← Wednesday 25th December 2024 →

This year the word is 'WATER’, and the work will willingly wade the time away, in eddies, in sinks, in drains, in backwaters, through root systems, capillaries, infiltrating, inundating our "humid brains" (Isabelle Stengers).

Recipes for getting wet: out of the blue, blue planet, into the molecular, cellular, time’s involved, time runs through it, hydrophonics, hydrojams, glistening gestures, swimsink, cloud seeding, drought, contamination, advisories, nautical sea, nausea, leagues under, deep diver, pearl mother, Mariana Trench. We quickly see this flow forever, for, as Yve Lomax put it in Sounding the Event: “Yes, this noisy restless sea is pure multiplicity: it is mixture, it is contingency and it is turbulent.” Or, put even more succinctly, as Italo Calvino’s Mr. Palomar realizes: “isolating a wave is not easy.”

LINEUP:

• ARE - HOUR 1 (17:00 GMT)

artLAB PRESENTS UpStream/DownStream by Tom Cull with Danielle Butters & Sruthi Ramanarayanan

• ARE - HOUR 2 (18:00 GMT)

National Indigenous Media Arts Coalition PRESENTS Amanda Amour-Lynx, Kaya Joan, and Star Nahwegahbo

• ARE - HOUR 3 (19:00 GMT)

WalkingLab PRESENTS Eli Nolet

• ARE - HOUR 4 (20:00 GMT)

Doris McCarthy Gallery PRESENTS Farheen Haq, Laura Millard, Jordyn Stewart, Jon Sasaki, Lou Sheppard, and Bagida’waad Alliance

• ARE -HOUR 5 (21:00 GMT)

Art Gallery of Hamilton PRESENTS Celia Vernal, Tyler Tekatch, Laurie Kilgor-Walsh

• ARE - HOUR 6 (22:00 GMT)

SASAH PRESENTS Michelle Wilson and the Coves Collective Ensemble

• ARE - HOUR 7 (23:00 GMT)

Thames Art Gallery PRESENTS Dickson Bou, Jamie Dronyk, Sharmistha Kar, Peter Lebel, Patrick Mahon, Thomas Mahon, Valerie Mills-Milde, & Quinn Smallboy

• ARE - HOUR 8 (00:00 GMT)

Futura Resistenza PRESENTS Christof Migone

• ARE - HOUR 9 (01:00 GMT)

Forest City Gallery PRESENTS Racquel Rowe

• ARE - HOUR 10 (02:00 GMT)

Glenfiddich Artists in Residence PRESENTS Penelope Cain

• ARE -HOUR 11 (03:00 GMT)

McIntosh Gallery PRESENTS Shannon Cooney and Paul Walde

• ARE - HOUR 12 (04:00 GMT)

New Adventures in Sound Art and Other Sights PRESENT Brady Marks & Mark Timmings (Wetland Project)

Full programme

Project Page

The fifth in Christof Migone's series of twelve annual 12-hour events taking place on December 12th from 5pm to 5am the next day. Each year the event moves through each word of the phrase ‘You and I Are Water Earth Fire Air of Life and Death’ and a group of international artists activate the word of the year in myriad ways. Streamed live on YouTube.

This episode features Constance/Nyoukis, Bren't Lewiis Ensemble, Johnny R Spykes, Armin Mieth and Tom Recchion.

Sound collage, record spinning, havering, ear wonk and general head scratch with Dylan Nyoukis of the Chocolate Monk label.

In the first hour of this midwinter episode, Gravity Waves: tracks from the newest member of the Spirit of Gravity Ascsoms. From his new album Featherteeth, two tracks from a new album by Ghost Flight and finally a lengthy improvisation from Hassni Malik and Nicholas Langley’s digitally re-issued cassette from 10 years ago.

In the second hour, Spectral Transmissions: Rare and Popular Rhymes, Proverbs, Sayings, Prophecies, Slogans and Gathering Cries of the North of England.

