Staiger Concert Hall. A number of African-American students and one faculty member at Northwestern University objected to the titles of Eastman’s compositions. The titles of Eastman’s compositions were redacted from the concert programme printed by the Music Department. Before the concert, on 16 January 1980, Eastman delivered a public statement that responded to these objections. The speeches delivered by Dante Micheaux and Elaine Mitchener in The Third Part is the Third Measure (2017) are based on each performer’s modified verbatim transcriptions of Eastman’s Northwestern University statement.
Founded by Kodwo Eshun and Anjali Sagar, The Otolith Group create films, installations, audio works and performances. Their film and video works incorporate post lens-based essayistic aesthetics that explore the temporal anomalies, anthropic inversions and synthetic alienation of the posthuman, the inhuman, the non-human and the anti-human.
The Otolith Group have exhibited, installed and screened their works nationally and internationally. They have been commissioned to develop and exhibit their art works, research, installations and publications by a wide range of museums, public and private galleries, biennials, foundations and other bodies. Among the programmes and exhibitions they have curated and co-curated are The Militant Image (ongoing); Co-op Dialogues: 1966–2016 (with Jean Matthee), Tate Britain, London (2016); African Futures, Goethe-Institut, Johannesburg (2015); Cinema of Songs and People: The Films of Anand Parwardhan, Tate Modern, London (2013); Peter Watkins: The Journey, Tate Modern, London (2013); Mark Fisher and Justin Barton: On Vanishing Land, The Showroom, London (2013); Harun Farocki. 22 Films: 1968–2009, Tate Modern, London (2009); Protest (conceived as part of Essentials: The Secret Masterpieces of Cinema, commissioned by the Independent Cinema Office), London (2008) and The Ghosts of Songs: A Retrospective of The Black Audio Film Collective 1982–1998, Foundation for Art and Creative Technology (FACT), Liverpool and Arnolfini, Bristol, UK (2007). In 2010, The Otolith Group were nominated for the Turner Prize.
Kodwo Eshun and Anjali Sagar were born in London, Eshun in 1967 and Sagar in 1968. In 2002, Eshun and Sagar established The Otolith Group in London, where they both live and work.
http://otolithgroup.org
-----------------------------
Tetris (KS)
TETRIS is a Prishtina-based group of art outfitters, creating soundscapes based on hypnotic phrases from a myriad of synths and deep bass. Their ever-changing line-up is prone to heavy analogue manipulation of screeching guitars, classical piano and monotonous beats, adding color to their unpredictable yet (often) explosive performances.
soundcloud.com/zjtlnj3nhxe9
-----------------------------
Nike Eyes (RS)
Nike Eyes were formed by the swamps of suburban Belgrade and long nights of Siberian Taiga. The music they create is focused around concepts and performances which make it almost impossible to put them in a specific genre. Pagan pop duo. Lo-fi Dionysian tragedy. Dada industrial synth punk power couple. Broken music.
Nike Eyes have taken the lead in Belgrade's contemporary lo-fi synth sound. Some people like it, some don’t, but the reason why they all come back is the “WTF effect”. They construct their performance through Jungian shadow often staying hermetically non-communicative even when the atmosphere in the audience warms up to dancing and screaming.
They have performed on the streets, in a classroom at ungodly hours, at a wedding, lawyers’ conference and nightmarish parties and festivals. It is the uncanny valley between ingenious and trivial, raw and designer, which is the magic element and main quality of the band.
YouTube: https://www.youtube.com/channel/UCKpibGHnUmM4en995GcXU-Q
FB: https://www.facebook.com/nikeeyes1011/
NIKE EYES - ᖈᛑ₼₢ ⱺⱷ ₰⍲ᛥ: https://www.youtube.com/watch?v=wN79oIuW7bg&t=3s
NIKE EYES - Plakyyyyy: https://www.youtube.com/watch?v=-EQPLzy2fyc&t=
NIKE EYES - Спирална Галаксија: https://www.youtube.com/watch?v=ouFu4NkCQwI
NIKE EYES - ⱷƛ ʞƛᖋ₯Ƀ: https://www.youtube.com/watch?v=23biJ1YpW4A
-----------------------------
Millions of Dead Tourists (GR)
Greek synth'n'bass outfitters Millions of Dead Tourists will join us for a performance at MONOTONE Music Dialogue 2019, to be held at Kino ARMATA between 26-28 September.
