The Sun One is a collaboration between the ambient sonic drones of John Fell Ryan as “SETH” and the psychedelic (and sometimes witch doctory) animations of Witchbeam. If you are curious about the soundtrack, it can be found on the compilation Dark Barbarians volume 1 put out by Temple of Pei.
Speaking of Excepter side projects, SSPS will be playing the Men and Women curated Northside showcase on Thursday at Cameo with Ducktails, Men and Women, and Julianna Barwick.
As previously alluded to in the Antennas of the Race post, there will be big art happenings this weekend in Bushwick.
Full details may be found here.
Continuing with the Antennas of the Race series, we were fortunate to catch up with two sets of artists who will be participating in Nurture’s first ever Bushwick Biennal which opens on Saturday, June 6th–an exhibition that commemorates young, emerging artists in perhaps the purist spirit. In addition to Nurture, the Bushwick Biennal will be on view at Pocket Utopia, English Kills, and Grace exhibitions.
Our first group of artists in conversation are Rahul Alexander and Jaclyn Conley. Alexander’s work is best characterized as multi-media paintings that utilize found imagery and patterns that suggest that use a sense of nostalgia to suggest the ideals of the future. Conley works in painting, drawing and sculpture to transform the body into complicated compositions that touch upon the collective memory of the viewer.
Jaclyn Conley, No Fingernails Left, oil on canvas, 48×60″, 2008
So you’re a painter, I’d like to know what drives you to work in such a classical medium.
I don’t think I choose paint because of a classical nature just as I wouldn’t choose a material because it seemed innovative. I do appreciate the history of the medium especially when I think outside of a linear progression; I look at equal amounts of new and old art. The dense history of imagery and painting resurfaces in all work, though maybe most obviously when it is the same media. For me these links are usually unintended. I like that a work can change depending on the context, particularly of time; that, in a way, art becomes a changing, rather than a static, singular object.
I hear often from my interdisciplinary artist partner that it’s so much easier to be a painter because at least when you go into the studio each day you know what you’re getting in to. And there’s some truth in that. Limiting myself generally to oil paint, there is a familiarity and it becomes a framework for thinking and acting. I was given pencils and crayons and since then I kept seeking materials that improved on the qualities I liked: versatility of color and mark, a very basic, forgiving and completely independent process and a visible history of an object’s making.
Several years ago, I was walking to a party at college, holding a cup of grain alcohol punch. (Purchase Punch as it was called at my school.) When I walked into the door, everyone was crouched down on the floor and huddled, so that campus police couldn’t see the illegal party happening. I crouched with my fellow brethren. The cops swept passed the “G Block” of the Old Apartments in their car. The moment the coast was clear my friend Dan jeered, and everyone jumped up and started slamming into each other. I would like to imagine that is the genesis for Dan Deacon’s infamous countdowns–although I’m not sure he would ever agree.
If you happen to make it to Secret Project Robot from now until June 6th, you will see a great show by a new multimedia artist Raymond Salvatore. While his work may appear to be abstract, they are informed by philosophy and anthropological studies as much as contemporary psychedelic abstraction:
As an experimental filmmaker his work is abstract, are accompanied by his own electronic compositions as well as those of his various collaborators. His recent works include full scale immersive video and sound environments, large format digital prints that are then hand manipulated and painted on, and live video performances.
Many of Harmon’s films contain layered subliminal content, the source of this content is often derived from occult and mystical texts. Utilizing texts such as the Gates of Light (an early work of Hebraic mysticism, kabbalah) and Aleister Crowley’s Book of Lies, Harmon’s occult based films work as advanced meditative tools for use in occult rituals and the expansion of the conscious mind.
I am a self-confessed Lost nerd, so it’s exciting to see that the best Lost-themed band Previously on Lost will be celebrating the season finale tonight at the Bell House. I think the photo says it all.
Last night, I was fortunate to check out the √ìl√∂f Arnalds show at the Scandinavia house. I say fortunate because I had never had a chance to see the Icelandic songstress live and it was by far one of my favorite shows this year. The setting was intimate, and she used it to her advantage–engaging the audience many times by having us join in the chorus. She is definitely one to check out if you have a chance. While Arnalds has played four times this week, I am sure she will be coming back soon.
Before the show, I was able to have Arnalds answer a few questions–from her place in music history as an Icelandic singer to her role as a musician during a tough economic climate.