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viewing 1 To 25 of 34 items
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TA 171LP
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SIGNA is a Copenhagen based artistic collective founded by Signa and Arthur Köstler. Developed since 2001 from performances by Signa Sørensen (now Köstler), the fundamental concept of their projects is best described as performance installation. Each project is a devised site-specific performance played in non-traditional art spaces. In collaboration with an ensemble of international participants, the founding members of SIGNA conceptualize and perform in wholly immersive endurance installations which engage with archetype, improvisation and highly curated visual landscapes, to indulge and investigate structures of power and degradation, fate, identity and desire. The length of SIGNA's performances range from six hours to 250 hours non-stop. The extreme duration of the work allows the improvisations to develop complex and intricately detailed stories, as well as provide ample time for audience members to acclimate to, and become insinuated in, the machinations of the world being portrayed. With rare exception, there is no physical boundary between performer and audience in SIGNA performances. The audience is invited to engage with the project as an individual might in daily life- absorbing all visual, aural, and tactile cues in the environment. The recordings on this publication stem from the 2019 performance "Det Åbne Hjerte (The Open Heart)" and were selected and edited by Daniel Löwenbrück from hours and hours of sound from the (covert) video-documentation of the performance. The 12-hour performance (from 7pm to 7am) "Det Åbne Hjerte" featured a cast of more than 50 Danish and international performers, and explored the pendulum swings of power in the borderland between compassion and complacency. 60 people per evening were invited for a "seminar in empathy" run by the fictional association "The Open Heart", founded by "The Compassionates" -- these are individuals who accommodate and study human beings surviving on the fringes of society, known as "The Sufferers". As a seminar participant, each audience member was assigned a bed, a locker, and a personal mentor from the ranks of "The Sufferers", respectively. During the performance, the audience adopted their mentor's name and clothes and experienced their world from inside their embodied experience. Full color gatefold sleeve; includes full color printed inner sleeves and a double-sided A2 poster; edition of 400.
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TA 163CD
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"First Recording": a cascade of sounds and words, recorded one after the other as they arose in the mind, consists of songs and poetry from diverse sources as well as original works by the artist. Recorded by Dorothy Iannone in 1969. First published by Wiens Verlag in 1994 as a cassette in a limited edition of 100 copies. Four-panel A5 digipak. Edition of 200.
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TA 169LP
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85 minutes collection of previously unpublished recordings made at the Friedrichshof commune between 1982 and 1990. Performed by Otto Muehl and members of the commune. Includes actionist group-music, improvised conceptual pieces, and barpianist-songs. This double-LP includes two songs as well as several artworks not included in the previous CD version (TA 169CD). Full color gatefold sleeve and full color printed inner sleeves.
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TA 170CD
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Previously unpublished performance of the internationally renowned dance band Selten Gehörte Musik (on this occasion: Christian Attersee, Gerhard Rühm, Oswald Wiener) at the closing event of the "Literanover" Festival at the Kunstmuseum, Hannover, on November 16th, 1980. Close to two hours of very rarely heard dance music, indeed. Double CD; six-panel digipak; edition of 350.
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TA 099CD
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First published as a vinyl LP in 2011 (Tochnit Aleph) this extraordinary work by Polish conceptual artist Artur Żmijewski is available on CD. Eight-panel digipak; edition of 300.
From the liner notes: "In 2001, Artur Żmijewski created the first part of the project 'Singing Lesson' in the Augsburg Evangelical Holy Trinity church in Warsaw. Accompanied by an organ a choir of 'deaf-mute' children sang the 'Kyrie' from the 'Polish Mass' by Jan Maklakiewicz (1899-1954). Among the cacophony of sounds uttered by them you can hear the words of the confession of faith: 'In this holy place, in this holiest place, our voice rises to you and erupts as the sea roars from the deep abyss. O Christ, hear us! O Christ, listen to us!' The second part of the project ('Deaf Bach') was realized in 2002 in St. Thomas Church in Leipzig, in which Johann Sebastian Bach for many years was a cantor and where he was buried. 'Deaf-mute' or severely hearing-impaired children sang Bach's cantata 'Herz und Mund und Tat und Leben' (Heart and Lips and Deed and Life)."
