radioappartement22

JEAN-PAUL THIBEAU / LECTURES META

in Non classé/R22 Sound Station by
Corbeau/Glaise, Le parleur corbeau, capcMusee, 1996. photo: Marie-Celine Delibiot.
JP Thibeau mix glaise, 2010
Ce texte « Glaise » écrit en 2010 permet à Jean-Paul Thibeau d’exploiter les variations de rythme et de diction à la lecture. L’expérience développée avec un jeune musicien, Adrien Darricau, a donné naissance à une version musicale de « Glaise ». La lecture en accéléré rapproche cette lecture/performance d’un certain slam.
Lecture par Jean-Paul Thibeau, adresse aux pommes de terres en « parler-marteau », enregistré par Pascal Semur pour R22, le 22 novembre 2008 à Paris.

Extrait de Jean-Paul Thibeau, « Comme un jeté de textes (écrits 1969-1999) », éditions hors’champs, 2000.
Livre, 192 page, ISBN 2-914164-00-9,


2011-méta-performance CAPC, solo accompagné par Catherine Contour. Photo d’Alain Goulesque



Karim RAFI ///// Ce que disent les oiseaux

in Non classé/R22 Sound Station by

A travers ce travail sonore, réalisé par Karim Rafi en avril 2020,  exprime les doutes de l’artiste quant à la réelle prise de conscience de l’humanité et un changement dans la relation a la nature après la crise du Cov-2.

La forme : une conversation entre un humain et un oiseau. 
Le sujet : une interrogation sur la place qu’occupe l’humain dans le vivant.

La pièce commence par des chants d’oiseaux enregistrés au préalable pendant la période de confinement, on entend différents types de chants d’oiseaux.Ensuite, s’enclenche une interaction entre les sons que produisent les oiseaux et une imitation synthétique de ces sons là par l’intermédiaire de divers instruments analogiques, des réverbérations acoustiques et des manipulations sonores en tous genres à travers de petits objets du quotidien mis en rythmes, créant ainsi un espace acoustique immersif.

01 Ce que disent les oiseaux
02 Ce que disent les oiseaux
03 Ce que disent les oiseaux
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05 Ce que disent les oiseaux

La thèse : L’origine de l’évolution de l’être humain, ce que nous appelons le chaînon manquant de l’évolution serait selon le point de vue des autres créatures, due à un phénomène viral qui aurait infecté les humains lors de leur état primitif, ce qui expliquerait ces particularités inhérentes aux humains, l’agressivité, la férocité, l’auto-destruction… Selon le point de vue de l’oiseau, les virus produits par la Nature et attaquants les Hommes seraient en réalité des anticorps que la Nature produit d’elle même pour se protéger du virus L' »HOMME ». Ce que le texte met en lumière c’est le caractère hégémonique et destructeur de l’humanité vis à vis du vivant. Ce que remet en question le dialogue c’est cette condescendance caractéristique des hommes se concevant maître du Monde et centre de l’Univers, car ce qu’ils appellent une prise de conscience écologique n’est autre que l’évolution toujours centriste de cette vision hégémonique où l’homme se voit en sauveur des Mondes, Que son humanisme bienveillant n’est que redistribution de rôles et organisation du vivant en nomenclature où chaque espèce a un rôle à jouer, une place à tenir. Incapable d’humilité, l’homme ne conçoit la Nature qu’à travers le prisme utilitaire, c’est ce qui le place à l’extérieur de cette même Nature et non comme un simple élément parmi d’autres.

BELIEVE HALF OF WHAT YOU SEE AND NONE OF WHAT YOU HEAR : GRIOTS //

in Non classé by

This program initially created by Georgia Kotrestsos, for the curatorial project « Before Our Eyes » (Sous nos yeux), curated by Abdellah Karroum, and took place at La Kunsthalle de Mulhouse (2013) and MACBA Barcelona (2014).

Believe Half of What You See And None of What You Hear will provide a daily newscast ; dialogues ; present-time Griot historicizations as well as occasional heuristic sound pieces. This radio program is an invitation to consider our auditory perception of the art world and our proximal or distal milieu.

GK_GRIOTS_BHSNH_2013_BORIS GROYS_1
GK_GRIOTS_BHSNH_2013_BORIS GROYS_2
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GK_GRIOTS_BHSNH_2013_ELPIDA KARABA_1
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GK_GRIOTS_BHSNH_2013_GUERRILA GIRLS_1

Portraits of Noisers – Gabriella Ciancimino, Giuseppe Giambertone, Giovanni Tripi

in Non classé/R22 Sound Station by

This update version of Portraits of Noiserz 2020 collects the original soundtracks and videos produced for R22 programme together with soundtracks for other projects by Gabriella Ciancimino in collaboration with musicians between 2009-2014.

