We found – 28 articles for fat cap

New York Perspectives

Urban Spree Galerie presents New York Perspectives, a duo show featuring Chris “Daze” Ellis and Joe Conzo, curated by Mode2. The vernissage will be on Friday, November 22nd, at 18:30, in presence of the two artists.

    Through the work of two New York City-born artists, a painter and a photographer, this exhibition is an attempt to show aspects of New York City life, through the eyes and the work of two very different individuals; though both come from a part of its counterculture.

    The drawings and paintings of the artist Chris “Daze” Ellis, and those many moments and people captured by the photography of Joe Conzo show us how the youth that were more in osmosis with the steel, the concrete, the glass, the streets and the city’s subway system, could develop new forms of visual dialogue that could form a bridge between their own social and cultural background, and a movement that would infiltrate the artworld and become a global phenonmenon.

   Coming from different neighbourhoods and cultural backgrounds, both have lived long enough to have witnessed first hand the huge transformations that the city has gone through over these last decades, while their “work”, which was actually their hobby, passion and life pretty much, has documented seminal eras during that time.

  These tumultuous years of cultural flux; of blossoming, blooming, destruction and rebirth, are often overlooked by today’s focus on the “now” of street art, and the way through which this eclipses the very alchemy that gave birth to the way in which artists express themselves in the street today, or the way in which they document city life.

    It is doubtful that much of what is happening today in visual art, music, dance and written or spoken word ever would have happened, if generations of youth in New York City had not lived what they did many decades ago; and we can count ourselves lucky that a few rare individuals happened to be there and have the instinct to document it.

  Here then, are views of New York from two different perspectives, they themselves being a complex accumulation of all of life’s experiences, and how they shape each individual’s understanding of the world around them; and the ways by which they choose to express and share this with us.

Urban Spree Prints will release two 18″x 24″ silk screen prints by Daze on the opening night and online.

The gallery and the curator heartily thank Henry Chalfant for letting us show his documentary movie “From Mambo to Hip Hop: A South Bronx Tale.”

Poster Artwork by Tyler Askew.

 

“New York Perspectives”

Christopher “Daze” Ellis / Joe Conzo

Curated by Mode2

22.11 – 21.12.2019

 

Urban Spree Galerie

Revaler Str. 99

10245 Berlin

Opening: Friday 22.11.2019 at 18:30

Exhibition: Tu-Sa – 12:00 – 18:30

Info & Catalogue: contact@urbanspree.com

 

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BIOGRAPHIES: 

 

Chris “Daze” Ellis

Growing up in Crown Heights, Brooklyn, Chris Daze Ellis (b. 1962) was aware from early on of the names and the odd characters that would be dancing along the trains that wove their way through the city. When he started out at the High School of Art & Design in 1976, he found that there was a whole community of very diverse yet like-minded individuals there, also involved with this scene; some of whom would go on to make a name for themselves in the art world.

Being a fan of drawing and comic books already, Daze camouflaged his nighttime activities under his parents’ gaze, exploring and expanding his visual vocabulary, combining the traditional with the dynamism of a new and challenging environment, with stimulus of its own.

Having mastered the medium and the environment, Daze would go on to shape his own personal vision of the world, looking as much inwards as outwards, in the relationship between the trains and walls, and what he could further explore in the studio. The strength of his successful life as an artist in his own right would develop from then on.

From his participation in his first group show, Beyond Words, at the Mudd Club in 1981, before having his own solo show at Fashion Moda (the historical South Bronx art space that bridged the established art world with the raw talent and energy coming out of New York City), Daze embraced the wide horizon that opened up before him.

From then on, Daze began to show in many different cities around the world, whether it be galleries and museum, in solo shows as well as group formats. He has participated in many public or educational art projects around the world, working with students and communities from South Korea to Brazil via Haiti, while often visiting Europe as well, and contributing to New York mural initiatives like the Leap Arts Program or Thrive Collective.

From his appearances in the film Style Wars, to being an art consultant on the Netflix series The Get Down in 2017, to participating in public painting projects from the Star Ferry Terminal in Hong Kong in 1993, painting an entire Hannover train station with fellow artists Lee Quinones and John Crash Matos, or being commissioned for murals by private clients like the law firm, Cleary, Gottlieb, Steen & Hamilton in Washington D.C. 2018; Daze has constantly had his hands on a whole range of different projects.

Daze’s paintings have found themselves in many private collections including Eric Clapton, Natalie Imbruglia, and Madonna. His work can also be found in the permanent collections of The Whitney Museum, NY, Museum of Modern art, NY, The Museum of the city of New York, The Ludwig Museum, Aachen, Yale University art Gallery, New Haven, Addison Museum of American Art at the Phillips Academy, Andover.

