This gender troubled queer musical collage comprising '90s romanian prolet-pop tunes is fully available in terms of nostalgia, haunted vibes and lyrics curiousity to the romanian audience only. Nevertheless I hope it will prove to be an interesting listen for wider audiences as well. 
The lyrics that transgress gender, sometimes during the same song, are characteristic for this type of music. What's interesting is the fact that the LGBTQ factor is unexpectedly interlaced through all the dimensions and strata of this music genre that is specific to a certain social category which shows, at least in theory, little or no interest towards the queer culture.
Enjoy!

Colaj prolet-queer

Museum of Animals - Hamster Cemetery

[these should be regarded as an attempt to retrieve the content of future self-motivational tapes[...]OS activation turns out to be a brain-in-a-jar experience[...]feeel the arteries of this vessel [[...]]there is no option[[..]]corroborate corporative data storage intelligences browse trough ur error-prone criminal metadata sets[...]a useless preparation for the next Artificial Intelligence Boot Camp[...] in orbit where <<you move like an insect, look think like an insect === you are an insect>>[[...]]do not recover ur passwords] 

[[you]][[can]][[now[[[enter]]][[the]][[authorized]][[Destruct<+>Code]]

Professor Andy Lawrence gives an introduction to the science and history of asterisms, constellations and star clusters. Artist James N Hutchinson presents some of his research for 'Rumours of a New Planet'.

James is currently undertaking a PhD at Glasgow School of Art and is working with Collective as part of the Constellations Programme - a series of off-site, research-based commissions that aim to bring people together and develop ideas and partnerships. James' project, 'A Calton Hill Asterism' use the structure of an asterism to research the life, work and travels of historical figures connected to Calton Hill.

Andy Lawrence is the Regius Professor of Astronomy at the University of Edinburgh. He works at the Institute for Astronomy, which together with the UK Astronomy Technology Centre makes up the Royal Observatory Edinburgh(ROE). His research interests are in Active Galactic Nuclei, observational cosmology, survey astronomy, and e-science (the Virtual Observatory).

Supported by Outset, Scotland.

James N Hutchinson, 'A Short Introduction to Asterisms, Constellations, & Star Clusters'

Splash Addict

Ursula Bogner: Winkel Pong
Format: 7” Vinyl/DL
Label#: faitiche15
Release date: Sept 8th 2017
 
Faitiche is delighted to announce the release of a new Ursula Bogner record (faitiche15). Winkel Pong contains three previously unreleased pieces from the archive of the sound researcher who died in 1994. In 2008, Jan Jelinek put together a first album from Bogner’s tape archive (CD/LP Recordings 1969-1988, faitiche01). A second followed in 2011, compiled this time by Andrew Pekler (CD/LP Sonne = Blackbox, accompanying the book of the same name with texts, photographs and Bogner’s graphic oeuvre). For Winkel Pong the tape archive was passed on to Lucrecia Dalt. The Berlin-based Colombian sound artist and musician chose three tracks from the 1980s (exact dates unknown), editing the tape recordings for their release on Winkel Pong.
 
Gundrun Gut (Malaria!, Einstürzende Neubauten), an activist and reluctant chronicler of Berlin’s underground scene since the 1980s, has worked with Lucrecia Dalt. She is also familiar with Ursula Bogner’s work. Reason enough to ask her for an interview:
 
Jan Jelinek: Gudrun, how does it feel to be constantly obliged to talk about the 1980s Berlin underground as someone who was there at the time?
 
Gudrun Gut: I’ve learned to live with it as there are clearly too few people who witnessed it first-hand. Maybe it’s even important to do these interviews as a woman – so that someone actually says that women, too, have written music history. Men tend not to mention this. But it’s true, people do always ask the same questions.
 
JJ: Did you know about Ursula Bogner in the 1980s? Did you ever meet her?
 
GG: No, I never met Ursula Bogner in person and I only discovered her in 2008 thanks to Faitiche. But that’s no surprise: firstly, I don’t know every single woman artist, and secondly, far too many women artists never see the light of day. In the male-dominated art and music market, women are not considered important – or worse still, they are not understood. Look at artists like Sonia Delaunay, Eva Hesse, Bebe Baron, Delia Derbyshire and Daphne Oram. Some of them have now been discovered – but only recently. A lot has changed in the last few years: there is a growing awareness of art and music made by women.
 
JJ: But isn’t it annoying that the conventional distribution of roles still applies? One example: in many articles, Ursula Bogner has been presented as an “electronic housewife”.
 
GG: When Ursula Bogner is referred to as an electronic housewife, then sadly that reflects the situation of many women artists at the time. Women could only pursue artistic activities in private – transcendence was reserved for men. This has still not been overcome. But today, the home has become a site of professional production for all. I’m talking about bedroom producers: it is totally normal to make art and music at home. And that makes things interesting, because “working at home” is no longer associated solely with women.
 
JJ: For Winkel Pong, Lucrecia Dalt compiled and remixed three pieces from the Bogner archive. You know Lucrecia and you’ve already worked with her. How did you meet?
 
GG: I met Lucrecia through MySpace – I think it was 2007. Back then she was still living in Medellin, Colombia. Lucrecia’s father made loop machines for her that she still uses. The Sound of Lucrecia was part of my 4 Women no Cry compilation series on Monika Enterprise, each with four producers from different countries. She’s great fun to watch as a performer because she has a unique sense of rhythm and feel for music. Above all I’m impressed by her sustained approach as an artist, someone who can and does think around corners. I’m thinking specifically of her album Ou, for which she ploughed her way through post-war German cinema, using it as a source of inspiration for a soundtrack. This is proof that she thinks like an engineer – so it makes perfect sense that she would want to explore the work of Ursula Bogner.
 
Berlin, 2017

Ursula Bogner: Atmosphärische Energie (edited by Lucrecia Dalt)

La Pasionaria

Marsh

Kgwgk

Intervenția audio ghidează mișcarea în spațiul expoziției, urmând trasee invizibile. Experiența a ceea ce este prezent este afectată de ceea ce nu este prezent, în timp ce imaginația lucrurilor absente se confruntă cu percepția spațiul fizic din jur. Ce fel de plasare este posibilă în relație cu ceea ce nu este acolo și cât de precisă poate fi această poziționare? Cum pot fi distanțele măsurate dacă vizibilitatea nu prezintă nici un suport? Prin participarea vizitatorilor și vizitatoarelor, traseele sonore devin acțiuni incorporate care trasează noi traiectorii prin spațiu.

Multe mulțumiri lui Laurențiu Coțac pentru editare și prelucrare sunet. Mulțumiri de asemenea Larisei Crunțeanu pentru sprijin în producția lucrării.

Trasee către ceea ce nu este acolo (2020)

Irina Gheorghe

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