In 1971 Gordon Matta-Clark co-founded Food, in SoHo, New York, a restaurant managed and staffed by artists. For two years the restaurant sought to make dining a unique experience, serving imaginative menus from an open kitchen. Next Friday at Eastside Projects, Birmingham-based artist-curator duo Companis present an evening of experimental eating in the spirit of one of Food’s famous events. Bone Dinner pulls together food designers, artists, performers, caterers and a jeweller to deliver a luxurious seven course bone-based menu, that you can even wear home.
London-based foodies Blanch & Shock are preparing the feast, while after each course artists Juneau Projects and jeweller Elizabeth Short will be cleaning, drilling and stringing the bones that will surely become this season’s must-have fashion accessories. 70s primitivism is so hot right now.
THU 04 – SAT 20 NOV 2010 | open Thu-Sat, 12-5pm | admission FREE.
PREVIEW – Wed 03 Nov, 6-8 PM
KAREN MIRZA & BRAD BUTLER
The Daily Battle
For The Daily Battle Karen Mirza and Brad Butler are occupying a column space in the UK/Urdu newspaper The Daily Jang (translated back into English as: The Daily Battle) as a temporary site of creative contemporary discourse about the role of art in society. Each day of the exhibition a different cultural thinker will publish a text that is their own interpretation of this context. 100 copies of The Daily Jang will be delivered to Vivid each morning as the focus of an installation within the exhibition.
Column contributors include Nada Raza, Sara Wajid, Gemma Sharpe, Rahila Gupta, Auj Khan, Shanay Jhaveri, Karen Mirza & Brad Butler.
Within the exhibition Mirza and Butler will also present their award winning film The Exception and The Rule. Shot in Pakistan in 2009, the film avoids traditional documentary modes and within the context of civil unrest, incorporates performances to camera, classic observation and public interventions. The Museum of non Participation is an ongoing interest in seeking out thresholds in language and intervening in new possible sites of exhibition and (non) participation. Mirza and Butler phrase this within their practice as an exploration of the politics of translation, translation within language and a performance of the condition of the ‘untranslatable’.
The Daily Battle is presented as part of VIVID’s LANGUAGE season, a series of exhibitions, talks, and films exploring the constructs of language and meaning from far reaching cultural perspectives.
For further information about Karen Mirza and Brad Butler please visit http://mirza-butler.net/. The new commission is supported by National Lottery through Arts Council England, Birmingham Cultural Partnership and The Daily Jang.
Artists Talk, Friday 12 November, 7pm
Jamie Shovlin, Mike Harte and Euan Rodger discuss Hiker Meat, currently showing at Grand Union. Rodger and Harte have collaborated with Shovlin on various projects, most notably Lustfaust: a Folk Anthology 1976–81.
The talk will be followed by an open studios event where you will get the opportunity to meet artists based at Grand Union.
Grand Union, Unit 19 Minerva Works, Fazeley Street, Digbeth, B5 5RS
This is a free event but booking is required, please contact email@example.com
This event is part of the Art of Ideas programme. Please see www.visualforbusiness.com for more information.
Please note the exhibition contains graphic material that is not suitable for children.
‘What do these images tell us about ourselves, about culture and about music?’
Let us know your thoughts…..
“Music, in addition to pleasing the ear brings something to the eye.” Mary Ellen Bute, 1936
Presented in conjunction with Supersonic Festival, Seeing Sound is an exhibition exploring the ways in which we experience sound as light, movement, noise, and colour.
Spanning 40 years the programme draws together historical and contemporary moving image works including:
Benedict Drew | Writing Music (2008 | DVD | 7:30 min | colour | sound)
In Writing Music, Drew uses contact microphones to amplify the sound of a pen repeatedly writing the word ‘music’ onto a sheet of white paper.
Ben Russell | Black & White Trypps No. 3 (2007 | DVD | 11:30 min | colour | sound)
The third part in a series of films dealing with naturally-derived psychedelia. Shot during a performance by Rhode Island noise band Lightning Bolt, this film documents the transformation of a rock audience’s collective freak-out into a trance ritual of the highest spiritual order.