In these northern climes midwinter is a time of Inversion and strange magic. It is a time of opposites and anarchies, bright fires and feasts in the darkness and cold. A time of fortunes won and lost, visions seen, prophecies made and battles between elemental forces waged. Day turns to night and The Holly and Oak Kings, once again trade places . Spectral beings prowl the land and the Fool is made King. Midwinter, is the time of the Lord of Misrule, and the Wild Hunt. Some might think these as rude, Rough and Rusty relics of a former age.If they come, they come not: If they come not, they come.

With elements of Being & Doing 1985 by Stuart Brisley and Ken McMullen and original material by Jon Collyer.

Commissioned new work from contemporary sound practitioners and other audio choices from experimental electronic collective The Spirit of Gravity.

This episode features DeForrest Brown Jr., an ex-American writer, journalist, theorist, curator and a self-described musician by necessity - releasing music under his Speaker Music moniker. DeForrest Brown Jr. is the author of the book Assembling a Black Counter Culture, where he presents a comprehensive account of techno with a focus on the history of Black experiences in industrialized labor systems—repositioning the genre as a unique form of Black musical and cultural production.

Assembling a Black Counter Culture reframes techno from a Black theoretical perspective distinct from its cultural assimilation within predominantly white, European electronic music contexts and discourse. This talk, given by DeForrest Brown Jr. on the 4th of October 2024 at Barreiro’s Jazz School as part of the programme of OUT.FEST’s 20th edition, is moderated by Margarida Mendes, and gives an overview of key details of his book and expands on its context two years after its publication.

Bi-monthly insights into the activities of the European project tekhnē, which started in 2023. The series showcases a selection of artists who share and discuss their work and listen to recorded material. By putting the focus on the user rather than the developer, this project aims to explore the emancipatory potential of technology in music and sound art. Technology as an art of craft, appropriating and transforming existing tools, to imagine multiple ways of creative misuse. tekhnē is a collaborative project, co-funded by the European Union.

This episode focuses on Ambient Owl Core; the genre tag Kayla created to describe ambient music she creates with field recordings of Owls and other night time creatures.This is a slow listening show, with detail, quiet and sound textures from field recordings of recent walks, sampling, and original Ambient Owl Core tracks.

Featuring additional samples from: Buddha Box 1, Buddha Box 4, Wildlife World - The Basics of British Owls with Owl Conservationist Ian McGuire, Field recordings from walks in St. Werburghs, Bristol, Fairy Cave Quarry with Neil.

Ears to the Ground: Adventures in Field Recording and Electronic Music by Ben Murphy.

A monthly show exploring our innate connection to sound, and how we express that through music, showcasing work that connects to our body and minds through rich compositional choices, through intricate processes in the studio, or music that is inspired by the way we interact with the outside world. Connections to Sound journeys through downtempo, electronic, ambient and beat driven music, featuring tracks from artists all around the world. Presented by Kayla Painter.

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Why is our life dominated by discontent, by anguish, by the fear of war, by war? In order to answer this question I have written La rabbia, not following a chronological or perhaps even a logical thread, but only my political reasons and my poetic sense. — Pier Paolo Pasolini

Written in response to producer Gastone Ferranti’s request for his comments on a set of newsreel items, the poet would respond with a montage of his own. Via the unfolding of a chrysalis of images, in La rabbia / Anger (1963), Pasolini’s lens pans over Soviet repression in Hungary; the Cuban revolution; (the utopian object of) space exploration; political imprisonment in Algeria; the liberation of the former European colonies; the election of Pope John XXIII; the prospect of revolution in Africa and the Middle East; in Europe and in Latin America... Here, we’ve a panoply of photorealist intimations of Pasolini’s ‘poetic sense.’ The death of Marilyn Monroe crests as an idea in this tidal pooling of reflections, as the poet’s line lights out for conceptual rhymes and counterpoints.  