Violetta Sajkiewicz: "Along with admiration for the efforts of the deaf we feel an uneasiness caused by our deeply hidden aversion towards that which -- like cripplehood -- was removed from our consciousness: fear of ourselves, which is an inner mold of repulsion projected onto outside phenomena. Żmijewski's works convince us that neither suffering nor different kinds of physical dysfunction or social norms are able to kill the joy of life. The children singing Bach every so often snort with laughter as if they were trying to accustom themselves to the situation in which they found themselves, thus making it 'normal'. They whoop it up, forgetting the fact that the lesson in which they participate is beyond the social role ascribed to them, that it is an anomaly, a freaky idea. It is also a musical hybrid, a mix of the sounds uttered by the deaf children and the voice of a professional singer, a negation of all the rules, a mixture of the evenly-tempered baroque system and elements of modal and atonal music."
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TA 169CD
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76 minutes collection of recordings made at the Friedrichshof commune between 1982 and 1990. Performed by Otto Muehl and members of the commune. Includes actionist group-music, improvised conceptual pieces, and bar pianist songs. Full-color, six-panel digipak; edition of 300.
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TA 140CD
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Musique Phénomenale was recorded by Asger Jorn and Jean Dubuffet between December 1960 and March 1961 in Paris, and published in 1961 as a box containing four 10" records in an edition of 50 copies by Galleria del Cavallino, Venice. 61 years after its original release, this is the first ever reissue. Produced by Daniel Löwenbrück/Edition Hans Pumpestok, København, in cooperation with Fondation Dubuffet, Paris. Double-CD in six-panel digipak in slipcase; includes 12-page booklet in French and English; edition of 600.
"... It's a curious feeling to implement and test a spontaneous form of orchestration with an artist who has such an extremely independent background. It really felt like we were experiencing an event of singular importance and significance. I can't say if this importance was greater than our own personal joy. But I do know that this music illuminated many ideas for me that had previously remained obscure. For me it remains a kind of phenomenal music, in the sense that in our productions the music became its own specific phenomenon, and yet one that was still connected to all the other sensorial phenomena... "--Asger Jorn (from the liner notes)
Asger Jorn (1914-1973), was a Danish painter, sculptor, ceramic artist, author, and one of Scandinavia's most influential and internationally recognized artists. He was a founding member of the avantgarde movement COBRA and the Situationist International.
Jean Dubuffet (1901-1985) was a French painter, sculptor, lithographer and writer. He was one of the main protagonists of Art Brut (a term he invented in 1945).
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TA 165LP
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"Echo/Cide" for four hammered dulcimers and cimbalum (2018) was composed by Antoine Chessex and performed by Ekleto Ensemble. Recorded by Thierry Simonot at l'Alhambra, Geneva, October 2018. "The Experience Of Limit" for grand piano (2019) was composed by Antoine Chessex and performed by Tamriko Kordzaia. Recorded by Nicolas Buzzi at Theater Rigiblick, Zurich, March 2019. Cover photograph "Sidney No.3" by American photographer Kevin Horan (b.1953, Michigan). Mastered by Giuseppe Ielasi. Edition of 270.
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TA 167CD
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Recording of the premiere performance of Hermann Nitsch's latest large-scale symphony for full orchestra, brass ensemble and choir, in five movements. Composed for the 155th Action of the Orgien-Mysterien-Theater, and performed at the Nitsch Museum, Mistelbach, September 9th, 2018. As the first action to be staged in the Nitsch Museum it coincided with the occasion of his 80th birthday. Directed by Andrea Cusumano. Full color, six-panel digipak; Edition of 270.
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TA 164LP
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12" vinyl reissue of the rare and infamous double-7", originally published by FMP in 1973. Recordings from a workshop at Akademie der Künste, Berlin, April 1972, featuring 15 children (aged 8-11) and Peter Brötzmann, Fred van Hove, Han Bennink.
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TA 160CD
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Ich Und Sie -- ein Roman aus dreibuchstabigen Wörtern (Me and Her -- a novel of three-letter-words) was a work Andrea Tippel started in 1993 and finished in 2009. As the title suggests it consists entirely of three-letter-words. Two CDs in full-color, six-panel DVD-sized digipak; illustrated with pages of the manuscripts of Ich Und Sie, a biographical text, chronology of the work in English by Marc Schulz, and the text "The Speaking Art of Andrea Tippel" by Dorothy Iannone, written in 2019 especially for this publication. Edition of 250.