Chris Daze Ellis continues to live and work in New York City.

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Joe Conzo

Joe Conzo was born in the Bronx during an era of great upheaval, when the construction of the Cross Bronx Expressway was nearing its end, having destroyed the communities that lay in its path, and condemning those parts of the borough around it to social and economic decline. The apocalyptic landscapes of urban devastation, and the high criminality associated to it are emblematic of that era.

President Truman’s Urban Renewal announced in 1949, ruthlessly applied by Robert Moses, targetted the more modest and ethnically diverse neighbourhoods of New York City whose resistance to forced removal would fall on deaf ears, as private developers grabbed the prime lots. The Bronx represented both the laboratory and the collateral damage for these extreme experiments of urban renewal.

And yet, out of what looked like an urban war zone, the city’s youth began to pick up the pieces, and, out of the desolation around them, began to build their own road out of it. Realising that the state was not going to do anything positive for them, their survival instincts eventually kicked in; and out of the gang culture, the drugs, and the sheer nihilism that had reigned for a while over much of the borough, new and greener shoots were beginning to break through.

Joe Conzo’s cultural capital, and that of his peers, was probably key to his survival and his blossoming during those harsh years; grandson of Dr. Evelina López Antonetty, a political activist who played a huge role in developing educational programmes for Puerto Rican children, and son of Joe Conzo Snr., who was in the thick of the huge Latin music scene of that bridged those decades; hanging with all the main players of that era, and having been the biographer of Tito Puente.

While studying at the Agnes Russell School on the campus of Columbia University, he discovered photography, the medium that would enable him to document what went on around him; from the world of latin culture through his father’s connections, to the collision of art forms that would later be called Hip Hop; a word that eclipses the sum of its parts.

Having lived many ups and downs in the eighties, to a rebirth of sorts, Joe Conzo went on to become a qualified medical nurse, then worked for the New York City Fire Department, being among the first responders on 9/11. At some point along the way, he was reunited with the camera, and began shooting again…

Whether as the photographer of rap crew The Cold Crush Brothers, a hugely influential group of MCs from the early days, or just a boy from the Bronx who had a camera and curious eyes, Joe Conzo’s photos provided reference material to Henry Chalfant ‘s documentary “From Mambo to Hip Hop: A South Bronx Tale.”, and were documented in a book called “Born In The Bronx: A Visual Record of the Early Days of Hip Hop”.

His negatives have been digitalised and archived at Cornell University, providing a unique and indispensable resource for those wishing to research the those eras.



Automatic – Urban Spree, Berlin

 

Like all the best bands, Automatic found each other in an organic way. Izzy Glaudini (synths, vocals), Lola Dompé (drums, vocals) and Halle Saxon (bass, vocals) met in the DIY band scene of Los Angeles and started jamming together in 2017. Over the last year, they have become an important part of the L.A. Club circuit, sharing the stage with bands like Surfbort, Wand and Flatworms. On 27 September 2019 their debut album “Signal” will be released on Stones Throw / PIAS.

Lola was born into a punk household (her father is Kevin Haskins, the drummer of Bauhaus) and joined her first band, the art-rock outfit Blackblack, when she was just 13 years old. Halle and Izzy met in local bands in the northeast of L.A.; Izzy was a guitarist and singer, and Halle liked to plug her fretless bass into a guitar amp. Unimpressed by the masculine energy of the local scene and the rock music on the radio – “pumped out like plastic bottles into the ocean” – Izzy changed guitars into synths and joined Halle and Lola in 2017. They called themselves “Automatic” after a song by the Go-Go’s – the only (!) purely female band that ever wrote and recorded an entire album that reached number 1 in the charts in the USA.

Automatics guitarless setup seemed to leave a void in the sound at first, but their interplay gave them strength and they took their place in the scene. Empowerment in the best sense. They refined their sound and, informed by Neu! and Suicide, combined their preference for dub reggae, motoric rhythms and gnarled synthesizers with their cinematic pop understanding. In collaboration with sound engineer and producer Joo Joooo Ashworth (FROTH), they started working on their GarageBand demos and their debut album.

Their first single “Calling It” captures the feeling of drifting in an endless space, tearing everything apart and starting anew. Elsewhere on “Signal”, songs speak directly from the band members’ experiences: “Humanoid” and “Too Much Money” are reflections on boredom, misfortune and the disappointing falsehood of social media personae, while the title track “Signal” is about “being trapped in the drudgery of a shitty life/job and realizing that no one but yourself will save you from it.” “Signal” is the title track of the band’s album. A shocking near-death accident in her apartment inspired Izzy to write “Electrocution” – an experience alluded to in the cover packshot, which shows a switch on a red background.

