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  1. Item:MER-1242

    The Object Isn't There, LP

    €17.00

    tracklist:
    A False Dawn (19:54)
    B Frozen Music (15:46)

    Release date: November, 2017
    Written, recorded, mixed in Camberwell and Camden, London, 2012-2016
    Design by Jeroen Wille

     

    With The Object Isn’t There UK guitar player and producer Jack Allett has made a deeply personal masterpiece based around cyclical guitar parts and electronic percussion. Playing like a half remembered fever dream with an aesthetic that is ragged, hypnotic and spacey, its two side-long pieces touch on minimalism, kraut-infused dub and euphoric dance floor optimism. As comfortable being played after Manuel Göttschings E2-E4 as right before a Terekke lo-fi house anthem, it is laced with the melancholy of an early morning post-rave comedown. Yet for all the references and name-checking, it’s a record that is hard to compare to anything else, past or present.

    This record is about – insofar as instrumental music need be about anything – hallucinations. The title The Object Isn’t There serves as a concise definition, derived from the quote “An hallucination is a strictly sensational form of consciousness, as good and true a sensation as if there were a real object there. The object happens to be not there, that is all.” (William James, The Principles Of Psychology, 1890)

    Having experienced constant tinnitus – a form of auditory hallucination – for the last 13 years, Jack has long questioned the distinction of something experienced as being either there or not-there.  Even if, strictly speaking, an hallucination is something that’s not there, if the reality of how it affects day-to-day existence is undeniable then to any extent that matters, it is there. But The Object Isn’t There is no tale of woe, nor simply a response to this one condition, and tinnitus need not be considered only as distressing or distracting.  Allett sees it merely as one example of many things in life that cross this uncertain terrain:

    There are obvious parallels here with the notion of active listening.  There is room for emotion too, particularly the kind of overwhelming, ­all-consuming emotion that, once it fades, is hard to believe was actually how you felt.  Essentially the music here is concerned with being overwhelmed by a sensation, never really being sure to what extent you are conjuring it up yourself, to what extent it exists independently of you, but ultimately deciding that it doesn’t much matter; the sensation itself was undeniable. — Jack Allett

    A swirling haze with a plenitude of sounds bobbing to it’s surface it’s a heartfelt masterpiece of pattern based hypnotism.

    Biography

    Jack Allett works as a producer in London and has been active for many years as an experimental guitar player, releasing a solo record on Blackest Rainbow and collaborating with UK avant-guitar player Cam Deas. The Object Isn’t There was written, recorded, and mixed in Camberwell and Camden, London, UK. 2012-2016.

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  2. Item:MER-1240

    The House of Our Fathers, Dirk Braeckman & Jan Lauwers

    €85.00

    This outstanding volume is the trace of an immersion by Dirk Braeckman in the performance The House of Our Fathers by Jan Lauwers & Needcompany at the Kunstfestspiele Herrenhausen, Hannover, 2013.
    The photographs having passed Braeckman's dark room, the images, often starting from the same negative, start to compose a universe beyond the event's registration.
    With the boldness of a painter sketching, Dirk Braeckman has set up a series of which this volume can be considered the opening dance.

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  3. Item:MER-1237

    The Age of Entitlement, Sven 't Jolle

    €35.00

    This publication functions as a pocket guide to ’t Jolle’s engaging and protean practice in which he utters a humorous critique on capitalism. By fusing historical references and citations from everyday life, t’Jolle creates eloquent constellations of images and forms that often unveil disparities in our contemporary society.

    Inspired by the form of an illustrated encyclopaedia, the book adopts an unusual approach to combining image and text. Grouping the artist’s work under his poetic entry headings, it reveals how he returns to themes of migration, labour and capital under various guises. In addition to photographs from ’t Jolle’s WIELS exhibition and illustrations of earlier works, the book features three new texts: an exploration of the exhibition’s themes by its curator, Zoë Gray; an interview with the artist by art critic Koen Kleijn; and an analysis of his sketchbook practice and his decision to make all his sketchbooks available online by curator Blair French.

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  4. Item:MER-1238

    Even I must understand it, Benjamin Verdonck

    €29.00

    Benjamin Verdonck (1972) is a versatile artist, an actor, a writer and a producer of theatre. Between 2015 and 2017 he realised a project 'EVEN I MUST UNDERSTAND IT' in which he demonstrates that art can redesign the public spaces and the society. The projects in 'EVEN I MUST UNDERSTAND IT' took different shapes through the process, like a representation, a lecture, an exhibition or an installation in a public space. The book is a compilation of the two year project, where all projects will be discussed thoroughly.