Andrea Tippel was born 1945 in Hirsau/Black Forest, and grew up as the middle of three sisters in Bremen. Her parents were the architects Maria Alexandra Mahlberg and Klaus Tippel. In 1969, she was a state-certified actress (Max-Reinhardt-Seminar in Vienna and Berlin), then studied philosophy and psychology in Berlin, Hamburg, and Munich. In 1971, Tippel moved to Berlin and started to create drawings, objects, composites, texts, and books, as well as a few oil paintings. In 1974 she had her first exhibition with Tomas Schmit, started to produce artist books in 1980, and editions for various galleries from 1987. She maintained close friendships with Suzanne Baumann, Henriette van Egten, Ludwig Gosewitz, Dorothy Iannone, Dieter Roth, Tomas Schmit, Jan Voss, and Emmett Williams. Tippel was appointed as a professor at the Hochschule für Bildende Künste Hamburg in 1997, and co-founded the Dieter Roth Academy (DRA) in 2000. She passed away in 2012 in Berlin.
"... Here is a tale, a brilliant tale, one cannot deny, which, even as it astounds us through her perseverance, drives us crazy with a foreboding that this may well be an endless tale. And perhaps this purely personal response to the Speaking Art of Andrea Tippel may well have amused its creator who often found meanings which, understandably or not, had eluded others ... " --Dorothy Iannone, "The Speaking Art of Andrea Tippel" (excerpt). German language.
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TA 158CD
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First release of the conceptual and performative pieces by Christina Kubisch, composed and realized between 1974 and 1984 during Christina Kubisch's years in Italy. Six-panel, DVD-sized digipak, illustrated with archival photos of Kubisch with extensive program-notes in English. Edition of 300. "Liquid Piece" (1975) for flute, contact microphone and 100 glasses of water (10:00): Personnel: Christina Kubisch - flute and voice. Fabrizio Plessi - water gargling and voice. Recorded live by Phill Niblock at Experimental Intermedia Foundation, New York, 1976. "Identikit" (1974) for five piano players at one grand piano, five cassette tapes and headphones (12:59): Recorded live at festival Pro Musica Nova, Radio Bremen, 1976. "Circles 1" (1984) for voice and tape delay (5:34): Personnel: Christina Kubisch - flute. Realized at Studio RDS, Milan Costante. "Variabile" (1981): sedici percorsi per un paesaggio sonoro (19:12): Personnel: Christina Kubisch - flute, field recordings, custom made electronics, radio signals and electromagnetic objects. "Kleine Liebe Violet" (1983) (9:42): Personnel: Christina Kubisch - voice, flute, slide whistle, conch, objects. Arturo Morfino - voice, drums, guitar, objects. Realized at Studio RAI, Naples.
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TA 166CD
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Reissue of Hermann Nitsch's very first release, originally published 48 years ago by Edition Galerie Klewan in a limited edition of 100 copies. Produced and recorded at the WDR Radio in Cologne, Germany, the Akustisches Abreaktionsspiel (Aktion 38b) is "neither a radioplay nor a work of music. It merely portrays the acoustic part of an 'abreaktionsspiel' (a play of abreaction). the special and specific usage of the acoustic possibilities are in the foreground, while the visual part of the play is communicated by a narrator." A prime example of the intense and noisy wildness of Nitsch's early actions employing scream-choirs, beating, whistles, chaotic Austrian folklore juxtapositions, rough brass sections, and dissonant strings. CD version edition of 200.
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TA 166LP
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LP version. Edition of 400. Reissue of Hermann Nitsch's very first release, originally published 48 years ago by Edition Galerie Klewan in a limited edition of 100 copies. Produced and recorded at the WDR Radio in Cologne, Germany, the Akustisches Abreaktionsspiel (Aktion 38b) is "neither a radioplay nor a work of music. It merely portrays the acoustic part of an 'abreaktionsspiel' (a play of abreaction). the special and specific usage of the acoustic possibilities are in the foreground, while the visual part of the play is communicated by a narrator." A prime example of the intense and noisy wildness of Nitsch's early actions employing scream-choirs, beating, whistles, chaotic Austrian folklore juxtapositions, rough brass sections, and dissonant strings.