In Viti’s translation, the weave of prose and poetry that forms La rabbia portrays the vitality of Pasolini’s work in its capacity to speak to both the specifics of his contexts, the character of our own present tense, and the ironic fact of a life lived against the gulf of discontent in its myriad forms. Here, we’ve a startling confrontation of a revolutionary struggle in stasis set in lines that crystallise a rallying call against blindness. ‘I’ll not have peace, not ever,’ he writes. A lucid acceptance of the poet’s restlessness, and a marker for Pasolini’s commitment to a solidarity with the oppressed that we find reaffirmed on every page, in La rabbia the poet charts how ‘the powerful world of capital takes an abstract painting as its brash banner’ in this unravelling of ‘crisis in the world.’

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Pasolini’s poems thrive with passion and outrage. A 20th century Dante, he grieves at inequity, feels disgusted by corruption, and wails against the evil that people do. Pasolini doesn’t render a coming paradise, but contests hate with love, meanness with generosity, and through the reality of his beautiful poems, suggests the possibility of creating a better world. – Lynne Tillman

Pasolini saw what was coming and saw the poet’s mission as an excoriation of this world to come, that has now arrived. His tremendous energy was not negative. It came from an abounding love of the world. Picturing himself like a hero from ancient days, he struggled mightily, in and against the powers arrayed against life. What he called neocapitalism already came with its own brands of neofascism. Good comrade that he was, he knew the mark of our enemies, and where to direct his rage. Here we find him in a moment when he thought the good fight might still be won. A book to give us courage. – McKenzie Wark

La rabbia remains one of Pasolini’s most singular achievements, an all-consuming expression of the restless and relentless fury that defined his work and his thinking. In an age of increasingly one-dimensional political art, this most welcome volume is an urgent reminder of its dizzying possibilities. – Dennis Lim

‘Today,’ we read in La rabbia, Pasolini’s remarkable set of poems composed in 1962 to accompany his film by that title, ‘only four thousand subscribers have televised moving images in their homes; in a year they will be in the tens of thousands.’ And then the poet corrects the line: ‘No—in their millions. Millions of candidates for the death of the soul.’ Sixty years later, in the age of TikTok and Instagram, those ‘candidates’ may well be in the billions. Indeed, what gives La rabbia its uncanny accuracy is that its vision, however exaggerated and extreme, might well characterise our own moment in history. Not only ‘in my country, my country that’s called Italy’ (Pasolini’s refrain), but all over the world, the ‘noble’ solutions of the late 1940s and ‘50s, with their UN charter, their Marshall Plan, and their call for No More Wars, now seem to have been little more than Band-Aids that left things pretty much as they were. Whether he is dealing with the failed Hungarian Revolution or the Algerian War, or with the ‘new problem [that] breaks out in the world. It is called colour,’ Pasolini sees the real enemy as normality—the normality or qualunquismo that accepts things as they are. In Cristina Viti’s excellent translation, Pasolini’s anger would be devastating, were it not for the proviso that poetry can change consciousness. It is poetry, La rabbia insists, that provides the counterweight to the darkness that surrounds us. – Marjorie Perloff

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Pier Paolo Pasolini (1922–1975) was an Italian poet, novelist, journalist, filmmaker, theorist, and dramaturg. First and foremost a poet, he is a major figure in European literature and cinematic arts. Life in Rome during the 1950s furnished the material for his first two novels, Ragazzi di vita / The Ragazzi, 1955) and Una vita violenta / A Violent Life, 1959); works whose brutal reflections of urban poverty in the city were similar in character to the depictions of Rome in his debut film, Accattone (1961). All three works dealt with the lives of thieves, prostitutes, and other denizens of a Roman underworld. Other notable novels and narrative works in translation include the unfinished novel Petrolio (published in English in Ann Goldstein’s translation by Pantheon), a work-in-progress at the time of Pasolini’s death, and La lunga strada di sabbia / The Long Road of Sand, a facsimile of writings towards a travelogue initially published in the magazine Successo.

