Tongue gives a retrospective view on the three-dimensional work of artist Anne-Marie van Sprang (°1960). Through this extensive book the tactile and fragile aspects of her work become visible. The sequences of the book are not ordered chronologically but emerge from the content of her work. Tongue refers to the place within the body where the physical turns into the intellectual. In the same way the conceptual and the physical come together in the work of van Sprang. The publication contains texts of Roos Gortzak and Carel Blotkamp and two artist’s documents.Learn More
Comics were Van de Moortel’s first love: his first drawings, his first stories; a dwelling of fantasies and a lack of reality: he devored them as a child. His first publications with MER. Paper Kunsthalle, the Cylinder Series, is not a real comic book series, but the idea is based on the structure of it. It fits perfectly to get Van de Moortel’s work published. The sketches, the colouring, the humour that feels close to the practice: it’s a work in itself and not just a representation of images. The artist prints one new Cylinder issue on the occasion of each new project or exhibition. Each cahier has a unique design and cover. Each will be published separately at first; becoming one book after 10 editions that will be published as a whole. Every edition is a new adventure having the same basic players, added, transformed. It’s one big playground: like a show. This is the sequel to Cylinder # 7. It is the eight issue in the Cylinder Series.Learn More
On the occasion of the exhibition The (Hemi)Cycle of Leaves and Paper at the Ghent Museum of Fine Arts, Malaysian artist Simryn Gill brings out an artist book entitled "Wormholes". At its core are subtle black and white photographs that trace the delicate remains of life in a building that slowy and gradually turns into ruin. Textual interventions by the artist guide the reader towards an atmosphere that is filled with subtle impressions.Learn More
In the summer of 2014 Wendy Morris walked from the north of France to Vlissingen in the south-western Netherlands, looking for traces of her Huguenot ancestors, who in the 17th century took this route to escape religious persecution; eventually, they were to find a new home in South-Africa. In her search for traces of her refugee forebears Morris could find brief histories of them after they arrived at the Cape of Good Hope, but no traces of them leading up to their departure from Europe. She could find no letters exchanged between relatives, no documentation of lands or property lost, no narratives of escape handed down through the generations. To remedy the absence of narratives and a sense of discontinuity with this history Morris set off on a project of recuperation. She started to compile a silva rerum for the families that had fled France. The term silva rerum, a ‘forest of things’, originated in Roman times to describe a work encompassing different genres of writing. In 17th century in Poland it re-emerged as a description of a family chronicle designed to provide continuity between the generations. Off by Heart and Out of Breath – a Silva Rerum is a ‘living book’ that merges traces of the past with experiences in the present, and invites entries in the future.Learn More
This new 64 pages magazine shows various drawings in black & white, printed on recycled paper. All drawings are anonymous. Off Work Drawing Review is an artwork in progress by Parcifal Neyt, published three times a year by MER. Paper Kunsthalle. www.brangel.com
A1 Time 1 (5:05)
A2 Time 2 (4:59)
A3 Time 3 (4:04)
A4 Time 4 (4:31)
A5 Time 5 (3:59)
B Time : Over (19:18)
Release Date: March 25, 2016
Mastered by Jack Allett
Limited edition of 300 copies
Kunlun is but one of the many aliases for French artist Max P. who’s known to the world as the man behind percussion driven psychedelia projects like High Wolf and Black Zone Myth Chant.
Since 2009 he has released LP’s through Not Not Fun, Holy Mountain. Editions Gravats and Leaving Records.
On his new record for audioMER. as Kunlun he serves up an dish of eccentric library / new age music gone wrong. The LP is based around improvisations recorded in the summer of 2011 making his first steps on analog synthesis with a very simple set up.
Some of those improvisations were also featured on a winged sun tape called Kunlun III released on 2012.
The A side offers 5 tracks where he explores a sort of heavily layered chamber acid, diving into low frequencies and ravelly bass synthesizer pieces with weirdly dissorienting fluctuating time signatures.
Side B is one long trippy maelstrom of seismic submarine bass hypnotisms with deep eroding noise bursts blasting through halfway.
As a whole it make for a dark and claustrophobic piece of psychedelia that will delight fans of Hieroglyphic
Being, Bernard Fievre, Ron Morelli or Low Jack.
Kunlun is one of the many assumed identities of Max P., also known for musical projects such as High Wolf and Black Zone Myth Chant.
Time Remaining Unknown has a visual dimension attached to it and if I had to correlate it to an artistic approach, it would be Ruth Asawa’s wire sculptures or Yayoi Kusama’s Infinity Nets. The LP feels like an unit, coagulated by an infinity of self-sustaining loops.
The simplicity of the compositions takes nothing away from the album; it just gives it a sense of clarity in discourse. The minimal economy of the sounds used augments a time and space continuum, enclosing it without blocking it out. It is meticulously and discreetly crafted, slowly conscientiously evolving and self-perpetuating like fractals, never becoming tedious.
Although this album represents Max's first venture into analog synthesis using the means of a very simplistic setup, it feels richly intricate. One can be easily tricked by the humbleness elicited by the arrangements, but this is what secures an organic rhythmicity.