Millions of Dead Tourists were formed in 2016. They had absolutely no artistic vision, goal or reason for doing so. It was mostly an accident. As they claim on their site: “Millions of Dead Tourists uses and abuses synths, pedal effects, 2 bass guitars, laptop, sequencer and 3 humans.
Among other things, they don’t like reserved rights.”
They come from Athens and Thessaloniki. They have two releases, both on 1000+1 TiLt (www.tiltrecordings.org) label: s/t, cd, 2017 and Helicoide, lp/cd 2019.
They sound just sarcastic, but they mean it.
Web: http://millionsofdeadtourists.org/
Heliocide: https://vimeo.com/290140365
-----------------------------
Derberggroovt Improvisationskollektiv (DE)
Der Berg Groovt is an improvisational collective from Frankfurt am Main, Germany, active since 2007. They hang around "living communities" of Prowokulta and Prozwo on the Frankfurter Berg, at the north-east edge of Frankfurt.
Their music is free, spontaneous and improvised. It drifts between krautrock, psychedelia, sound searching, electronic music, folk and jazz; everything evolves out of the moment.
Their lineup is constantly changing, but the core of the group consists of:
Till - vocals, guitar, piano
Member - guitar, bass, analog synth, organ, vocals; (http://emptyblaukraut.blogspot.com/, played with many musicians including Damo Suzuki (Can), Ax Genrich (Guru Guru), Space Invaders and Conni's projects
Kai - bass
Katja - singing saw, analog synth
Eyke - guitar, blues harp, trombone, toy-keyboards, organ
Chris - acoustic guitar
Orrest - flute, trumpet, vocals
Conni - guitar, bass, electronics, klimbim (Lava 303, Lover 303, The Slags, Maly Macht Musik)
Tobi - drums, guitar, vocals
Blog (German only): http://derberggroovt.blogspot.com/
Bandcamp: https://freeflowfrankfurterberg.bandcamp.com/
2019 compilations: https://freeflowfrankfurterberg.bandcamp.com/album/hula-auswahl-2019-i
https://freeflowfrankfurterberg.bandcamp.com/album/hula-auswahl-2019-ii
-----------------------------
File Under Sacred Music (2003) / Iain Forsyth and Jane Pollard (UK)
Having pioneered the use of re-enactment in contemporary visual art with a series of live art projects begun in 1996, Forsyth & Pollard turned their attention to the moving image and began to look for ways to duplicate and capture ‘liveness’ on video.
File under Sacred Music takes as it’s starting point an infamous bootleg video documenting a live performance by The Cramps for the patients at Napa State Mental Institute, California on 13 June 1978. Captured on blurred and grainy black and white videotape, this unique social document has been shared among fans since the early eighties.
Forsyth & Pollard began by re-enacting that legendary performance in order to film it and remake the video document. During a six month period of preparation and research, the artists assembled a team of collaborators, including a band made up of Afonso Pinto (The Parkinsons), Holly Golightly (Thee Headcoatees), Bruce Brand (Thee Headcoats) and John Gibbs (The Wildebeests). They also secured funding from the BBC and Arts Council England and gained the support of the ICA, where the set was built and the performance re-staged. An audience from Core Arts, a mental health charity based in east London, took part in the shoot in the ICA Theatre on 3rd March 2003.
Captured at broadcast quality, the resulting footage was edited and degraded to meticulously re-create the content, spirit and damaged aesthetic of the original videotape Forsyth and Pollard had purchased on eBay. Abandoning their original plans for digital postproduction , the artists worked with editor Robin Mahoney to explore more tactile strategies for degrading the footage, including using refilming on dusty monitors, copying and recopying using a bank of damaged VCR machines and physically scratching the videotape.
At a time when media technology has encroached on the live event to a point where few feel live at all, File under Sacred Music pushes beyond any simple re-presentation of a cultural moment to project an alternate testament of reality that examines liveness beyond the limitations of needing to be there. The work marks a significant development in the artists’ practice, and addresses one of the most important questions facing all kinds of performance today: what is the status of the ‘live’ and the ‘real’ in a culture now obsessed with simulation and dominated by mass media and mediation?
Iain Forsyth & Jane Pollard are London-based artists and filmmakers. They met and began working collaboratively as students at Goldsmiths in the mid-nineties.