Izzy studied film at college and Halle used to work at the legendary video store “Kims Video” in New York, so it’s no wonder that the band also mentions film as an important influence on their music. David Lynch and Dario Argentos in particular have left their mark on the ambiguous lyrics and eerie atmospheres.

The red thread that runs through “Signals” is the feeling of fear and alienation, possibly one of the most formative experiences of the early 21st century: the feeling of being on the edge of the world. Or as Automatic put it: “The world is so fucked. I don’t know how a musician could say: ‘That’s all great.'”

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BABY SATAN Nights – Tanning Bats/Avishag C. R./Nunofyrbeeswax

 

Holly Hell!

Have we got a night for you!

Tanning Bats
https://tanningbats.bandcamp.com/
With a tight and funky rhythm section, angsty vocals and twangy, surf guitars, tanning bats have cut through air molecules as a trio for the past 3 years, taking it off where their former punk outfit ‘Ringostarwars’ left it.
With their new debut vinyl LP – ‘On The Assembly Line Of Heads’ they emphasise a satiric critique of humankind’s conflict of foreground and progression on the one side, and cultural and socio-economic decay on the other. The many captured moods on their album consist of machine gun like punk explosion to cozy and semi psychedelic mantra, bumpy danceable post-punk gems.

On The Assembly Line Of Heads – coming out on the 23rd of May! so yeah, release party!

nunofyrbeeswax
https://nunofyrbeeswax.bandcamp.com/
Nunofyrbeeswax write and play a bunch of pop songs as raw as
their hearts in a minimal set up. Their sound has been described as
an idiosyncratic blend of garage rock, post punk and “proto-indie” for whatever that means. Their music escapes easy associations,
however, they have reminded audiences of bands such as Half
Japanese, the Velvet Underground, The Ex, The Fall, Beat
Happening, B52s and The Cramps.

Avishag Cohen Rodrigues (NYC/TLV)!

Avishag Cohen Rodrigues; a musician from Tel Aviv, currently based in Brooklyn, is a unique artist.
starting to perform solo in the last year, she’s half of the duo LAILA, playing guitar with artists like Sloppy Jane and Ryskinder, her shows gives a look into her own world.
a combination of songs both in english and hebrew, some instrumental, creating Ambient, Lo-fi, Mellow, Shoegaze with post punk influences.

her debut solo EP “One Winter, One Hunter” is going to be released on that day!

DJ set by prettyboy Peter Magnüm (8MM)
PARTY!

Funded by Musicboard Berlin GmbH

 

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Milk Me Presents: Crack Cloud

 

Crack Cloud is a multimedia collective, comprising members from different cities, ethnicities and origins, who contribute to the sound, visual aesthetic and beyond – but their latest release, Anchoring Point, is helmed by seven key members. Taking its sonic influence from the likes of Gang Of Four, Fela Kuti and Talking Heads, its visuals from hip hop and the found footage aesthetic of the ‘90s, and its political ethos from thinkers like Malcolm X and Lydia Lunch, Anchoring Point is a barbed, lurching thing, a cacophony of punchy fragments, funk-laced bass riffs and experimental soundscapes. “We wanted to be expressive in a way that could be erratic but cohesive at the same time,” explains Choy. “Emotionally, it zig-zags. We wanted it to take a life of its own; a life in flux.”

There’s a political undertone to much of Anchoring Point – its lyrics, its sound, even the EP’s artwork, which declares itself to be “how they refer to the latest vendible thing from Crack Cloud. For fun and profit!” But if there’s an agenda to their music, says Choy, “the agenda is humanity and compassion. We invite people to meditate openly about their privilege. Their vice. Their pride and their vulnerability.” Both he and partner Mohammad Ali Sharar are immigrants who struggled with addiction – Choy’s triggered by the death of his father, Mohammad Ali from the cultural turbulence that came from the racism he experienced from outside his community, and the rejection from within it when he started to question Islam. They’ve redefined themselves in sobriety and work together in the mental health industry, facilitating safe spaces based on the harm reduction model for vulnerable and marginalized people in Downtown Vancouver. Crack Cloud is informed by these experiences, past and present.