R22 Intro Portrait of Noisers
Che Piacere! Cookie Snap, produced for the video « Dalla Terronia col Furgone » 2011.
Za’faran Jtronica, produced for the video « Dalla Terronia col Furgone » 2011.

Portrait of Noiserz is project that contains some episodes wherein associated documetation of experimental music, interviews and video.

Femmes & Machines Jtronica, produced for the video « Dalla Terronia col Furgone » 2011.
Solo Riso Giallo_Bras, produced for the video « Dalla Terronia col Furgone » 2011.
Hatori Yumi and Kitchen Noises,
Van Sorgen Plants Oxygen, produced in 2013 for « All’allerbaggio (Ahoy the herbs), Museo d’arte contemporanea Villa Croce, Genoa.

The episodes  to make the portraits of the musicians that present themself (probably in their studios or on the street…depens from people to pleople) while they work…for example some of them create their sperimental instruments by hands..and so on.

Portrait of Noisers Gargo Master,
Dj Dust and Aromatic Herbs,
Lorrè e Marcolizzo All’Alberaggio,
Mujeres Beat 87, produced in 2014 for « La Flora Soñadora » project for the exhibition Sous nos yeux (Before Our Eyes) at MACBA (Barcellona)

Portraits of Noiserz comes from the collaboration of Gabriella Ciancimino (visual arts) with Giuseppe Giambertone (videomaker) and Giovanni Tripi (Producer of Electronic Music). The three artists – usually engaged in individual productions – have wanted to face together emphasizing the collaborative nature of the project, which is therefore an excellent opportunity to exchange knowledge and to create a contamination between different languages.

Shezad Dawood: « For A Few Ruppies More »

in R22 Sound Station by

« FOR A FEW RUPEES MORE » de Shezad DAWOOD est un projet de film dont il ne reste que la bande-son. C’est une proposition conceptuelle en relation avec le « Spaghetti Western » au Pakistan.

Après avoir conçu toute la mise en scène et réalisé les repérages, notamment en visitant tous les sites ou le film devait avoir lieu, et aussi trouvé des acteurs, l’artiste décide d’abandonner le film pour la réalisation de la seule bande sonore. Pour la bande-son Dawood a pris toutes les compositions des films de Sergio Leone par Ennio Morricone, les a coupées et remontées pour qu’elles conviennent a la mise en scène que j’il avait préparée. Après avoir fait cela, Shezad Dawood commissionne le premier joueur du sitar du pays de faire une improvisation sur ce montage, avec la même durée du film prévu, soit 40 minutes.

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- image : Shezad Dawood, Story Board du projet For a Few Rupees More (Pour quelques Roupies de plus).

Sakhra

in R22 Sound Station by

Echoes of the “Sakhra Encounters” in Moulay Bouchta el Khamar, March 2019

Moulay Bouchta
lever du jour Moulay Bouchta

The “Sakhra Encounters” took place from March 15. to 17. 2019 at Abdeljalil Saouli’s home in Moulay Bouchta el Khamar, a village of the Pre-Rif region in Morocco. The main purpose of the event was to gather artists, researchers, activists, friends, family members and supporters for a shared moment of collective exchange and reflection. It emerged from a collaborative research on local ecologies of building, cultivating and listening, together with Abdeljalil Saouli’s desire to reflect on his own experience in daily life and art practice in the country side. During three days, people actively participated in a program of exhibitions, performances, workshops, walks, discussions and convivial meetings, of which we present here a fragmentary account in sound and images. Coming together in this relatively marginalized area of Morocco felt perfect in order to openly address the vexed relationship between art practitioners and institutions in general, along with wider concerns regarding the boundary-making ideologies that govern human and well as non-human lives. The ‘political’, in this case, emerged not only from the ‘personal’, but also from the ‘togetherness’ of the Sakhra Encounters, albeit without a plan. 

The Sakhra Encountersis an artist-run initiative by Abdeljalil Saouli, Gilles Aubry and Carlos Perez Marin. Guest artists: Said Afifi, Mustapha Akrim, Mohamed Arejdal, Ramia Beladel, Nasrine Kheltent, Younes Rahmoun.

