I need to write a few hundred words about the festival but for now, here are the interviews that form the video part of the article for Digicult.
Art, as we all know, attempts to reflect our universe back to us, through a (hopefully) shattered mirror. Superimposed over that mirror, is of course, also a reflection of the artist. In what we can only assume is a pastiche/homage to the blighted concept of artist genius, from the late 19th, early 20th Century, they have their finger on the mystic pulse of modern life. Don’t they?
That’s why we have to honour them and give them freedom to pursue ideas and challenge the status quo, free of the constraints that hold the rest of us plebs in check. Why can’t we all be given an arts council funding for one project, at least? Maybe it should be like maternity/paternity cover? Granting creative freedom to everyone beyond the art world may well result in chaos and utter anarchy – keep up the good work, Arts Council. Implicit in that gift of freedom to artists is of course the unspoken promise that they’ll continue to point out that the world is exactly how we imagined it all along, while we all pretend they’re upsetting the Tory apple cart. Who ever left a gallery or performance and really felt they’d had their world view changed? Exhibitions are nothing more than Trump rallies, riling up the already indoctrinated.
In an era when even COUM are considered worthy of Hull City of Culture support and appear on the BBC News (celebrated, this time, rather than vilified – take that, avant-garde), it seems the only person capable of truly winding people up continues to be old punks like John Lydon, who in a recent interview declared Trump was a good guy. How rude!
“What I dislike is the left-wing media in America are trying to smear the bloke as a racist and that’s completely not true.
“There are many, many problems with him as a human being but he’s not that and there just might be a chance something good will come out of that situation because he terrifies politicians.” – John Lydon
Lydon doesn’t play the accepted narrative we’ve assigned to him, the wanker! Somewhere along the way, we’ve assumed he’s a liberal, Guardian reading, pinko arts lover like the rest of us. He’s the Kate Bush of the 70s. But so is Kate Bush, come to think of it. Why do we struggle so much when artists don’t do as we demand of them, and yet we ask them to think outside of the box and strategise beyond our generic, corporate lives. No wonder they’re confused and struggling to apply for grants.
The art world isn’t nearly full of enough wankers right now: but remember, you get the artists your times deserve. Welcome to your new conservatism.
There are no uplifting, emotional highpoints in Mica Levi’s soundtrack for director Pablo Larrain’s Jackie. As you might imagine from the composer of Jonathan Glazer’s Under The Skin (2013), Mica Levi’s compositions are as much about the unseen, unspoken, as they are about those gleaming gravity wells of emotion that filmmakers work so hard to draw us towards. In Jackie, Levi finds space to further explore those spaces and the subject matter gives over to it so well.
As with Jackie Kennedy’s own, post-assasination life, there’s no release from the existential pain of loss here, and even Tears, at, 54 seconds, refuses to give in to the weight of human suffering. As though it would be too human to reveal emotions for too long. On Walk to the Capital, s the strings suggest a nation sobbing around Jackie, even as she refuses to release her grip on her stoicism under public scrutiny.
The stageplay of Camelot (by Alan Jay Lerner and Frederick Loewe), starring Richard Burton, was a favourite of the Kennedys. They often played it at the end of the day and in many ways it became a symbol of the Kennedy era. As the only other music in the film, this 1960s soundtrack should feel at odds with the contemporary Mica Levi: yet it feels appropriately juxtaposed with her drone-like compositions. Perhaps this is because there is a subtle hint of the strings from that musical echoed in Empty White House track. The final track on the album, Credits, has short xylophone motifs running through it, hinting again at the Camelot references.
None of which is to say that Levi has merely paid homage to another soundtrack. This is music very much rooted in the performances of the film and echo so much of the underplayed emotional range that Natalie Portman uses in the title role. As has been hinted at elsewhere, as much as the soundtrack is an emotion guide to the film, in the mode of more traditional soundtracks, this one is very definitely a character with a protagonist’s in the film.
