[Nettime-bold] Publication New Axis Reader

[Nat Muller <Nathalie.Muller@skynet.be>]

Ctrl+Shift Art - Ctrl+Shift Gender

THE NEW AXIS READER

As a follow-up to The Facelift of Gender, Axis, Foundation for Art and
Gender, is bringing out a new reader on the interaction between new media,
gender and art: Ctrl+Shift Art - Ctrl+Shift Gender.

Ctrl+Shift Art - Ctrl+Shift Gender presents a selection of articles that
illuminate the impact of new media technologies on art, culture and gender
representation. The meaning of these concepts is continually subject to
change, thus rebutting the idea that art disciplines and gender are static
entities. 

Developments in new media have disrupted the classic hierarchical relation
between "producers" and "consumers" in the cultural field. In interactive
projects, for instance, the distinction between author, performer and viewer
becomes increasingly blurred. The traditional role of cultural institutions
is also queried because digital works often are not to be pigeonholed in any
one category. Artists and activists make use of these shifts in order to
create a free zone for social critique and cultural innovation. In the
course of this, subjects like authorship, representation and the role of the
institution become central. The articles in Ctrl+Shift Art - Ctrl+Shift
Gender cast light on the specific role of gender in these processes.

With contibutions from a.o.: Anne-Marie Schleiner, Sylvie Parent & Valérie
Lamontagne, Faith Wilding, Angelika Beckmann, Yvonne Volkart, Cornelia
Sollfrank, Mo Throp, Hannah Bosma, Kathy Rae Huffman and Margarete Jahrmann,
Andra McCartney, Sheila A. Malone, Verena Kuni, Rachel Greene,[m]e[z],
Francesca da Rimini.

(editors: Nat Muller and Deanna Herst)

Costs: Fl. 15,- (excl. porto)

Order : mail us axis@axisvm.nl

 

EVENT 

Axis @ V2_ 

Friday 23rd June 20.00  23.00 h

V2_Organisatie, Eendrachtsstraat 10, Rotterdam

Admittance : fl. 7,50

To mark the publication of Ctrl+Shift Art - Ctrl+Shift Gender, a reader on
new media, gender and art, Axis is organising an evening full of sound
shifts and gender displacements.

SHIFT#1 

Music scholar Hannah Bosma, who also provided a contribution to Ctrl+Shift
Art - Ctrl+Shift Gender, will introduce the most important points in the
discussion and illustrate them on the basis of the link between gender and
electronic music. Electronic music is the discipline par excellence in which
the classic hierarchical relation between cultural "producers" and
"consumers" has been disrupted. The distinctions among author, performer and
viewer have, for example, become increasingly vague.

SHIFT#2 

"The Well" is based on an experimental recording in a wind tunnel at the
Massachusetts Institute of Technology, Boston, where Barbara Held arranged
for her flute to be played by the natural turbulence in the tunnel. In the
CD-ROM version images are transformed into sound by computer processes. The
piece is an homage to the Canadian/Japanese composer Chiyo Asaka -Tuge, who
died in 1969. In 1932 she married a Japanese neurosurgeon, who after her
death dissected her brain in search of the source of her creativity. (in
collaboration with Adolf Alcañiz)

SHIFT#3 

Guy Van Belle presents an installation on Soeur Sourire, the Belgian Lesbian
nun who scored a Nr. 1 hit in America in the 1960s, but later committed
suicide together with her lover because of money problems.

SHIFT#4 

Anne Wellmer creates an audio environment especially for this occasion,
which will incorporate recorded sounds in real time.

SHIFT#5 

In the piece "Main Wash Cycle" Alison Isadora presents the story of a New
Zealand woman who has a washing machine on the sidecar of her motorcycle.
The textual part of the performance is a mix of washing instructions, user's
instructions for washing machines, feminist analyses and housewives'
narratives. Sound fragments are digitally manipulated and mixed live from
the MIDI-controlled washing machine; contact microphones record all small
operations. 

Hannah Bosma (NL) is guest researcher with the Music Studies department at
the University of Amsterdam and is working on a dissertation on "Gender
Issues in Electro-vocal Music." At the same time she is working with the
Dutch Electro-Acoustical Repertoire Centre (NEAR). She has authored numerous
articles on gender and music, and regularly lectures on this subject in The
Netherlands and abroad. In 1999, together with Patricia Pisters, she
published the book Madonna: The Many Faces of a Popstar.
[www.hum.uva.nl/~hannah]

Barbara Held (USA/SP) is a flautist and composer. In the 1970s she worked
together in Barcelona with trendsetting composers such as Carles Santos,
Frederic Mompou and Lloreoan Brossa. In 1979 she moved to New York, where
she was flautist with the Bowery Ensemble. She integrates sound with other
art disciplines in her work. She has, for instance, worked together with
audio-artists such as Ron Kuivila, Phill Niblock, Robert Ashley and Alvin
Lucier and with video artists, filmmakers and writers. Barbara Held lives
and works in Barcelona.

Anne Wellmer (D/NL) grew up in Canada and Germany and presently lives and
works as a sonologist and singer in The Hague. She has worked together with
the audio-artist Justin Bennett, audio-engineer Matthijs Ruijter, director
Nicolai Caiazza and video artist Boris Gerrets, among others. Together with
sonologists Edwin van der Heide and Florentijn Boddendijk she makes up a
trio, notorious for "tally luna atlanticipated," a monomedia performance
based on an imaginary balloon flight to the moon.

Guy Van Belle (BE) is curator and software designer for the new Leonardo
Music Journal CD-extra "Converted to Streaming Between Machines," to which
Hannah Bosma, Barbara Held and Anne Wellmer also made contributions. He is
half of the digital music duo "Young farmers Claim Future," co-founder of
dbonanzah!, an independent a(rt)ctivist server and educational technologist
at the University of Ghent. [www.dbonanzah.org and
allserv.rug.ac.be/~gvnbelle]

Alison Isadora (NZ/NL) studied political philosophy and music in New
Zealand. She has lived in The Netherlands since 1986, where she studied
violin and composition at the Royal Conservatory in The Hague. In recent
years Alison Isadora has been working more with electronics and is involved
as performer for both music ensembles and improvisation groups. At the
moment she is engaged in the second phase of theatre training at DasArts,
where she is researching the relations between music, text and movement.

Axis, bureau voor de kunsten v/m
Oudezijds Voorburgwal 72
1012 GE Amsterdam
T+31 (0)20 4274525
F +31 (0)20 4271412
E axis@axisvm.nl
U http://www.axisvm.nl
 

 



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