Search results for 'rebecca H. Quayman'

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  • Item:MER-1277

    3 boek 7 8 9 (box set), Architecten De Vylder Vinck Taillieu

    Open now for pre-order. Shipments will start January 11, 2018.



    First 53: €297

    Next 31: €353

    Last 29: €451



    3 boek 7 8 9 is a publication by architecten de vylder vinck taillieu in collaboration with MER. Paper Kunsthalle. The box set of three books gives an extended overview of both built and unbuilt work by the office, realised over the past decade.



    As a box set, 3 boek 7 8 9 follows the already published 1 boek 1 2 3 and the not yet published 2 boek 4 5 6. In contrast to the first set of books – fully edited by the office itself and conceived as a continuous, associative, cross-referencing text – this third set takes an opposite approach. The box compiles three existing monographs – a re-enactment of the out-of-print 2G N. 66, the 13th catalogue from the series De aedibus international and the recently published a+u 561 17:06 – and brings these ‘as-found objects’ together as one narrative.



    The editorial strategy employed in connecting the three separate monographs is an extension of the office’s overall attitude towards architecture, as demonstrated in their work. Using the formal interventions of copying and cutting, the monographs – each with their own household identity – are appropriated and related to each other. As such, the box set not only presents an overview of projects, it embodies these projects in the texture of the publication itself.



    3 boek 7 8 9 is available in a limited edition of 113 handnumbered issues and is accompanied by a short essay on architects’ books by Moritz Küng.


    €353.00
  • 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-1254

    I. MERA: Walk on Water, Ištvan Išt Huzjan

    On the seaside border between the Netherlands and Belgium Huzjan took a photograph of the Netherlands, turned around and started walking along the Belgium coast. With one leg in water and the other on land he walked slowly and took a photograph of the horizon facing southwards about every hour. By nightfall he reached Ostend where he rested. Next morning his movement continued in the same manner until he reached France where he turned yet again facing north and took the last photograph.


    €85.00
  • Item:MER-1249

    Alphabet, Michel Mouffe

    The book Alphabet shows Michel Mouffe's early work, assembled in an arbitrary order. Mouffe could be seen as a painter who does not paint. His sculpted paintings are composed of many thin glaze layers, each adding their own meaning and merging into an almost immaterial surface, a barrel full of possibilities. Mouffe creates breathing bodies with subtle bulges emerging from the interior of the cloth. The canvas behaves as skin: at the same time a protective boundary and a vulnerable opening. A skin that contains and protects, but which is also a passage to the outside world.



    The title Alphabet sets out the basics of the work as they would also outline the possibilities to all future works. The book is perceived as a conversation. Sometimes a monologue of Michel Mouffe himself, sometimes a dialogue between him and Joel Benzakin. Alongside this conversation, full of silences and pauses, the work is shown on large scale.


    €45.00
  • Item:MER-1237

    The Age of Entitlement, Sven 't Jolle

    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.


    €35.00
  • Item:MER-1207

    Hacking Velo, Ief Spincemaille

    In February 2015 the Belgian artist and philosopher Ief Spincemaille set up a temporary second atelier at the workshop of Velo, a socio-economic working place that recycles old bicycles in Leuven, Belgium. During a period of 9 months he hacked the existing production line and recycled old paintings instead of bicycles. He applied the repetitional production process of disassembling, storing and reassembling to works of art. He re-used the raw materials of the 284 recycled paintings for the recreation of 5 pioneering works in modern art history by a.o. Damien Hirst, Ellsworth Kelly and Kasimir Malevich.


    €20.00
  • 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-1188

    AB.ad., Jean-Marie Bytebier

    Jean-Marie Bytebier (°1963) is a Belgian artist, whose work references several 20th-century painting traditions in which the unfinished and the notion of absence play prominent parts. With his paintings Bytebier creates an intriguing world of often undetermined landscapes; a foliage of silent and blurry spaces devoid of human beings but in which the cultural remnants of humanity subtly seep through. Three decades of artistic practice are now gathered in a publication from which any textual explanation is banned. The result is an artist’s book that puts the visual world of Bytebier through new sequences to the fore, thus triggering new meanings that alter the art book, from a canonical catalogue to a new work of art.


    €39.00
  • Item:MER-1184

    Time Remaining Unknown, LP

    tracklist:

    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.





    REVIEWS



    The Attic

    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 Tapes

    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)


    €16.00

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