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  • Item:MER-1274

    DO'UN, CD

    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)


    €17.00
  • Item:MER-1205

    Ryuji Tanaka

    Ryuji Tanaka’s (1927 – 2014, Japan) work is rooted in the Japanese tradition of nihon-ga, marked by flat spatial expressions lacking in physical depth, fixed motifs and natural pigments dissolved in animal glue applied to paper or silk. At the same time, his work also matches the ideologies of two avant-garde groups of postwar Japanese art: the Pan-real Art Association and Gutai. The first actively introduced Western avant-garde expressions within the Japanese tradition. This is especially visible in the surrealistic works of Tanaka. In a later stage, his works evolve towards abstraction, when Tanaka becomes part of Gutai. This publication comes out on the occasion of the exhibition Ryuji Tanaka, which runs from March 10th till April 30th of 2016 at the Axel Vervoordt Gallery.


    €45.00
  • Item:MER-1198

    Shozo Shimamoto

    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.


    €35.00
  • Item:MER-1142

    Proportio IT

    Presentata a Palazzo Fortuny, a Venezia, da maggio a novembre 2015 da Axel & May Vervoordt Foundation e Fondazione Musei Civici di Venezia, Proportio è un'esposizione è presente nella nostra vita, nel complesso universo in cui ci troviamo. Attraverso un ventaglio di espressioni provenienti da ambiti diversi quali l'arte, la natura, la fisica, l'economia, la storia, la scienza, la musica, la medicina e altri ancora, lo studio della proporzione svela gli schemi e i modelli naturali ricorrenti nella creazione di tutto ciò che costituisce il mondo materiale. Durante l'intero corso della storia umana a noi noto, civiltà diverse hanno impiegato il sapere relativo alle proporzione. Le nozioni estremamente avanzate e complesse legate ai principi della geometria sacra e, in particolar modo, della sezione aurea sono confluite all'interno di esoteriche conoscenze spirituali e tradizioni religiose.


    €65.00
  • Item:MER-1118

    Proportio EN

    Presented from May until November 2015 at the Palazzo Fortuny in Venice by the Axel & May Vervoordt Foundation and Fondazione Musei Civici di Venezia, the exhibition Proportio examined the ways we experience proportion in our lives and the complex universe in which we live. By presenting wide-ranging and diverse expressions found in art, nature, physics, economics, history, science, music, medicine and many other subjects, the study of proportion uncovers the natural patterns that are used to create everything in the material world. Throughout the course of known human history, the knowledge of proportions has been applied across civilizations for thousands of years. The sophisticated knowledge of sacred geometry, and the golden ratio in particular, was considered highly advanced and closely linked to secretive spiritual wisdom and religious traditions.


    €65.00
  • Item:MER-510

    Anello. Naga. Sunyata, 3xCD



    tracklist:



    CD-1. Anello

    CD-2. Naga

    CD-3. Sunyata



    reviews:



    Review in Vital Weekly 757 by Frans de Waard

    Obviously I can't review this 3CD by the for me unknown Mireille Capelle. Let me explain. Each CD has one piece of music, but to play the complete piece you will have to play two CDs on four speakers at the same time. Such elaborate set up is not allowed here in the Vital HQ building, but I understand that each can also be heard individually. Phew, that's a relief. From the extensive booklet I gather Capelle, who has a training in classical music, in singing, as well as appearing in various films and she composes her 'Sonic Architectures' with natural elements and this three (two?) works are part of that. It all sounds very zen inspired, both the music and the written aspect of this. I'm not sure how her compositional techniques work, but on 'Naga' I think she uses mainly laptop and perhaps some sort of Max/msp patch, in a very tranquil way. A bit like Christoph Charles on his Ritornell CD. On 'Anello' the sound sources seem to be more of an acoustic nature, but also treated with the aid of the computer. It has, like 'Naga', a fine open sense of open space. 'Sunyata' is on the other hand a very closed work. It takes a long time before one hears anything at all, and it slowly turns out to be a work for flute and cello. Each of the three pieces has an entirely different length, so I'm not sure what the idea is when you are playing these together, but I could very well imagine that playing all three at the same time might bring further enlightenment. Nice one.

