Radio as Social Sculpture: Cashmere Live at Lenbachhaus
10am – Midday: The Morning Ritual Show with Iris, Puddle, Majestic, Shlucht & Lukas
***RL ZOOM TAROT HOTLINE WITH LUCIA — learn your future 2day***
+ Life Hacks
++ What’s your morning ritual?
+++ Pretentious words we just learnt (can’t believe you don’t know what an anacoluthon is!)
12:00 – 12:15: Info UNLTD with Reece Cox and Marina Rosenfeld: Six Inversions (After Arnold Schoenberg)
The two-channel video work Six Inversions was commissioned by the Arnold Schönberg Center in Vienna Austria as part of the exhibition Art Is: New Art, Reflections on Arnold Schoenberg in Contemporary Art, in 2013. Rosenfeld adopts Schönberg’s concept of the inversion, and applies it at both structural and metaphoric levels to a series of scenes recorded at Schoenberg’s home in suburban Mödling and amongst his archive and library in Vienna with the pianist, Anthony Coleman. Assisted by and in conversation with Coleman, whose associative vocabulary ranges from Webern to Jelly Roll Morton, Rosenfeld enacts a series of conversational “readings” of Schoenbergian ephemera, including rows, charts, score fragments and musicological texts, resulting in a series of scenes evoking precise intervallic and ideological shits and substitutions that occupy modalities not just of pitch, but also of chronology, image, genre and history. Among Rosenfeld’s inversions is also one of her own identity in the work—as reader, as composer, as arranger—which she proposes by briefly substituting “Rosenfeld,” a thrash-metal band active in Japan in the early ’90s, for herself at several junctures in the sequence.
Six Inversions was exhibited in 2017 as part of the solo exhibition, After Notation, curated by Lisa Long, at the Bard Center for Curatorial Studies at Bard College.
12:15 – 12.35 Okay Delay
12.35 Office of Joint Administrative Intelligence: Tabea Blumenschein Special with Chris Dreier
12:55 Deep Puddle – Jiddisch Edition with DJ Puddle
13:25 Furore am Tisch with SeaSlug & Zarrt
13.55 6 Poems by Bitsy Knox & Roger 3000
Find more here: https://www.discogs.com/Bitsy-Knox-Roger-3000-Om-Cold-Blood/release/12840707
14:00 Eine Ohrfeige dem bürgerlichen Radio with Misa & Nils
Jede Kultur ist Ausdruck ihrer Basis. Nur eine progressive Basis ermöglicht eine progressive Kultur. Eine progressive Kultur nutzt materielle Entwicklungen als Neuerung. Die Neuerung als das wesenhaft Neue ist abhängig von ihrer Basis. Eine abgeschlossene bürgerliche Basis ermöglicht ausschließlich eine abgeschlossene bürgerliche Kultur. Aus einer abgeschlossenen bürgerlichen Kultur heraus kann das wesenhaft Neue der materiellen Entwicklung momenthaft geschaut werden. Das wesenhaft Neue kann als Neuerung in ihr nicht genutzt werden. Sie findet ihren Ausdruck der Erneuerung in der Illusion der Neuerung.
Illusion von Neuerung als Erneuerung ist Stillstand. Den Stillstand bricht nur die Überführung der abgeschlossen bürgerlichen Basis in die Progressivität.
Jede materielle Entwicklung ist als Neues wesenhaft Neuerung. Brechts Radiotheorie hat das wesenhaft Neue einer progressiven Kultur momenthaft aus einer abgeschlossenen Kultur heraus geschaut. Diese Kultur ist noch immer abgeschlossen. Das wesenhaft Neue lässt sich aus ihr heraus noch immer nur momenthaft schauen. Dieses Schauen muss gesucht werden. Das nächste Schauen sieht das Neue weiter als wesenhaft von ihrer Basis beschnitten. Für die Neuerung der Kultur muss sie die Neuerung der Basis suchen.
15:00 Versuch über Vernuscheln with Verena Buttmann & Kyrill Constantinides Tank
Halt inne denn, es dröhnt aus deinem Körper raus.
Ein wundersames Melodram, ein Melodie des Unterarm?
Denn einfach Handy denn?
Es ist Paranoia.
Geh nicht dran. Lass läuten nuhhrrr.
Wann kommen denn die Leute hierrr.
