Paco Rossique

Paco Rossique – Boulevard Canvas

info text http://etchedtraumas.bandcamp.com

Etched Traumas is more than happy to present the second EP of the Spanish artist Paco Rossique titled ‘Boulevard Canvas’.
Paco Rossique lives and works in Las Palmas de Gran Canaria (Spain). He has lived and studied in Madrid and Florence (Italy).
With a career spanning over twenty years as an artist, his work include paintings, murals, sound art pieces,
sculptures, prints, magazine articles, art-books, illustrations for newspapers and curatorship.
His paintings have been exhibited in Madrid, Jaen, Valencia, Baeza, Irun, Malaga, Tenerife, La Palma, Lanzarote and Gran Canaria.
He has made more than a dozen indoor and outdoor murals in Gran Canaria, La Palma, Jaen and Granada, highlighting Cuyαs Theatre
murals in Las Palmas de Gran Canaria and those in Jaιn and Granada in close collaboration with the architect Francisco Jesús Pérez Chica
.
Among his most important sculptures which are quoted in the park Arrecife, Lanzarote and Las Palmas de Gran Canaria at the
headquarters of the FEDAC and Teatro Cuyαs.
He has composed sound art pieces, such as those for the exhibition "90% Water" with Mónica Aranegui and Jose J. Torres
in the
Library of the University Carlos III, Madrid 2011, Soundtracks for the "Land for the future: sustainable development" in the Elder
Museum of Science and Technology Las Palmas de Gran Canaria and soundtrack "Planning the insular Landscape." Special Territorial Plan
of the landscape of Gran Canaria. Biennial of the Canaries 2009.

http://avantgarde.glasklinge.de/2013/05/22/paco-rossique-boulevard-canvas/

divendres 24 de maig de 2013

núvol de fum 035 | perills

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O descarrega'l: núvol de fum 035.mp3

Aquesta setmana arrenquem el programa destacant el treball de l'artista nordamericàLefolk per a Resting Bell titulat Isn't this dangerous?, un disc dedicat als cosmonautes perduts on es barregen diferents estils com l'ambient, el drone i el techno. L'he descobert gràcies al portal sobre netaudio Netlabelism i les seves crítiques de discs. No és l 'últim llençament de Resting Bell, la novetat més recent és el nou treball del japonés Saito Koji, que també repassem en el programa d'avui. L'artista nascut a la zona de Fukushima ens presenta el seva vuitena publicació al segell berlinès, un disc amb 16 peces d'exactament 4:33 minuts (més homenatges a John Cage) i 5 peces més en format llarg. Un disc potser massa llarg i lineal des del meu punt de vista però que val la pena al menys escoltar un parell de temes. Entre mig d'aquestes dues publicacions de Resting Bell fem una parada al segellEtched Traumas per escoltar una peça del canari Paco Rossique, que acaba de publicar allà un treball experimental molt interessant sota el títol de Boulevard Canvas, on hi trobem molta manipulació de gravacions de camp i experimentació electrònica varia.

Acabem el programa d'aquesta setmana parlant de Bezdna Radio, un projecte de ràdio online que funciona des de 2006 amb seu a Moldavia. Aquesta ràdio s'integra dins el netlabelSilent Flow, que ja coneixem bé, i regularment publiquen recopilacions amb alguns dels temes que seleccionen per emetre. La darrera d'aquestes recopilacions és la número 28 i he seleccionat un parell de temes. Per un costat una peça de Ólafur Arnalds, que tindrem en poc menys d'un mes al festival Sónar, un compositor tant jove com prometedor. Per altra banda l'ambient dub de 44 mind amb Subforms, un tema llarg titulat Zlata.

Tracklist del programa

01 [rb116] lefolk - mirya

02 [rb116] lefolk - piotr

03 [rb116] lefolk - alexis

04 [et.tr] paco rossique - molde ii arena lenta

05 [rb117] saito koji - yes 1

06 [rb117] saito koji - yes 16

07 [bezdna28] ólafur arnalds - fok

08 [bezdna28] 44 mind + subforms - zlata (organon remix)

Tanquem el post d'aquesta setmana amb un video d'una actuació en directe completa deÓlafur Arnalds. Aquest compositor i productor de només 26 anys ja s'ha guanyat un lloc entre els noms més destacats gràcies a les seves composicions neoclàssiques que incorporen piano i altres instruments de corda, així com electrònica i improvisació. Una actuació que val la pena veure, enregistrada el passat novembre per a Kexp Ràdio a Reykjavik.