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  5. Item:MER-1235

    Through the Looking Glass, Michel Couturier

    €38.00

    The project for this book has a programmatic quality, like a prefiguration of future works. Perhaps it also works like a mirror—like an optical machine in any case—that brings together distant things, various times, experiences, places, and forms (drawings, photos, writing, etc.), and that’s exactly what Michel Couturier set out to do. He's trying to find temporal breadth in these places, and (re)discover their meaning, which is perhaps more lost than concealed. 

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  6. Item:MER-1234

    Maekawa II

    €45.00

    Maekawa II presents the work of Japanese artist Tsuyoshi Maekawa (° 1936) during the 1970s. In contrast to Maekawa I, which highlights his art of the previous decade made within the directives of the Gutai Art Association, Maekawa II sheds light on the artist’s unremitting efforts to overcome the sudden death of Gutai’s leader Jiro Yoshihara in 1972. In this volume, the ceaseless innovations and impulses Maekawa instigated in his post-Gutai practice are brought to the fore. They show the profound exercises and manipulations of sewed and dyed burlap that he shaped into oftentimes highly tactile squares, lines, triangles, and a multitude of colourful yet sober wavy patterns; at times stretched over boxes or loosely draped over walls. The result is a singular exploration of fabric, texture, colour and the possibilities of the canvas at its roughest core.

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  7. Item:MER-1232

    DW B 161 / 5 / 8x F.B.-D.B.-16, Dirk Braeckman

    €39.00

    In het oeuvre van Dirk Braeckman (1958, Eeklo) staat het experiment centraal, enerzijds in de registratie en anderzijds, des te meer, in de bewerking. De beelden die Braeckman capteert kennen vaak een anonieme oorsprong. Of het nu gaat om eigen opnames, found footage of een combinatie hiervan - de kunstenaar ontdoet de beelden radicaal en steevast van hun temporele en ruimtelijke context. Braeckman capteert verlaten transitzones zoals gangen, hallen en hotelkamers; plekken waar het private en het publieke elkaar overlappen. Hij is doorgaans in zijn onmiddellijke omgeving aan het werk, wat zijn foto’s een zeker autobiografisch karakter geven. De kunstenaar verkent de grenzen van zijn medium en daagt de fotografische conventies uit. De flits van de camera kaatst af op de textuur van de muren, gordijnen, tapijten en lakens. Een volledig verstilling ontstaat door de zuivere kracht van de beelden. 
     

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  8. Item:MER-1274

    DO'UN, CD

    €17.00

    tracklist:
    1. DO’UN (56:24)

    Release date: November, 2017
    All music composed by Mireille Capelle
    With HERMESensemble (musicians: Peter Merckx, Marc Tooten, Stijn Saveniers, Karin De Fleyt, Geert Callaert, Melike Tarhan, and Osama Abdulrasol)
    Mastered by Jack Allett
    Front image
    : Anish Kapoor, White Dark VIII, 2000, Fiberglass and paint. © Anish Kapoor, 2017.
    Produced with the support of the Flemish Community
    Design by Jeroen Wille

    DO’UN is an Architecture Sonore composed for the exhibition INTUITION curated by Axel Vervoordt and Daniela Ferretti, at Palazzo Fortuny, in Venice, 2017. 

    The world of Mireille Capelle is one of music and theatre. She has performed as a singer in numerous European opera houses, under the artistic direction of the foremost stage directors and conductors. Mireille Capelle is singing professor at the Ghent School of Arts and member of the artistic board of HERMESensemble.

    She has a particular affinity with contemporary music and art, characterized by many encounters with the most important contemporary composers. DO’UN is an “architecture sonore” (“sonic architecture”) composed for the ­exhibition INTUITION (2017) curated by Axel Vervoordt and Daniela Ferretti in Venice. ­Mireilles sound scapings are electronic sculptures to be performed as a live format. DO’UN was presented as a live installation by Mireille Capelle and HERMES­ensemble with visual artist Angel Vergara at Palazzo Fortuny in May 2017.

    Inspiration for DO’UN comes from the philosophy of the Greek philosopher Democritus and his ideas about cosmology and the void. DO’UN is a one-hour piece characterized by rich sonic layers ­embedded in a drony atmosphere. A very intuitive piece.