Their first feature film, 20,000 Days on Earth, premiered at Sundance in January 2014, winning directing and editing awards. The film, featuring Nick Cave, is also nominated for best documentary at the Spirit Awards and BAFTA. At the 2015 British Independent Film Awards, Forsyth & Pollard received the Douglas Hickox Award for Best Debut Director.
Recent projects for television include directing and writing on the series Neil Gaiman’s Likely Stories for Sky Arts starring George MacKay, Tom Hughes, Rita Tushingham, Johnny Vegas, Kenneth Cranham. and Murder: The Big Bang for the BBC staring Jessica Barden and Michael Smiley. They have a number of projects in development, including a feature film with the BFI and a television series with Kudos.
Performance and music culture plays a significant role in their work, and this has led to some notable collaborations. Their ambisonic sound installation with Scott Walker was presented at Sydney Opera House, a live performance, Silent Sound, was scored by Jason Pierce (Spiritualized) and their video work Walking After Acconci features the first on-screen appearance by Ben Drew, aka musician Plan B.
Their work is collected by museums and institutions worldwide, including the Tate Gallery and the British Government Art Collection. In 2009 the British Film Institute commissioned Radio Mania a multi-screen stereoscopic 3D video installation, their re-working of War of the Worlds Romeo Echo Delta was commissioned for BBC Radio and their first major outdoor public commission, Soon, came from the City of Toronto.
Forsyth & Pollard initially became known for pioneering the use of re-enactment within contemporary visual art. A series of major live works were commissioned by the Institute of Contemporary Arts, culminating in their critically acclaimed A Rock ‘N’ Roll Suicide (1998), a painstakingly faithful live re-creation of David Bowie’s final performance as Ziggy Stardust, 25 years after the original event. In 2003 they produced File under Sacred Music a remake of an infamous bootleg of The Cramps playing at Napa State Mental Institute, California in 1978. The artists meticulously re-staged this performance with an audience from local mental health arts organisations, in order to re-shoot each pan, tilt, zoom and jitter of the original material. Their work crosses the illusion of cinema with the presence of theatre, conjuring a psychological, conceptual and physical state between reality and hallucination.
http://www.iainandjane.com
Kino ARMATA
26-28 September 2019
MONOTONE is a three-day experimental music-related event held at Kino ARMATA (Prishtina, Kosovo) between 26-28 September, attempting to open the dialogue between local and international music artists, professionals, critics and researchers. Through concerts, lectures, presentations, jam and DJ sessions, films and other communication channels, MONOTONE gradually becomes an impromptu platform for experimentation and cultural reckoning.
PROGRAM
Thursday, 26 September
19:00h
Nenad Vujić (RS)
20:30h
Guguou (TR)
22:00h
Nike Eyes (RS)
Friday, 27 September
19:00h
Fré de Vos (BE)
20:30h
Sholto Dobie (UK)
22:00h
Tetris (KS)
Saturday, 28 September
19:00h
FILM: File Under Sacred Music (2003), 22 min.
Iain Forsyth and Jane Pollard (UK)
19:30h
FILM: The Third Part of the Third Measure (2017), 44 min.
The Otolith Group (UK)
20:30h
Millions of Dead Tourists (GR)
22:00h
Derberggroovt Improvisationskollektiv (DE)
MONOTONE is supported by Prishtina Municipality, Swiss Agency for Development and Cooperation (SDC) and Culture for Change program funded by the European Union.
-----------------------------
Sholto Dobie (UK)
Sholto Dobie is an artist and performer born in Edinburgh and living in London. His solo output is marked by live performances that are characteristically delicate, evocative and absurd. He uses his own instruments, crudely assembled from materials such as reeds, whistles, bin bags, fans and air compressors, alongside loose performative structures, to respond to places and situations.
