We found – 38 articles for 1990

Mik Shida: A Conduit Order

Urban Spree Galerie presents “A Conduit Order”, the first solo show in Germany of the Australian visual artist and muralist Mik Shida.

Mik Shida was invited to Berlin by Urban Spree for a 2-month Art Residency which culminates into a presentation of a full new body of works, including large format paintings, and installations.

Photographic Credit: Duran Levinson

Shida’s paintings are shamanic “tableaux vivants” in which spiritual, ritualistic and organic elements coalesce, where temporality is transient, boundaries and space indistinct, where portals, alternative dimensions, spells and energy fields abound.

Spirits and movement are the materia prima of Shida’s oeuvre. The artist is a vessel, a conduit, through which sprits awaken, arise, and finally materialize within the paintings, within those transient spaces where the artist is allowed to conduct the dance, and is in turn being directed by the creations his paintings have summoned.

We can also view and understand Shida’s murals as spiritual beacons, large outdoor gateways meant to create an intercession with spirits.

Shida (born 1990) is an Australian multidisciplinary artist best known for his large scale mural work. Shida’s practice encompasses video, publishing, public works and murals.

“Shida explores the relationship between Ritual, Sexuality and Love. Psychedelic entities are entwined in a ceremonial act transcending the bounds of known reality. Shida works like an ancient shaman with each works being in essence an invocation, an energetic manifestation, a prayer to joy.” (Wikipedia)

In parallel to Shida’s presentation of works in our main galerie space, Urban Spree invites Knarf, Fresh Max and Mafia Tabak for a pop up exhibition in our “Ecke”.

 

 

 

 

 

Mik Shida: “A Conduit Order”

Solo Show

Urban Spree Galerie

Opening: Thursday 28.06.2018 at 19:00

Exhibition: 29.06.2018 – 22.07.2018

Tu-Su / 12:00-19:00

Info: galerie@urbanspree.com

http://www.mikshida.com

https://www.instagram.com/mik_shida/



Livermori Vol. 1

This is the first edition of Livermori, an sporadic event that is focused on the live interpretation of electronic music. Come and dance with us.

For this first edition we will have the LIVE performances of

▬ SDH (Avant!) Semiotics Department Of Heteronyms.
https://avantrecords.bandcamp.com/album/tell-them

▬ ENTERTAIMENT (Total Black):
https://soundcloud.com/totalblack

▬ DIY1990 (Lobster Theremin):
https://soundcloud.com/lobster-theremin/diy-1990-room-202

▬ RAUNE (Econore):
https://econore.bandcamp.com/album/ii
https://seher.bandcamp.com/
https://econore.bandcamp.com/album/raune

▬ LA MÀQUINA CORRUPTA (Conjunto Vacío): https://soundcloud.com/maquina_corrupta/sets/mmxvi

And after the Live sets, there will be a DJ set until the closing by:

▬ ZK: https://soundcloud.com/eclectica_series/eclectica-series-013-zk

▬ L.M.C.

 

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Tutti Frutti Fest #3

Tutti Frutti Fest #3
– präsentiert von taz. die tageszeitung, ByteFM, Nothing But Hope And Passion, hhv Records, ASK HELMUT & MAKAVA delighted ice tea

Ganz und gar und einfach nur noch fantastisch!!

Ich würde sogar sagen das Motto ist «sexyerotisch»

Tutti Frutti, ein sexyerotisches Festival am Busen der Spree.

LineUp
. walter tv (CA)
. Aldous RH (UK)
. Jakob Ogawa (NO)
. Mile me deaf (AT)
. Tatum Rush (CH)
. WORLD BRAIN (DE)

Tutti Frutti Fest is back!

Nach 2 fruchtigen sold out Versionen des hauseigenen pøj pøj Tagesfestivals, , welches den Geburtstag der Booking Agentur aus Berlin markiert, findet auch dieses Jahr das Tutti Frutti Fest wieder statt. Genauer gesagt am 09. Dezember 2017 im Urban Spree.

Nachdem in den letzten beiden Jahren das LineUp verstärkt auf Künstler aus dem eigenen Roster gelegt wurde, haben die Berliner Booking Buben dieses Jahr ein kunterbuntes sexi LineUp aufgestellt welches sich sehen lässt.