Juneau Projects | A Rich Future Is Still Ours (2003 | DVD | 4:15 min | colour | sound)
Juneau Projects use contact mics to amplify the destruction of paper in an electronic paper shredder.
————————————————————————————————————————————–SUNDAY 24 OCTOBER
Join VIVID on Sunday 24 October for an exciting programme of performances and film, served with a side of tea and cake!
Classical percussionist Joe Snape will perform Lärmlicht #2, for percussionist, 4-channel tape and 8 lightbulbs. The piece is the first in an ongoing series which explores the expressive potential of light in the context of musical performance.
Following his Noise Box Workshop at VIVID on Saturday 23 October, Mr. Underwood will stage a rare performance of Steve Reich’s Pendulum Music. Originally scored for “For Microphones, Amplifiers Speakers and Performers” this adapted version will be performed using four Noise Boxes / Optical Theremins (similar to those made in the workshop) and four torches. This performance will take place in darkness – the torches, the only source of light, add a distinctive visual aesthetic to this classic phase piece.
Stefan and Franciszka Themerson | The Eye and The Ear (1944-45 | DigiBeta | 10 min | b&w | sound)
This film explores the Themerson’s desire to produce a visual equivalent to music. Through a variety of means, such as the ripple effect of small clay balls dropped into water and the passing of light beams through a special lens, they create visual interpretations of four songs from Karol Symanowski’s Slopiewnie.
Tony Conrad | The Flicker (1966 | 16mm | 30min | b&w | optical sound)
The Flicker is a 30-minute film exploring the possibilities for harmonic expression using a sensory mode other than sound; audience reactions to this seminal film ranged from disorientation, temporary hypnosis, and intense experiences of colours and patterns, to headaches and violent bouts of nausea, all seemingly caused by the pulsating light’s interaction with the brain’s alpha waves.
Tea and cake will be available at VIVID throughout the day.
VIVID opening times:
Fri 22 Oct, 12-7pm | Sat 23 Oct, 12-6pm* | Sun 24 Oct, 12-4pm**
*The exhibition will be closed between 2pm and 4pm for Mr. Underwood’s Noise Box Workshop.
**Performances by Joe Snape and Mr.Underwood take place on Sunday 24 October from 1pm followed by a special screening (detailed above) at 3pm.
Seeing Sound gratefully acknowledges support from:
As part of Supersonic Festival Laura Coult has curated ‘Seeing Sound’, which will take place at VIVID on Heath Mill Lane, over the weekend of the festival, and will include a screening of Tony Conrads seminal work The Flicker (1966).
This is FREE to the public & Supersonic ticket holders
SEEING SOUND, curated by Laura Coult
140 Heath Mill Lane | Birmingham |B9 4AR
Fri 12 – 5pm
Sat 12 – 6pm
Sun 12 – 4pm
An exhibition exploring the ways in which we experience sound as light, movement, noise, and colour. Spanning 40 years the programme draws together historical and contemporary moving image works including Ben Russell’s Black & White Trypps No. 3 (2007) which documents an audience’s collective freak-out during a performance by Rhode Island noise band Lightning Bolt; and a special one-off screening of Tony Conrad’s seminal work The Flicker (1966) a 30-minute film exploring the possibilities for harmonic expression using a sensory mode other than sound; audience reactions to the film ranged from disorientation, temporary hypnosis, and intense experiences of colours and patterns, to headaches and violent bouts of nausea, all seemingly caused by the pulsating light’s interaction with the brain’s alpha waves. Other artists include Benedict Drew and Juneau Projects.
Live Performances: Sun 1pm
classical percussionist Joe Snape and musician Mr. Underwood. Snape will perform Lärmlicht #2, for percussionist, 4-channel tape and 8 lightbulbs. The piece is the first in an ongoing series which explores the expressive potential of light in the context of musical performance.