    Mireille Capelle in her words about the piece: Even though when I talk about it, I find that intuition is closer to mind than instinct, the sound architecture DO’UN, created for ­Intuition, seems to prove the opposite. This piece is very sensory. ­Perhaps ­intuition is what most closely connects visual to auditory art. Sound needs the sensitivity of the physical body to receive intuitive auditory information. As if listening to the invisible is really a human act, a human need. Something that is within us and that we inevitably seek, either consciously or unconsciously. The rhythm that is often used for the communication of ancient peoples with the invisible universe, and that goes against our rationality, is present in the installation. The meaning of the call, the sense of water and fire, a predominance of the colours Si and Fa. Yes, there is a lot of fire and a lot of water in Do’un’s waves. Clear yellow flame.

    Biography

    Mireille Capelle appeared in various films and plays, as in an impressive number of operatic roles ­including Wagnerian parts such as Eva and Kundry, or ­Salome and Der Komponist (Richard Straus) and a slew of French characters from Charlotte and ­Metella to Jeanne d’Arc (Jeann d’Arc au bûcher, by ­Honegger). In parallel she developped a large concert ­repertoire including main sacred and secular works from early baroque to contemporary music. She sang under the baton of Marc Minkowski, Jos Van ­Immerseel, ­Massimo Zanetti, Sylvain Cambreling, Seiji Ozawa, Silvio Varviso …and was directed by Robert Carsen, Guy Joosten, Andrea Breth, ­Krzysztof Warlikowski, ­Alvis Hermanis…

    Mireille Capelle belongs to the most versatile singers of her generation. She manages to combine most intimate singing as a classical recitalist and opera singeer with pioneering all round “performances” as a vocalist, ­composer and soundscaper. Her apport to contemporary music is enormous, including fruitful encounters with composers such as Cage, Crumb, Carter, Maxwell ­Davis, Kagel, Battistelli, Sciarrino, Brewaeys, ­Hubber, Wim ­Henderickx… Furthermore she is linked to the HERMESensemble as a member of the artistic committee and performer.

    Her sound scapings also defined as Sonic Architecture, are electronic sculptures to be performed as a live format. The first one, Kinesis Akinetos, was created at the art community Kanaal Axel Vervoordt (B), beneath the Anish Kapoor installation entitled “At the age of the World”. Nefesh and Ruach were created at the “Contemporary Music Festival” in Liège (B). Anello and Tra at Palazzo Fortuny in Venice, eventually Naga had its première in Paris.

    As a Professor at the Royal school of arts from Gent she has since many years largely contributed to the all round vocal education of the next generation singers.

    Discography

    – Mireille Capelle, Anello. Naga. Sunyata (Triple CD set, audioMER., 2009)
    – Mireille Capelle with HERMESensemble, Aurum (CD, Inspiratum, 2015)
    – Mireille Capelle, DO’UN (CD, audioMER., 2017)

    REVIEWS

    Vital Weekly
    Sometimes land on this desk, where I scratch my head and think ‘oke, so is this all about’; this release by Mireille Capelle is one. “The world of Mireille Capelle is one of music and theatre. She has performed as a singer in numerous European opera houses, under the artistic direction of the foremost stage directors and conductors. Mireille Capelle is singing professor at the Ghent School of Arts and member of the artistic board of HERMESensemble”, I read on the website. She has a triple CD set on the same label (in 2009) and one by Inspiratum, and with one called ‘Sunyata’, I was thinking I tapped into the world of new age perhaps. There are no instruments listed for the Hermes Ensemble, but I understand that that “DO’UN is an Architecture Sonore composed for the exhibition INTUITION curated by Axel Vervoordt and Daniela Ferretti, at Palazzo Fortuny, in Venice, 2017”. A lot of this deals with voices that much is clear. In the first half of the pieces these voices sound resonating through a space, wordless humming and such, but then moves over after the twenty-five minute in a spoken word piece, with various different voices reciting texts and a slow sort of drum sound below all of that. That lasts about ten or so minutes and then moves into that layered voice stuff again, but perhaps now with the addition of instruments (strings perhaps) or effects (reverb no doubt). While I thought this was a enjoyable release I am not sure what to make of it, and that is mostly due to the somewhat new age vibe that comes from this, but I might be entirely wrong about that. That wordless, long sustaining humming is not so much for me, but I liked the spoken word/drum bit and the more processed vocal stuff at the end. Strange one indeed. (Vital Weekly, October 2017)

