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ELEKTRODIENOS: unidentified audio object (at the speed of the mix)
Rosa Barba (Cologne), firstname.lastname@example.org (Kaunas / Marijampole), Club Mikshys (Vilnius), Deadbeat (Montreal), Egle (Vilnius), Kiwa & Andres Loo (Tallin), Nathalie Bruys aka KODI (Amsterdam), Ignas Krunglevicius (Oslo), Byungjun Kwon & Ge-Suk Yeo (Seoul), Loop-Not-Loop (Vilnius), Korb/Instancija/Skiox (Vilnius), Kaffe Matthews (London), Monolake (Berlin), Mouse on Mars (Dusseldorf / Cologne), Neva (Vilnius), Jonas Ohlsson (Amsterdam), Overtone (Vilnius), Alexej Paryla (Berlin), pb8 (Vilnius), Pink Twins (Helsinki), Gintaras Sodeika (Vilnius), Sutekh (San Francisco), Stewart Walker (Boston / Berlin), zw-x (Vilnius)
a selection of some of the most innovative sound-artists will be invited to the Contemporary Art Centre in Vilnius www.cac.lt to produce what will be 2 days and 3 nights of undefined frequencies at the speed of the mix.
City: Vilnius is a patchwork of different cities, constructed in different periods through different visions of a present-future, sets of streets often refer to streets in other neighborhoods, sometimes in other cities, possibly with other purposes or headings in mind. The capital of one of the former Soviet Union republics is an open field for liberal democracy to interact with the heritage of communist planning, yet before the major investments of global capital has reached the city, a bronze monument for anarchomposer Frank Zappa stood up in one of the squares as a homage for anarchy that never sleeps.
Venue: The Contemporary Art Centre, Vilnius www.cac.lt., often functions as a platform for difference, sometimes inviting the unassimilable or unthinkable into the centre to engage the public in a discussion about the changing role of culture in everyday life. During the Elektrodays CAC will become a sputnik, travelling to the zone of undefined frequencies, unrestricted speed and unidentified sound objects.
Space: the big room is a rectangular space of 1000 square meters that will contain two high platforms with separate sets of turntables / desktops.
9 pm - 3 am, march 4 - 6: three days;
(the logic of the mix)
There are a number of reasons for this particular concept of Elektrodienos. First, there's a technological aspect since all the artists invited use of electronic technology and simple, widely available tools like laptop, thus bringing the production of music/art into a democratic participation of everyone. At the same time there's a certain scale of technology ranging from custom-made software to Theremin and turntables.
The logic of the event is comparable to logic of the mix, but it encompasses more than sound tracks or different sound cultures, it's about horizontal and self-regulation-based mixing of:
- sound with vision;
- sound/vision with architecture;
- dj’s with dj's;
- dj’s with artists;
- artists with artists;
- aesthetics with politics;
- academy with club;
- theory with body,
- life with live.
Mix is the tool of experiment, experience and interpretation, involving established artefacts and not yet public sensations into a self-deconstructing flow. Rhythm A mixes with rhythm B, inventing a new rhythm X while a performer A becomes B by playing the laptop of a performer X. Thus, the event invents not only new cultures of sound but also figures producing them.
“Remixology doesn’t replace a track so much as proliferate it into parallel alterdimensions. Remixology is the science of continuation and the art of drastic remaking, total remaking, remodelling.” (Kodwo Eshun)
Live remix is not the last intention of Elektrodienos.
“Music is always the first” (Dennis Cooper)
FREQUENTLY ASKED QUESTIONS? (FAQ)
What is your motivation for this event?
The basic idea of inviting audio-artists to The CAC Vilnius is rather simple: we want to introduce experimental and cutting-edge artists that transcend both dance-club and academic industries (and thus do not obtain their niche here) for Vilnius audience. The focus is rather on producers and artists (sometimes working as DJs) of experimental electronic music who are trying to extend the concept of music as well as construct new ways of its experience via different technological channels and methods. The solutions discovered in electronic music often become a source of avant-garde recipes and strategies to more conservative practices such as art and cinema. The remix of an audio track can be released before the original itself, a performer can multiply via different heteronyms and conceive products that have nothing in common (thus ensuring the freedom of multi-ego in the culture industry ruled by the tyranny of brands and signature), and the most complex piece can be produced without leaving a bedroom. This is just to say that electronic music isn’t only the place of aesthetics but also of political invention despite all its trivialisation by commerce.
Do you have any theoretical grounds for this experiment?
In a recent talk in New York, the philosopher Alain Badiou spoke about art as a process of purification as opposed to one of pure rupture (as the art and music worlds would often have you believe), a passage whereby ideas, possibilities, or more specifically problems are played out. What remains irrefutably one of the greatest stories from the culture of “the mix”, is not only its ability to find the new inside the old, but also its ability to physically embed the old within the new and in doing so, preserving, even foregrounding this passage Badiou describes.
What do you mean when you write mixing ‘life with live’?
Coming to the event may answer many of these questions, particularly the latter.
Who program the event?
The Contemporary Art Centre, Vilnius & GOIO: Group of Independent Observers (Vilnius)
Where is the after-party going to take place?
Each night at Intro club in Vilnius www.intro.lt.
Rene Gabri & Raimundas Malasauskas
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Submitted by raimundasmalasauskas
Posted on Thu Feb 19, 2004 at 6:47 PM EURODISCORDIA TIME