Es wird mir flimmerich ums Herz
der Joint in meiner rechten kaum lindernd denn der Sorge
Das Ding in meiner Linken gibt denn Feuer ohne Frage, immerhin, ein tichtig Ding – Dingeling.
…So denn dann, wann sei sie zu erwarten?
16:00 Gedankenübertragung. Lesung und Gespräch mit Iris Dankemeyer & DJ Shlucht
Was, wenn Adorno nicht Gründervater der Frankfurter Schule war, sondern das Findelkind der Kritischen Theorie? In Wien ist er kapriziöser Kompositionsschüler, in New York ein frustrierter Sozialforscher, in Los Angeles ein unbekannter Privatgelehrter und zurück in der deutschen Provinz dann ein antifaschistischer Aktivist. Das Denken dieses Sonderlings hat das gewisse Etwas – Esprit und Chuzpe, Pathos und Passion, Treue und Konsequenz. Adorno ist Kopf der Leidenschaft und zugleich ein Paradebeispiel dafür, wie das emanzipatorische Begehren von einer Sache der Politik zu einer Frage der Kultur wird. Neben der akademischen Ausnahmeerscheinung sind die anderen Charaktere längst vergessen. Vom Kritikerkreis um Horkheimer bleibt nur der ästhetische Alleinunterhalter und Vorzeigeintellektuelle der Nachkriegszeit in Erinnerung. Adorno markiert das traurige Ende der Kritischen Theorie und zugleich den Beginn einer unerhörten Geheimwissenschaft gegen musikalischen Gehorsam und erotische Versagung.
17:00 Blue Creamer with Eleni Poulou
17:45 Entropy Tapes with Pattern Dissection
Pattern Dissection’s entropy tapes are an installation of three simultaneously transmitted 30-minute mix tapes.
One was prepared by Liz Kosack and will be played through a repurposed fan heater; the other two were compiled by the show’s hosts, Christoph Berg and Stefan Lingg, to be played on reel-to-reel tape machines. By separately providing the music beforehand the participants themselves don’t know what sounds will come from the machines they’re operating.
The sound sources are arranged in a triangle allowing visitors to choose between their preferred mix or to listen to all of them at the same time, depending on their position.
The radio signal is being transmitted through two portable microphones, one of which moved around by the attendees of the installation. Therefore listeners at home will only be hearing what is chosen for them by people on site.
Pattern Dissection is a radio show about free jazz and improvised music, broadcasting monthly on Cashmere Radio.
18:15 Portals with Luzie Meyer and Sarah Johanna Theurer
If love’s a sweet passion why does it torment?
If a bitter, oh tell me, whence comes my content?
Since I suffer with pleasure, why should I complain,
or grieve at my fate, when I know t’is in vain?
Yet so pleasing the pain is, so soft as the dart,
That at once it both wounds me and tickles my heart
whence comes my content, indeed
(as opposed to: wherein does my content occur)
when will it “fill me up”
the problem at hand is the lack of content,
or the lack of satisfaction with content.
the poetic narrator
— whom we immediately identify as female in the performance of the song,
because that’s what is historically associated with a high pitched singing voice —
is an empty vessel
she is desiring
one could also ask, under which conditions can a female narrator be meaningful, find fulfillment?
the narrator is experiencing confusion about how to categorize her sensations
what is the essential flavor of the passion she is experiencing?
sweet, or bitter?
the simultaneity of the two flavors is causing her both positive and negative stress
an incongruency that demands categorization,
but resists being placed in one single category
have you noticed that line of the song
“yet so pleasing the pain is”
i can’t help but hear
“yet so pleasing the penis”
the dart penetrating the desiring heart is soft
the poetic narrator of the song is investigating
the intertwinement of pleasure and pain in the desire to be penetrated,
through metaphors coded with a language of consumption and of presupposed heterosexuality
oh tell me, she asks –
she needs information,
information – latin for “to give form, shape to something”
there is desire for content and content in the poetic text
but which of the two is it –
does the narrator require to be “filled up”,
or informed, filled in, given a new shape
to better hold the content?
a female poet goes to a bar and asks the bartender for information
and he says
“I am going to fill you up”
the narrator is confused
a soft penis is piercing her heart
she turns to the listener
“why am I staying at the bar when I could be writing?”
