Missed a unique opportunity to see Marginal Consort in Melbourne last night (June 8th). Here is an ear twister for you, in case you missed them too.
Marginal Consort is a Japanese avant-garde improvisation collective composed of sound and visual artists who were all students of Takehisa Kosugi at the radical Bigaku school of aesthetics in Tokyo in the ’70s. Founded in 1997, the collective, which plays just one concert per year, is a reformation of the East Bionic Symphonia, a large improvisation ensemble in the spirit of Kosugi’s Group Ongaku and Taj Mahal Travellers projects.
Marginal Consort’s extended set explores forms of sound and ways of playing that never coalesce into music, but create a group dynamic of ebb and flow, exploration and fluidity. A Marginal Consort show has a fixed start and end time, but otherwise nothing else is predetermined. All is temporary, flexible. Accidental or deliberate unison. The musicians are physically separated in the performance space like individual actors. The audience is encouraged to move around to experience different aural perspectives of their dense, kaleidoscopic and immersive performance.
Ines De Peuter investigates the relationship between the self and its context by creating garments that adapt to the concrete jungle.
Moving together with the fast pace of the city and being constantly on the go, personal space becomes scarce. ‘Bodybuildings’ is a movie forecast that inspires streetwear to soften the hardness of the city.
The garments filter the stimuli of the city by using big volumes that increase the border between the body and its environment. Hoods wrap themselves around the head to isolate the noise, while a surface of grids is adopting the language of the cityscape, forming a guard to block the cities aggression.
Source: Design Indaba
FOOT WARE impersonal and existence / non-personal and existential
Work by Paul Panhuysen, Mark Dijkstra and René Adriaans, 1999 / FOOT-WARE – international exhibition – Artpool P60 artspace, Budapest, 1999 (conception: György Galántai)
Ryoji Ikeda is a leading Japanese visual artist, sonic sound composer and Prix Arts Electronica Collide@CERN 2014 award-winner. His residency at the world’s largest particle physics laboratory enhanced his artistic interest in quantum dimensions and mathematical principles. data.tron (3k version) is part of Ikeda’s datamatics project, a series of experiments in various forms that seek to materialise pure data.
Via an immersive installation using light projection, computer graphics, dynamic visual effects and electronic noise, visitors will experience the vast universe of data in the infinite between 0 and 1. Intense yet minimal graphic renderings of data progress through multiple dimensions, as scrolling numeric digits give the impression of moving through a micro-cosmos.
Ikeda’s works have been featured in major museums, performing venues and festivals around the world and are highly regarded for their exploration of the tangent between music and mathematics, science and art.
Artspace Gallery, Adelaide Festival Centre 24 Oct – 10 Nov 2018
TUE – FRI 4pm – 9pm SAT 1pm – 9pm
Don’t miss this extraordinary audiovisual concert which combines abstract and mimetic presentations of matter, time and space – and invites you to perceive the invisible multi-substance of data that permeates our world.
Video is from Ryoji Ikeda’s exhibit at the Centre Pompidou Paris, 2018 and hosted on Vimeo.
Source: OzAsia Festival