Mark Fell, Okkyung Lee, Carl Michael von Hausswolff + Rian Treanor (DJ Set)
– Venue: The Dissection Room
– Category: Music Nothing Ever Happens Here Performance
– Age Suitability: 16+
– Times: 20.00 (180 mins)
Summerhall Curated, Braw Gigs and NEHH Present…
To mark sound artist and producer Mark Fell’s exhibition in Summerhall’s Machine Shop, Fell curates an evening of sound and music performance – dense, austere and laconic – perfectly suited to the ambience of the Dissection Room. The evening features Fell’s own productions, and solos from composer Carl Michael von Hausswolff and cellist Okkyung Lee and added to the line-up to see us late into the night is a DJ set from Rian Treanor.
Mark Fell is an artist and producer based in South Yorkshire and is half of the duo SND. Okkyung lee is a South Korean cellist/composer/ improviser based in New York, who developed her unique language by pushing and blurring the boundaries of contemporary cello and improvisation. Carl Michael von Hausswolff is an artist and composer, using recording technology as his main instrument.
Rian Treanor, signals from the North of England, he re-imagines the intersection of club culture, experimental art and computer music, presenting an insightful and compelling musical world of interlocking and fractured components. Having left a vivid impression in 2015 with his debut 12″ A Rational Tangle, he’s just delivered a scintillating 2nd EP Pattern Damage on The Death of Rave, landing with a resounding 10/10 and album of the month merit in Mixmag and Boomkat. Pattern Damage is a marked step from last year’s debut, hybridizing idiosyncratic footwork and garage hybrids with noisier, pointillist hooks and innovative arrangements owing as much to disco as oblique futurist computer music.
1. Fantom Auditory Operations by CM von Hausswolff and Michael Esposito
Live at St Andrews Church, Hove/Brighton 2013 (cassette – GERÄUSCHMANUFAKTUR)
2. Dark 80ies by CM von Hausswolff featuring Phauss, Blue For Two, Zbigniew Karkowski, Henryk Lipp, Anna and Maria. (cassette – The Tapeworm)
3. (1) by Leslie Winer and CM von Hausswolff (LP – MonoType Rec.)
3rd December – Carl Michael von Hausswolff & Michael Esposito about EVP. Mike Harding interviews Carl Michael von Hausswolff & Esposito about EVP [electronic voice phenomena] in Brighton
1. Carl Michael von Hausswolff & Michael Esposito – Live at St. Andrew’s Church, Hove
2. Carl Michael von Hausswolff – Operations Of Spirit Communication [Die Stadt, 2000]
Studio IDs: Leif Elggren
Carl Michael von Hausswolff is performing live this Saturday at the Centrematic festival.
You can find out more information here:
7 September–3 November 2013
SE-22351 Lund, Sweden
Lunds konsthall presents one of Sweden’s most outstanding artists, born in Linköping in 1956 and based in Stockholm and Palma de Mallorca. He is also active as a composer, filmmaker and curator. All of this is evident in the exhibition, titled I Am the Others. It is, at the same time, a solo exhibition by the artist Carl Michael von Hausswolff and a group exhibition organised by the curator Carl Michael von Hausswolff.
The exhibition contains work by a number of persons, most of whom are well known, but not as artists. They have caught von Hausswolff’s attention because of their exceptional actions and stances, which for different reasons could be characterised as art. Seen together, their lives and characters also form a self-portrait of von Hausswolff, in the sense that all of them have done something with which he can identify or sympathise.
Those portrayed in the exhibition are Corazón Amurao (The Philippines), Laura Lee Burroughs (US),Clint Eastwood (US), Olga Eriksson (Sweden), James B Irwin (US), Friedrich Jürgenson(Russia/Estonia/Sweden), Salvatore Lucania (Italy/US), Selmer Nilsen (Norway), Hiroo Onoda(Japan/Brazil) and Wu Ping (China), as well as the members of ‘The Military Gang’ (Sweden) and the ‘meta-scientists’ behind the Spiricom instrument (US).
