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MusicWorks

#115 Spring 2013 [MAGAZINE + CD]

MusicWorks: #115 Spring 2013 [MAGAZINE + CD] (Musicworks)

Spring 2013 issue with 9 track CD. On the cover and featured: Akio Suzuki; Featured: Nicolas Bernier and Martin Messier; Featured: Edrem Helvacioglu; Profile on The Ratchet Orchestra. Plus reviews, events, words, &c.
 

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product information:


UPC: 725274918164

Label: Musicworks
Catalog ID: #115
Squidco Product Code: 17454

Format: MAGAZINE + CD
Condition: New
Released: 2013
Country: Canada
Packaging: Magazine and CD

Personnel:

Akio Suzuki

Nicolas Bernier

Erdem Helvacioglu

Ulrich Mertin

Bennett Jenisch

Peter Kiefer

Kaspar Konig

The Ratchet Orchestra

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track listing:


Akio Suzuki

Analapos + De Koolmees 11:23

Bottle 2:56

Nicolas Bernier

Liaisons mecaniques 10:06

Erdem Helvacioglu

Love 9:02

Erdem Helvacioglu & Ulrich Mertin

A Particle in the Vastness of Space 5:08

Bennett Jenisch

Buried Gesture 8:32

Peter Kiefer

Resonate: Museum ZKM Mix 5:38

Kaspar Konig

Resonate: Boat Mix 5:03

The Ratchet Orchestra

Dusty 12:43




Related Categories of Interest:

Book
Various Artists & Compilations


descriptions, reviews, &c.

Spring 2013 issue with 9 track CD. On the cover and featured: Akio Suzuki; Featured: Nicolas Bernier and Martin Messier; Featured: Edrem Helvacioglu; Profile on The Ratchet Orchestra. Articles on pure inventive sound, Sonic Geography of the Ring Road, Iceland. Sound bite with Bennett Jenisch. Plus reviews, events, words, &c.


Artist Biographies:

"Akio Suzuki is known as a pioneer of sound art, but the breadth of his activities and the form of his works far exceeds the normal boundaries of sound art. It is perhaps more as a "quester after sound and space" that he has received the most attention from artists in many fields.Suzuki's journey as an artist began in 1963 with a performance at Nagoya station, in which he threw a bucket full of junk down a staircase. The inspiration behind this performance - the idea that if one were to hurl an object down a well-balanced stairway, a pleasant rhythm might be the result - took the desire to "listen" as its subject. That desire to hear, to listen has remained the one constant in Suzuki's stance as an artist.

During the sixties, Suzuki's sense of playfulness led him to undertake a series of Self-Study Events, where he explored the processes of "throwing" and "following", taking the natural world as his collaborator. The experiences he gained in these events led him in the seventies to invent an echo instrument he named Analapos. The instrument's structure resembles that of two mirrors facing each other, reflecting into infinity. As an extension of the principles underlying Analapos, Suzuki constructed the Hinatabokko no kukan (Space in the Sun) in 1988. This space consists of two huge parallel walls, in between which the artist can sit all day and purify his hearing by listening to the reflected sounds of nature. This space leads the artist to discover a new method of listening. Suzuki himself comments, "Sound, which had been conceptually imprisoned in various spaces, is freed to circle the world."

From the late seventies and through the eighties, Suzuki also developed a form of performance he refers to as Conceptual Soundwork. Applying a number of self-imposed, simple and austere rules, he uses objects close at hand in a mode of "intellectual play". While these events do on the one hand express a critique of meaningless improvised performance, at the same time Suzuki is constantly aware of the audience's process of listening and he attempts to create contemporaneous connections with the site of performance. It was around this time that Suzuki began to travel frequently to the US and Europe, and his performances at leading music festivals, Festival d'Automne (Paris, 1978) and Documenta 8 (Kassel, 1987) were rapturously received.

As sound art enjoyed a period of prosperity in the nineties, Suzuki was given the chance to create many installations, particularly in Berlin. Worthy of special note were his soundless installations, such as Otodate (Echo point, 1996) in Berlin, Enghien-les-Bains (since 1997, http://www.insitu-enghien.org/) and Strasbourg; Hana (Flower, 1997) at the Stadtgalarie Saarbrucken; and Pyramid (1999) which involved people excavating sounds. These soundless pieces were not designed to critique the old perceptual theories of music, rather they questioned the very location of music. Through their encounter with these works, the past experiences and memories of viewers were reconstructed as new experiences. This process was fundamental to the action of "listening" to the works.

From the late seventies and through the eighties, Suzuki also developed a form of performance he refers to as Conceptual Soundwork. Applying a number of self-imposed, simple and austere rules, he uses objects close at hand in a mode of "intellectual play". While these events do on the one hand express a critique of meaningless improvised performance, at the same time Suzuki is constantly aware of the audience's process of listening and he attempts to create contemporaneous connections with the site of performance. It was around this time that Suzuki began to travel frequently to the US and Europe, and his performances at leading music festivals, Festival d'Automne (Paris, 1978) and Documenta 8 (Kassel, 1987) were rapturously received.

As sound art enjoyed a period of prosperity in the nineties, Suzuki was given the chance to create many installations, particularly in Berlin. Worthy of special note were his soundless installations, such as Otodate (Echo point, 1996) in Berlin, Enghien-les-Bains (since 1997, http://www.insitu-enghien.org/) and Strasbourg; Hana (Flower, 1997) at the Stadtgalarie Saarbrucken; and Pyramid (1999) which involved people excavating sounds. These soundless pieces were not designed to critique the old perceptual theories of music, rather they questioned the very location of music. Through their encounter with these works, the past experiences and memories of viewers were reconstructed as new experiences. This process was fundamental to the action of "listening" to the works."

-Akio Suzuki Website (http://www.akiosuzuki.com/web/profile01-en.html)
9/18/2017

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