Search results for 'san rocco'

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  • Item:MER-1404

    Spoons, Tim Onderbeke

    Artist Tim Onderbeke and jewellery designer Louisa Maria Ponseele combine their fascination for memory, beauty and luxury in the artist book Spoons. On the beach they created shiny utensils with found materials that they pressed into the sand and casted into tin. The result is a beautiful series of fragile, poetic objects with titles such as ‘Spoon for stealing rainbows, ‘Post Poseidon’, ‘Tea for two’ and ‘Moule a gogo’. ‘Moreover, in a typical place setting, spoons are also purchased or given as ornamental objects: as a ceremonial gift at a baptism, as an expression of a lover’s affection or as a souvenir from a journey, be it near or far.', Melanie Deboutte writes. She begins her essay with Botticelli's Birth of Venus, where we see this goddess being carried ashore on a shell. "It is impossible to pinpoint the date at which the first spoon appeared, but somewhere between a hollow shell and an empty palm, a scoop emerged during the course of prehistory.”. After this she takes the reader on a trip through art history with the aid of the spoon.


    €19.00
  • Item:MER-1400

    Representing the Work, Matt Mullican

    In the mid-1970’s, Matt Mullican developed a unique artistic language based on pictograms, diagrams and cosmological models. In reaction to conceptual art, this return to the image made the American artist one of the represantatives of the Picture Generation. Alongside these symbols placed on various supports (sheets, books, stained glass, etc.), his performances under hypnosis give expression to that person, an emblematic, even caricatural human figure. In 2018, Matt Mullican created representing the work, an installation mosaic of 64 iconographic illustrations that catalogue the principal chapters of his work.



    This catalogue was published on the occasion of the exhibition ‘Matt Mullican. Representing the Work’ at MAC’s Grand Hornu, 16.02–18.10.2020.


    €39.00
  • Item:MER-1399

    Kleine Catalogus van de Collectie van S.M.A.K.

    In deze Kleine Catalogus zijn kunstwerken verzameld die jonge S.M.A.K.-bezoekers het beste vonden! Zij kozen de kunstwerken die volgens hen het meest bijzonder, interessant, gevoelig, verwarrend, mooi, inspirerend en zoveel méér zijn.



    Uit de collectie met meer dan 3000 werken krijgen 150 wondere kunstwerken een plaats in de Kleine Catalogus.

    In dit boek met de mooiste afbeeldingen blader je van A(bramovic) naar Z(orio).



    Kijk en lees! Lees en kijk! Doe dit ook samen met papa, mama, broer, zus, oma en opa – en word samen Ware Kunstkenners.


    €27.50
  • Item:MER-1390

    Blue Veil, CD

    tracklist:

    1. Blue Veil (27:26)

    2. wabi 1 (11:34)

    3. wabi 2 (7:10)

     



    Release date: November 11, 2019

    Composer and performer: Mireille Capelle

    With: HERMESensemble

    Piano: Koen Kessels

    Musical Assistant and mastering: Bodo Peeters

    Artwork: Yun Hyong-Keun

    Photography: Laziz Hamani

    Edition: 350 copies

    Design: Jeroen Wille



    A production of Inspiratum. 

    Published by Inspiratum and audioMER.



    audioMER. is honoured to announce the release of a new CD; Blue Veil with music by Mireille Capelle (BE) and HERMESensemble*.



    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. She is member of the artistic board of HERMESensemble. Mireille Capelle has a particular affinity with contemporary music and art, characterized by many encounters with the most important contemporary composers. Blue Veil is a sonic architecture composed for the exhibition I Fortuny. Una Storia di Famiglia, curated by Daniela Ferretti, at Palazzo Fortuny, in Venice from May 6 till November 24, 2019. The essence of the piece was inspired by the installation of Axel Vervoordt and Tatsuro Miki in the wabi-space of the palace.



    A live performance with artist Marie Balcaen took place on 27 September 2019 at Palazzo Fortuny.