I Am the Others offers an indirect retrospective view of von Hausswolff’s many-faceted activities from the late 1970s until today, for which his interest in society and the human condition was always the sounding board. But the exhibition doesn’t try to capture his entire register as a sound and light artist clearly rooted in performance art. In installations, performances and concerts von Hausswolff has articulated space and time, memories of the past and inexplicable messages from ‘the other side,’ often using various kinds of recording and measuring equipment: tape recorders, cameras, radar, sonars… Music has always been a second home to him. He helped found and run two record companies. Radium 226.05 was created in 1986; Anckarström four years later.
Just as characteristic of von Hausswolff’s practice are his many collaborative projects. Two of these are featured at Lunds konsthall. Under the name PHAUSS he and Erik Pauser carried out a range of projects while they were both living in Gothenburg in the 1980s. Their travelogues Alger–Lagos 1983and Zürich–Zürich 1986 are included in the exhibition, along with Al Qasr, Baharyia Oasis, Egypt 2005, one of the films from von Hausswolff’s ongoing collaboration with Thomas Nordanstad.
Among von Hausswolff’s other collaboration partners are the artists Leif Elggren, Juan-Pedro Fabra Guemberena and Jan Håfström, the EVP (Electronic Voice Phenomena) researcher Michael Esposito, the ex-model and poet Leslie Winer and the musicians John Duncan, Jean-Louis Huhta, Graham Lewis (Wire) and Martin Rössel.
He has participated in many international group exhibitions, such as Manifesta 1 in Rotterdam (1996), documenta X in Kassel, the biennials in Istanbul (1997), Johannesburg (1997), Santa Fe (1999) and Liverpool (2004) and the Venice Biennial (2001, 2003, 2005). He has also had numerous solo exhibitions, for instance at Färgfabriken in Stockholm (2000), ICC in Tokyo (2000), CCA in Kitakyushu (2001) and Portikus in Frankfurt am Main (2004).
In 2003 von Hausswolff curated the Gothenburg Biennial, under the title Against All Evens. In recent years he has organised sound art events such as freq_out, with manifestations in institutions such as Moderna Museet in Stockholm, Henie-Onstad Center in Oslo, Sonambiente in Berlin and Stedelijk Museum in Amsterdam.
Our warm thanks go first of all to Carl Michael von Hausswolff for the enjoyable collaboration and the impressive results. We also thank the lenders—Per Forsberg, Staffan Lamm, Marianne Lindberg von Baumgarten and the gallerist Niklas Belenius—for their kind assistance. Special thanks go to Thomas Nordanstad and Erik Pauser for their participation and help.
Finally we also wish to thank Anna von Hausswolff, who gives a concert in Lund Cathedral in connection with the exhibition opening.
13.08.2013 (67′ 34”)
Curated by Carl Michael von Hausswolff
For most people energy means power, electricity, sunshine and food. It’s a basic need for everyone and in a material world it seems unnecessary to go beyond those basics. You’re born, you live and you die. That’s it!
There are also those who believe that energy is absolutely everything and that the enormous amounts of different frequencies and frequency combinations involved hold everything together in one large blob of infinite, intermingling details moving very slowly or very fast according to the circumstances, which is the memory of the past mirrored as the future. Memory is then preserved as energy and this energy might be sleeping, waiting to be activated and then de-activated again. The movement of this enormous blob and its content varies in duration and speed and interferes with the details, colouring them and changing them into evolutionary items we call new. It rotates spirally and touches and bounces off itself, and there are as many centres as there are details. Swedish visionary Emanuel Swedenborg sensed this and has written about these motions and forms in the appendix of his book ‘De Cultu Et Amore Dei’. Now, in 2013, we could call it ‘Mattergy
Nurse With Wound
Carl Michael von Hausswolff
Live at ZKM, Karlsruhe, Germany
Carl Michael von Hausswolff: freq_out 8 – 4 250 cubic metres and 48 hours of sound
This album, released on Touch in 2011, is now available as a FLAC high quality audio download.
25.10.12 – ENOUGH!!! – Enough In Brooklyn – 52:32 – 192 kbps
Photo: Dave Knapik
Recorded at the Issue Project Room, Brooklyn in December 2011
ENOUGH!!! is Carl Michael von Hausswolff, Jason Lescalleet & Joachim Nordwall. Enough is Never Enough
Thanks to Lawrence Kumpf
FENNESZ SHOWCASES NEW MATERIAL • MASTERCLASS IN SOUND TECHNOLOGY AND DIGITAL MUSIC • PETER SAVILLE NAVIGATES THE BRIDGE BETWEEN DESIGN AND FINE ART • BRUCE GILBERT READING & MUCH MORE…
“SOME KIND OF WOODSTOCK WHERE YOU WOULD LEAST EXPECT IT…”
A two-day festival celebrating 30 years of Touch, with performances, installations and displays, and a full programme of workshops and masterclasses in design and music, recording, mastering and the digital realm. The full programme is now available to read below.
