Yesterday was the opening of the first show by Uwe Wittwer at the new Zurich gallery Lullin + Ferrari. It was the opening weekend for several galleries in that area of Zurich and it was a busy but also relaxed night, with a lot of interesting and interested people. Installation shots of the exhibition can be found here.
The show titled "The Unknown Photographer" runs until October 23rd.
The exhibition at Lullin + Ferrari holds the character of a concentrated intimate play, which focus on the different ways of seeing. The lifesize painted, unknown photographer is the thematic leitmotiv of the exhibition: in a clearance he points his camera towards the public. He is completely absorbed in his occupation and requires from the public the same attention towards the paintings in the show he lends to the subject in front of his camera.
In the first room the large format painting Rotation (Diptychon) (2010) welcomes the visitors. In this image Wittwer positions a rollercoaster in a fun fair stupendously into the picture. The wagon of the rollercoaster itself can't be seen in the diptych, but its chattering resonates in the wooden construction and the noise of the fun fair surges up the construction. Beside the loud Rotation Wittwer places a contained Wall Piece (2010); on a black wall piece a large and old photography is painted, showing three attentive posing children.
In the middle room of the gallery hang the paintings Riders and Flurry (2010) in which Wittwer refer to previous groups of works. In the painting Riders a merry-go-round is depicted, turning in circles from the left to the right. Behind the boy in the left part of the painting a black drapery is raised, clearing the view onto a sunny landscape. On the right side of the image, menacing and darker hues predominate. The wooden horses suddenly allude to the horses in the battle paintings of the Florentine Renaissance painter Paolo Uccello, Wittwer had appropriated in previous, large works on paper. The painting Flurry inspires through the parallel order of the picture ground, through the outline of people shown in the snow and through its flush of colours. In the foreground of the painting sledges are visible, reminding of Wittwer's snow pieces from East Prussia. (from the gallery's press release)
I'm a happy man because every other week I get touched by a tune or a record so deep my soul jumps with joy. This one here is one such beauty: "Play the Game" by MIDLAND, an artist I besiege you to buy every release you see his name on without hesitation. Deep, House, Dubstep, Breakbeat in a Detroit vibe. I'm screaming out loud - this is absolutely essential!
Often too late for "new releases", often too busy for playlists or annual best -lists, I'm introducing this format: Essential Music - the best in music I've come across recently or that's inside my head for whatever reason - in no particular order or genre. Please SUPPORT THE ARTISTS and BUY their music.
If you missed this outstanding album last year, please buy it now. Everyone should own a copy :)
Full of deep bass, strange beats, spheric melodies. Cinematic Electronica. A beauty
A marvellous Jazz record produced by Madlib with classy artwork. Heavily influenced by late 60s, early 70s Jazz, some groovy and more experimental tracks... just great! A beautiful product and wonderful noise coming from the house of Stones Throw! Available exclusively from the label's website until worldwide release in April 2010.
Young Jazz Rebels 'Slave Riot' 18 Tracks produced by Madlib. CD: Thick cardboard, tip-on, gatefold, and inner sleeve. Vinyl: 2/LP, duo-tone sleeve.
The Lonelady vinyl album arrived today. Regardless the vintage touch this is really fresh music. Minimal instrumentation, great songwriting, an urgent voice... Following up on her three 7" releases, Manchester's Julie Campbell produces one jewel of a debut album.
The single 'Intuition' I received earlier was accompanied by a peculiar but fitting postcard promoting the 'Manchester Modernist Society'... Class!!
If he weren't too busy because of his newborn son, music writer Joe Muggs would probably think I'm stalking him. Truth is, I've been following him on Twitter for a while and realized we approve/disapprove of similar things in music (i.e. the music industry). I started looking up on stuff he'd written and music he'd recommended earlier, which turned out to be a very satisfying endeavor. It resulted in me listening to loads of new tunes, getting more background info on stuff I had heard before, learning new things and indulging in plain reading pleasure. The most impressive is maybe his Mary Anne Hobbsinterview... If it were in my power I'd bestow on him a prize for "best music interview" for said piece.
Luckily Joe Muggs is making some of his best work accessible on his websiteververymuch.com. Check this extract from his interview with Rob Gordon:
Rob Gordon: ...a good sound is hard to obtain these days. I’d like to hear a good soundsystem these days – there’s a lot of loud ones, but we have a few problems. The first problem was that Mosfet amps came in, they came in in the late 70s, and they were really loud and really cheap and whatever, but they had no warmth in the bass. Then the next stop was the disco mixer. The disco mixer had a crossfader on it but it was never going to sound as good as that custom pre-amp that you used to use, but everyone had to have one because it was the fashion. Then the next thing was the CD, that killed it. Each step you’re getting less emotion, and when you turn it up loud it sounds like a noise instead of beautiful music like you’re in heaven. It sounds like… earplugs! You see people in clubs now with earplugs! Back then you’d see people hugging the box – it’s different sounds!
What Joe Muggs does for us is a bit like digging through dusty records and reporting from cutting edge club nights at the same time. Urban UK music has been at the heart of my interest for over 15 years now. To impress me it takes someone with the ability to take in new movements and sounds with an open mind, while reporting those findings with knowledge and respect for what came before, - be it in 140 characters or across five pages. Joe clearly masters both.
I was struggling to stay creative and productive after the birth of our son, let's hope Joe has the energy to keep it up – and that he will get the sleep needed to stay on top of it! In that sense (but by no means limited to) I wish him all the best! ~
'Soundtracking': When images from an urban walk merge with the music on your headphones. Video by Sarah Huber / CUE 2004. Music: 'DJ Screams Medic Bonus' by the Shadow Huntaz (label: Plug Research). Track two: 'MES' by Murcof (label: Leaf)
Ras G's 29 minute show for BTS Radio is on heavy rotation with us since it was 'aired' on February 2nd. Ras G presents a super heavy freaky bass laden Hip Hop, Abstract, Sci-Fi, Dub journey you mustn't miss!
Infos and and download is available from the BTS Radio site.
Also check out his wicked album 'Brotha from Anotha Planet' released on Brainfeeder.
Six artists and a film crew went to an abandoned 1970s village on the west coast of Scotland to paint. The idea and the outcome are remarkable. Some eerie beauty here by the Agents of Change!
Image: Still from the video by Agents of Change
The Ghostvillage Project was created over 3 days on the west coast of Scotland. 6 artists - Timid, Remi/Rough, System, Stormie Mills, Juice 126, Derm - were given free reign to paint in an abandoned 1970s village. Working together on huge collaborative walls and individually in hidden nooks and crannies all over the site the artists realised long held dreams and were inspired by the bleakness and remoteness of the site. Drawing on the history of the village the artists' stated intent on completion of the project was to populate the ghostvillage with the art and characters that it deserved.