He has performed internationally, including solo performances at Berwick Film and Media Arts Festival, Cafe OTO, Counterflows Festival, Glasgow International and was artist in residence at Syros Sounding Paths, Scottish Sculpture Workshop, C.N.E.A.I, Paris and CCA, Glasgow. He recently released ‘The Blue Horse’, a collaboration with Mark Harwood on Penultimate Press. He plays in the group Al Fresco with Lia Mazzari & Tom White and often collaborates with Ben Pritchard and Ashley Paul. He also runs Muckle Mouth, a concert series which he founded in 2014.
https://soundcloud.com/sholtodobie
-----------------------------
Nenad Vujić (RS)
Nenad Vujić is a cassette culture enthusiast from Belgrade, Serbia, and the founder of ”A Hogon’s Industrial Guide”, archival-research platform that re-evaluates marginal trends in Yugoslav popular culture. Nenad is also the editor of the still untitled retrospective LP compilation dedicated to Hungarian 1980s cassette experimentialism, of ”Hometaping in Self-Management” retrospective LP compilation dedicated to Yugoslav 1980s cassette experimentalism, as well as of “Sound Logography” music programme at the Centre for Cultural Decontamination in Belgrade since 2014.
"A Hogon’s Industrial Guide" is an archival-research platform set up by Nenad Vujić in late 2007, with the aim of reconstructing the network of Yugoslav 1980s cassette experimentalists. Cassette experimentalism is a catch-all term used to designate the plethora of marginal do-it-yourself experimental music – including industrial, noise, minimal electronic, ambient and improvised music, among other – that appeared in the body of 1980s cassette culture.
"A Hogon’s Industrial Guide" strives to provide a map for art historians, pop culture archaeologists and musicologists that lays out the main features and the topology of the cassette experimentalist field in 1980s Yugoslavia. Since a number of these pop culture productions developed and circulated within remarkably low key or near-to-invisible environments such as the international cassette underground, mail art network or various micro-local scenes, most of this music suffers from an inherent lack of visibility. This trait, coupled with the disappearance of the parallel audiences these productions were originally indented for, deaths of some of the vital protagonists as well as the displacement and deterioration of the physical cassette materials (during the war in Yugoslavia), present a danger of an irreversible loss of potential knowledge. For this reason, "A Hogon’s Industrial Guide"‘s main preoccupation is to collect the tape materials, get all the necessary information on the musicians’ activities, provide context about the music production and establish an archive of music and relevant visual material pertaining to this phenomena.
-----------------------------
Fré de Vos (BE)
Fré was born in The Year of the Tiger in Ghent (Kingdom of Belgium, a sovereign state in Western Europe bordered by the Netherlands, Germany, Luxembourg, France and the North Sea).
According to Fact Magazine (the world's most on-it music blog and magazine), he's "a Belgian sound archivist with an extensive, legendary library of rare and unreleased music from the late-70s to mid-90s".
According to Metropolis M (independent two-monthly magazine on contemporary art), he's "a cult record monger who offers a stage to the local and international sound underground through his Morbus Gravis – Music Space emporium”.
According to Frans Masereel Centrum (a place where national and international artists, researchers and graphic designers reside, meet and experiment), he's “a gabber expert, Ennio Morricone zealot, flashy turqoise Puma tracksuit wearer and headstrong purveyor to Antwerp's avant-garde elite and under-the-radar-ists”.
He occasionally publishes music on Forced Nostalgia (No bending to public taste; No concession to entertainment; No cultivation of contacts).
He occasionally co-releases with fellow Belgians STROOM 〰.
He occasionally vinyl-DJs oldskool techno-acid or obscure funky Italian library music.
He occasionally curates events large and small (e.g. https://fransmasereelcentrum.be/en/projects/there-is-a-storm-copy-that).
Oddly enough his real obsession is not music any longer but the Republic of the Union of Myanmar and also known as Burma.
-----------------------------
guguou (TR)
The Istanbul-based collective, ha za vu zu, crafted their artistic mode of expression through situational aesthetics and performative gesture, often incorporating music among many elements. The collective has since spawned another grouping, guguou, where music plays the lead role.
guguou was founded after Güneş Terkol was invited to Sao Paulo biennale in 2017. They were already performing with Güçlü Öztekin and for the performance in Sao Paulo, Oğuz Erdin joined on acoustic/electronic drums and sound processing, who have been collaborating for the last four years at their home studio.
gugugou draws on the forms, techniques and the strategies of experimental pop music. Experimenting with, or stretching the popular forms, as well as processed sounds, low technology, electro acoustics, repetition, highly rhythmic music accompanied by short and simple idiosyncratic vocalism. They utilize electronic tools to manipulate sound and vocals. And while the lyrics derive from everyday encounters, meticulously rehearsed music performances are born from collective improvisations.
As a result of expressing themselves across an array of different media, Pas Matri came out from the interdisciplinary nature of their practice. They decided to record this album in late 2018 and used various materials from old recordings as well.