Venue: Beaconsfield, 22 Newport St, Vauxhall, London, SE11 6AY
Dates: 5-6 December 2012
The Festival Pass entitles you to access all events at this festival and is now onsale here:
Buy the Festival Pass in the TouchShop
Buy your ticket for 5th December 2012 (programme below)
Buy your ticket for 6th December 2012 (programme below)
Day tickets will be available on the door for £25 per night. Call on the day on 07958 984703 if you need to check on availability before you travel.
Atmospheres 4 – Touch.30 at Beaconsfield is the main UK event in a year-round programme of activities celebrating 30 years of existence.
Atmospheres 4 – Touch.30 at Beaconsfield is a two-day festival with performances, installations and displays, and a full programme of workshops and masterclasses. The Festival will explore all aspects of Touch: the music; the distinctive and influential design and photography; the process of recording and mastering; and the opportunities of the digital realm.
Participation in the event will extend well beyond Touch artists and creative team into the hinterland around the label: academics, industry professionals, other ground breaking music organisations etc.
Atmospheres will be curated by two of Touch’s founders and the current creative team, Mike Harding and Jon Wozencroft, and produced by them with along with Touch’s experienced digital and live production team already responsible this year for events in the UK, Germany, Belgium, USA and elsewhere detailed here.
Day One – Wednesday 5th December 2012
Afternoon events, 2pm-6pm:
• 2pm: Jon Wozencroft talks about the history of Touch, “Through the Digital Glass”
• 2:30pm: Denis Blackham (Skye Mastering) and Christian Fennesz on mastering for digital manufacture and the demands of the “Venice” project
• 3pm: “When did sound become music?” Sonic intervention from Panasonic.
Chaired by John Kieffer: Denis Blackham, Jason (Transition Mastering Studios) and Jon Wozencroft, a panel on digital and analogue sound, and how this determines listening outcomes
Sonic intervention from Ryoji Ikeda
• 4:15pm approx. Edwin Pouncey discusses his record collection…
• 4:30pm: Chaired by Tony Myatt (University of Surrey): Mike Harding, Seb Jouan (Aecom Acoustic Design & Arts & Culture) on multi-channel with Hildur Gudnadottir. This session reflects upon hi-audio formats, a specific example, and their future
(Followed by questions)
Screening Situations (upstairs), 6pm-7pm
• Coda-plus 47 (audio by Fennesz & Ryoji Ikeda)
• Liquid Music (audio by Fennesz)
Evening Performances, 8pm-11pm
• Hildur Gudnadottir – Leyfɗu Ljósinu (Beaconsfield version)
• audio intervention by David Toop, a presentation of “Yanomamo Shamanism”, released on ‘Touch Travel’ [T4] in 1984.
• Philip Jeck
• People Like Us – 4′ 33″
• audio intervention by BJNilsen, who plays a new piece recorded outside the School of Hygiene and Tropical Medicine, London, “The cackle of dogs and laughter of death”.
