#Lorenzo Tebano

[xbsundaymatinee]

Matinee #38 on Sunday 10 March

#38 at Peliculoso again!  On stage from 4PM:

Lorenzo Tebano’s performances consist of Lorenzo bouncing about while doing vocals and mixing arrangements live. https://www.youtube.com/watch?v=htTyTlxCISs&t=1s https://soundcloud.com/laf-tebano

Helas is a duo, bass and drums and more. In their own dark way, they punk between Paris -France and Beirut -Lebanon, AND we’re so thrilled to have these two at our Sunday afternoon thing. https://helas.bandcamp.com/

Gutter Romance. Them words: “Having rocked the shit hard with our punk band Tungsten Tips for the last few years, we decided to throw together a few tunes and venture into the stripped down, and slightly more daunting world of acoustic shenanigans. Imagine a cocktail of beer, Ramones chords, lyrics about the best parts of the shit things in life and a general lack of musical precision and that, my friend, is Gutter Romance.”  Nice uh? And when school’s out we can all have a riot, that’s a real option when the kids are united. https://gutterromance.bandcamp.com/

+ Vegan Tacos from Los Nopales!!!

Right after the concerts from around 19 Uhr do stick around for a movie screening!

_________________

THE SUNDAY MATINEE #37 Peliculoso c/o Køpi Köpenicker Str. 137 10179 Berlin

[latikobe]

¿Qué sucede en Cuba cuando se precisa una “tercera pata”?

(Foto: granma.cu)

LA HABANA, Cuba.- Llegado a Tebas, Edipo se entera de la existencia de una “esfinge” a la que únicamente se podía destruir después de responder a un acertijo, ese que averiguaba cuál era el animal que caminaba primero en cuatro patas, más tarde en dos, y finalmente en tres. El joven Edipo acertó con su respuesta, advirtiendo que se trataba del hombre, quien al nacer se movía gateando, “en cuatro patas”, hasta que se levantaba para caminar erguido sobre sus dos pies, mientras que, llegada la vejez, se apoyaba en un bastón, su tercera pata.

Edipo dio la respuesta exacta y Tebas, salvada de los males de la esfinge, le ofreció como recompensa la mano de Yocasta, la reina viuda, su madre, a quien desposara sin saber del parentesco. Conocida la verdad el rey Edipo se sacó los ojos y vagó por los caminos apoyado de un bastón o del hombro de su hija, la fiel Antígona.

Así camina ahora Lorenzo, apoyado sobre el hombro de su hija Nancy, y no porque tuviera que enmendar alguna culpa como el tebano. A este hombre habanero le robaron el bastón hace unas semanas. Una mujer que gritaba improperios a su marido, que corría tras él, le arrancó el bastón a Lorenzo, y siguió corriendo tras su presa. El viejo Lorenzo cayó al suelo, algunos de los que estaban cerca lo ayudaron a incorporarse, pero la ladrona consiguió largarse con el apoyo de Lorenzo.

Lorenzo, además de la pérdida del bastón, descubrió que su prótesis se había dañado en la caída, y ahí comenzaron las peripecias de este anciano y de su hija, quien ha tratado de restaurar la prótesis sin conseguirlo. Ya estuvo en dos talleres, y en cada uno se aterró al mirar la expresión de los mecánicos que no consiguieron componerla. Y el pobre hombre no se resigna al sillón, quiere dar su vueltecita callejera como cada día, pero su hija no se atreve a traspasar la puerta con su padre, teme que vuelva a caerse y que el mal se vuelva mayor.

No tengo noticias de que Layo, padre de Edipo y rey de Tebas hasta que lo mató su hijo, hiciera alabanzas de las atenciones que prodigaba su reinado para los más viejos, pero en Cuba, a cada minuto, sí que se habla de la atención a sus mayores, de las garantías de la salud que tienen sus ciudadanos, aunque la realidad sea otra.

Tendrían que constatar esos parlanchines el desamparo que siente un anciano cuando llega a una farmacia y se entera que no podrá cumplir las recomendaciones de su médico porque siguen “en falta” un sinfín de medicamentos. Mi madre hace tres meses que no consigue la aspirina de 125 milígramos y tampoco la digoxina, y su corazón no le agradece en nada esas ausencias, se lo recuerda a cada instante.