    Look Hoes Talking, De Morgen
    De hoes van 'DO'UN', van Mireille Capelle toont Anish Kapoors 'White Dark VIII’. In de rubriek Look Hoes Talking gaan we op zoek naar het verhaal achter een Belgische platenhoes. Deze week: DO’UN, de nieuwe plaat van Mireille Capelle, met artwork van de Brits-Indische kunstenaar Anish Kapoor. In 1985 was Mireille Capelle in de running voor de Belgische inzending van het Eurovisiesongfestival. Vandaag staat ze vooral bekend als mezzosopraan, componiste, soundscaper en docente aan het conservatorium in Gent. Mireille Capelle componeerde DO’UN voor de tentoonstelling INTUITION van Axel Vervoordt en Daniela Ferretti in Venetië. Het resultaat is een uur durende soundscape van etherische elektronica – een fascinerende trip. “Het was een logische keuze om dit artwork te kiezen”, zegt ontwerper Jeroen Wille van platenlabel audioMER, “omdat het beeld White Dark VIII van Anish Kapoor deel uitmaakt van de tentoonstelling. Het is overigens ook de cover van het boek dat de expo begeleidt die nu loopt tijdens de Biënnale van Venetië.” Voor DO’UN haalde de Belgische artieste de mosterd bij de thematiek van void (Engels voor een gevoel van leegte, elv.). “Het is bovendien een centraal thema in het werk van Kapoor. Je moet zijn sculpturen fysiek ervaren. Je kan zijn werk moeilijk vatten, het is een intuïtieve beleving.” En dat is bij de soundscape van Capelle niet anders. “Dit werk mikt op je zintuigen. Er is slechts één ding dat visuele met auditieve kunst verbindt, en dat is intuïtie”, zegt ze. Anish Kapoor leverde zijn werk als coverbeeld, maar het artwork van DO’UN bestaat uit drie luiken, zegt Jeroen Wille. “Je vindt binnenin een zwart-wit foto uit Straatman van de Belgische kunstenaar Angel Vergara. Hij creëerde die performance, samen met Mireille, in Venetië. Het was dan ook logisch om dit beeld in het artwork te verwerken.” Er is daarnaast ook een woordenwolk. “De partituur van de compositie is niet uitgeschreven in noten, maar manifesteert zich als een grafische partituur en bevat woorden en fragmenten van zinnen. Er heeft een selectie de platenhoes gehaald”, aldus Wille. Mireille Capelle liet de muzikanten van het HERMESensemble die woorden en zinnen interpreteren en vertalen naar muziek. “Je zou het experimentele poëzie kunnen noemen. Het woordbeeld is even belangrijk als de woorden op zich.” Wille hield de platenhoes van DO’UN opvallend sober, maar dat was een bewuste keuze. “Gezien het minimale karakter van het artwork, zou typografie afbreuk doen aan het beeld.” Op de achterflap is de albumtitel in een Arabisch lettertype geschreven. Waarom? “DO’UN is de uitspraak van een oud Berbers woord. Mireille wilde een stuk maken over intuïtie, en bij haar onderzoek naar het begrip stootte ze op dit oude Arabische spoor. Het woord is een van de oudste beschrijvingen van het begrip.” DO’UN van Mireille Capelle verschijnt op 27/10 bij audioMER. / N.E.W.S. (Elmo Lê van, De Morgen, October 2017)

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  9. Item:MER-1231

    Off Work N°5, Drawing Review

    €13.00

    This 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

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  10. Item:MER-1225

    Siebzehn, Michael Seidner

    €29.00

    German artist Michael Seidner (° 1985) makes small-scale, abstract and often fiercely colorful paintings, which can range from very bright and shiny, to extremely sober, dark and referencing inwardness. Simultaneously the impact his paintings therefore can have, shift from a soothing, melancholy feel to a more acute, even aggressive awareness. In the work of Seidner, a substantial amount of effort seems to center around his motivations with respect to colors, texture and gesture, turning every painting into previously unknown territory, ready for the viewer to discover. This publication comes out on the occasion of Seidner’s show Siebzehn from November 25, 2016 until April 2, 2017 at the Neues Museum, State Museum for Art and Design Nuremberg, Germany.

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