Ganz weit vorne mit dabei sind sicherlich Walter TV & Aldous RH.

Walter TV sollte mindestens den Mac DeMarco Fans ein Begriff sein, da 2/3 der kanadischen Dudes bei Mac DeMarco mit auf der Bühne zu finden sind.
„Undeniably bassy, these 3 lewd dudes from Vancouver Canada ruin the stage.“ Passt!

Aldous RH ist der unumstrittene neue Liebling vieler Musiker aus Psych- und Krautrock Szene & war zuletzt mit Drugdealer auf Europatour. Beim Tutti Frutti Fest #3 müsste er sich damit mehr als gut aufgehoben fühlen!

Mit World Brain, dem Solo Projekt von Lucas Ufo (Fenster), kehrt das Tutti Frutti Fest dann sogar ein wenig zu seinen Wurzeln zurück, als Fenster auf dem TFF#1 die Meute verzückten. Ganz sicher wird World Brain das gleiche auf dem TFF#3 mit dem Publikum anstellen.

Ganz ohne pøj pøj Bands geht es dann natürlich nicht, und so tritt neben dem 20 jährigen Newcomer aus Norwegen, Jakob Ogawa, der im Dezember seine erste Europa Tour spielt, bevor es nach Argentinien zum Lollapalooza geht, auch Tatum Rush auf.

Tatum Rush ist ein Weltenbummler. Wohnhaft in Lausanne und Lugano pendelt der in Amerika geborenen Italiener zwischen Milan und Paris. Als Videokünstler und Musiker steht er ungern still. Das merkt man auch seiner Liveperformance an. Mit einer Mischung aus Italo-Pop, Disco und Psychedelic funktioniert das im New Yorker Underground Club genauso wie auf der italienischen Hochzeit am Gardasee.

& zu allerletzt wird dann auch noch Mile Me Deaf in Solo Form auftreten, eine Seltenheit die man sich nicht entgehen lassen darf!

Mit Alien Age hat Wolfgang Möstl Anfang des Jahres wohl eines der vielschichtigsten MMD Alben veröffentlicht. Das Geschrammel der Vorgängeralben wurde mit Alien Age vorerst begraben. Sample-basierte Beats und Loops geben nun den Ton an.

Sexi Erotisch ist das Motto des Tutti Frutti Festes #3, und spätestens mit diesem LineUp macht das ganze dann auch Sinn!



Kazumoto Endo \ Facialmess \ MAAAA \ Purgist \ Krube.

Kazumoto Endo (Tokyo, Japan)

Since the mid-’90s, japanese noise artist Kazumoto Endo has released albums and eps under his own name and under the alias KILLER BUG. growing up in the ’80s, endo listened to british bands like THE CURE and THE SMITHS, then got turned on to groups such as PUSSY GALORE and BIG BLACK, and began attending live performances by influential noise bands including HANATARASH and HIJOKAIDAN. Endo was, however, unimpressed with how noise music came across on recordings. He wanted to learn to play something different and so took traditional bolivian music classes. It was during this time that Endo purchased the first noise record he was impressed by: MERZBOW’s Cloud cock 00 ground. Endo began buying equipment and making noise around 1990, in addition to continuing his bolivian music classes. Endo began recording in 1994 under the name KILLER BUG, with his first 7″ released on sweden’s releasing Eskimo label. He performed and recorded as KILLER BUG for a couple of years, but eventually dropped the alias. although he most often performs in Tokyo, Endo has also performed in the U.S., in 1995, 1997 and 2016. KAZUMOTO ENDO/ KILLER BUG has releases on labels from around the world, including releasing eskimo (sweden), self abuse, rrr, pinch- a-loaf (u.s.), alien8 recordings (canada), and freak animal (finland).