Ese altanero gobierno discursea sobre su “generosidad”, y sobre la atención a los de la tercera edad, sin que se atreva a mencionar las pésimas condiciones que tienen en la isla los hogares de ancianos, sin que reconozcan la pésima alimentación que tienen en esta isla los más viejos. No creo que este gobierno desconozca lo que para un anciano significa un vaso de leche, un pescado, un bastón, o la prótesis para quien no tiene las dos piernas. No creo que desconozca ese etcétera larguísimo de escaseces, que es prueba de una vida miserable.

Lorenzo dice que, después que se rompió su prótesis, después que le robaron el bastón, ha perdido la luz, y no creo que él esté hablando de la luz divina. Él habla de otra luz. Para Lorenzo, quien ya tiene ochenta y tres años, la luz está en esos paseos matutinos que ahora no puede dar; para él la oscuridad es andar dando salticos por la casa y apoyado en el hombro de su hija. Ramón languidece desde hace tres semanas sentado en un sillón, como tantos ancianos en la isla. Sin dudas por acá no se descifró nunca el acertijo de la esfinge cubana, quizá porque las realidades no son las mismas que conoció Edipo; en Cuba el niño gatea en cuatro patas para erguirse luego sobre los dos pies, pero no está garantizado que en la vejez tenga un bastón o la prótesis que podría necesitar.

¿Qué sucede en Cuba cuando se precisa una “tercera pata”?

[kulturformidleren]

ENGROS skulpturudstilling på Grønttorvet i Valby

Kom til fernisering på fredag d 19. maj kl 17-22. DJ duo'en Tutti Frutti spiller organisk og eklektisk stemnings- og dansemusik. Matthew Luck Galpin og Jack Catling (UK), begge medlemmer af den internationale performancegruppe The Parlour Collective, præsenterer et nyt performance værk. Amalie Staunskjær Jakobsen præsenterer performancen How not to welcome. Øl og vin - og mad af Rebel Food. Udstillende kunstnere: Nanna Abell, Solveig Adalsteinsdottir, Lisbeth Bank, Julie Bitsch, Anders Bonnesen, Rune Bosse, Ole Broager, Mikkel Carl, Eva Steen Christensen, Jesper Dalgaard, Rose Eken, Esben Gyldenløve, Lone Høyer Hansen, Kasper Hesselbjerg, Ellen Hyllemose, Jytte Høy, Amalie Staunskjær Jakobsen, Klaus Thejll Jakobsen, Oscar Jakobsen, Veo Friis Jespersen, Kirsten Justesen, Marianne Jørgensen, Heine Kjærgaard Klausen, Esben Klemann, Jørgen Carlo Larsen, Karin Lind, Karin Lorentzen, Mathias & Mathias, Ragnhild May, Henrik Menné, Morten Modin, Astrid Myntekær, Tina Maria Nielsen, Camilla Nørgård, Kaj Nyborg, Peter Olsen, Lars Bent Petersen, Cai-Ulrich von Platen, Bjørn Poulsen, Finn Reinbothe, Amitai Romm, René Schmidt, Thora Sigurdardottir, Christian Skjødt, Julie Stavad, Hartmut Stockter, Morten Stræde, Daniel Svarre, Laurits Nymand Svendsen & Margrét Agnes Iversen & Malte Klagenberg & Jens Tormod Bertelsen & Søren Krag & Cilla Leitao & Sune Lysdal & Carla fra Hellested & Lorenzo Tebano & Anna Samsøe & Ásta Fanney Sigurdardottir, Rikke Ravn Sørensen, Mikael Thejll, Charlotte Thrane, Fredrik Tydén, Sif Itona Westerberg, Torgny Wilcke

Valbys gamle grønttorv ligger lige nu omgivet af bjerge af asfalt, grus og beton. Med en utrolig hastighed forvandles bygninger til bunker af pulveriseret beton, der køres bort for at give plads til en uendelig leverance af nye betonelementer. Grønttorvet er i en transformationsfase fra engroshandel med frugt og grønt til nybyggede boliger, og de næste to år er en del af området udlagt til midlertidige kulturaktiviteter. Skulpturi har, i samarbejde med udstillingsstedet Pirpa, hermed fået muligheden for at virkeliggøre en længe ønsket drøm, om at lave en stor udstilling for skulpturfagets mangeartede udtryk - en manifestation på tværs af generationer blandt nogle af de mest markante billedhuggere i Danmark, samt enkelte udenlandske gæster. Med inddragelsen af nye territorier til skabelse og formidling af billedkunst, lægger ENGROS sig ind i en tradition, som igennem tiden har ført billedkunsten ud i alsidige rum. Det er et greb, som kan skærpe fokuseringen hos publikum og kunstner ved at etablere situationer i ikke kunst-indviede rum. Nye erkendelser vil i mange tilfælde trives bedst i nye områder.