These experiences inform the work in ways Choy and the collective don’t always attempt to tame or control. ‘Empty Cell’, for example, is a “stream-of-consciousness piece,” made up of different voices from different angles. It follows EP opener ‘Graph Of Desire’, a punky duet of sorts, with shades of early Bowie, that comes in at just a minute and a half long, and precedes ‘Image Craft’, which has a melody like a ticking clock and a video that evokes Lynch’s Eraserhead. “Each song on Anchoring Point,” says Choy, “is one piece of the pie.”

And what does the pie as a whole look like? Choy’s not sure exactly. “It creates a messy picture. We hope people can resonate with its messiness. Thoughts and feelings are ephemeral and there is always a new insight to have and a new connection to be sought after, and it’s a celebration of that. Old and new. And the Anchoring Point in-between.”

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Sneaky Snake Festival ⊙ Day 2

Sneaky Snake festival ⊙ day 1
friday 1.6. at cassiopeia Berlin
⊙ RADAR MEN FROM THE MOON – experimental psych ⏐ Eindhoven
⊙ FATHER SKY MOTHER EARTH – drone doom ⏐ Hamburg

Sneaky Snake festival ⊙ day 2
saturday 2.6. at Urban Spree
⊙ ØRESUND SPACE COLLECTIVE – impro space kraut ⏐ DEN/SWE
⊙ BLACK MOON CIRCLE – acid rock jams ⏐ Trondheim
⊙ MOUNTAIN DUST – stoner soul ⏐ Montreal

⊙ RUDI RAUSCHGIFT – psych, beat, funk, soul, kraut, prog
dj’s ass shakin’ trip tunes in the beer gardens of both venues
https://www.mixcloud.com/RudiRauschgift

both venues are located on the RAW area
Revaler Str. 99, 10245 Berlin

⊙ ØRESUND SPACE COLLECTIVE ⊙
ØSC is an ever changing music collective from Denmark and Sweden that play totally on the spot improvised deep trip space rock music. They have released 25 (!!!) records since 2006. Music for your mind to escape the Matrix.
– latest release:
“Chatoyant Breath” – May 16, 2018
“ØSC had been at the Black Tornado recording back in November but our friend Gary (Yawning Man) was in town and wanted to jam. It had been a long time since the main touring band of ØSC (Nick, Jiri, Mogens, myself) had been in the studio. We grabbed Martin, who plays with Nick, Jiri and Mogens in the Univerzals as well as with Jiri in his band, Fri Galaxe to play drums. He had played quite a few gigs with us in Denmark the last years. Nicklas from Papir, was a great choice to play with Gary as both are fans of each other and we love to play with Nicklas. We had a cool band.
This session was pretty fast, all done in one day and just 5 jams recorded. The vinyl is an edited version of the jams, while the CD features extended versions of the tracks so you can hear more or less the entire course of the musical journey. The music on these sections is more spaced out, relaxed and exploratory as it flows and weaves and grows tentacles to tickle and scratch your inner thoughts. Enjoy the sensations.” – Dr. Space, 2018
http://www.oresundspacecollective.com/
https://oresundspacecollective.bandcamp.com/
https://www.facebook.com/OresundSpaceCollective

⊙ BLACK MOON CIRCLE ⊙
BMC from Trondheim is dedicated to dark psychedelic space rock, driven by a disposition towards prolonged jams.
– latest release:
“Flowing into the 3rd Dimension” – August 25, 2017
https://blackmooncircle.bandcamp.com/
https://www.facebook.com/blackmooncircle

⊙ MOUNTAIN DUST ⊙
Mountain Dust’s set was a blast of cymbal crashing, headbanging hard rock laced with doom metal and a sensible dosage of psychedelic pretensions. The songs weren’t excuses for aimless guitar wankfests, but slithering heavy jams (the bass player laid hypnotic grooves on his Rickenbacker) that turned in on themselves like a snake eating its tail. Organ à la Deep Purple gave the music a gothic nuance, but the big surprise was lap steel guitar fed through an effects rack.
The band reinvented their blues-metal sound — a genre now as outmoded as bell-bottoms and songs about scoring with underage groupies — with well-crafted riffs that make you forget it’s all the same 4/4 rhythm you’ve heard a million times. They had masterful dynamics and pauses: the music breathed, but it breathed like Godzilla. For four thrashers who look like head shop regulars, Mountain Dust didn’t play a bum note all night.
http://mountaindustofficial.com/
https://mountaindust.bandcamp.com/
https://www.facebook.com/MountainDust

⊙ smash racism, sexism, genderism, homophobia, nationalism, fascism, drugism, religionism, lookism, borders (on the maps & in the minds), genres, scenes, image, trend, hype & any other brainwashit ⊙

 

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