It’s A Bird! It’s A Plane! – By This River.
Cover Brian Eno
Video by Anders Weberg.
Client: Razzia Records.
More info: http://www.itsabirditsaplane.com http://www.razziarecords.se
It’s A Bird! It’s A Plane! – By This River.
Cover Brian Eno
Video by Anders Weberg.
Client: Razzia Records.
More info: http://www.itsabirditsaplane.com http://www.razziarecords.se
MARSEN JULES (GER) & ANDERS WEBERG (SE)
NEW AUDIOVISUAL/LIVE-CINEMA PERFORMANCE IN 2012
In 2012 German electronic musician Marsen Jules and Swedish filmmaker and media artist Anders Weberg pair up for a new audiovisual performance. The cinemaesque live-show makes the audience drown into a surrealistic world of deep ambient drones and shimmering multilayered dreamlike pictures.
Anders Weberg is a Swedish artist well known for his experimental films, videos, installations and media art concepts appearing at art festivals, museums and exhibitions world wide. He also is the curator of AIVA (Angelholm International Video Art Festival) as well as founder of the Stian (con)temporary art gallery in Sweden.
The sound material which Jules uses for this project was created during a two week residence in the legendary “GRM Studios” at Radio France in Paris, which where since the late 50ties a home base for composers like Piere Henry, Luc Ferrari, Iannis Xenakis and are today also well known for developing the incredible GRM Tools Audio Plug-Ins. The residence came along with a price which Jules received at the Qwartz Electronic Music Awards 2009 in the category best album with his ambient dub project krill.minima. The material will also appear on a “Marsen Jules at GRM” album in 2012.’
For booking enquires, contact:
booking@oktaf.com
Elsewhereness:Milton Keynes
2011
Duration 03:00
Video:Anders Weberg :: weberg.se
Sound:Robert Willim :: robertwillim.com
Commissioned by The 2nd International Visual Methods Conference in Milton Keynes, UK. visualmethods.org/
Project url: elsewhereness.com/
ELSEWHERENESS
The Elsewhereness series deals with questions of site specificity, juxtaposing the nomadic with the place-bound. Early site specific artworks in the 1960-70 were often massive in form and commented the commodifications of the prevailing artworld. Many works were made in harmony with artist Richard Serras expression” to remove the work is to destroy the work”. The work was place-bound. Site specific art has since then been mixed and transformed. Often its about the social, about engagement and relations between people living in a certain place and visiting artists.
Elsewhereness twist these approaches. It is instead about the ephemeral, about alienation and non-presence. It takes the possibilities of digital media for site specific art to its extreme. It’s also in a way a caricature of the ideas of the art worlds commissions creating a “one place after another”-dynamic that Miwon Kwon writes about in her discussion of the history of site specific art (2002). Elsewhereness is about the artists NOT being there. The artists are elsewhere, touching from a distance.
Elsewhereness is based on a number of site specific audio-visual works. The works are made solely from audio and videomaterial found on the web, material that emanate from a specific place. The audiovisual pieces are manipulated and composed into a surreal journey through an estranged landscape. The films are based on the culturally bound and stereotypical preconceptions of the artists.
The finished Elsewhereness work can be downloaded into a media player or mobile phone and enjoyed when walking around the surroundings of the specific place, from where the material emanate.
Previous commissions:
ELSEWHERENESS:NEW ORLEANS, Commissioned by Ethnographic Terminalia 2010, New Orleans. USA.
ELSEWHERENESS:UTRECHT, Commissioned by IMPAKT 2010, Utrecht, the Netherlands.
ELSEWHERENESS: MANCHESTER, Commissioned by FutureEverything 2010, Manchester, UK.
ESLEWHERENESS: CAPE TOWN, CAPE 09 Art Biennale, 2009, Cape Town, South Africa.
ELSEWHERENESS: YOKOHAMA, Dislocate 08 Festival, 2008, Yokohama/Tokyo, Japan.
As the series expands, a number of places will be joined into a web of surreal associations, saying something about the various places but also about cultural preconceptions.
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