Daniel Malone, Fake Male Orgasm 2005


1.
Daniel Malone, Fancis Alÿs, Mark Adams, Eve Amstrong, Fiona Banner, Ann Veronica Janssens

Volume 1 is the first of the Volume series published by Artspace, Auckland, and Clouds. This publication considers retrospectively, and documents the first six months of programming during Brian Butler’s term as director (late 2005 to early 2006).


The artists included in Volume 1 are: Daniel Malone, Francis Alÿs, Mark Adams, Eve Armstrong, Fiona Banner and Ann Veronica Janssens. Volume 1 also presents photo essays by Mark Adams and Daniel Malone, and a reprint of Eve Armstrong’s artist’s book How to Hold a Trading Table.


The essays produced for Volume 1 are all by New Zealand-based writers. Matt Crookes addressed Alÿs’ survey show in the context of Mexico City, and Natalie Robertson wrote about Alÿs’ work in terms of Maui and the trickster; Allan Smith constructed a major essay that examines the figure of the pile in art production as a backdrop to Armstrong’s accumulations; Brian Butler wrote on Banner’s All the World’s Fighter Planes project; and Stella Brennan wrote at length about Janssens’ recent production.


Volume 1 was generously supported by Two Rooms, Brick Bay Sculpture Trail, Richard and Christine Didsbury, and Michael Lett. Artspace receives major funding from Creative New Zealand. Edited by: Brian D. ButlerTexts by: Brian D. Butler, Stella Brennan, Matthew Crookes, Natalie Robertson and Alan Smith


Published by Artspace and Clouds August 2008

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Universal Apocalypse at Ray Hughs

Matt Hunt - Universal Apocalypse

26 September, 2008 - 21 October, 2008

The Universal Apocalypse is a Biblical map of all the physical and spiritual domains but with contemporary cultural and aesthetic considerations. It's a golden exposure or snapshot of all the realms and selected gateways between them. It's a perspective that includes: The New Heaven and Earth, The Saved World, The Dead in Christ, Hades, The E.H.R, Gehenna, and the Doomed Tartarus that has now half submerged in the depths of Gehenna in the bottom right corner of the painting.

www.rayhughesgallery.com

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White Fungus presents a film screening of

SOMEONE ELSE'S COUNTRY

by Alister Barry

With a panel discussion hosted by White Fungus Editor Ron Hanson with Alister Barry, Nicky Hager and Tim Bollinger talking about the film, 'Rogernomics' and related issues. Massey University Lecture Theatre 10A02, old museum building, Monday, September 29th, starting at 6pm. Free entry.

Someone Else's Country is independent filmmaker Alister Barry's in-depth look at the economic revolution that took place in New Zealand in the 1980s at the hands of then Labour Finance Minister Roger Douglas. The country's fourth Labour Government had been voted in on a traditional Labour platform, but unbeknownst to the public, it would implement a radical programme of right-wing economic policies as prescribed by the World Bank and the ideologues behind the Thatcher and Reagan administrations in Britain and the US. Barry's 1996 debut documentary, which draws extensively on archive footage and interviews with key players of the time, was refused a screening by TVNZ until it was belatedly aired on TV One in 2004. Barry's new documentary The Hollowmen, based on Nicky Hager's groundbreaking investigative book, is currently playing to packed-out audiences at film festivals throughout New Zealand. White Fungus would like to present the opportunity to see Barry's first film and a chance to discuss some key issues in the lead-up to this year's election.

www.whitefungus.com

www.thehollowmen.co.nz

AUDIO FOUNDATION PRESENTS AN ALTMUSIC EVENT

ALASTAIR GALBRAITH
WITH PETER WRIGHT

Friday Oct 10th, 9 pm
The Whammy Bar, St Kevins Arcade, K Rd
$20.00

Free Wire Workshop with Alastair Galbraith
6pm @ Gus Fisher Lobby.
The Kenneth Myers Centre
74 Shortland St

Alastair Galbraith

Alastair Galbraith is an experimental musician based in Dunedin and is one of the most admired musicians in the 'underground' music scene worldwide. Recipient of the 2006 Arts Foundation Laureate, he employs amongst his instruments, violin, bagpipes, softly spoken lyrics, organ, and backwards-guitar to create what has been described as "otherworldly" and an "unerringly emotional" sound. Noted American critic Byron Coley has said "his work is filled with beautiful darkness, worthy of classic designation".

His long, consistent career began in the early 1980s, as leader of The Rip, who recorded two EPs for Flying Nun. He later joined other prominent South Island musicians Peter Jefferies, David Mitchell and Robbie Muir to form Plagal Grind, whose self-titled EP is regarded as a masterpiece of extra-academic experimental music.


