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2004 art's anniversary
  print
 
wednesday february 11, 2004
lookingglass, brussels
 
TIME AND SPACE DIED YESTERDAY
a connected audiovisual performance initiated by Anatomic/Waag Society and Federico Bonelli [Amsterdam] ;
for Brussels featuring sound poet Jelle Meander and electronic composer Eavesdropper. images: annemie maes. text: paul van ostayen.

Amsterdam based Italian artist Federico Bonelli from SUBlab and Unorosso decided to celebrate this anniversary by organizing a happening with futurist poetry reading, musical improvisation, energy releasing activities.
The BE-exiled media artist Guy Van Belle provided him with support from his initiative \An`a*tom"ic\ "Related to the structure of an organism" at Theatrum Anatomicum, Waag Society Amsterdam. Anatomic will host the evening and participate in "the futurist reconstruction of the universe and art of noise anniversary" with a connected performance entitled 'TIME AND SPACE DIED YESTERDAY' [Marinetti in 'The Founding and Manifesto of Futurism'].

Looking Glass is the Brussels partner of the Anatomics in this futuristic event. On March 11, we present a performance with improvisations by the sound poet Jelle Meander and the electronic soundartist Eavesdropper. Jelle Meander [www.krikri.be] is working with a a combination of sounds, writings and little shouts; creeping through territory that may or may not be forbidden. Eavesdropper [www.knobsounds.com] is an electronic centipede, performing audio in all possible situations like concerts, theatre/danse, radioplays and installation art.

"To convince ourselves of the amazing variety of noises, it is enough to think of the rumble of thunder, the whistle of the wind, the roar of a waterfall, the gurgling of a brook, the rustling of leaves, the clatter of a trotting horse as it draws into the distance, the lurching
jolts of a cart on pavings, and of the generous, solemn, white breathing of a nocturnal city; of all the noises made by wild and domestic animals, and of all those that can be made by the mouth of man without resorting to speaking or singing.
Let us cross a great modern capital with our ears more alert than our eyes, and we will get enjoyment from distinguishing the eddying of water, air and gas in metal pipes, the grumbling of noises that breathe and pulse with indisputable animality, the palpitation of valves, the coming and going of pistons, the howl of mechanical saws, the jolting of a tram on its rails, the cracking of whips, the flapping of curtains and flags. We enjoy creating mental orchestrations of the crashing down of metal shop blinds, slamming
doors, the hubbub and shuffling of crowds, the variety of din, from stations, railways, iron foundries, spinning wheels, printing works,
electric power stations and underground railways. "

excerpt from THE ART OF NOISES, manifesto written by the futurist painter Luigi Russolo and published in Milan the 11th of march 1913.

 

 
 

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