if the penis were hard, the dart solid, it would be purely intrusive, unpleasant, mere torture
but since it is soft, it also tickles
tickling is a moment of perverse intimacy,
in which laughter can very suddenly transform into tears,
when the tickled is overpowered by the tickler
a sucessful tickle creates intimacy without exploitation
as the uncertainty about when and where the (un)pleasant feeling will occur
is carried, held by the tickler
both a wound and a tickle
the intertwinement of pleasure with pain is especially pernitious because it discredits the poetic narrator’s right to complain or grieve
as part of the narrator enjoys the torture,
complaint and grief are forbidden, futile, vapid activities
“I know t’is in vain”, she says
in vain –
i can’t help but hear
(having the self-conceit to believe one was allowed to complain or grieve)
vanus, latin for empty, lacking content
again, “fill me up”
she asks the listener once more: “fill me in”, “how can I find fulfillment in this passion of mine?”
the grief over a feeling of emptiness is sometimes believed to reduce suffering
because it lets the empty subject develop a tolerance to the lack of content
god forbid the poetic narrator was independent of content
that the lack of information, the inability to be given shape by something external
as well as the lack of content, the inability to be meaning-ful
were just accepted as a given?
what if the vessel was just good enough, meaning less?
the vanity of the empty vessel that is the female complaint just won’t suffice
potentially, one’s shape changes, depending on what one consumes
the poetic narrator
why indeed is she so disregulated
about the most normal thing in the world:
(the world is full of information)
in this world, specific vessels are conventionally used for different beverages,
they are standardised,
though obviously the rules about what vessel is used for what content are essentially arbitrary
the problem is not that no beverages exist
the problem is neither that no vessels exist
drinks small portions of decidre from shot glasses
pours her bitter tears into a cup of martini, shaken
drenches her vagina in wine
spits black whiskey into a milk jar at daybreak
takes the bartenders shoe and has him fill it with seamenly nothing
we could say that with her high pitched voice, she is addressing us,
— if you allow me to sit beside you —
and that she is asking us whether we can relate to her grief
“have you experienced passion, and if so, how does it feel to you?”
“have you experienced torture, grief over information and content?”
the female poetic narrator must complain, always, for this is her destiny
complain: latin, for: to lament, to criticise, to make a formal accusation to an authority
also: to beat the breast
complaint is always also self-harm
complaining is said to decrease the mental strength of the complaining
also: to emit a mournful sound
expression of grievance or blame
a gendered shriek, high pitched call-out
the formal accusation may be that the meaning produced in the act of seduction or tickling
renders the female narrator a mere vessel for either bitter or sweet flavors and that this categorization of their experience will no longer suffice to provide any fulfillment with meaning, content
we imagine the accusation is brought forward to a male bartender, who provides the addictive substance which makes the vessel a container for a specific content, or the listener, who functions as an involuntary extension of the bartender.
it seems advisable for the female poetic narrator to address not the listener, not the bartender, but her own investement in the act of seduction – is she seeking to be tickled, in a way that tortures her?
What does her lament generate? A separation of content and form? A refusal to consume? A rejection of meaning? A refinement of the palet? After all there is more to sexuality than penetration or consumption, and other nuances passion than sweet or bitter; – such as nutty, smoky, pungent, slightly tangy, and so forth.
neither empty nor full
nor fulfilled nor deprived
nor blaming nor self-effacing
but in grief is a suspension of non-containment
there is con tent
18:45 Krachwald – Ray-Dee-Oh with Paul Paulun
10 pieces about the mysteries, realities and prospects of airwaves.