Alastair’s solo work has gained a growing international reputation and is known as a benchmark of excellence for the independent, idiosyncratic mode it operates in. His works have been heralded in critical journals and documented by recordings on prestigious American labels. In his recent work, alongside solo recordings, Alastair collaborates with Bruce Russell in the improvisational group, A Handful of Dust, and with Matt De Gennaro, with whom he creates distinctive 'wire music', using piano wires in a site-specific installation. This will be demonstrated in a workshop before the event.


In 2006 the prestigious North American label, Table of the Elements, archivers of such twentieth century musical geniuses as Charlie Patton and Tony Conrad, gave Alastair's solo work the status of contemporary classics by reissuing his albums Morse/Gaudylight and Talisman. Alastair’s album of song-based material, the 20-track Orb, was released on his own label Nextbestway, via Global Routes, early in 2008 and received a glowing full-page review in the February edition of icon UK magazine The Wire.


Later in 2008 the New York Label Azul Discographica will release his latest collaboration with Bruce Russell – (under the moniker Handful of Dust) – the album Panegyrics.

Alastair is presently constructing a glass ’armonica’, an instrument invented in 1761 by Benjamin Franklin. He is sourcing his materials locally and has already given several performances on the not quite complete instrument. He is also designing his second “glass tube fire organ”. The first is in the collection of the Sarjeant Gallery, Wanganui.


http://www.myspace.com/alastairgalbraithplagalgrindtherip
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Peter Wright

Over the course of a decade, Wright has etched his name in glass in the annals of drone-world superstardom. Alongside Phil Nilblock, Robert Horton, and Tom Carter, Peter Wright is on top of the drone music world, both in the sheer amount of astounding music he creates, but also the effortlessly way he makes sounds that are completely indecipherable but strangely familiar.

Words like 'atonal' and 'avant-garde' come to mind when contemplating Wright's sound but such terms are misleading when his music remains so accessible despite its experimental character.

Wright first started playing music semi-seriously in Christchurch during 1990, recording un-tutored noise-pop on a four track. Following several song-based solo projects Wright's music started to take a more abstract hue around 1996, finally culminating in a more refined guitar-based drone sound that he has worked with almost continuously since the late 90s.


After several self released CDrs on his Apoplexy label, Wright moved to the UK and had his first 'proper' CD release in 2003 on US label Last Visible Dog, followed by a string of CDs issued on various US and European imprints.

http://www.distantbombs.com/

White Fungus to hold Stall at The Expo for Independent Arts in San Francisco

White Fungus will hold a stall at the upcoming Expo for Independent Arts to be held in San Francisco's sunny Dolores Park this September 27. The Expo - the Bay Area’s only grassroots connection fair for independent arts, music and culture - features dozens of Bay Area arts organizations, free workshops, performances, and hundreds of local artists and musicians. The San Francisco Chronicle dubs the Expo's organisers as the "New Utopians" working for "a better future for San Francisco." As it grows, the Expo remains a lowcost event, firmly embedded at the grassroots, and dedicated to strengthening creative and cultural activity, participation and cross-pollination at the community level. The White Fungus stall will be run by Wellington artist Kelly Pendergrast who is currently based in San Francisco.


For more information on the Expo check out: http://www.artsandmedia.net/expo/

White Fungus to be Media Partner to Colophon 2009

White Fungus is happy to announce it will be a media partner to Colophon 2009 – Second Edition, an international symposium on independent magazine publishing to be held in Luxembourg next March 13-15 in 2009. A biennial festival, the inaugural Colophon was held in 2007 and co-founded by leading Luxembourg independent publisher Mike Koedinger and Jeremy Leslie, Executive Creative Director at John Brown and author of influential publishing tomb Mag Culture.

Colophon 2009 is produced by Koedinger in collaboration with Casino Luxembog – Forum d’art contemporain. The international event will include exhibitions, talks, workshops, events and one-off publications, with more magazines, more attendees and a far more expansive programme than Colophon 2007. The symposium will be accompanied by a book, the second We Love Magazines, which explores the world’s independent magazine culture and contains the most comprehensive directory ever compiled on international pop culture magazines and the shops where you can buy them.

The opening exhibition for Colophon 2009 is BEYOND KIOSK - Modes of Multiplication curatated by Christoph Keller. A discussion between Keller and Mudam curator Chritophe Gallois will kick things off.

Check out Colophon 2009’s website here: http://blog.colophon2009.com/

Also, check out the White Fungus interview on the site here: http://www.colophon2009.com/archive/?mag_id=2282

Who is Randy Scheunemann?