Group discussion

intro-abdeljalil-darija-grotte

Following a walk in the village surroundings, the participants gathered in a sand cave for a group discussion. In the first audio excerpt, the artist and project host Abdeljalil Saouli speaks about his decision to move back to the village where he grew up after studying fine arts in Tetouan. He describes the process of building a house on the mountain designed according to his own needs, wondering also if it is the rocks and the mountain that were domesticated in the process, or the opposite.

Discussion-grotte

In this audio excerpt, the participants discuss the nomadic condition of the contemporary artist. They address the necessity to partly decenter art practices outside of urban centers and institutions in order to unlearnacademic modes of thinking and boundary-making. This allows for a better ‘digesting of certain questions’ at a personal level, and for a redistribution of the sensible towards human and non-human minorities, which can only happen through concrete actions at the level of a community.

Mutual learning and var’nen (stone throwing)

varenen-son pierre.mp3 

Several workshops for kids took place as part of the Sakhra Encounters, led by students in art and architecture. For one of them the roles were reversed, with an initiation to ‘stone throwing’ given by local kids. As a crucial skill for the remote guiding of sheep herds, stone throwing also has an important sonic dimension, as can be heard in the recording.

« A wasted breath inside a balloon », listening session with Ramia Beladel (excerpt)

wasted breath inside a balloon-excerpt.mp3

Departing from the yearly celebration of the local saint (moussem) in Moulay Bouchta, the piece provides a stage for a performance by the artist Ramia Beladel, as an inner introspection and progressive reconfiguration of her own self, breath by breath, balloon after balloon. The 40′ piece was heard during a collective listening session under a tent, as an additional form of interaction with the village inhabitants. According to Suzy Golnik, empathic listening participates in community building and makes art ‘socially responsive’, comparable also to a ‘healing power’.

Sakhra art exhibition in the village

“Pierres de Rivière” by Abdeljalil Saouli, installation view
Sakhra exhibition – guided tour in the village

Artworks were installed inside village homes in an attempt to highlight formal and material connections with the architecture, questioning also the boundaries between art, environment and everyday life. The exhibition included works by Mustapha Akrim, Said Afifi, Gilles Aubry, Younès Rahmoun, and Abdeljalil Saouli. 

“Becoming Goat” (research prototype)
“Becoming Goat”, installation view
binaural-goat2-calling-moulay-bouchta

For their sound installation “Becoming Goat”, Gilles Aubry and Abdeljalil Saouli used a special ‘binaural’ recording technique in order to capture the auditive perspective of a goat, who is possibly revealed as a «person» with her own subjectivity. 

Video : « STONESOUND »  to the link : https://vimeo.com/344771563

STONESOUND is the result of an experiment by Aubry and Saouli in « stone sounding », both in the sense of exploring stone acoustics, and of investigating the limits of ‘things not yet known’. Guided by Saouli’s words, the spectator attends to the artist’s way of relating to stones, as part of a larger local ecology of co-evolution between humans and the environment. 

Landscape interventions 

Transporting “Markaba”
Installation “Markaba” by Younès Rahmoun
Imane Zoubai vocal performance in “Markaba”
Installation “Point-de-repère” by Mostapha Akrim
Iman Zoubai in Markaba

Some of the participating artists contributed through direct intervention in the landscape of Moulay Bouchta. The installation “Point-de-repère” by Mustapha Akrim perhaps attests for the necessity of stable reference points as part of the nomadic condition of contemporary individuals. This necessity is further echoed in the futurist-looking sculpture “Markaba” by Younès Rahmoun, conceived as a portablespace for meditation. The recording documents a vocal performance by the artist Imane Zoubai inside the sculpture, interacting with its resonant acoustics in another instance of collective listening.

Celebration

Fête chez abdeljalil

Sharing food and music making is central to connective aesthetics, as it fosters mutual care, affect and inclusion. Food was generously prepared and offered to all the participants by the Saouli family during the three days. On the last evening, the village women joined in for a shared moment of collective music, dance and celebration, until the next edition of the Sakhra Encounters.  

KARIM RAFI _ TEMPS DE RÉVÉLATIONS ELLIPTIQUES

in Non classé/R22 Sound Station by

Concerto en 24 MOUVEMENTS 24 CAPTEURS ET UNE INFINITÉ D’ACTIONS ET D’INTERACTIONS

La R22 art radio continue à élargir le cercle des dialogues avec les artistes et le public, en présentant le guide audio des expositions de L’appartement 22 et en diffusant les œuvres sonores et documents et les mettant en accès libre a tous. Karim Rafi décrit le projet ainsi : L’idée est de convertir un lieu en instrument de mesure sismique, pour en étudier les phénomènes constitués de différentes formes d’ondes qui le traversent.