På Engros-udstillingen placerer skulpturerne sig i de tomme industrilokaler og brede boulevarder, der hidtil kun har haft til formål, at huse nødvendige arbejdsfunktioner som administration, salg, opbevaring og transport: I et presenningfirmas konkursbo er kunstnere flyttet ind i et inferno af materialer og maskiner. Skalpeller, stof og skrald organiseres i et sært og sart efterliv. Et mørkt kølerum huser en installation af hundredevis hvide voksæbler. Skulpturer hænges op, hvor der før har hængt lamper. Værker finder plads på lagerhylder, i skabe og på betongulv. Mellem bygningerne hægter skulpturer sig på vægge, bryder ud af ramper og kamuflerer sig som skilte. Pirpa fyldes af en stor installation med rådnende frugt og udstillingsstedet fungerer samtidig som udstillingens informationscentral.

Fernisering: fredag d. 19. maj 2017 kl 17 - 22 Udstillingsperiode: d. 20. maj - 24. juni 2017 Åbningstider: onsdag - søndag kl 12 - 18 Sankt Hans fest og finissage: torsdag d. 22. juni kl 17-21

[wbg1991]

Hyperlocal Festival - Cafe OTO

Hyperlocal billed itself as an ‘all-day festival celebrating international-local acts’ and while the international and local have increasingly been drawn apart as opposites, following a year in which inward looking politics and austerity-hit communities have effectively given one big finger to a now passing era of continual globalisation, it’s difficult to argue that the performances on the day did, in some way, engage in ‘a dialogue suspended above the transnational abyss’, a day of performances that escaped increasingly tribal localism.

It’s not often that these event descriptions and press releases catch the eye. They usually contain a predictable usual mix of promotional guff and hyperbole, but this sociology graduate sounding description of the first European run of this relatively new festival – a festival previously only held in Buenos Aires – was a little more eye-catching.

During a time in which fractious politics threaten to renew localised rather than global notions of community, this event promised a united ‘headspace’ bonding two cities on the opposite parts of the world, from countries with lingering political antipathies towards each other. It seemed somehow like the ideal utopian critique to the bafflement of 2016 and being hosted in the ever-reliable Cafe Oto also boosted its musical appeal – as did the discovery that it’s Buenos Aires renditions have hosted the likes of Pharmakon, Mykki Blanco and Molly Nilsson.

As you’d expect, it being a festival that originated in Argentina, some Argentinian bands did indeed make the journey over, but the lineup consisted of a boundary-less mesh of nationalities, localities, genres, looks and so on. From lo-fi rockers in Buenos Aires to quirky art-punk from Dalston, from a Japanese industrial techno duo now in Berlin to pithy spoken word infused songwriting from Washington DC, and so on and so forth – the lineup was what you’d expect from a festival trying to deconstruct notions of locality with upcoming and not particularly well-known but nonetheless interesting and experimental artists from around the world.

While most festivals with international lineups tend to be well-funded and loaded with signed and recognised names, Hyperlocal’s appeal was that it felt nicely low key, as though all these strangers from the other sides of the world had really only just come round the corner. There were obvious common aesthetic themes and influences throughout the day though. The day started with Lorenzo Tebano from Denmark whose music combined drones, techno, and occasional Aphex Twin-evoking melodies and even lyrics as he shouted, with no reverb, “I want you soul / I need your soul” presumably referencing Come to Daddy. His contrast between high quality production and lo-fi vocals was striking, if intended, and what emerged was something from an apparent mesh of influences from no places in particular. It sounded as though it was from the different world of the shared sounds of alternative techno, hip hop and ambient that have pervaded across physical boundaries, yet this otherworldliness was all grounded by the starkness of the vocals which served to give a nice ‘producer in his bedroom’ vibe, and, intriguingly, you don’t get any more local than that.