Pas Matri was recorded between 2017 and 2019, mixed by Oğuz Erdin and mastered by Barkın Engin. Musicians such as Bora Çeliker (guitar), Emre Akçura (Saxophone) and Bulut Çavaş (Santoor) were featuring with guguou on some tracks.
Label: https://shalgamrecords.com/guguou/
Guguou - "Martı": https://www.youtube.com/watch?v=wmH3wxe3-Gk
Guguou at Dirimart Dolapdere (Live): https://www.youtube.com/watch?v=Uerm06AZ_PU&t=1241s
-----------------------------
The Third Part of the Third Measure (2017) / The Otolith Group (UK)
From the late 1960s until his death in 1990 at the age of 50, Julius Eastman, the queer African-American avant-garde composer, pianist, vocalist and conductor wrote and performed compositions whose ecstatic militant minimalism initiated a black radical aesthetic that revolutionized the East Coast new music scene of the 1970s and 1980s. No recordings of Eastman’s compositions were released during his lifetime. In January 1980, Julius Eastman was invited by the Music Department at Northwestern University, Evanston, Illinois, to present his compositions Crazy Nigger (1978) Evil Nigger (1979) and Gay Guerrilla (1979) at the Pick-Staiger Concert Hall. A number of African-American students and one faculty member at Northwestern University objected to the titles of Eastman’s compositions. The titles of Eastman’s compositions were redacted from the concert programme printed by the Music Department. Before the concert, on 16 January 1980, Eastman delivered a public statement that responded to these objections. The speeches delivered by Dante Micheaux and Elaine Mitchener in The Third Part is the Third Measure (2017) are based on each performer’s modified verbatim transcriptions of Eastman’s Northwestern University statement.
Founded by Kodwo Eshun and Anjali Sagar, The Otolith Group create films, installations, audio works and performances. Their film and video works incorporate post lens-based essayistic aesthetics that explore the temporal anomalies, anthropic inversions and synthetic alienation of the posthuman, the inhuman, the non-human and the anti-human.
The Otolith Group have exhibited, installed and screened their works nationally and internationally. They have been commissioned to develop and exhibit their art works, research, installations and publications by a wide range of museums, public and private galleries, biennials, foundations and other bodies. Among the programmes and exhibitions they have curated and co-curated are The Militant Image (ongoing); Co-op Dialogues: 1966–2016 (with Jean Matthee), Tate Britain, London (2016); African Futures, Goethe-Institut, Johannesburg (2015); Cinema of Songs and People: The Films of Anand Parwardhan, Tate Modern, London (2013); Peter Watkins: The Journey, Tate Modern, London (2013); Mark Fisher and Justin Barton: On Vanishing Land, The Showroom, London (2013); Harun Farocki. 22 Films: 1968–2009, Tate Modern, London (2009); Protest (conceived as part of Essentials: The Secret Masterpieces of Cinema, commissioned by the Independent Cinema Office), London (2008) and The Ghosts of Songs: A Retrospective of The Black Audio Film Collective 1982–1998, Foundation for Art and Creative Technology (FACT), Liverpool and Arnolfini, Bristol, UK (2007). In 2010, The Otolith Group were nominated for the Turner Prize.
Kodwo Eshun and Anjali Sagar were born in London, Eshun in 1967 and Sagar in 1968. In 2002, Eshun and Sagar established The Otolith Group in London, where they both live and work.
http://otolithgroup.org
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Tetris (KS)
TETRIS is a Prishtina-based group of art outfitters, creating soundscapes based on hypnotic phrases from a myriad of synths and deep bass. Their ever-changing line-up is prone to heavy analogue manipulation of screeching guitars, classical piano and monotonous beats, adding color to their unpredictable yet (often) explosive performances.
soundcloud.com/zjtlnj3nhxe9
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Nike Eyes (RS)
Nike Eyes were formed by the swamps of suburban Belgrade and long nights of Siberian Taiga. The music they create is focused around concepts and performances which make it almost impossible to put them in a specific genre. Pagan pop duo. Lo-fi Dionysian tragedy. Dada industrial synth punk power couple. Broken music.
Nike Eyes have taken the lead in Belgrade's contemporary lo-fi synth sound. Some people like it, some don’t, but the reason why they all come back is the “WTF effect”. They construct their performance through Jungian shadow often staying hermetically non-communicative even when the atmosphere in the audience warms up to dancing and screaming.
