Search results for 'mat mullican'

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  • Item:MER-1306

    Time Regained, A Warburg Atlas for Early Music

    This publication is a kind of workbook or manual. It is not a music history, nor is it a technical, musicological book. It is rather a book about materials – musical materials and their relation to other artistic materials. It is not a book for professionals or specialists but for those who like to explore the capacities and possibilities of artistic materials. However, it never talks about them in a technical way. This book is instead about love and desire for old repertoires, and especially for polyphony, attempting to retrace its shape: the initial desire that makes one want to perform this music.


    €65.00
  • Item:MER-1299

    Animated Life / Otaku Futurism, Didier Volckaert

    Didier Volckaert, aka Ikari 'Ellis' Katsumi, has compiled an impressive collection of images and authored a fascinating travelogue guiding us through the world of Otaku culture.

    Animated Life / Otaku Futurism puts us at the threshold of Anime as life itself, the complex and refined form of reality lived by Otaku. Thoroughly researched, intense & far-reaching, this volume is, in the words of Ikari 'Ellis' Katsumi, an omiyage, a source of strategies, a sea of possibilities, a manifest, a gift.


    €39.00
  • Item:MER-1288

    Beïnvloeiingen, Yves Velter

    The work of Yves Velter (°1967, Ostend) deals with questions that lack answers, fear that masks desires, words that fail to communicate. Anonymous personae are placed in a timeless environment, the silhouette of their faces erased and replaced by materials linked to a certain symbolism. Through these metaphors, Yves Velter creates image codes that communicate the expressiveness of the unreadable.

    What prevails for the viewer is an overall sense of unease, incited by Velter’s ability to unveil what we all feel but do not dare to recon. Not in search of answers through the medium of art, Velter finds meaning in the unresolved question.


    €39.00
  • 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-1266

    Da.ta (Transpositions)

    This book forms a catalogue of the research project 'Transpositions', instigated by Austrian artists Michael Schwab, Gerhard Eckel and David Pirrò. The project investigates the possibility of generating new auditory and visual forms based on the analysis and mathematical transformation of scientific data. In addition, the project studies whether and how these new forms are of scientific significance by asking the collaborating researchers to scientifically analyse the artistic outputs. By combining scientific and artistic values, the project contributes to the conceptual development of a space for research that is shared between art and science.



    The 'artistic data explorations' that emerged from the research project were presented and discussed within the context of the exhibition and symposium in May 2016 'DATA Rush'.


    €39.00
  • Item:MER-1256

    From Scene to Scene, Angel Vergara

    The work of Brussels-based artist Angel Vergara (°1958, Spain) is a continued research into the aesthetical and ethical power of the image. Through mediation and transformation of existing images by means of performance, video, installation and painting, Vergara questions the way images shape our reality.



    In his recent painted films, Angel Vergara links audiovisual to painting, putting the act of painting at the heart of his own pictorial production. The exhibition From Scene to Scene in the summer of 2017 at Royal Museum of Fine Arts in Brussels presented five large-format “painted films”, echoing five lectures of poet and art critic Charles Baudelaire in which he defended his views on modernity.


    €35.00
  • 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-1246

    From nul to zero, Henk Peeters

    Henk Peeters (°1925, The Hague) was considered one of the most active members of the Dutch NUL movement. Together with other Dutch artists such as Jan Schoonhoven, Armando and Jan Hendrikse, he formed NUL in the 1960’s, which later joined the international movement ZERO. As a result of growing international contacts, Peeters initiated ‘Zero on Sea’, an art manifestation in the summer of 1965 on a pier in Scheveningen, including about 50 likeminded artists from over ten countries.

    Peeters’ work is closely inspired by daily life and natural phenomena. By using mass-produced clinical materials such as nylon and plastic and assimilating them through processes like fire, ice, snow and mist, he aims to reinitiate the viewer’s consciousness towards his environment.

    The artistic practice of Henk Peeters was known for its diversity in material and technique, going from burned canvasses to readymades bought in chainstores. Often these objects show a strong duality between being both tactile and untouchable. As the artist once said: “with my work, I have always wanted it to look just as fresh as if it was in the HEMA (the Dutch chain store). It must not be artified... I had no need for artistic cotton wool.”


    €39.00
  • Item:MER-1245

    RESONANCES I, FOOD

    This book, an "art book on food", is based on material gathered during RESONANCES I, an ad-hoc project organized by the Joint Research Centre of the European Commission at the occasion of the Universal Exhibition EXPO 15: Feeding the Planet, Energy for Life, held in Milan. 



    The material gathered during the festival has been deconstructed and reconstructed into a new narrative that evokes the need of considering food not only as a mere scientific, technical and commercial matter of fact but also as a social, cultural and political matter of concern.


    €20.00

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