To the opposite end of the lineup, the last act of the night at Cafe Oto was Group A from Japan but now in Berlin. They combined pulsing industrial beats with scratching vocals to induce an overall state of mania. While a point could be made about the duo combining the influences of Japanese noise art with Berlin’s great heritage in techno again the overall sound of their performance was not one of being from a locality as such. Instead they could have been from anywhere, effusing a post-locality mania shared by a world of people renewing it’s anxiety about the places they nonetheless find themselves within, a mania about place in a world where place should, in theory, be beginning to mean less. Their songs have previously expressed anger at the Japanese government and the vocals do evoke the sounds of political revolt (megaphones and what not), but the overall sound is subterranean, bleak and mind-bending – a technological cry from the substrata of a fractured globe.

Throughout the day performances paved new directions, new imagined places within a global map of genres. Londoner Patchfinder merged Berlin sounding techno with industrial drones evoking Shxchsxhsxhsxh, Lee Gamble, and even at catchier points Objekt, while also occasionally sprinkling in some seemingly sardonic samples (including a Giff Gaff voicemail message). Later on Vindicatrix (who I think was German) played repeating rhythms with ambient musique concrete soundscapes, hints of dub and some Scott Walker sounding vocals to an overall complex and gloomy effect. And in a very different way, SNEAKS (USA), with just a guitar and some beats, played out a minimal brand of songwriting that combined witty lyrics with Joy Division-sounding guitars – her sound was far simpler but in no ways inferior.

That these two could play before and after each other on the same lineup without the experience being a little jarring was perhaps indicative of how the day really found a way to bridge the differences of genres, as well as of nationality, in creating a different sense of unity. The coherence of the day was instead found through intelligent, idiosyncratic and explorative musicians finding their own sounds and on-stage personas in their own performances rather than drawing from the staid roster of cultural effects often thrown up at larger blander unsurprising festivals.

And this theme for the day was again apparent with the travelling Argentinean performers, 3mpty Space, Los Cripis and WVS, who, despite their shared country, all played music that, despite not existing distinctly from the world of local influences, was certainly idiosyncratic to each of them. WVS played crashing drums alongside dreamy and tender English language lo-fi alt rock, including a delicate cover of Bang Bang My Baby Shot Me Down, while Los Cripis relied on melodic but dissonant and pedal-less garage rock to an overall happy-go-lucky effect. 3mpty Space travelled place-less scapes, merging dreamy shoegaze guitars with luscious otherworldly textures, at points evoking Oneohtrix Point Never. When a vagabond ukulele playing east Londoner joined them unexpectedly – and I think uninvited – to jam over their ambient textures, to a not all that displeasing effect, the sense of hyper locality was truly achieved!

My own personal highlight was Dalston-based Bas Jan, angelically dressed in a loose fitting all white ‘costume’ created out of old polystyrene, ’costume’ being the key word here. They wittily sung over a frenetically loose combination of dissonant folk, funky baselines, and serious yet at points jovial experimentalism, using whirly tubes to great effect. The overall sound was jangly London art school pop punk band, and they were perhaps the most ‘local’ of acts in a sense, with lyrics including “get a job in the city/get a job making coffee” hitting home, as it were.

Bas Jan’s being on the lineup was perhaps appropriate given the festival was in London and was about a sense of locality, even if this locality was not bound to any place in particular. But while the festival hanged loose and tightly at different points of the day, it did what any good festival should do – it felt like a celebration. It wasn’t a festival of locality as a literal reading would suggest, but instead it was a celebration of how creative and ambitious musicians can create new communities and senses of self and place that cross over the physical boundaries of countries and cities.

www.cafeoto.co.uk

[hahagallerysouthampton]

See u there 

[rachelpimmwork]

ASC, THE ART SHOPPING CHANNEL LAUNCHES FANTASTISK BY RACHEL PIMM

Live performance with pre-recorded video featuring Samantha Baines and David Shuker, From Lucky PDF TV this is Auto Italia LIVE: Episode 2, Auto Italia, London, 23rd October 2010 5pm-7pm

AUTO ITALIA LIVE EPISODE TWO

Jeremy Bailey, The Clubbing Society, Andrew Kerton, Jess Wiesner, Katie Korwich, Sophie Rook, Rachel Pimm, Sean C Flaherty and Danielle Dean, Nicolas Quenzer, Daniel Swan

Launching 9th October, with the first broadcast taking place on Saturday 16th, the artistsʼ project space will be transformed into a functioning independent TV studio.  Showcasing new work from both established and emerging artists the weekly episodes present projects engaging with the traditions and contemporary forms of broadcast media. The programme will look at artistsʼ relationships to mainstream media and cultural programming, as well as the historic role of artists accessing and exploiting the format of TV as a platform to present work, projects and themselves.