Photograph: 60x60 event (2007/International Mix) Longy School of Music, Cambridge, Massachusetts, 11/06/07

New York Music Project 60X60 Comes to Wellington

Global annual electronic music project 60x60 is coming to Wellington for its first-ever performance in New Zealand at music venue Happy this Wednesday, September 10, organised by White Fungus and New York-based composers group Vox Novus.

Started by Vox Novus in 2003, 60x60 aims to highlight and disseminate experimental music composition from throughout the world by compiling an annual mix of 60 works by 60 composers, where each piece is 60 seconds or less in duration.

60x60 is released on CD and presented in performances involving a large analogue clock and utilizing local artists from different disciplines to help present the work.

Thus far the project has received more than 2500 submissions from more than 50 countries and 60x60 events have held in cities including Sydney, Bucharest, Munich, London, Chicago, Los Angeles and New York. As well as an international mix, Vox Novus also compiles regional mixes when enough submissions are received.

60x60 was recently presented on Concert FM’s Upbeat but this is the first chance New Zealanders will have to experience the project live. The Wellington event will premiere the 2007-08 Pacific Rim mix and will also include live performances by Birdcatcher (Antony Milton and Bill Wood) and Harry Rama with Chris Barama (Jeff Henderson group).

60x60 starts at 8pm next Wednesday, September 10 at Happy (cnr of Vivian and Tory Street). Check out http://www.voxnovus.com/ or http://www.whitefungus.com/ for more details.

To listen to a podcast of White Fungus editor Ron Hanson talking about 60x60 on Concert FM's 'Upbeat' follow this link:
http://www.radionz.co.nz/search?mode=results&queries_all_query=vox+novus

Noah Creshevsky / If,Bwana
Favorite Encores

"Creshevsky's music is cosmopolitan and streetwise post-modern expression. I do not exaggerate when I say that I have never heard anything like Creshevsky's music before. If you're up for an aural adventure, here's your ticket." (Josh Mailman, American Record Guide)

"If, Bwana is some sort of evil genius working with raw materials which are never adapted to a genre or a context, because they create one in that very moment. Those sources are radically altered up to an utterly unrecognizable state, anarchic manifestations moving in compact determination." (Massimo Ricci, Touching Extremes)

A split cd of works by Noah Creshevsky (4 tracks) and If, Bwana (3 tracks). While on the face of it this may seem a somewhat odd pairing, the pieces recorded here comment on and highlight each other. And as the above quotes suggest, an aural adventure is indeed in the offing.

Trained in composition by Nadia Boulanger in Paris and Luciano Berio at Juilliard, Noah Creshevsky has taught at Juilliard, Princeton University, and Brooklyn College. He was director of the Center for Computer Music (1994-2000) and is currently Professor Emeritus at Brooklyn College of the City University of New York. His musical vocabulary consists largely of familiar bits of words, songs, and instrumental music that are edited but rarely subjected to electronic processing. The result is a music that obscures the boundaries of real and imaginary ensembles though the fusion of opposites: music and noise, comprehensible and incomprehensible vocal sources, human and superhuman vocal and instrumental capacities. Creshevsky's most recent hyperrealist compositions explore the fragmentation and reconstruction of pre-existing music in combination with original synthetic and acoustic materials. Moments suggest musical environments of indeterminate ethnicity--simultaneously Western and non-Western, ancient and modern, familiar and unfamiliar.

Hyperrealism is an electroacoustic musical language constructed from sounds that are recognizable parts of our shared environment ("realism"), handled in ways that are exaggerated or excessive ("hyper"). Hyperrealist music exists in two basic genres. The first uses the sounds of traditional instruments that are pushed beyond the capacities of human performers in order to create superperformers--hypothetical virtuosos who transcend the limitations of individual performance capabilities (e.g., Mari Kimura Redux, Intrada, Favorite Encores). Hyperrealism of the second genre aims to integrate vast and diverse sonic elements to produce an expressive and versatile musical language. Its vocabulary is an inclusive, limitless sonic compendium, free of ethnic and national particularity (e.g., Shadow of a Doubt). Hyperrealism celebrates bounty, either by the extravagant treatment of limited sound palettes or by the assembling and manipulating of substantially extended palettes.

Al Margolis has been working under the musical pseudonym If, Bwana since New Year's Day 1984. There are often collaborators in this project‹both knowingly and unknowingly. Both are represented on this recording. Xyloxings was a concept-based work that in the end had the concept discarded for compositional considerations. Lisa Barnard's vocals were recorded with her direct knowledge. Scraping Scrafide uses a portion of Tony Scafide's piano part from a prior work of mine‹3 Out of 4 Ain't Bad‹and processes it. Cicada #4: Barnard Mix is part of my "discipline" series‹an open set of works‹and uses Barnard's vocals from other sessions to create one of many possible versions of this work.

http://www.pogus.com/