• Playback of a surround-sound rendition of his Touch.30 piece “Brussels Nord” by Chris Watson (in absentia)
Day Two – Thursday 6th December 2012
Afternoon events, 2pm-6pm:
• 2pm: Mike Harding introduces Touch’s digital presence on the web with Philip Marshall (websites) & Tim Medcalf (iOS devices) followed by at
• 2:45pm: Paul Wilson & Cheryl Tipp from The British Library on the TouchRadio archive
• 3pm: Jon Wozencroft & Garry Mouat – “Bromides and Spray Mount” – Touch design in the early years
• 3:45pm: Design Seminar by Jon Wozencroft – How Touch has responded to changing formats and download culture
•: 4:30pm Jon Wozencroft & Peter Saville discuss their parallel experience of visual culture, and the movement of graphic design to the art world (Followed by questions)
Screening Situations (upstairs), 6pm-7:15pm
• The Whitstable Symphony (audio by BJNilsen)
• The Suffolk Symphony (audio by Philip Jeck & BJNilsen)
Evening Performances, 8pm-11pm
• Thomas Köner
• followed by an audio intervention by Bruce Gilbert – “Sliding off the World”
• CM von Hausswolff
• Jon Wozencroft introduces Jon Savage’s and his pirate broadcast for Network 21 in 1987
• Biosphere – transfiguring Arnold Schoenberg’s “Verklärte Nacht”
Bar area: audio interventions by Simon Fisher Turner and others…
In the Bar: Photography by Jon Wozencroft: The Listening Eye
Worm Eats Bear – a Special Evening of performances by The Tapeworm as part of the Merge Festival – The Bear Pit, London SE1, 20.x.11
The Bear Pit
London SE1 9EB
Exhibition featuring work by Savage Pencil and Vicki Bennett: Friday 21st – Sunday 23rd October 12 – 6pm.
Joachim Nordwall plays “Ignition”
People Like Us
Edwin Pouncey & Peter Hope-Evans
People Like Us
“Enchaos” – all artists, altogether, almost…
CM von Hausswolff – 800 000 Seconds in Harar
[Touch # TO:82]
CD digipak – 40:39 – 4 tracks
Retail release date: 14th March 2011
Download release date: 7th March 2011
Track A: Day and Night 27:14
3. Alas! [You can hear an extract from this track here]
4. The Sleeper in the Valley 13:32
CM von Hausswolff says: “I was approached by my old friend and Radium 226.05 colleague Ulrich Hillebrand, now director of Angered Theatre in Göteborg. He informed me that there was a new play in the process of being written by author and theorist Michael Azar called “Jag är en annan” (I is another) stemming form the famous letter written by Arthur Rimbaud in his youth. The play uses Rimbaud’s life from being a young poet in Charleville ending with him being the trader in Harar, Ethiopia. Hillebrand asked me if I was willing to compose the music to this play. I accepted. I told Hillebrand that I needed to use material that had something to do with Rimbaud’s life and as he had connections in Ethiopia and in the small city of Harar he said: why don’t you go to Harar for 10 days and see what you can find?
So I went to Addis Ababa where a guy was waiting for me and drove me the 10 hours beautiful ride to Harar. I made recordings and looked for other useful material.
There are 2 tracks. On the first track, which consists of three “parts” I have used material from Harar. The long dronic sounds are taken form an instrument that I, after searching for days, bought in Harar – it’s called a “krar” and is a string instruments (it’s quite clear that I have used a string instrument- also if you study Ethiopian music you came across the name of Saint Yared and he was the first to construct a notation system for music… much earlier than the Europeans). As I could not really master the actual playing of this instrument, I bought a bow for a violin and some rosin and with this I got one good tone out from this krar. Then the computer helped me to sort the modes and pitches out. On this piece there also two location recordings: the first one you hear is a recording I did outside Harar on a hill where there are next to no car sounds or other machine sounds – just the wind, insects, some kids and that (I wanted this recording to be more or less timeless or at least 19th century and forward… The second location recording was done in the night in my hotel, where I woke up one night and became fascinated by the leaking taps in my bathroom so I decided to records this.
On the second there are only oscillators used … several of them … AND using one low pitch oscillator I ran a sound filtered through. This sound is the low “rhythm” you can hear, and it’s a low pitched morse code signal… and the text is the famous poem Rimbaud wrote in his youth called Le Dormeur Du Val (The Sleeper in the Valley). This poem is a beautiful text starting off in the nature, where a person is sleeping in the grass. Slowly Rimbaud zooms in and we read that it’s a soldier and at the very end we are told he has two red wounds on his chest – the guy is dead! .”
Arthur Rimbaud lived in Harar from 1884 until shortly before his death in 1891. This is Carl Michael von Hausswolff’s first album for Touch, but the connection goes back many years, of course. Carl Michael von Hausswolff was born in 1956 in Linköping, Sweden. He lives and works in Stockholm. Since the end of the 1970s, Hausswolff has worked as a composer using the tape recorder as his main instrument and as a conceptual visual artist working with performance art, light and sound installations and photography.