http://ka.zumo.to/

FACIALMESS (Tokyo, Japan)
Harsh noise project of british ex-pat Kenny Sanderson. Since 1997, Sanderson has been creating cut up harsh noise consisting of found sounds, industrial loops and stabs of percussion. FACIALMESS has released an impressive array of solo and collaborative efforts including work withwith SICKNESS, BASTARD NOISE, GUILTY CONNECTOR and SUPPRESSION. More recent work can be found on labels such as Opal tapes, Kitty play and No rent records. Effortlessly handling knife edge blasts of noise in between pounding sonic loops, sanderson is a master in the shredding and reassembly of his exclusive brand of cut-up harsh noise.
Expect an unmistakable and unforgettable style, blown-out distorted textures, over-the-top volume, sick high-energy passages, frantic cuts, drills, loops, subtle hints of heavy atmospherics…

https://soundcloud.com/dub-specialist-1/
https://facialmess.bandcamp.com/

MAAAA (Warsaw, Poland)
Russian expat Sergei Hanolainen is the conduit for the well oiled machine that is MAAAA; a critically acclaimed Warsaw based noise project that has undergone years of refinement and as a result, has become to play a pivotal role in the concurrent noise climate. MAAAA’s well rehearsed live shows exhibit merciless deliveries of heavy electronics and dizzying drones that induce a physical response not so dissimilar to G forces. As MAAAA continues to mature, his albums strike a blend of classic, neo and underground styles, of the industrial and of the musique concrète, that are progressive, inspired and precise. It is not often that you see an artist so in touch with their machine.

http://maaaa.org/
https://maaaa.bandcamp.com/

PURGIST (Kielce, Poland)
Dawid Kowalski is a sound artist, improviser, music publisher, culture animator, live event organizer and art activist specializing in radical avant-garde electronic music. an active member of the polish and international underground music community since the early 2000s. Founder of harshnoise.org (“we fight off tyranny of hate which decimates stupid people!”). PURGIST combines a variety of classic experimental music tropes such as object/tape manipulation, electroacoustic improvisation, industrial noise and combines them with extensive digital post-processing placing the end result in a musical context. PURGIST is an outlet for focused exploration of urban field recordings, digital artifacts, aural atmospherics and disjointed noise dynamics. His vivid, cinematic post- industrial harsh noise works have a prominent conceptual background based on a reflection upon personal vices and self-abusive obsessions.

http://PURGIST.com/
http://PURGIST.bandcamp.com/

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Urban Spree Galerie presents Jim Avignon at Berliner Liste

During the Berlin Art Week (14-17 September 2017) and in addition to the “Metamorphosis” exhibition currently on display at the galerie, Urban Spree presents a solo show of Jim Avignon at the Berliner Liste in Postbahnhof.

Under the title “Permanent Hello“, the Berlin-based artist develops the themes of his previous show at Urban Spree called “Permanent Jetlag” around internet and the overconsumption of images around paintings and large-scale interactive installations.

Jim Avignon‘s body of work for “Permanent Hello“ is about the balancing act of virtual life and real life. He depicts how the internet and social media have gradually changed society, and he also addresses our tragic, and often comical attempts to keep up with technology. On the one hand the world is getting smaller yet in our minds it keeps getting bigger, making it difficult to be everywhere at the same time.

Avignon’s narrative motives are a potpourri of political and societal topics, art, pop culture and characters from fairytales and fables. His paintings and installations serve as a stage for diverse protagonists from figuration, cartoons, anime and a fantasy world. Animals embody the human condition while the unknown lurks behind a façade of cheerfulness.

In Avignon‘s fantasy world, interchangeable freaks from the catalogue of postmodern society stand around, as their lively inanimate facial expressions reveal a mix of emotions, boredom, indecisiveness and resignation.

Sampling, cover versions and epiphenomena, like gamification, are central concepts in his creative work, they are references to the conflicting poles of visual art, music, mass media and the industry.

 

Jim Avignon has been living and working in Berlin for more than 20 years. In the 1990s he adorned clubs with his decorations and became known as the ‚painter of the techno scene‘. In 2013 he unleashed controversy when he staged a flashmob to paint over his landmark mural on the East Side Gallery without permission. Velocity and change have always been key issues in his creative work. The title of one of his first exhibitions was “highspeedworld.” In 1993 he already titled a painting “spoilsport in the internet.”