Following on from his Noise Box Workshop, Mr. Underwood will stage a rare performance of Steve Reich’s Pendulum Music. Originally scored for “For Microphones, Amplifiers Speakers and Performers” this adapted version will be performed using four Noise Boxes / Optical Theremins (similar to those made in the workshop) and four torches. This performance will take place in darkness – the torches, the only source of light, add a distinctive visual aesthetic to this classic phase piece.
Screening: Sun 3pm
The Flicker (1966) Tony Conrad (16mm)
For an artist, proper documentation of your work is essential. It can make good works look great: images that jump off the page or out the screen. Done bad documentation can make a work look grey, foggy, lifeless. This is important stuff when it comes to funding applications or having your work seen, especially online.
This Saturday at Eastside Projects, photographer David Rowan will lead a practical workshop on producing images and adjusting digital files — including an introduction to Capture One software, workflow and post production, and a presentation of specific projects, websites, jobs and finished work.
The workshop runs Saturday 16 October, 12–3pm at Eastside Projects, 86 Heath Mill Lane, Birmingham B9 4AR. This event is an ‘Extra Special People‘ event and places are limited. (Extra Special People is an associate membership programme attached to Eastside Projects that hosts weekly talks, films, crits – membership is open to all.) To book or if you are interested in joining ESP, please email: firstname.lastname@example.org
New Save the Arts poster by Mark Titchner, commissioned by Eastside Projects. Hitting a quarter of the poster sites across Birmingham from today, up for two weeks. Back the campaign by signing the petition here: http://www.gopetition.com/petitions/save-the-arts.html
CUT US DON’T KILL US!
1. Master Musicians Of Bukakke – Cascade Cathedral (4:13)
2. Napalm Death – Mass Appeal Madness (3:29)
3. Drumcorps – Pig Destroyer Destroyer (4:26)
4. People Like Us – Gesundheit! (1:16)
5. Chrome Hoof – Crystalline (4:01)
6. James Blackshaw – Cross (8:38)
7. Health & Efficiency – Yes I walked alone (4:23)
8. Swans – Time Is Money (Bastard) (6:20)
9. Mugstar – Technical Knowledge as a Weapon (5:40)
10. Gnod – Twin Within (13:11)
11. Mothlite – The One In The Water (4:41)
12. K.K. Null – X-02 (4:25)
13. Part Wild Horses Mane On Both Sides – Earth Song (3:22)
14. Ovo – Ostkreuz (2:50)
15. Nicholas Bullen – Proximity (8:12)
16. Melt Banana – Dog Song (1:20)
17. Godflesh – Streetcleaner (6:43)
18. NEU! – SEE LAND (6:54)
Tickets are available from HERE
We’ve asked a number of regular Supersonic visitors to let us know what they’re most excited about seeing at this years festival. This is what blogger/photographer extraordinaire Pete Ashton has to say:
The point of Supersonic Festival for me is seeing stuff I’ve not heard of and,
in some cases, not conceived of as possible before, so I’m reluctant
to make recommendations. I’d suggest you go random and if by some
freak of nature there’s a safe option don’t take it.
That said, I’d be a fool not to urge you to see Nisennenmondai, one of
the highlights of last year. Astonishing, relentless stuff from the
Japanese ladies. No less intense than Melt Banana but completely
different in approach.
I caught Peter Broderick supporting at a Capsule gig a couple of years
back and fell in love with his music. There are very few support acts
who can silence a room to the point where the photographers are
embarrassed by the noise of their shutters but he did it. I can’t wait
to experience him in a festival environment.
Picking a Brummie, as supporting local bands is part of the Capsule
ethos, I’d go for Stinky Wizzleteat mainly because they live up to the
majesty of that name.
Finally, it’s easy to miss the fringe stuff at Supersonic so do keep
an eye off the big stages. I’d highly recommend Sam Underwood (aka
Glatze) and his specially adapted version of Steve Reich’s Pendulum
Music, for four Supersonic Noise Boxes and four torches. I saw this at
Birmingham’s FizzPop Hackerspace and it’s world class stuff.