FRANCISCO LÓPEZ (absolute concrete music, Madrid)
FETISCH PARK (first performance in many years by this legendary project!)
Nachholtermin vom Juni 08!!!
DAS SYNTHETISCHE MISCHGEWEBE (42 Entgleisungen in Stereo, Caen)
26.09.2008 — Freitag
Achtermannstr. 12, 48143 Münster
Einlass: 20.00h, erstes Konzert: 20.30h
Francisco López entbindet den Menschen von allen intellektuellen und sozialen Verpflichtungen. Mit seiner referenzlosen Totalmusik gibt es nur den KLANG. Mit verbundenen Augen lauschen die Zuhörer seinen tosenden Noisesounds, eingefangen irgendwo zwischen Sao Paulo, Madrid und Feuerland. Fetisch Park, die in ihrer ersten Schaffensphase berüchtigt für ihre Thematisierung von S/M Sexualität waren, treten seit etlichen Jahren erstmals wieder live in Erscheinung – klangliche Überraschungen sind garantiert. Das deutsch-französische Duo DAS SYNTHETSUICEH MISCHGEWBE wird eine Art Installationskonzert spielen, in dem der Konzertraum in eine begehbare Klangskulptur verwandelt werden wird. Mit freundlicher Unterstützung von Kulturamt der Stadt Münster und der LAG Soziokulturelle Zentren NW e.V. mit Mitteln des Ministerpräsidenten.
Francisco López is internationally recognized as one of the major figures of the underground experimental music scene. Over the last twenty five years he has developed an astonishing sonic universe, absolutely personal and iconoclastic, based on a profound listening of the world. Destroying boundaries between industrial sounds and wilderness sound environments, shifting with passion from the limits of perception to the most dreadful abyss of sonic power, proposing a blind, profound and transcendental listening, freed from the imperatives of knowledge and open to sensory and spiritual expansion. He has realized hundreds of concerts, projects with field recordings, and sound installations in 50 countries of the five continents. His extended catalog of sound pieces (with live and studio collaborations with over 100 international artists) has been released by more than 140 record labels worldwide, and he has been awarded twice with honorary mentions at the competition of Ars Electronica Festival.
francisco lópez absolute concrète music
Over the last twenty five years Francisco López has been developing a powerful and consistent world of sound creations, ‘trying to reach an ideal of absolute concrète music’. To date, his catalog comprises more than 180 sound works, which have been released by over 140 record labels throughout the world. He has toured extensively throughout Western and Eastern Europe, North, Central and South America, Japan, Taiwan, South Africa, Australia, and New Zealand doing live acousmatic performances and sound installations, and he has received commissions from a number of renown institutions and organizations, such as the Dutch and Spanish National Radios, the Goethe Institut, V2 Organization (Rotterdam), Yale University Theater (New Haven), the Ralph Lemon Company (New York), the Zeitkratzer Ensemble (Berlin), Creative Time (New York), Quartier Ephemere (Montreal), Sound Traffic Control (San Francisco), Argos Festival (Brussels) and Radio New Zealand (Auckland).
Through what he once called as ‘the exploration of the universe of broad-band noise from the real world’, his music arises from the processing of environmental recordings. In deep contrast to the classical soundscape movement (and even despite his paradoxical past involment with related organizations as the Environmental Tape Exchange, the World Forum for Acoustic Ecology and the Nature Sounds Society), his vast activity doing field recordings all over the world (50 countries in the five continents) never pursued a documentary or representational goal, but a dramatically opposite object sonore perspective. And in this sense, the evolution of his aesthetics and conceptual background is a profound process of refinement towards an extreme musical purism, with a voluntary and forceful refusal of any visual, procedural, relational, semantic, functional or virtuosistic elements. What is left is an astonishingly powerful musical essence capable of reaching both the deepest and most dreadful abysms of crude strengthness and the most subtle and diffuse aural edges; a complex territory of anti fast-listening where perceptual awareness and the power of naked music are strikingly rediscovered; a world where things are uneasy, unclear, unsolved and where one is forced to inmerse and search. He calls it belle confusion.