Núvol de Fum es un programa de música ambient y electrònica minimalista de difusión libre presentado por Jaume Muntsant en Radio Mollet. http://nuvoldefum.blogspot.com

Show 427: Crisis, what Crisis? (TEA FM)

Crisis
f. Mutación considerable en una enfermedad tras la cual se produce un empeoramiento o una mejoría: “El enfermo ha conseguido superar la crisis.”
Problema, conflicto, situación delicada: “Esa pareja está pasando por una crisis.”
Cambio importante en el desarrollo de un proceso que da lugar a una inestabilidad: “Crisis económica.”

Estamos en crisis, si. ¿Pero, en qué crisis? ¿Crisis financiera? ¿Crisis moral? ¿De valores? ¿Existencial? ¿Somos conscientes de ella?
Demasiadas preguntas que son una sola. Y respuestas en el aire, en la cabeza de todos y en las manos de muy pocos.
Este documental radiofónico intenta reflejar esta crisis planteando una serie de preguntas con respuesta. La que cada uno podamos darle.
Un trabajo compuesto por audios de Chuse Fernández, Fulvio d’Orazio, Juanjo Palacios, Miss Jenny Tails y Paco Rossique y la voz de Leonor Bruna en los textos en lengua alemana de Bertolt Brecht, Erich Kästner y un poema anónimo junto a recortes sonoros de informativos de la BBC, NBC y La Sexta TV.
Una producción de Chusé Fernández para TEA FM.

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

CRISIS, WHAT CRISIS?

Cri • sis
[krahy-sis] noun, plural cri•ses [-seez], adjective
Noun
1. A stage in a sequence of events at which the trend of all future events, especially for better or for worse, is determined; turning point.
2. A condition of instability or danger, as in social, economic, political, or international affairs, leading to a decisive change.
3. A dramatic emotional or circumstantial upheaval in a person’s life.
4. Medicine/Medical .
a.The point in the course of a serious disease at which a decisive change occurs, leading either to recovery or to death.
b. The change itself.
5. The point in a play or story at which hostile elements are most tensely opposed to each other.

We are in crisis, yes. But, what crisis? Financial Crisis? Moral Crisis? Crisis of values? Existential? Are we aware of it?
Too many questions that are one. And answers in the air, everyone’s head and into the hands of very few.
This radio documentary attempts to reflect this crisis posing a series of questions to answer which each can give. A work consisting of sounds from Chuse Fernandez, Fulvio d’Orazio, Juanjo Palacios, Miss Jenny Tails and Paco Rossique and Leonor Bruna’s voice in German texts by Bertolt Brecht, Erich Kästner and an anonymous poem with info cuts from BBC news, NBC and La Sexta TV.

A Chusé Fernandez production for TEA FM.

Aquí

Thursday, September 05, 2013

Bruno Duplant - Presque Rien (rhizome.s)

Right from the start their are a couple of problematic issues with this work and more surface as one listens. First, of course, is the title of the release, Duplant knows very well that it was used for a series of pieces by Luc Ferrari and an album on INA-GRM. Duplant's source, however, is a line from Francis Ponge: "L'eau (qu'il contient) ne change presque rien au verre, et le verre (où elle est) ne change rien à l'eau.", translated thusly by Michael Pisaro for this recording: "The water (what it contains) does almost nothing to the glass, and the glass (where it is) does not alter the water." He simply liked the phrase in that context (a context which was to be the instructional score for the work) and went with it. It's an interesting notion, to intentionally disregard any proprietorship of a phrase or title; I kind of admire the effrontery, as if someone titled a new recording, "Bitches Brew" or a new novel, "Gravity's Rainbow"--problematic in the extreme but at least a little provocative.

Secondly, Duplant takes the quotation and asks a large number of musicians to actualize it (limiting themselves to two minutes), concentrating on the phrase, "presque rien", an action not really a whit different from the approach taken fairly routinely by Manfred Werder, right down to using Ponge as a source. What is one to make of this? It's something I've had tangential thoughts on for quite a while--a musician establishes a certain attack, carves a niche and it somehow becomes his or her own, territory where it's not considered polite to trespass, at least overtly so. But if (I would think to myself) an approach is particularly beautiful or rewarding, why not? One can acknowledge that a door has been opened by someone else by why not use it as well? Except that such a high premium is placed on originality that this becomes taboo, the more so the closer one inches toward it. Can you perform your own variation on 4'33"? Maybe there's a distinction to be drawn between (in music) doing it and releasing a recording of it. But why? Duplant seems to be edging toward a Mattin-like questioning of norms held sacred in this field and, even if the results are uneven, I can't help but think this is by and large a good thing.

