#manuela gernedel

[wir-lieben-nickmccarthy]

Manuela @ Field Day Festival, 03.06.17

[dierecneps]

[peabah]

Manuela Gernedel

[mu-th-ur]

La psychologie des serrures — Group presentation at CAN Centre d’Art Neuchâtel, Neuchâtel, Switzerland w/ Hadas Auerbach, Alex Ayed, Robert Brambora, Zuzanna Czebatul, Manuela Gernedel & Fiona Mackay, Jacent, Sarah Margnetti, Hamish Pearch, Ruiz Stephinson Curated by Sans titre (2016) in collaboration with the CAN Team Running until February 14, 2021 Photography by Sebastian Verdon @cancentredartneuchatel @sanstitre2016 #cancentredartneuchatel #sanstitre2016 #HadasAuerbach #AlexAyed #RobertBrambora #ZuzannaCzebatul #ManuelaGernedel #FionaMackay #Jacent #SarahMargnetti #HamishPearch #RuizStephinson #Neuchâtel #Neuchâtelexhibitions #groupshow #groupexhibition #Switzerland #Switzerlandexhibitions #painting #sculpture #installation #art #contemporaryart #ofluxo #ofluxoplatform @ofluxoplatform (em Neuchatel, Switzerland) https://www.instagram.com/p/CKULOiHFgwF/?igshid=kaca6lf3txva

[tumblingelanor]

Box Codax - Seven Silvers

I would’ve posted the music video, but I didn’t want to chance getting slapped by Tumblr’s bots.

Regardless, the song is awesome.

[merlinaknight]

A bit of soothing music for your senses on this summer night.

[noloveforned]

no love for ned on wlur – april 9th, 2021 from 5-7pm

artist // track // album // label hop along // buddy in the parade // painted shut // saddle creek portabella // window // return to the fountain of olives cassette // paisley shirt child's pose // october // eyes to the right 7" ep // thrilling living oh ok // playtime // the complete reissue // happy happy birthday to me hazy sour cherry // little run // tour de tokyo // damnably blanketman // beach body // national trust ep // pias * stiff richards // point of you // state of mind // legless eleventh dream day // yves klein blues // since grazed // comedy minus one daniel romano // kissing the foe // kissing the foe // you've changed esther rose // how many times // how many times // father/daughter * lee ann womack // from life's other side // industrial strength bluegrass: southwestern ohio's musical legacy compilation // smithsonian folkways chuck johnson // red branch bell // the cinder grove // vin du select qualitite caterina barbieri featuring bendik giske // fantas for saxophone and voice // fantas variations // editions mego ototsky quartet // pam // stamp a spot // fancymusic muriel grossmann // quiet earth // quiet earth // rr gems str4ta // we like it // aspects // brownswood the philadelphia experiment // lle lfe // the philadelphia experiment // ropeadope navy blue // durag anthem // durag anthem digital single // freedom sounds oddcouple and jamila woods // reflections // reflections digital single // (self-released) alice phoebe lou // glow // glow // (self-released) * l'impératrice // anomalie bleue // tako tsubo // microqlima * manuela gernedel // supermarket // manuela // lost map eric slick featuring natalie prass // closer to heaven // wiseacre // slick monnone alone // feel it disappearing // feel it disappearing 7" // emotional response blast off country style // cutie pie // rainbow mayonnaise deluxe // teen-beat

* denotes music on wlur’s playlist

[schamonimusik]

Was ist aus deiner Sicht das am meisten verkannte Album?

Embryo, die deutsche Krautrock- und Weltmusik-Band aus München, sollte für ihre Verdienste um Musik mehr gewürdigt werden. Absolut einzigartig.

Was ist deine größte persönliche Errungenschaft?

Beim Radfahren überholte mich gestern ein Auto in irrer Geschwindigkeit, das von einem Polizeiauto verfolgt wurde. Der Fahrer öffnete das Fenster und warf etwas raus. Mein erster Gedanke: Cool, Drogen. Aber ich habe die Plastiktüte liegen gelassen, weil ich seit ein paar Monaten straight edge bin. Ich war sehr stolz auf mich. Es liegt in der Wardour Street, falls jemand interessiert ist.