The project celebrates artists who produce projects independently, creating their own audience and context within a larger network of media and culture.

Each episode will be produced in front of a studio audience and streamed live over the internet. The gap between the audience in the space and those watching at home, combined with the tension between television’s analogue heritage and digital supersession will be key to how each show comes together. The series will also develop an ecology of independent artists and artist run spaces documenting the way in which artists are finding new ways for themselves and their work to exist within the current cultural conditions.

Departing from the focus on video art, its commercialisation and theoretical reinvention as the black box within the white cube, the series will place its emphasis on the greater relevance and cultural impact of artists dealing with expanded modes of production and distribution. Produced with artists who are working in a contemporary networked and international context this project will define a specific place and moment while presenting multiple approaches to the presentation of information and the politics inherent in broadcast and televisual representation.

[rachelpimmwork]

THE FOURCAST, C2C P2P

Auto Italia LIVE Episode 3: C2C P2P, AT Auto Italia South East, 8th October 2011 7-9pm

Rob Carter, Leslie Kulesh, Rachel Pimm, Lorenzo Tebano

Featuring: Blanch & Shock, Laura Elsworthy, Cédric Fargues, Fleetwood Mac, Aoife Flynn, Marina Gasolina, The Haircut Before the Party, House of Drama, Nia Hughes, David Pimm, Peggy Noland, Open Barbers, Rikslyd, Linda Roser, Julia Tcharfas.

Auto Italia South East presents Auto Italia Live: an artist-run TV series, performed before a studio audience and broadcast live over the Internet. Working in collaboration with Auto Italia a wide variety of artists will produce new work through weekly episodes, engaging directly with the format of live Television and a history of artists using broadcast media platforms to distribute work.

Featuring a full camera crew, lighting technicians, directors, performers, production designers and set builders, artists will engage with all aspects of production opening the space for criticality and intervention within the medium. The series aims to experiment with new possibilities to engage in contemporary broadcast and internet culture whilst also responding to the familiar tropes and formulas within television programming.

The apparatus of TV and the technical infrastructure will allow for dialogue and exchange with images, actions, performances and experiences. Covering ideas of ‘edutainment’, to permacultures and ecology that surround the idea of live television the project will engage with how live TV has changed our understanding of culture and public space. Each episode will investigate a range of approaches exploring the expanded notion of the televised live performance, the live soap opera and factual, documentary presentation, through the choreography inherent in both performance and camera movements, and the narrative implicit in the existence of objects within a set.

The studio space will be open to the public both for the weekly broadcasts and also at specific times during rehearsals in the preceding weeks. The whole process of the live broadcast and production will be made public, engaging with audiences in the space and tuning in online. In an ever increasing landscape of broadcast media and ‘accessible’ web platforms this project aims to emerge within pre-existing web communities allowing artists to make and distribute new work and create new contexts and audiences around their ideas.

Produced collaboratively by artists, Auto Italia LIVE aims to reclaim a space within the television format that has increasingly lost its experimental aspect. The project will draw from figures including Nam June Paik that dealt with the risk taking inherent in live TV, Warhol TV bringing a community of artists together and Jef Cornelis in terms of his pioneering productions for Belgium Television in particular shows such as Container. Questioning the demise of risk taking in mainstream cultural programming within the history of British Television, the project  aims to provoke discussion and challenge how artists might work together to create new work, examining how dialogues are negotiated and tested within this unique context.

Bound up within the collaborative approach to working and new technological developments, issues of copyright and collective authorship will be examined. New documents will be compiled that will represent the best practice for commissioning on Digital Media platforms, in ways that benefit the artists over the distributer. These will reflect the possibility of artists working together, producing work independently from the demands of the gallery or a standard art context.