The album is divided into two parts, almost equal in length. All the pieces feature the word time in their name, giving us an insight into what philosophical topic the album is trying to tackle. Indeed, if it’s one thing all these pieces are achieving, is a sense of disconcerted time. You do not know where all the sounds are leading up to or when a song is going to end, if it’s ever going to end. (The Attic, 2016)
Tiny Mix TapesLearn More
Having listened to previous Kunlun releases, I’m ultra stoked on what Max (a.k.a. Kunlun, a.k.a. Black Zone Myth Chant, a.k.a. High Wolf) has cooked up on his newest LP Time Remaining Unknown dropping via audioMER March 25. Only providing us with a taste, “Time 4” drops in a synthetic array of non-visually colored elements that drip-dry a brain squeeze itching to be juiced. A beat composed within layers of blips and bloops, swirling a drain pipe that leads into an uroburos tightening like a slipknot, closing in on that pigeonhole, and then widening that gap to allow maximum imagination. So get pumped. “Time 4” is technically the tip. Kunlun has much more in store. (Tiny Mix Tapes, 2016)
A founding member of the Japanese avant-garde Gutai movement, Shozo Shimamoto (1928- 2013, Japan) is one of the first Japanese painters to ban the paintbrush. Shimamoto was well known for using different media and exploring different concepts of time and space, while simultaneously focusing on mechanic methods within his practice. As such, he perforated canvases or smashed glass bottles on them, which were filled with paint. He shot paint with cannons on large sheets of vinyl, made sculptures from razorblades, scratched films, and made violent and destructive installations with light and music for the theatre stage. Shimamoto’s so-called “performances of destruction” were mostly executed in the public space thereby exhibiting the new artistic spirit of those times. Despite the distinct resemblance between Gutai projects and avant-garde artists such as Lucio Fontana, Yves Klein and Antoni Tàpies, the Japanese artists’ influence on the Western avant-garde has never fully been acknowledged. This publication comes out on the occasion of the Shozo Shimamoto exhibition (14th of March– 5th of May 2012) and the Shimamoto – The Gutai Works exhibition (3th of September – 3th of October 2015), which were held at the Axel Vervoordt Gallery.Learn More
Cross-Examinations is an exercise in writing, erasing, and rewriting. Its four, increasingly layered iterations interrogate issues pertaining to torture, pain, and being. They engage a series of texts and works, such as an exchange between Heidegger and Jünger, poetry by John Donne and Jean Daive, a novel by Nachoem Wijnberg, Cranach’s The Martyrdom of Saint Catherine, Broodthaers’ Fémur d’homme belge and Fémur de la femme française. A constant attempt to reassess its own claims, Cross-Examinations is a palimpsest, printed and reprinted until the ink becomes page.Learn More
French artist Daniel Buren (°1938) is best known for his fixed pattern of white and colored vertical stripes, which are inspired by the screens that shade Parisian bistro terraces. Because of the temporary nature of Buren's work, it seems impossible to initiate a classical retrospective. Buren nevertheless accepted the offer that BOZAR, Brussels Palais des Beaux-Arts, offered him to curate the exhibition A Fresco. This show's intention is twofold. On the one hand the artist created a film especially for the exhibition which recalls his lost interventions as much as possible. On the other hand, Buren has connected his trademark stripes to existing work by over 100 renown artists from the 20th and 21st centuries, such as Paul Cézanne, Fernand Léger, Pablo Picasso, Jackson Pollock, Sol LeWitt, Pierre Huyghe and many more. Both these set ups as well as BUren's new interventions in the BOZAR are what A Fresco is all about: a unique show running from February 19th till May 22nd.
The accompanying publication is conceived as a newspaper, by analogy with The Buren Times, which Daniel Buren made especially for the 2005 exhibition devoted to his art in 2005 at the Guggenheim in New York. Libretto comprises several headers such as the exhibition itself, a review of past interventions by the artist in Belgium and beyond. Featuring texts by amongst others Daniel Buren, Joël Benzakin, Bernard Blistène, Rudi Fuchs, Luk Lambrecht, Frederik Leen and Paul Dujardin.Learn More
On reconnaît l’œuvre de l'artiste français Daniel Buren (°1938) surtout par ses fameuses interventions de bandes verticales blanches et colorées, qui sont inspirées par les stores de magasins et bistrots parisiens. Due au caractère temporel de ses œuvres in situ, une rétrospective classique semble impossible. Pourtant Buren n'a pas hésité d'accepter le défi proposé par BOZAR, Le Palais des Beaux-Arts à Bruxelles. C'est là que l'exposition Une Fresque est née. L'exposition est pensée en deux parties intégrées: tout d'abord un film que Buren a composé et qui évoque toutes ses interventions désormais disparues. La deuxième partie comprend une grande installation qui connecte ses célèbres bandes à de nombreux artistes (en total plus de cent) du vingtième et vingt-et-unième siècle qui ont, de près ou de loin, influencés et inspirés l'artiste. Sont entres autres inclus dans l'exposition pensée par Buren: Paul Cézanne, Fernand Léger, Pablo Picasso, Jackson Pollock, Sol LeWitt, Pierre Huyghe, Pascal Marthine Tayou, … et Daniel Buren. Avec l'exposition Une Fresque, l'artiste a créé une intervention unique et nouvelle qui est en interaction constante avec l'architecture du Palais des Beaux-Arts. Ce sont tous ces éléments qui sont au cœur de cette exposition insolite à visiter du 19 février jusqu'à 22 mai 2016. La publication associée est pensée et conçue comme un journal conforme Le Buren Times, un journal créé par Buren consacré à son exposition dans le Musée Guggenheim à New York en 2005. Une Fresque contient des contributions d'entre autres Daniel Buren, Joël Benzakin, Bernard Blistène, Rudi Fuchs, Luk Lambrecht, Frederik Leen et Paul Dujardin.Learn More