En installant divers capteurs, micros et autres instruments de mesure acoustique et sismique, en modifiant et en modulant ces formes d’ondes, le dispositif qui semble vivant (ronflant) produit de nouveaux sons et des ondes, métamorphosant ainsi l’état physique (acoustique) du lieu.

Cette interaction entre le dispositif et le milieu qu’il modifie produit une forme de dialogue ondulatoire à différentes amplitudes ; transformant l’espace en question en un espace sonore interactif aléatoire, invitant le public à méditer ses gestes, mouvements, actions et à penser le monde comme la somme d’interconnexions complexes sans frontières, un tout, une biosphère rhizomatique ondulatoire.

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Café Univers, by Syma Tariq and Francesca Savoldi

in Non classé/R22 Artists Dialogues by

A temporary recording studio at Contour Biennale 8’s Opening Weekend Public Programme / DAI Roaming Assembly #12, Café Univers draws on conversations, music and live internet/FM radio feeds from across the globe to dialogue freely around sound, place and histories of struggle. The episodes navigate mainstream radio stations via the Radio Garden website as well as music chosen by presenters. The project melds sonic exploration of south/south solidarity and the collapsing of physical/digital spaces vis a vis the chaotic dynamics of listening to the radio while rotating the globe.

Café Univers is a project conducted by Syma Tariq and Francesca Savoldi and supported by R22 RadioAppartement22

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Episodes 1, 2 & 3: Ritu Sarin and Tenzing Sonam have been making films together for three decades on the recurrent subject of Tibet, in which they are intimately involved.They chat with us about the music of their film ‘Drapchi Elegy‘ and the songs performed and recorded by a group of nuns imprisoned for protesting peacefully. We chat as well about the role of radio in the Tibetan diaspora, music of exile and the meaning of its contemporary influences.

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Episodes 4 & 5: Karrabing Film Collective are from the Belyuen community on the Cox Peninsula across Darwin Harbour, Australia. They took up filmmaking after being made homeless, and use media as a means to express protection for their ancestors, sacred sites and mother country. The films represent their lives, create bonds with their land, and intervene in global images of indigeneity. Gavin Bianamu, Rex Edmunds and Elizabeth A. Povinelli speak to us about filming, family, Australian radio music and screwing copyright.

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Episodes 6 & 7: Denise Ferreira da Silva offered at Contour Biennale 8’s Public Programme notes on a theory of transformative justice, assessing contemporary (total, institutional, symbolic) violence and raciality while interrogating a value-based proposal for practical decolonisation (ie, construing and then demanding the wealth back). She speaks to Café Univers about Brazilian radio novelas, cultural value extraction and hip hop, among other personal subjects.

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Episode 8: Pedro Neves Marques is (together with Mariana Silva) behind inhabitants – an online channel for exploratory video and reporting. He comments on one of the works presented at Contour Biennale 8, ‘Hobby Lobby vs. The Allegory of Justice’, which revolves around an interesting case from 2014 in the US, where corporations claimed for the first time their religious rights to suppress providing health care and contraceptives to employees. Travelling together though Radio Garden we try to find evidence of the Trump era on US airwaves.

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Episode 9: A chat with Mariana Silva, co-founder of inhabitants with Pedro Neves Marque. She is a Portuguese artist based in New York. As well as navigating Radio Garden with us through night radio broadcasts and transmissions from the Azorean archipelago, she connects some of the works produced for Contour Biennale 8 with her reflections on the US Women’s March on Washington, which took place on March 8 2017.

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Episode 10: Pedro Gómez-Egaña drops by to tell us about the piece he produced for Contour Biennale 8 and related research that explores the complex tradition of riddles in polyphonic manuscripts of the Flemish region, and the enigmatic silence they contain. Continuing with the task of listening, we tune into the airwaves of his homeland, Bucaramanga (Colombia). Pedro is an artist whose recent works gravitate around questions of temporality in the intersection between technology and culture.

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Episode 11: A recording of the last eight minutes of Rana Hamadeh‘s soundplay, « Can You Make a Pet of Him Like a Bird or Put Him on a Leash For Your Girls? » (40″). Structured through the oratorical tradition of the Shiite ceremony of Ashoura, it takes its political, military and legal expressions with the Lebanese/Syrian contexts as its field for commentary and research. Centred around the murder of Hussain, the Prophet’s grandson, it is a terrible and beautiful mixture of vocal trauma and dark trance. Headphones advised.

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