Nick McCarthy, bekannt als Gitarrist bei Franz Ferdinand und FFS, hat mit seiner Frau, der Singer/Songwriterin Manuela Gernedel, das Projekt Manuela gegründet. Das gleichnamige Album erscheint am 31. März.  

[sausageproductions]

Manuela - ‘Supermarket’ (Official Video) - Out Now

Manuela, the London-based project comprising vocalist and songwriter Manuela Gernedel and multi instrumentalist and producer Nick McCarthy, have unveiled the video for 'Supermarket', the latest single to be taken from their self-titled debut album.

Directed by Californian visual artist Shana Moulton, the video features Moulton’s surreal anxious alter ego Cynthia, following her on a consumerist trip, looking for that elusive something that will transform her life. 'Supermarket' is available on 7” single and available from streaming services now. The track is taken from Manuela’s self-titled album – a joyous gem of addictive, eclectic, off-the-wall and instantly refreshing DIY pop –released on Lost Map on LP and across all digital platforms in co-operation with Munich based label Schamoni Musik and Mexican label, Panoram on 31st March 2017. PRE-ORDER THE ALBUM: http://lostmap.com/products/manuela-manuela

** For a limited time, all album pre-orders will come with a free copy of the 'Supermarket' 7", which contains a secret B-side! ** LIVE DATES: 28 February – London, Islington Assembly Hall (with Blonde Redhead) 24 March – London, The Others 1 April – Spain, Gijon Sound Festival 13 April – Germany, Munich Rote Sonne 20 May – Mexico City, Marvin Festival 3 June – London, Field Day

[micaramel]

Artists: Nikita Gale, Manuela Gernedel, Sidsel Meineche Hansen, Candice Lin, Alan Michael, Nour Mobarak, Georgie Nettell, Blaine O’Neill, Oliver Rees, Matthew Richardson, Patrick Staff, Gili Tal, Lena Tutunjian

Venue: Rodeo, London

Exhibition Title: Cultural Capital Cooperative Object #1 & 2

Date: October 14 – November 11, 2017

Click here to view slideshow

Full gallery of images, press release and link available after the jump.

Images:

Images courtesy of Rodeo, London

Press Release:

CULTURAL CAPITAL COOPERATIVE OBJECT #1 & 2 at Rodeo Gallery presents two cooperatively produced and owned artworks—a large-scale ceramic relief, and a single-channel video—organized by the London-based artist Sidsel Meineche Hansen. For both distinct works, Meineche Hansen responded to the invitation from an art institution to present her own work by proposing instead to recruit members of a cooperative she would join with in producing a new work for that institution. Once the inviting institution agreed to this particular condition, the artist approached different practitioners about becoming members of a context-specific cooperative with equal governing authority in how the work would be produced, exhibited, owned, and distributed. The political imperatives for Meineche Hansen in organizing these cooperatives are particularly motivated by the artist’s longstanding interest in recognizing economic subjectivity within group work. The artist engaged cooperative economics not solely to consider how art might be managed collectively, but moreover, to consider how the cooperative as a model for a diversity and pluralism of ownership could transform the relations and conditions of property reproduced by the field of art. For Meineche Hansen, this ongoing critical project of the CULTURAL CAPITAL COOPERATIVE OBJECT is intended to complicate the settled expectation that art exists as any other legal private property—resisting the presumption of individual attribution, the exclusionary function of property, and the normalized terms for bargaining ownership that are legally legitimated through social and economic advantage.