They have performed on the streets, in a classroom at ungodly hours, at a wedding, lawyers’ conference and nightmarish parties and festivals. It is the uncanny valley between ingenious and trivial, raw and designer, which is the magic element and main quality of the band.
YouTube: https://www.youtube.com/channel/UCKpibGHnUmM4en995GcXU-Q
FB: https://www.facebook.com/nikeeyes1011/
NIKE EYES - ᖈᛑ₼₢ ⱺⱷ ₰⍲ᛥ: https://www.youtube.com/watch?v=wN79oIuW7bg&t=3s
NIKE EYES - Plakyyyyy: https://www.youtube.com/watch?v=-EQPLzy2fyc&t=
NIKE EYES - Спирална Галаксија: https://www.youtube.com/watch?v=ouFu4NkCQwI
NIKE EYES - ⱷƛ ʞƛᖋ₯Ƀ: https://www.youtube.com/watch?v=23biJ1YpW4A
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Millions of Dead Tourists (GR)
Greek synth'n'bass outfitters Millions of Dead Tourists will join us for a performance at MONOTONE Music Dialogue 2019, to be held at Kino ARMATA between 26-28 September.
Millions of Dead Tourists were formed in 2016. They had absolutely no artistic vision, goal or reason for doing so. It was mostly an accident. As they claim on their site: “Millions of Dead Tourists uses and abuses synths, pedal effects, 2 bass guitars, laptop, sequencer and 3 humans.
Among other things, they don’t like reserved rights.”
They come from Athens and Thessaloniki. They have two releases, both on 1000+1 TiLt (www.tiltrecordings.org) label: s/t, cd, 2017 and Helicoide, lp/cd 2019.
They sound just sarcastic, but they mean it.
Web: http://millionsofdeadtourists.org/
Heliocide: https://vimeo.com/290140365
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Derberggroovt Improvisationskollektiv (DE)
Der Berg Groovt is an improvisational collective from Frankfurt am Main, Germany, active since 2007. They hang around "living communities" of Prowokulta and Prozwo on the Frankfurter Berg, at the north-east edge of Frankfurt.
Their music is free, spontaneous and improvised. It drifts between krautrock, psychedelia, sound searching, electronic music, folk and jazz; everything evolves out of the moment.
Their lineup is constantly changing, but the core of the group consists of:
Till - vocals, guitar, piano
Member - guitar, bass, analog synth, organ, vocals; (http://emptyblaukraut.blogspot.com/, played with many musicians including Damo Suzuki (Can), Ax Genrich (Guru Guru), Space Invaders and Conni's projects
Kai - bass
Katja - singing saw, analog synth
Eyke - guitar, blues harp, trombone, toy-keyboards, organ
Chris - acoustic guitar
Orrest - flute, trumpet, vocals
Conni - guitar, bass, electronics, klimbim (Lava 303, Lover 303, The Slags, Maly Macht Musik)
Tobi - drums, guitar, vocals
Blog (German only): http://derberggroovt.blogspot.com/
Bandcamp: https://freeflowfrankfurterberg.bandcamp.com/
2019 compilations: https://freeflowfrankfurterberg.bandcamp.com/album/hula-auswahl-2019-i
https://freeflowfrankfurterberg.bandcamp.com/album/hula-auswahl-2019-ii
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File Under Sacred Music (2003) / Iain Forsyth and Jane Pollard (UK)
Having pioneered the use of re-enactment in contemporary visual art with a series of live art projects begun in 1996, Forsyth & Pollard turned their attention to the moving image and began to look for ways to duplicate and capture ‘liveness’ on video.
File under Sacred Music takes as it’s starting point an infamous bootleg video documenting a live performance by The Cramps for the patients at Napa State Mental Institute, California on 13 June 1978. Captured on blurred and grainy black and white videotape, this unique social document has been shared among fans since the early eighties.
Forsyth & Pollard began by re-enacting that legendary performance in order to film it and remake the video document. During a six month period of preparation and research, the artists assembled a team of collaborators, including a band made up of Afonso Pinto (The Parkinsons), Holly Golightly (Thee Headcoatees), Bruce Brand (Thee Headcoats) and John Gibbs (The Wildebeests). They also secured funding from the BBC and Arts Council England and gained the support of the ICA, where the set was built and the performance re-staged. An audience from Core Arts, a mental health charity based in east London, took part in the shoot in the ICA Theatre on 3rd March 2003.