It would come as no surprise if Levi’s next soundtrack was for a film set in outer space, (but perhaps one directed by Cronenberg?) Her sliding, drone-esque work marks out the spaces and distances that exist between ourselves and every other human being. The gulf that means we’ll never truly connect, just as Jackie Kennedy in the film never truly connects with anyone else: children, friends or otherwise. Despite there being an intellectual pleasure to be taken from enjoying the Jackie soundtrack, there’s no easy answers for anyone looking for escapism. If Jackie seems to hint at the dying light of one brief moment that was Camelot, it’s hard to imagine a more relevant film and soundtrack for the rise of fascism in Trump’s current Presidency. While some old rockers look to guitar heroes for songs of rebellion, maybe Mica Levi’s strings are the better accompaniment to our dying light of contemporary dreams?
Mica Levi’s Jackie is available from Boomkat.com
Festivals can be lonely events. Whether you’re knee deep in the back end of a tight crowd of music lovers, or sitting listening to a band twisting electronics and drawing out notes that have no right to exist in someone’s throat. Ultimately, all you have are your own thoughts reflected back at you. So it’s important to make sure you find the right stimulation to trigger those thoughts. Resonate does the job, taking place in Belgrade, Serbia: a city with enough architectural glitches and emerging potential to please any digital creative with a passing interest in the haunted spaces of the future past.
Mixing hands-on workshops with talks and live music events in the evenings, it can feel like a hack-fest or hipster party at times. Like many parties, this one is often a slightly shambolic affair. A point that can both endear and infuriate attendees.
All that aside, this year’s festival showed some real signs of leaping forward and getting to grips with its place in the media arts landscape. For one thing, there’s the first official festival exhibition.
The workshops are the thing which gives the festival its focus on creators, rather than, say, curators or critics. Hands on opportunities to work with a range of the more well known figures in the digital world.
Joanie Lemercier and Juliette Bibasse’s workshop on manipulating light to transform reality, took attendees on a journey to discover the mechanisms of our visual perception, coupled with the possibilities of using coding to manipulate reality. In other words, transforming “physical 3D and 2D objects into canvases with an artistic approach.” Elsewhere in the elegant, slick architectural space of Belgrade’s Kinoteka, Andreas Müller was hosting his brilliantly named, “I am a one trick pony, come and learn my trick!” workshop. The blurb promised: “This workshop consists of concrete examples of how to use noise to achieve your dreams, or failing that, make things real pretty.” More power to humour in the digital arts.
Anything that name-checks Guy Debord wins my support, and so it goes with James George and Alexander Porter, with their Exquisite City workshop lasting a full three days. Students captured 3D data scans of buildings using photogrammetry. This information was then joined together to create an virtual city block. The Exquisite City idea, building from the ideas of psychogeography and the practice of Dérive to create a digital exquisite corpse ( an idea originally devised by the surrealists). The final result was like Heironymus Bosch had discovered World of Warcraft.
Curated by Nora O’ Murchú, the exhibition at G12 Hub gallery, The New Black presented pieces from Alexander Porter, Eva Papamargariti, FIELD, Isabella Streffen, NORMALS in collaboration with V3GA, Rick Silva and Sabrina Ratté. The work was a response to a narrative written by O’ Murchú, looking at the alienation of the worker, particularly in the creative industries, where there can often be a blurring of the line between work time and non-work time, when the tools for both are the same artefact. Some of the work in The New Black explores this potential psychosis. A thoughtfully curated exhibition, where the subtlety of work such as Kim Asendorf’s piece is a reminder that the digital doesn’t have to overwhelm and bombard the viewer, to have meaning.
On the official opening night, the music comes from, amongst others Lichen. Ricocheting his sonic sweeps and zen-like audio compositions across the cavern-like ceiling of Drugstore. One of the delights of Resonate is their ability to find the most obscure location for gigs. Drugstore is a seemingly abandoned venue, above what may have been a warehouse or a market place (the outside was almost pitch black on the night) entered up a long metal staircase on the outside. Senyawa deliver what could only be described as an invocation of demons from some obscure hell portal via Rully Shabara’s throat.
Dom Omladine, the city’s most formal music location, seemed incredibly tame by comparison on the other nights. Olga Bell and Emika taking up the cause for women in electronic music (is that even a thing worth mentioning still?). Both of whom also gave talks during the festival.