Exclusionary economic practices are of course pervasive in the art context, despite persistent characterizations of an artworld dissociated from “real world” problems. Artists who seek to reconsider the legally framed economic parameters for their work take on social, psychological, and ideological conflicts—internalized struggles—over their own role as producers within the contentious art field. Enacting a cooperative agreement legally obligated to the artwork may seemingly contradict the principle that art is an intangible expression of one’s personal experience. And artists who respond to the emotionally unsustainable realities of an exploitative artworld by proposing to renegotiate the legal-economic structural asymmetries of their work are dismissed as too difficult to be bothered with, or as failing to prevent their work from being subsumed by commodity logic. The structural inequalities of property relations specifically, are increasingly evident within the ecology of art spaces that distinguish themselves from commercial sector galleries. It is well known that non-profit and non-collecting institutions are sites for art acquisitions and market speculation. In addition to acquiring work through auction benefits and editions programs, individual collectors and collecting institutions frequently negotiate the purchase of works during the run of exhibitions at non-profit and non-collecting art spaces. Rather than foreclose or disavow this reality of the exhibition context, the CULTURAL CAPITAL COOPERATIVE OBJECT #1 and CULTURAL CAPITAL COOPERATIVE OBJECT #2 members utilize the transactional order of cooperative economics to reconsider the terms for distribution of their transferable work. Forming a cooperative in the early planning stages of working with an exhibiting institution—whether commercial gallery or non-profit space—is a way to anticipate, enact, and renegotiate the enmeshed economic and intersubjective conditions that constitute the production, reception, circulation, and consumption of art today.

Artists Manuela Gernedel, Sidsel Meineche Hansen, Alan Michael, Georgie Nettell, Oliver Rees, Matthew Richardson, Gili Tal, and Lena Tutunjian comprised the cooperative that produced CULTURAL CAPITAL COOPERATIVE OBJECT #1, a large-scale clay relief that reflects on Asger Jorn’s 1956 ceramic interior design commission for the Statsgymnasium in Aarhus, Denmark. This clay relief work was produced within Meineche Hansen’s exhibition SECOND SEX WAR (March 17 – May 29, 2016 and June 12 – October 16, 2016), co-presented by Gasworks, the London residency and exhibition space, and the Trondheim Kunstmuseum, a public museum in Trondheim, Norway. In reconsidering the means by which cultural funding is allocated and the specific history of the Danish Art Foundation in funding the commission of Jorn’s ceramic interior, CULTURAL CAPITAL COOPERATIVE OBJECT #1 repurposed the Danish Art Foundation’s support of the exhibition at Gasworks and the Trondheim. Rather than allocate the DAF funding entirely for Meineche Hansen’s own work as a Danish national, CULTURAL CAPITAL COOPERATIVE OBJECT #1 redistributed that national arts funding in equal shares to the cooperative, none of whose members, save for Meineche Hansen, are Danish nationals. CULTURAL CAPITAL COOPERATIVE OBJECT #1 applied Jorn’s praxis of interconnecting art, architecture, and life in approaching the socio-economic conditions of the rapidly gentrifying area of South London. SECOND SEX WAR was one of the first exhibitions at Gasworks immediately following the organization’s purchase and redevelopment of the property where it has maintained artist residency studios, exhibition space, and offices since 1994. Although the clay relief was initially exhibited at Gasworks, it was made in a nearby artist-run space at Penarth Centre in South London. The cooperative artists’ conflicted relationship to property development in South London was a crucial point in their considering how cultural capital operates within low-income neighborhoods in which artists live and work, and how this reality is underscored by the redevelopment of Gasworks.

CULTURAL CAPITAL COOPERATIVE OBJECT #2 was produced by artists Nikita Gale, Candice Lin, Sidsel Meineche Hansen, Nour Mobarak, Blaine O’Neill, and Patrick Staff. For this second effort by Meineche Hansen to initiate a cooperative artwork, the cooperative produced a remake of Shigeru Izumiya’s horror film Death Powder (1986) for the Los Angeles non-profit art space, LAXART. CULTURAL CAPITAL COOPERATIVE OBJECT #2 was entirely conceived and filmed by the cooperative members onsite at LAXART over the course of one day using their camera phones. The film remake was screened as part of an installation created by the cooperative in the main gallery of the exhibition space on November 6th, 2017, two days before the US presidential election. While invoking the dread of the US election and the body horror aesthetics and post-cyberpunk frameworks of Izumiya’s film, the process of producing the film within the site of its reception was central to the project’s outcome. The cooperative underscored art as a situationally-specific contingent object that reflects and embodies social, economic, spatial, and temporal parameters of the presenting institution. Within the process of realizing CULTURAL CAPITAL COOPERATIVE OBJECT #2, the cooperative artists revised LAXART’s standard artist agreement to identify the particular authorial role of the cooperative, and to ensure that the economic conditions for the work’s production, ownership, and transfer were consistent with their cooperative model. As a curator at LAXART at the time, I worked with the cooperative to revise the artist agreement. My own role in the contract negotiations was deeply ambivalent, simultaneously advocating the cooperative artists’ interests, as well as asserting financial protections and limitations on behalf of the institution. The cooperative agreement document we drafted was displayed and distributed in the main gallery as part of the installation with the film. By enacting and disclosing social, material, and legal processes of the project, the cooperative challenged assumptions that internal aspects of exhibition-making are merely a hidden-from-view bureaucratic maneuvering—arguing instead that these efforts by artists permeate and charge our experience with the work, situating its public reception and terms of viewership.