Captured at broadcast quality, the resulting footage was edited and degraded to meticulously re-create the content, spirit and damaged aesthetic of the original videotape Forsyth and Pollard had purchased on eBay. Abandoning their original plans for digital postproduction , the artists worked with editor Robin Mahoney to explore more tactile strategies for degrading the footage, including using refilming on dusty monitors, copying and recopying using a bank of damaged VCR machines and physically scratching the videotape.
At a time when media technology has encroached on the live event to a point where few feel live at all, File under Sacred Music pushes beyond any simple re-presentation of a cultural moment to project an alternate testament of reality that examines liveness beyond the limitations of needing to be there. The work marks a significant development in the artists’ practice, and addresses one of the most important questions facing all kinds of performance today: what is the status of the ‘live’ and the ‘real’ in a culture now obsessed with simulation and dominated by mass media and mediation?
Iain Forsyth & Jane Pollard are London-based artists and filmmakers. They met and began working collaboratively as students at Goldsmiths in the mid-nineties.
Their first feature film, 20,000 Days on Earth, premiered at Sundance in January 2014, winning directing and editing awards. The film, featuring Nick Cave, is also nominated for best documentary at the Spirit Awards and BAFTA. At the 2015 British Independent Film Awards, Forsyth & Pollard received the Douglas Hickox Award for Best Debut Director.
Recent projects for television include directing and writing on the series Neil Gaiman’s Likely Stories for Sky Arts starring George MacKay, Tom Hughes, Rita Tushingham, Johnny Vegas, Kenneth Cranham. and Murder: The Big Bang for the BBC staring Jessica Barden and Michael Smiley. They have a number of projects in development, including a feature film with the BFI and a television series with Kudos.
Performance and music culture plays a significant role in their work, and this has led to some notable collaborations. Their ambisonic sound installation with Scott Walker was presented at Sydney Opera House, a live performance, Silent Sound, was scored by Jason Pierce (Spiritualized) and their video work Walking After Acconci features the first on-screen appearance by Ben Drew, aka musician Plan B.
Their work is collected by museums and institutions worldwide, including the Tate Gallery and the British Government Art Collection. In 2009 the British Film Institute commissioned Radio Mania a multi-screen stereoscopic 3D video installation, their re-working of War of the Worlds Romeo Echo Delta was commissioned for BBC Radio and their first major outdoor public commission, Soon, came from the City of Toronto.
Forsyth & Pollard initially became known for pioneering the use of re-enactment within contemporary visual art. A series of major live works were commissioned by the Institute of Contemporary Arts, culminating in their critically acclaimed A Rock ‘N’ Roll Suicide (1998), a painstakingly faithful live re-creation of David Bowie’s final performance as Ziggy Stardust, 25 years after the original event. In 2003 they produced File under Sacred Music a remake of an infamous bootleg of The Cramps playing at Napa State Mental Institute, California in 1978. The artists meticulously re-staged this performance with an audience from local mental health arts organisations, in order to re-shoot each pan, tilt, zoom and jitter of the original material. Their work crosses the illusion of cinema with the presence of theatre, conjuring a psychological, conceptual and physical state between reality and hallucination.
http://www.iainandjane.com
GUGUOU @16th Istanbul Biennial 2019
Ali Akay'a katılımı için çok teşekkürler!
Thank you Ali Akay!
@WORLBMON
(MSFAU Istanbul Museum of Painting and Sculpture 4th Floor)
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WORLBMON _ 2. ALBÜM YAYINDA_SECOND ALBUM OUT NOW! _ 2 -06-2023
Worlbmon is Guguou's second album.The name of the album is "worlbmon", a word derived from the words "world" and &...
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“ Aylaklar” sergisinin açılış gecesinde, saat 19:30 ’ da, Yasemin Özcan ‘Flanöz’ün Kalbi’ isimli bir sunum performans gerçekleştirecek.... -
music performance collective GUGUOU from istanbul was invited to nonsenselessness for an opening performance. @ the basement of our venue o...
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http://wfmu.org/playlists/shows/84646 thank you, Samantha:) Playlist from March 10, 2019 - WFMU