FETISCH PARK/Carla Subito
Annäherung an Fotografie und Feldaufnahmen im Alter von 12.
Ausbildung zum Kirchenorganist.
Studium der Wirtschaftswissenschaften (Prof. Woll, Siegen), Musik-Theather-Regie (Prof. Goetz Friedrich, Hamburg) und Meditation (Ma Kala Naga Shanti).
Einrichtung eines Tonstudios und Kooperation mit unterschiedlichsten Komponisten/Musikern (Radio 100, Bob Humid, Club off Chaos, Jaki Liebezeit, Hans Ulrich Humpert, Johannes Schmoelling, Trance Groove, Soma etc.).
Mit Marlon Shy Gründung der Künstlergruppe Fetisch Park.
Veröffentlichung von Musik CD´s bei verschiedenen Labeln (z.B. Extreme, Staalplaat), Videos und Büchern im Konkursbuch Verlag Claudia Gehrke.
Ausstellungen, Medien- sowie Live Auftritte in Deutschland und dem benachbarten Ausland (z.B. Sonar Festival, Barcelona).
Lebt in Köln, Olpe.
DAS SYNTHETISCHE MISCHGEWEBE
The synthetic mixture of fabrics would be the english translation word for word of the groups name behind that stand Isabelle Chemin and Guido Hübner. It means a little bit more and is rather to understand as a program than as a name.
DAS SYNTHETISCHE MISCHGEWEBE was founded already in ’80, but Isabelle Chemin and Guido Hübner started to work together with a bunch of other people in ’85 in Berlin. In ’86 we moved to Barcelona, in ’91 to Bordeaux where Isabelle Chemin comes from and since the end of ’95 we reside in Caen, Basse-Normandy.
Our first works together were site specific, narrative performances employing installation works, electronic and acoustic noise and Texts by JEAN RENE LASSALLE (french experimental poetry)in places like a public bath, a defunkt railwayjunktion, a slaughterhouse, the backyard, cellar and roofs, but not the exposition space of a gallery itself, a fishmarket, … but also places like the kitchen in New-York or the Santa-Monica Contemporary arts museum of Barcelona.
Dealing with electronic equipment and junk for sound and video the step into the digital realm was made quick once we found access to the necessary material. The title Perception : fast forward made its first apparition. This happens in Barcelona were we started to experiment in computer imagery making use of system failures to obtain strongly ocsilating standimage that become our contribution to the world of the computer animation. But in fact we never considered us as mere image creators in the sense of working in a frame, also it might be a screen of moving elements and hence we soon found ourselfs being involved in robotics, sensors of all kinds, live-video and highly sensible industrial video to computer survilance and measuring/testing systems, etc. We soon had to realize that in fact there’s made a lot in the digital area, but nothing is created for the artist, as best it is made for the artisan as worst for the consumer of ” creative ” household occupations. Since realizing that, we decided to collaborated closely with scientists and engineers to develop the dispositives we need for our installations and performances.
When we started to work in Bordeaux we become involved in medical imagery. Starting by making endostroboscopic recordings of the vocalchords and radiography in movement of the head with focusing also on the speech apparatus for the performance Perception : Fast Forward III , we currently use a lot of RMI (resonance magnetic nuclear imagery) and starting with PET (photon emission tomography) now. We become involve with neurological questions on reconnaissance when developing our interactive installation Perception : Fast Forward IV and now the performance transNEUROsite for that we currently develop a system of navigation in a 3D space by means of a vocal men-mashine interaction that we wish to develop towards a dialog between the booth rather than to a simple navigation by directive commands from the first. The 3D space is occupied by the volumen of a brain made from RMI images around and inside that the navigation takes place. A future version shall allow access to this space through the WWW, but makes the substitution of the vocal interaction with a written text interaction necessary.