Vladimir Ussachevsky – Wireless Fantasy
homage to Lee De Forrest, whose invention of the vacuum tube made modern radio possible (1960, Ellipsis Arts)
William S. Burroughs – The Total Taste Is Here – News Cut-Up
fathoming the potential of radio news for cut-ups (early 1960’s, Industrial Records)
Phil Harmonic – Radio Music (mixed by “Blue” Gene Tyranny)
four channels of changing radio information, mixed “intuitively” down to pseudo-stereo (1980, Lovely Music)
Dan Lander – Talking To A Loudspeaker: Call Now
call-in program with technical problems (1988-90, Empreintes Digitales)
Negativland – Over The Edge Vol. 2: Pastor Dick: Muriel’s Purse Fund – Bible Quiz
shaping the concept of culture jamming, i.e. ‘pirating’ public radio frequencies and subverting them for independent communication (excerpt, 1982, Seeland)
Angus MacLise – Shortwave-India
bathing in airwaves (Siltbreeze, 1968-72)
Gregory Whitehead – Little Tina
WFMU live-to-air screamscape (with Kenny G.) (2004, excerpt)
The Android Sisters – Ray-Dee-Oh
radio play producers lamenting the demise of radio (1984, EM Records)
Stewart Home – Boycott Stockhausen
spontaneous conversation during an arranged call-in, broadcast live on Brighton Festival Radio (1993, Sabotage Editions)
The Conet Project – Eastern Music Station
shortwave radio station of unknown origin, believed to be operated by a government agency to communicate with a deployed spy (1997, Irdial Discs)
19:30 Ziese Zpecial #3 – Ware und Intimität with Nils & Junis
20:30 Rumpeln & Limpe Fuchs
22.00 The Satori Culture Center with PlusX and Nile Koetting
Satori Culture Center is a walk-through of an imaginary culture center. The 59min audio sets out to facilitate encounters with various works of art, such as installation, performance, video work, workshop and more, through ear.
Featuring works from: Adam Kaplan, Francesco Cavaliere, Hideki Umezawa, Koichi Sato, Martina Lussi, Miriam Stoney, Nozomu Matsumoto, Steve Bishop, Tomoko Sauvage and Vinzenz Schwab
Exhibited Works and Program
(1) Entrance Hall
Hop Music is a permanent installation presented at the entrance of Satori Culture Center composed by Yokohama based artist and curator Nozomu Matsumoto. The ever morphing sound greets visitors and the environment.
Miriam Stoney and Vinzenz Schwab
“The human argument on Berzelius”
Taking a reading from Book of Dust by American conceptual artist Agnes Denes, this sound installation imagines the dust-scape of the institution as the entry point into the continuum of particulate matter, connecting urban environments, the more-than-human world and the universe at large.
(3) Glass Pavilion
Hideki Umezawa & Koichi Sato
“Migrating Garden” is a site-specific video installation. Using the unique location of the Glass Pavilion in Satori Culture Center, the installation stimulates the audience through audio visual experience where video, sound, scents of tar and flower come together.
(4) Exhibition Hall 1
“I will Come Back To You”
“I Will Come Back To You” is a sound piece presented on headphones. It was conceived for the exhibition Attitudes at SALTS in Basel. The sound features a female voice which advises the listener to walk around and have a look at the object of the other artists featured in the same room. Thereafter, the voice advises the listener to sit down and concentrate on the sound. Only one listener at a time can perceive the sound. The artist uses and refers to meditation techniques.
(5) SCC Kids Workshop Space
“Art History Game for Children”
Do you think Art History is only for intellectuals and artists? No! In our special weekly program by SCC Educational team we learn important art history through fun dance games.
Recommended age is from 6 and up.
(6) Exhibition Hall 2
By the Boundary, explores feelings of personal memory in relation to physical domestic boundaries. Utilising a mixture of recorded footage and found video with field recordings and pop ballads, the video treads a line between voyeuristic intrusion and commemorative sentiment.
(7) Cafe Restaurant Sunshine
Cafe Restaurant Sunshine
Opening time: 10:00 – 19:00 (Last Order 18:00)
(8) Lakeside Concert
Tomoko Sauvage and Francesco Cavaliere
“≒ AO (blue light is green)”
A duo of Francesco Cavaliere – artist/ musician from Italy, and Tomoko Sauvage – artist/ musician from Paris. “≓ AO (blue light is green)” is presenting a relationship between musical instruments and visual art with combination of installation, sculpture, and performing arts.
SCC – Music meets Performance Series
“48 variations piano for two pianos by John Mcguire”
In the third edition of Music meets Performance, SCC invites pianists Yuki Miyabashi and Toru Tanaka to join SCC artist in resident- performance duo ENL!GHTMENT – in an improvisational dance performance with a composition by American composer and organist John Mcguire.
(10) Rooftop Party
Video with Sound
Buildups is an intense forensic fiction, importing espionage footage back into the world of CGI through which they were first conceived. It is juxtaposed with a music compilation of buildups segments from millennial trance tracks – juvenile ever-accelerating beat-less crescendos, a loop that ends where it begins.