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TA 162CD
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Double-CD collecting five of Marcus Schmickler's key-works composed and recorded between 2006 and 2016. "Richters Patterns" (2016), "Kemp Echoes" (2013), "E-UROPAS" (2006), "Fokker Bifurcations" (2014), and "Ata Oto" (2016). Full color digipak with eight-page booklet; edition of 400. "Richters Patterns" (2016) is a collaboration among Marcus Schmickler, artist Gerhard Richter, director Corinna Belz, and the Ensemble Musikfabrik. In 2011, Richter took an image of his work Abstract Painting and divided it vertically into strips and gave them to Belz who utilized specially developed software operations involving cuts, mirroring and reproduction to create a movie from these images. Schmickler and Belz worked in parallel, with the film and composition following their own independent logic. Schmickler's idea was to extend Richter's method to divide, mirror, repeat into sound and time. "Richters Patterns" was commissioned by Koeln Musik and had its premiere on September 9, 2016 at Cologne Philharmonic Hall. "Kemp Echoes" (2013) refers to a physical phenomenon in the ear discovered by physicist David Kemp in 1978. Otoacoustic Emissions (OAE) are signals in the ear (that can be detected with high quality small microphones) that are emitted by the cochlea, either spontaneously or in response to stimuli (frequently clicks). Schmickler strived to create a piece that can seem "electronic" to the ear without actually utilizing electronics. "Fokker Bifurcations" (2014) marks a departure into microtonal works for keyboards and mallets and maintains the composer's penchant for juxtaposed fixed pitches with pitch continua. Recorded live at ISSUE Project Room, Brooklyn on Nov 7, 2014. The recording has been edited for this publication. "E-UROPAS / Plurality of Centers" (2006): "Shall we say goodbye to modernism? I dare to confront the myths of new music in this music theater creation. Layers containing the manifestos of Cornelius Cardew, Guy Debord, and sound materials from six decades of the avant-garde create a collage that utilizes some of the formal principles guiding John Cage's Europera V". "ATA OTO" (2017) for Robot instruments TEMBLO, TINTI, TROMS, XY by Logos Foundation & computer.
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TA 145LP
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Unlike previous Gerhard Rühm editions on Tochnit Aleph which portrayed his phonetic poetry and longform radio-plays, the pieces on Ausgewählte Kurze Hörstücke are more conceptual, actionist, and (mostly) sound-based works recorded between 1962 and 1987. Liner notes by Gerhard Rühm in English and German. Edition of 300.
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TA 155CD
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From the cover: "The 1971 detective audio play Diotima Hat Ihre Lektüre Gewechselt goes back to the records of a murder trial that took place around the turn of the 20th century: two music students were killed upon their own request -- because of a love affair -- by their piano teacher, who afterwards lacked the courage to shoot himself too, as planned. The court records are read out by two girls in alternation. The text is accompanied by background noise that the listeners can understand in relation to the described events but which liberates itself from the narration and suggests its own dimension of events. (...) Piano sounds are a further, structuring, element. They frame and subdivide the whole into sections of equal size, in a purely mechanical way. (...) The role of the piano part, however, is not just one of structuring time, or also of disrupting (as the speech is sometimes interrupted by tones in the middle of a phrase or a word); in fact, it relates to the described court case in terms of content as well, evoking associations to the piano lessons the young man gave to the two girls. The etude-like character and the frustrating discipline of the audio track provides a troubling contrast to the simultaneously expressed emotions." Full-color, six-panel digipak; liner notes by Gerhard Rühm in English and German; edition of 300.
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TA 156LP
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First recording of the grand scale symphony Traubenfleisch (2007-2017) by Hermann Nitsch, performed at the Nitsch Museum, Mistelbach (Austria) on September 2, 2017. Orchestra Klangvereinigung Wien and a new choir formed for the occasion. Directed by Andrea Cusumano. Double-LP; Full-color gatefold sleeve; edition of 300.
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TA 153CD
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Six Juxtaposed Works is the first release by Japanese artist Hideaki Shimada, aka Agencement, since 2001. Six Juxtaposed Works presents new pieces for violin, viola, cello, electronics, and tape. Performed and recorded between 2013 and 2017. Shimada (born 1962) plays violin improvisations since the late 1970s and formed the Agencement project in the early 1980s adding electronics and tape-techniques to his play and releasing the first self-titled cassette in 1984. Between 1986 and 2001 he published four more Agencement albums on his own Pico label. What Shimada offers intellectually is quality in limited quantity; a maximum result from a seemingly minimum effort. His work has been described as both noise and music, avant-garde and minimalism, nervous and mellow, frantic and still, hectic and calm. Includes artwork based on a drawing by Hideaki Shimada. Six-panel digipak; Edition of 300.
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TA 152CD
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Recorded at the Wind tunnel Facility of the Research Focus in Transdisciplinarities at Zurich University of the Arts. Idea, realization, and photography: Kaspar König. Wind tunnel operator: Sourgiadaki Eirini.