Pasolini published numerous volumes of poetry in his lifetime, including La meglio gioventù (1954); Le ceneri di Gramsci (1957); L'usignolo della chiesa cattolica (1958); La religione del mio tempo (1961); Poesia in forma di rosa (1964); Trasumanar e organizzar (1971); and La nuova gioventù (1975). Works of poetry in English language translation include Norman MacAfee’s Poems, an anthology covering the entirety of Pasolini’s ‘official publications’ (Farrar, Strauss and Giroux, 1982); Lawrence Ferlinghetti and Francesca Valente's Roman Poems (City Lights, 1986); Jack Hirschman's anthology, In Danger (City Lights, 2010); and Thomas E. Perterson’s translation of The Divine Mimesis (Contra Mundum, 2014), amongst others.

A noted journalist and publisher, Pasolini was also a rare voice in the popular press. In 1955—in collaboration with Francesco Leonetti, Roberto Roversi and others—he edited and oversaw the publication of Officina, a periodical dedicated to new poetry in Italian (which ran for fourteen issues), and contributed a regular column to Vie Nuove from May 1960 to September 1965 (titled Dialoghi con Pasolini, or Pasolini in Dialogue, subsequently published as a collated edition in 1977 as Le belle bandiere or The Beautiful Flags). His literary works informed his cinema, and Pasolini would follow the release of Accattone in ‘61 with such noted features as Il Vangelo secondo Matteo / The Gospel According to Saint Matthew (1964); Uccellacci e Uccellini / Hawks and the Sparrows (1966); Oedipus Rex (1967); Medea (1969); Teorema / Theorem (1968); Porcile / Pigsty (1969); Il Decamerone / The Decameron (1971); and The Canterbury Tales (1972). Pasolini referred to himself as a ‘Catholic Marxist’ and often used shocking juxtapositions of idea and imagery to expose the vapidity of values in modern society. His friend, the writer Alberto Moravia, considered him “the major Italian poet” of the second half of the 20th century. Pasolini was murdered in 1975.

Cristina Viti is a translator and poet working with Italian, English and French. Her most recent publication includes Pier Paolo Pasolini’s La rabbia / Anger (Tenement Press, 2022), a co-translation of poems by Anna Gréki, The Streets of Algiers and Other Poems (Smokestack Books, 2020), and her translation of Elsa Morante’s The World Saved by Kids and Other Epics (Seagull Books, 2016), which was shortlisted for the John Florio Prize. Viti held collaborative translation workshops within the Radical Translations project run by the French and Comparative Literature departments of King’s College; Tenement’s imprint, No University Press, published an anthology of texts resulting of these workshops in 2024, An Anarchist Playbook.

Martin Esposito is a freelance language professional operating in London and Rome. His entry into voiceovers took place organically twenty years ago through the side-doors of conference interpreting and song. Martin is strictly agnostic with regard to content as his main objective is to balance two identities, languages and influences into a composite whole—an act of exposure and digestion enough to last a lifetime.

catholic Churgh is a is a two-person organisation.

A signal post for the Winter solstice, an unabridged reading of the 2022 Tenement Press publication of Pier Paolo Pasolini’s 1963 work La rabbia / Anger—translated from the Italian by Cristina Viti—as read by Viti, with contributions from Martin Esposito and music by catholic Churgh (Jon Auman and Thomas Bush). Pasolini’s Anger was recorded and produced for radio by Tenement’s Dominic J. Jaeckle and Resonance’s Milo Thesiger-Meacham.

Tine Vrabič (Nitz) is one of the most active protagonists of the Slovenian electronic, club and experimental music scene. For more than a decade, he has been DJing and performing live in the most prominent clubs and festivals at home and abroad.

He is also known as the former programme manager of the Ljubljana Klub K4, the head of the AmbientSoup label and series, a member of the CLSTRFNK collective (Evano, Nulla) and the author of the Senzorama show on Radio Študent, which covers electro-acoustic, experimental and ambient releases of all eras. Together with harpist Urška Preis (rouge-ah) he also forms the experimental duo II/III (two out of three).