    Mireille Capelle in her words about the piece:

    “I took two pieces of white marble stones—both sculptural and radiant. I banged and rubbed them. In Venice I recorded the sounds of the bells of San Marco and the rustling of the water. I remembered the words coming to me. Sometimes they came very clear, sometimes barely understandable. Stemming from my fictional journey into the past, the words of Proust and d’Annunzio arrived… I catch Wagner’s breath as in his Shepherd’s Song… The whisper of a great white sail in the wind… In Blue Veil Henriette Fortuny—the silent muse—appears. Her pink dress and blue veil are floating in the wind… There is light of sounds and shadows. Blue Veil is both a quest for transparency and a path of perpetual repetition. I wanted this piece to allow us to hear the inaudible. I wanted to enlarge what is hidden in sound. “Eternity is the one who is, who will be and who was”. This sentence from Plato signifies to me that we are all particles of eternity.”


    €20.00
  • Item:MER-1339

    Inland Voyages in An Inland Voyage, Mira Sanders

    Under the generic title of Journal of a user of space, Mira Sanders (°1973, Brussels) develops a manifold oeuvre on mapping and territory as well as architecture and social space. The network of lines as well as the physical and temporal trajectories of her wanderings, constitutes through her drawings, videos and installations, a work of fiction inspired by the everyday and the trivial. As an invitation to multiple travels, Inland Voyages in An Inland Voyage was presented during two exhibitions, at Argos – Center for Art and Media in Brussels in 2016 and at the Musée d’art contemporain de la ­Haute-Vienne, Château de Rochechouart in 2018.


    €19.00
  • Item:MER-1325

    Thomas Frontini

    Thomas Frontini (°Kingston, 1967) lives and works in Cleveland, Ohio. With a love of art history and background in paper conservation, the history of painting visibly weighs on his decision of palette and technique. His works show the strong influence of Italian Renaissance artists, combined with Surrealist tendencies, and a touch of irony. Thomas Frontini’s work is based on the premise that fantasy and reality are always clashing in one’s consciousness, particularly in dreams. Typically, Frontini uses strong foreground imagery, set against a background of intangible landscapes and tableaux of fluid colours. The depicted scenes seem to suggest a certain narrative; as if an attempt is made to recollect a vague memory, of which some bits have remained crystal clear and some bits have disappeared into oblivion. Frontini captures the viewer's gaze in strong images that are full of symbolism, references, and humour. Simultaneously apocalyptic and elegantly hopeful.


    €45.00
  • Item:MER-1290

    II. MERA: Daily Chores on 5th Avenue, Ištvan Išt Huzjan

    On the occasion of the exhibition NSK State Art: New York, The Impossible Return at James Gallery of the Graduate Center City University of New York Huzjan walked the 5th Avenue from the corner of W143 street and 5th Avenue to the North entrance of the Washington Square Park. His movement was photo documented from the position of the Avenue’s 126 intersections. During his walk he cleaned the gutter of the Avenue by collecting waste in transparent plastic 16-gallon bags. A heap of filled 6 garbage bags were exhibited in front of the gallery at 365 5th Avenue on 8th of February 2017. The following morning the heap was picked up by The City of New York Department of Sanitation.


    €185.00
  • Item:MER-1276

    Masatoshi Masanobu



    Masatoshi Masanobu was born in 1911 in Suzuki City, the Prefecture of Kochi, Japan. He was a member of the Gutai movement, although his work is not as conspicuous as that of the other Gutai members, nor did he make any historic performances or paintings that stood at the forefront of the era. But in fact he was any less radical than the rest of the group. Masanobu was a rather orthodox Japanese painter, who tried to make a living as an artist while supporting himself as an art teacher. His creative approach appears much more idiosyncratic to younger viewers than the artist could ever have imagined. The proof lies in his early abstract paintings. In his essay in this book the author Kaichi Kawasaki discusses Masanobu’s works and his involvement with Gutai, which grew out of a meeting with Jiro Yoshihara after the war. 


    €45.00
  • 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

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