    vitalweekly.net





    Review in Gonzo Circus

    Ik ben de bezitter van een wankele slaap. Ik zoek houvast en regelmaat en ben toe aan een kruidenthee die ik niet eens graag drink. Het smaakt me niet en ik worstel na een jaar nog steeds met een dijk van een koffieverslaving. Ik ben aan de winnende hand. Alleen hoe lang nog voor ik het onderspit delf? Ik heb mijn principes aan de kant geschoven en heb een nacht gereserveerd voor ’Anello–Naga–Sunyata’ van Mireille Capelle: zonder twijfel een van de belangrijkste Belgische zangeressen of kunstenaressen tout court. Capelle schitterende in opera’s van Purcel, Bruckner en Mozart en werkte intensief samen met Jos Van Immerseel. De laatste jaren maakt ze de bocht naar de klassieke hedendaagse muziek, John Cage, Henryk Górecki en Maxwell Davies om er slechts enkele te noemen. Voor ’Anello–Naga–Sunyata’ liet ze zich bijstaan door een uitmuntend en vooraanstaand gezelschap van muzikanten. Marc Tooten op viool, Karin Defleyt speelt fluit en Arielle Valibouse speelt harp. (De namen van de rest van dit uitstekende gezelschap staan vermeld in de uitgebreide hoesnota’s.) ’Anello–Naga–Sunyata’ bestaat uit drie cd’s, drie composities die elk afzonderlijk kunnen worden afgespeeld, maar ook samen op twee cdspelers en vier luidsprekers beluisterd kunnen worden. We hebben de platen eerst apart beluisterd. Ze bleven overeind staan, als een degelijk huis, gebouwd op een stevig fundament, in weer en wind, de tijd trotserend. Ik heb een nacht gereserveerd. Heb slaapdronken in mijn zetel plaatsgenomen en ik heb de verschillende composities in verschillende combinaties doorgenomen. Het was een sacraal moment, nog het meest toen ik eerste zonnestralen, het ochtendgloren, mocht aanschouwen. ’Anello–Naga–Sunyata’ is een meesterwerk, boeiend en verrassend van de eerste tot de laatste noot. Ik heb vaak gedacht aan het werk van Morton Feldman, vroege Cage, de korrelige ambientsound van Deathprod en de donkerste kant van Diamanda Galás. Het middaguur lonkt. Ik zit aan de ontbijttafel met een kop kruidenthee en de zoete herinnering van een nacht die ik nooit vergeten zal.

    www.gonzocircus.com







    Review in Foxy Digitalis

    An ambitious collection of three contemporary classical music CDs composed by Mireille Capelle, an actress, opera singer, and professor and director of the singing department at the Royal Conservatory of Ghent, there are hours of material here, often composed of bleak tones and atmospheric chimes. Although well-packaged and intellectually engaging, the music and project can be weighed down by a sense of abstraction and vagueness within some of its ideas.

    The strength of these recordings comes through Capelle's creation of an expansive mood and the slowing down of the changes within her music so that the listener is able to focus on small, specific aspects of sounds, and is therefore in a sense able to become aware of the passage of time and the idea of passing time (the concept of time appearing to be the subject of the project).

    Liner notes written by Belgian art collector, curator, and designer Axel Vervoodt mention that "[Capelle's music] symbolizes an osmosis with the universe" and "knowing that one will never reach ultimate knowledge," although I'm not sure what to make of these ideas on their own terms or in relation to the music itself. Similarly, Capelle writes that the pieces "are constructed geometrically according to a mathematical scheme which is based on the symbolism of numbers. On the basis of whatever drives my senses, I gather together a great mass of recorded sounds from everyday life: the street, the wind, streams, the noise of cars, of conversations, of birds, of singing... [and] I compose thematic phrases which are interpreted by musicians." The last idea seems to make more sense than the first, which seems overly complicated and confusing. As a subject time is a difficult, although, if properly approached, rewarding subject for art, but it is difficult to tell if Capelle's project matches up to its aims. Music is a temporal form and should be able to express ideas of time, but it is also such an abstract type of art and thought that it would be extremely difficult to express these concepts formally in any case, although the music here does seem to achieve an expression of this idea. One problem with Capelle's mathematical approach seems to be that, for her method to work, there would need to be an intrinsic connection between geometry and the symbolism of numbers, but this seems to be a value added between the two by Capelle. It is arguable, for example, that the "symbolism of numbers" is not particularly meaningful in itself. Aldous Huxley once described James Joyce as having an extremely problematic "magic view of words"--"an approach to words as having some intrinsic value apart from their references"--and it seems as though there is a similar problem here. 7/10

    www.foxydigitalis.com


    €29.99
  • Item:MER-501

    TRA, Edge of Becoming


    Catalogue published on the occasion of the exhibition 'TRA – The Edge of Becoming,’ at Palazzo Fortuny in Venice, from June 4 to November 27, 2011. Curators are Daniela Ferreti, Rosa Martínez, Francesco Poli and Axel Vervoordt. English and Italian edition.



    Leaf through the book here


    €49.00

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