This 27 minute piece was played live in 2023 for Kamizdat label night, representing a blend of cuts from old releases and newer live jam recordings which were never released.

Members of Radia, the international group of independent cultural radio stations, explore new and forgotten ways of making radio.

This episode features music made by Naviar's community inspired by Ueda Akinari’s poem “washing up the mountain / a colourless rain of autumn / waters unseen.”

To have your music featured on the show, participate in the Haiku music challenge.

Thirty minutes of experimental music made in response to a weekly haiku poem, curated by Marco Alessi of Naviar Records and Naviar's international community of composers.

Joe and Chanelle’s audio recordings encompass ambient sounds, conversation, experimental composition and improvised instrumental response. Cassette drones, loop pedals, voice and guitar are used to echo, mimic or bend over bird calls, thunderstorms, night sounds, indistinguishable chatter, museum reverberations and urban movement. These moments captured to tape are presented in two halves as an A-side/B-side format.

Enriched by visual counterpoints for each episode, Bruna’s critical eye forms an ambiguous tonal narrative from Jake's method of stumbling into excellence. Mountain, valley, glacier, and urban horizon are presented in stereo format, to parallel the A-side/B-side format.

This program has been made on the stolen lands of the Gadigal people of the Eora Nation, we pay respect to the Elders both past and present.

Project lead and sound by Joe Wilson and Chanelle Collier. Creative direction by Bruna Volpi. Photography by Jake Terrey.

Supported by Higher Ground Studios, Artspace, Create NSW and Resonance Extra.

Field Notes - “Let Me Stop You Right There”

Side A - Kinship

Mixtape 9: Electronic high notes to museum recording and fading in chords on guitar; max delay and screaming children distorted from the vinyl record; G major riff with applause on vocal pedal loop and storytelling of washing past; shaking drones with ringtone from missed call message bank; indistinguishable talking in the studio and use of power tools; recording of bus engine over museum crowds; handling of cassette tapes and players; music sample; A minor and F major riff on guitar with offset vocal loop.

Side B - Body

Mixtape 9: Screams in an institution and guitar noises; Lp needle taps with heavy distortion and delay; creaking guitar handling through high compression; feedback and chords and scales; offset vocal loop over distorted museum; guitar in G major and indistinguishable voices; birds and language lessons; phone calls and studio visits; artist borscht picnic chats; feedback on amp; Bundanon morning birds and crickets with museum sounds and guitar.

A monthly programme which blends textured audio from cassette recordings by Joe Wilson & Chanelle Collier with tonal imagery by Bruna Volpi and Jake Terrey. Sound engineering by Ollie Brown.

Paul Rekret presents excerpts from Amplification / Annihilation: In Sonic Defiance of Extinction, which took place at Cafe Oto on Sunday 20th August 2017. Featuring radio works by Leah Barclay (AUS), Robin Buckley (UK), Kate Carr (UK), Minerva Cuevas (MEX), Graciela Muñoz Farida (CHL), Anja Kanngieser and Polly Stanton (UK/AUS), Andrea Polli (MEX), Leanne Betasamosake Simpson (CAN), Ziibiwan (CAN).

Life continues in an ever recomposing cloud filled with the loose threads of number one hit songs. Lepke B is the song harvester, the sound weaver, the cloud buster. Not afraid of popular music and the CD as a format he extracts the epic ingredient as easily as the bombastic, the ironic and yes, the experimental element out of the 70 year history of music for young people. If there will be a need for ‘the periodic table of pop tunes’ some day, the strange ones in the dome will ask Lepke B for advice.

Lepke B. is hard to find. Lepke B is an idea derived from science-fiction. Lepke B is the missing dimension in the world of matter and anti-matter. His brain is a neuronic network spread out over melodies and words that have been transmitted since the beginning of times.