If you’ve heard Blixa Bargeld’s adverts for the German DIY company Hornbach knows the man has gravitas and vocal scope equal to any German actor (let’s not mention Klaus Kinski). So it’s no surprise that, as the headline act on closing night, the only instrument he has is his voice and a delay machine, and excellent sound man. Taking us out from Earth, across the solar system in a gradual building of Bargeld-made sounds, the result was impressive to say the least.
Fennesz & Lillevan, by comparison, felt like such a mainstream performance, despite the guitar work, electronics and impressive visuals. There’s a lot there but at times, and this is true of much electronica that makes use of guitars, it borders occasionally on prog-rock tropes. Lenhart Tapes, with a mixture of loops, muslim chants and again heavy-metal guitar tropes, is more fun and free, attempting to crash everything together and see what comes out.
Resonate’s development is also the growth and expansion of the digital arts scene. At times chaotically organised and under-funded, it still maintains an air of enthusiasm and self-awareness, always willing to embrace newcomers.
Resonate takes place every year during April, in Belgrade, Serbia.
If John Cooper Clark and The Streets had a baby that was raised by Mark Fisher-reading anarcho-punks, it would probably grow up to form the Sleaford Mods.
Sleaford Mods at the Zephyr Lounge, Leamington Spa put on a great show. There’s two support acts with enough distance between their styles to remind you that we live in an era where it’s okay to choose your music references and go on to create your own sound, without having to first decide which counter-culture tribe you’re going to fit into. Anyway, the first support act work the growing crowd. Of which, there’s enough people to remind you that Leamington has some good underground music fans that can get there early enough to enjoy everything on offer. Either that or there were only early buses? The second act, Purple are something entirely different. In a good way (aside: jailbait).
In the same way that to try to understand the riots of a few years ago as purely outpouring of political unrest, is to miss the basic attraction of pure chaos, so it is that focussing on the swearing in the lyrics of Sleaford Mods is to miss the point that there’s also some clever social/political observation shenanigans going on. Both exist in comfortable co-existence. Not necessarily layered, which would suggest that one builds on the other but intertwined and building each other up. Additionally, the swearing feels like a welcome relief and counterpoints the arch observational irony of the lyrics. Of course, lead singer Jason Williamson, in stage persona at least, would argue against any kind of analysis of the band as a critic just trying too hard. Unfortunately, this also makes the band brilliantly perfect for the second decade of the 21st Century. Music wise, you can’t help but dance along. The sound is familiar, but not sampled, with beats but not quite dance music.
A Sleaford Mods gig feels like a riot about to happen. There’s a blokeish tension in the air and plenty of middle-aged, ex-punks who know how to kick off if it needs it. Except they (we?) need to be fit enough in the morning to get up and go to work. These gig tickets don’t pay for themselves you know. But that’s okay, it’s a relief to know that there’s new bands coming along that can inspire that emotion. And for all the Red Stripe drinking, cocaine chopping, fist pumping masculinity that fuels the air, on and off stage, (it’s a timely reminder that blokeish doesn’t mean Jeremy Clarkson), there’s something for everyone.
No matter what you hear about a Mods gig, and no matter how polarising the responses are, it’s important to remember that they’re also sweaty, clean fun. You’ll leave deaf, danced out and laughing. They’ve got more in common with One Direction than they realise.
Great to see some Jan Švankmajer films at Birmingham’s Ikon gallery this week. The Czech filmmaker’s work was being shown as part of the Behind the Curtain Festival, currently running up until tomorrow (29th November), so you’ll have to be quick! I only made it to the Jan Švankmajer films, but they were great.
When you watch a selection of Jan Švankmajer films, you can immediately identify the strong influence he’s cast over animation. There’s the obvious Terry Gilliam influences, but there’s also that cultural influence that, if you’re old enough, I guess, you can feel that quirky stop-motion influence in so much of children’s animations from the sixties onwards. And of course, if you do get a chance to see any of them (away from YouTube) then don’t be put off by the idea that they’re surrealist works. They much less po-faced and fun than you might imagine art-house animations could be. We all laughed.
Also, Ikon, please put aside some money for heating the place in the evenings.