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TA 148CD
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Smells Like Teen Spirit is premised in a haptic interrogation of each of the label's previous editions. Berlin-based and Mexico City-born multi-disciplinary artist Mario de Vega occupied the gallery space of Rumpsti Pumsti (Musik) for three consecutive days in October 2016 with a hitherto complete Tochnit Aleph catalog, sanding machine, hammer, and recording equipment. Conflating acts of "playing" with destruction, de Vega took to the recorded works and assorted media with his Spartan toolset, and produced a discordant document of him repurposing the complete archive. Reducing the material to a collection of detritus for exhibition, the sound object is presented as both a conceptual remainder of the site-specific process, and an agitated extension to the label. Six-panel digipak; Edition of 300.
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TA 151CD
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Tote Rennen Lieder marks the fifth part in the Selten Gehörte Musik reissue series. Tote Rennen (Lieder) was originally released in 1977. Recorded by Dieter Roth and Oswald Wiener at Mosfellssveit, Iceland, May 28-30, 1976. Packaged in full color LP cover (reproduction of the original), with printed inner sleeve featuring a new text about Tote Rennen Lieder by Michel Roth (in English and German) as well as a rare drawing and notes about the project by Dieter Roth. Edition of 500.
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TA 149CD
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New electro-acoustic composition by Berlin-based fine artist Stefan Roigk. The radio play-like combination of poetic lectures, vocals treatments, concrete sounds, and deep vocal drones is based on several live recordings of performances made between 2012 and 2015. Edition of 300.
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TA 113CD
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2013 release. Grand Orchestra, for mixed orchestra and bagpipes. Composed and directed by Reinhold Friedl. Performed by Zeitkratzer & guests at Haus der Kulturen der Welt, Berlin on August 21, 2011. "The score for Grand Orchestra has been developed for musicians, laymen, old people, children, adolescents, for anyone who likes to join in. Grand Orchestra is not for education. It's not about explaining, intellectual understanding or the training of cultural values; rather it's about having faith in the abilities and intuition of the players and their performance. The musicians of Zeitkratzer and additional guests took over the voice-leading of the instrumental groups, distributed in the space and enabling their amplification. In this way it was possible to create not only pure intensity but also dense and complex sound aggregates, through the blurring of playing techniques inside the different instrumental groups. Which orchestra is capable of playing such complex sounds as this group of forty wind players, chorally building a simultaneous crescendo of breaths? Who can play more ecstatically and wilder than a group of sixty musicians, playing against and doing their best to keep up with a Scottish bagpipe ensemble? It's precisely due to unclearly played single sounds, unfolding from an orchestra dominated by amateurs. Unique sounds with a complex character that no professional orchestra could reproduce." -- Reinhold Friedl, from the liner notes. Zeitkratzer is sound made visible, tangible, bodily and a truly unforgettable corporal experience of live music. The physicality of sound is celebrated through extended instrumental techniques, mutual understanding and amplification of traditional instruments. A midpoint between instrumental and electronic music turns out to be more bizarre and surprising than either of these. Zeitkratzer, founded in 1999, gathers nine musicians, light and sound engineers living in different European cities from Amsterdam to London to Oslo meeting for working phases in Berlin. They have performed critically acclaimed versions of classical music by composers such as Karlheinz Stockhausen, Helmut Lachenmann and James Tenney, as well as orchestral versions of electronic/noise music by Whitehouse, Merzbow, John Duncan, Dror Feiler and Lou Reed's Metal Machine Music.
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TA 137CD
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Edition of 500 copies. Fourth part in the Selten Gehörte Musik reissue series. Two CD's packaged in illustrated 12" LP gatefold-sleeve. "The next "Rarely Heard Music" production was staged once again in a private setting: at Hermann Nitsch's Villa Romenthal by Lake Ammer on 12th February 1975: the Streichquartett 558171 (Romenthalquartett) with Günter Brus, Hermann Nitsch, Dieter Roth and Gerhard Rühm, which filled all of a three album boxed set. Originally we had simply made a selection of the recorded material large enough to fill a single album, Roth was unable to part with the remaining material when it came to having the records pressed. The remorseless inclusion of even the failures, the idle moments, was so radical it almost bordered on masochism. In this particular case I felt it was an ascetic exercise in dispensing with all the correction and rectification, a ban on holding anything back. Simultaneously, Roth's often hard school of total acceptance had a stimulating and in some ways liberating effect on me, mindful as I normally am of formal rigor and economy of means" - Gerhard Rühm. Apart from the group session this edition also includes a duo piano session by Dieter Roth and Hermann Nitsch recorded in Stuttgart, November 1975.
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