CULTURAL CAPITAL COOPERATIVE OBJECT#1 & 2 repurposes Meineche Hansen’s first solo presentation of new work at Rodeo as an occasion instead to consider how the two cooperative works function within a commercial gallery context, and to consider the broader implications of the overarching CULTURAL CAPITAL COOPERATIVE OBJECT project. In anticipation of the exhibition opening on October 14th, 2017, Rodeo will host a closed-door working group for the cooperative members to discuss the sale of their cooperative works with the gallery’s founding owner and director, Sylvia Kouvali. While artist collectives are a widely recognized form of artistic production, in order to realize the legal cooperative agreement intended for the sale of CULTURAL CAPITAL COOPERATIVE OBJECT #1 and CULTURAL CAPITAL COOPERATIVE OBJECT #2, the gallery and cooperative members will negotiate, not solely modes of collaborative production, but also the specific demands and varying contingencies of a mutual ownership structure. To help draft this legal cooperative agreement, the working group will additionally be comprised of cooperative advisers and organizers of worker cooperatives, a contracts attorney specializing in cooperatives, labor and employment law, and advocates for improved working conditions in the art field, among other contributors. The cost of organizing the working groups has been supported by the sale of Meineche Hansen’s, Banked (2017), a figurative sculpture produced by the artist and sold outright to an individual collector through Rodeo. This sculpture—ceramic portrait heads depicting the artist, gallery management, and the individual collector who acquired the work—is included in the exhibition, displayed at the entryway of the gallery. As a kind of double bind, Banked operates to directly support the cooperative endeavor, while functioning as an individualized work. Exhibiting the cooperatively produced and non-cooperatively produced work together is an effort to recognize the comparative, and enmeshed, economies of cooperatively and individually owned work. The disclosure of this comparative economy evidences the complications that exist when actualizing alternate approaches to settled property relations. The working group sessions will include discussion about this structural complication, in addition to meetings with legal counsel in order to draft and finalize a legal agreement for the sale of the cooperative artworks through Rodeo Gallery. This effort by the two cooperative groups to execute the legal agreement is not conclusively about securing their individual remuneration, but is ultimately intended to model organizational structures, challenge cultural competencies, while also recognize the interrelations between the art field and the broader legal-economic order. For Meineche Hansen, this foregrounding of the legal entanglements of exhibition, transfer, and possession does not ensure a comprehensive solution to the problem of sales, but rather, operates as a distinct set of problems through which the normalization of sales by individual ownership may be reconsidered.

—Eric Golo Stone, Los Angeles (October 2017)

Link: “Cultural Capital Cooperative Object #1 & 2” at Rodeo

Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today.

from Contemporary Art Daily http://bit.ly/2jd4fvB

[liz-t0m0y0]

Nick McCarthy y Manuela Gernedel se volvieron mi pareja favorita, bye.

[wir-lieben-nickmccarthy]

Nick and Manuela presenting their new project @ La Roma Records, 17.05.17

[gcmorvern-blog]

Shana Moulton directed and starred as Cynthia in the new video for  “Supermarket” by London duo Manuela (vocalist and songwriter Manuela Gernedel and multi instrumentalist and producer Nick McCarthy) 

[fuckyeahsausage]

The best bands pics are taken by the band itself : Instapics of MANUELA in Scotland two weeks ago Photo credits : Jim Dixon, Manuela Gernedel and Sarah Gonputh

[dierecneps]

I really had to make gifs out of this