Ah, the results. Forty-four musicians are represented herein, sequenced alphabetically by first name. I suppose I should list them, especially since a "list" is more or less what Duplant was after. Ana Foutel, Barry Chabala, Brian Labycz, Bruno Duplant, Bryan Eubanks, D'Incise, Dafne Vicente Sandoval, Daniel Jones, Darius Ciuta, Delphine Dora, Dimitra Lazaridou Chatzigoga, Dominic Lash, Ernesto Rodrigues, Eva-Maria Houben, Fergus Kelly, Ferran Fages, Gil Sansón, Grisha Shakhnes, Iliya Belorukov, Jamie Drouin, Jez Riley French, Johnny Chang, Jonas Kocher (with Dafne Stefanou), Joseph Clayton Mills, Julien Héraud, Jürg Frey, Keith Rowe, Lance Austin Olsen, Lee Noyes, Lucio Capece, Massimo Magee, Michael Pisaro, Paco Rossique, Paulo Chagas, Pedro Chambel, Philippe Lenglet, Rachael Wadham, Ryoko Akama (with John Bryan), Simon Reynall, Stefan Thut, Travis Johnson and Vanessa Rossetto. It's very difficult listening in the sense of trying to assign any kind of structure or cohesiveness to the undertaking. The actualizations appear one immediately following the other, generally pretty quiet (not surprising, given the nature of the image in the line referred to) but, in memory, tending to blur into one another. It becomes a fools errand to say, "liked that one, don't like this so much", etc. but there's also no sense of each contribution fitting into soe greater whole. It's simply a list. I found it frustrating in a manner similar to my experiences with much of Tom Johnson's music, particularly something like "The Chord Catalog". As there, it becomes clear that one has to listen differently, though it's no easy task for these ears to manage that. I would have preferred that the pieces were isolated from one another, with perhaps a minute or more of silence between. But then, you'd be confronted with more art object than list and the latter is Duplant's objective, so you're forced to just deal with it or not.

The problem is that doing so and given the brevity of the pieces, you almost have to sit and follow the contributor listing with some intentness as you go. "OK, here's Eubanks, this one's Frey, now Thut", etc., mentally checking them off as you go. It's not how I enjoy listening, though, preferring to hear the thing "as a whole", except there is no whole, hence the frustration. I find myself, after each track, getting up and pausing the player, an awkward maneuver to say the least, though I can picture Mattin grinning at such activity. Loaded into iTunes and experienced at random via shuffle, I've no doubt they'll be welcome nuggets, even if that means abjuring their listlike qualities. Tant pis! :-)

I'd be curious to get the reaction of others to this offering. If not at the moment, it should be available soon at: http://rhizomes.bandcamp.com/

L'eau (qu'ill contient) ne change presque rien au verre, et le verre (où elle est) ne change rien à l'eau.
The water (what it contains) does almost nothing to the glass, and the glass (where it is) does not alter the water.

Francis Ponge, Le verre d'eau, 1948

Ana Foutel, Barry Chabala, Brian Labycz, Bruno Duplant, Bryan Eubanks, D'Incise, Dafne Vicente Sandoval, Daniel Jones, Darius Ciuta, Delphine Dora, Dimitra Lazaridou Chatzigoga, Dominic Lash, Ernesto Rodrigues, Eva-Maria Houben, Fergus Kelly, Ferran Fages, Gil Sansón, Grisha Shakhnes, Iliya Belorukov, Jamie Drouin, Jez Riley French, Johnny Chang, Jonas Kocher (with Dafne Stefanou), Joseph Clayton Mills, Julien Héraud, Jürg Frey, Keith Rowe, Lance Austin Olsen, Lee Noyes, Lucio Capece, Massimo Magee, Michael Pisaro, Paco Rossique, Paulo Chagas, Pedro Chambel, Philippe Lenglet, Rachael Wadham, Ryoko Akama (with John Bryan), Simon Reynall, Stefan Thut, Travis Johnson and Vanessa Rossetto.

Boulevard canvas en avantgarde.glasklinge

Paco Rossique – Boulevard Canvas

El cuadro del mes

Intangible 23. 19 Junio 2013

Programa Vericuetos de radio Kras, Gijón. 4 de Junio 2013

Sonidos en recesión en The London Sound Survery

El Libreto de Sonidos en recesión, por Atilio Doreste en Issuu

Pronto

Erotika

Molde II Arena lenta en núvol de fum

núvol de fum

divendres 24 de maig de 2013

núvol de fum 035 | perills

Erotika en Canarias 7

Ruidos del trabajo y sonidos de resistencia

Hasta siempre compañero

Coyuntura de cambios en radia Show 427

Show 427: Crisis, what Crisis? (TEA FM)

Presque rien, va viniendo

Crítica sobre "Presque rien" de Brian Olewnick en su blog Just Outside

Thursday, September 05, 2013

Sismógrafo

Article 11

Presque rien

presque rien

Sombra del día después

Crisis, what Crisis? en TEA FM

Sombras