WTM #1055: Big.Mag II-IV in Rotterdam, World

bmpackage2

wReck thiS meSS ~ Radio Patapoe 88.3

Amsterdam ~ Ethno-Illogical Psycho-Radiographies


06 April 2009 // 17.00-19.00

wReckthiSmeSS wReckthiSmeSSwReckthiSmeSSwReckthiSmeSS > Herrie [Live sampling] 
XXYZ > Coolhaven [Polytopia: For the Quasi Crystals / Big.Mag III]***
Interrupted Swell > Joey Roukens [Com.Post #4 / Big.Mag IV]••••
This City Built on Sand: Prologue > Peter Szely ••••
Mijn Vader speelt Geen Instrument > Godfried Bomans [Bomans met een Glimlach / BASF]*
XXYZ > Coolhaven ***
White Material > Joey Roukens ••••
Glass [exc] > Barbara Ellison ••••
Windy City Theme > Peter Szely ••••
Zijn Vogelschrikkers Manlijk > Godfried Bomans [Bomans met een Glimlach / BASF]*
Vortex > Hilary Jeffrey ••••
Makin’ Wicky Wacky down in Waikiki > Sophie Tucker 
The Heroic Chiseling > Idea Fire Company [Hexagon / Big.Mag II]ºº
Hello I’m Here > Peter Szely ••••
Man & Dolphin: Untitled VI > Eugene Marcelissen ••••
Floatation [exc] > Hilary Jeffrey ••••
+ Vrouw Torpedeert Sterk Verhaal > Godfried Bomans [Bomans met een Glimlach / BASF]*
Ecoute, Ecoute! Roderik de Man ••••
This City is Built on Sand  > Peter Szely ••••
The Roamin Yodeller [Zuider Zee] > George Payne 
Addendum  > Peter Szely ••••
Vortex > Hilary Jeffrey ••••
+ The OKeh Laughing Record [3x] > Karl Valentin & Liesl Karlstadt

* Played backwards, forwards, slowed down with sampling effects and other dismantlings.

package-duo-klein-web• Big Mag, founded in Rotterdam some 4 years ago, is a multimedia magazine in the best sense of the word. It combines scholarship with innovation, cross-media resources, and a good, healthy dose of outsider creativity and an insouciant stance against the current over-valued entertainment industry. Thinking and doing, playing and messing.

Big Mag takes on current issues in the arts, the politics of art, the aesthetics of commercialization, the explorations of modern artists on issues that artists face on a daily level. 

Big Mag is both international and local as it features artists and writers from the world over and it serves as a local zine, the print-arm of De Player, one of the most engaged and enterprising clubs in Europe or anywhere. 

Each issue features an audio product, either an LP or CD and/or DVD plus the magazine features a grand mix of articles in a format that is surprisingly current but also harkens back to the best and most loving handmade zines, which flourished in the 1970s-1980s with magazines as art product, which it handles VERY well. It would certainly be THE centerpiece in the windows of Printed Matter in NY.


DSPS is an artist-run foundation based in Katendrecht, Rotterdam [This is where all the stripper and pole-dance clubs were]. In the beginning there was DE PLAYER, a former nightclub on the south side of Rotterdam, Holland. It focussed, in the tradition of a nightclub, on presenting live performative stuff. Not ‘titties and beer’, but more artistic in a spectrum from highbrow underground to low-fi übergund. Unfortunately, the beautiful nightclub was bound to be demolished and razed to the ground to give way to more ‘decent’ entrepreneurs…

But then we became part of the project Groeibriljant Deliplein, an initiative to enhance the neighbourhood with actual renovations and cultural activity. DSPS was founded and it organised Zomerkamp #1, 8 weekends of total-entertainment: concerts, performance, exhibitions and food.

We took it from there to keep organising art projects in Katendrecht’s public space as we moved the club DE PLAYER around to various dilapidated dwellings.

DE PLAYER is a soundgallery/performance-stage with a strong preference for the experiment. Besides hosting (international) artists who have their roots in the ‘popular’ (experimental, electronic) music, we also programmed both classical and contemporary composed music, our so called Player’s Classico’s. As an experimental stage we think it is nessecary and essential to think of new ways of programming and presenting contemporary music. To develop a space where new work can take shape, instead of just focussing on executing concerts. Besides that, we just like to listen to music in our own way and create our own context. so: FEEL AVANT!

• My article “Mike Johnson: Black Yodelin’, Country-Singin’, Pamphleteerin’  Big-Dreamin’, Truck-Drivin’ Man,” which featured in a 2-night lecture series in Rotterdam and Tilburg produced by the Player, was published in Big Mag #1

Johnson, aka Black Yodel No. 1, a black country singer-yodeler and all-around DIY guy seemed like a perfect fit for their theme issue “Outsider art.”


• ‘Pottering about on the post-digital compost heap of contemporary music’ :: COM.POST  is a series of workshops, in which composers, artists, filmmakers, scientists, architects and performers are asked to unmask, redefine and stretch the term ‘contemporary composed’. Experimentation and research results in new soundworks.

For 2009 we have a guideline; urbanism, planning, architecture, social structures, chaos, planning and all kind of these things which are connected with our urban environment and its processes in private as well as public environment. How does social housing sound? How old fashioned is the conductors sound of the city, etc. The idea is to work out something out  of a specific location on the southborder where our club is. This can be a house, a car, the subway, a high roof, a public building, a park and so on. The final result of the research will be presented in a live performative setting on this location. This result needs to have sound as one of the main elements. It is not restricted to evident musical instruments, but can be improvised soundobjects, circuitbendings as well digital as analogue, field recordings, concrete objects amplified, dimmed noise, absolute isolation, etc. The final (sound)compostion was published on CD at the end of the series in a bundle of 6 CD’s of all productions together with booklets containing concepts, inspirations, images out of which the composition was born.
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