 

Urban Spree Galerie presents: Jim Avignon “Permanent Hello”

Berliner Liste

15. – 17. September 2017 | Opening 14. September 2017

Postbahnhof Berlin | Straße der Pariser Kommune 8, 10243 Berlin

 



Royal Trux + Furious Few & Samara Lubelski

Support: Furious Few & Samara Lubelski

Doors: 8 pm Start: 9 pm
if it is nice weather Samara will do an Open Air Set in the garden. ♥

In the 1990’s Royal Trux established themselves as one of the greatest rock groups of that hallowed era. With albums of extrasensory scope ranging from 1990s Twin Infinitives (which belongs to the special category of albums whose impact may take decades to be measured), to 1993’s Cats and Dogs (with its seamless blend of classic roots, grunge, and punk) to 2000’s Pound for Pound (inhabiting a well-worn coat of southern hard-rock boogie), they reinvented the group concept born with the Rolling Stones (whose music inspired the duo with a definitive template with which to fuck), accepting nothing less than “The World’s Greatest Rock and Roll band” as an opening proposition!
Jennifer Herrema (vocals, moog, guitar, melodica, sticks and stones, pots and pans) and Neil Hagerty (vocals and guitarist) were both in the Washington, D.C. area where they met and, as teenagers, formed Royal Trux while living in an abandoned warehouse space near the New York Avenue bridge a few miles from Union Station. The name was an evocation of their omnidirectional headspace and abilities — plus, Jennifer grew up skateboarding, moving to roller skating after removing the trux and wheels off her board grafting them onto a pair of skates, giving her an unequaled ability to maneuver … even then, it was all about the TRUX.

The idea was to play with what little equipment and resources they had and make the most of it by starting musically with the simplicity of blues progressions. The blues also happened to fit the bill for a band called “Pussy Galore” that recruited Hagerty to fill the position of guitarist and tutor (teaching them all how to play the Rolling Stones’ Exile on Main Street album) in exchange for money, equipment and a place to stay in New York. The move to NYC (Jennifer into the YMCA, Neil with the band) was fortuitous, but the perceived similarities between the two acts weren’t much beyond initial chord progressions and of course the unmistakable sound of Hagerty’s unparalleled guitar style.

The Trux walked a different talk, one with a more elusive, at times counter-intuitive attitude. Hagerty and Herrema were by nature loners, drug abusers and intellectuals; they stood out among the many art school “bands” in NYC in the late 80s. Playing with a revolving cast of freaks, fellow-travelers, and influences allowed them to discard the tradition of a “band” with “members.” Listening to the records nobody else cared to play anymore, they chose to stake out a post no-wave stance shot through with aspects of classic New Yorkia — Godz, Lovin’ Spoonful, Lou Reed and Television all fit the bill — sifting it through in a personal manner that eventually became known as the “lo-fi” genre. In this tactile fashion, they gained notoriety for their unconventional music and ideas, presenting themselves at live shows and elsewhere with an aesthetic marked by indifference and debauchery.

Royal Trux’s first tangible music releases were a song credited to them on Pussy Galore’s Right Now LP (“Fix-It”) (1987) and two tracks, “Luminous Dolphin” and “Cut You Loose,” (1988) on a ROIR cassette compilation . . . but it was the end of 1988 that saw them release their own, self-titled LP for not much more than $500. With no label or distribution in place it was the music that propelled their trajectory (not money, nepotism, or connections) — this was what it took to launch new beginnings in the music world/landscape at that time. Not long after, Drag City and Domino came calling, and an attempt to dominate worldwide was undertaken. Up through 1995, via several records, tours, a film (What is Royal Trux?) and a relentless promotion campaign (including placing their “art” as TV adverts on the sci-fi network and others ), their portfolio expanded, leading to a contract with Virgin Records, who evaluated them to be necessary listening on a big-time level. It could only have been done with fresh eyes and ears and the understanding that new realms of possibility could be accessed by Truxian imagination and vision.

After signing with Virgin in 1994 for a three-album stint, Royal Trux began calling themselves the “World’s Greatest Royal Trux Boogie Band.” Who could argue with that? Few even knew what it meant. After the Virgin albums they returned to Drag City with a diverse series of sounds on Accelerator, Veterans of Disorder and Pound for Pound. As always, they were open for business and taking offers, confronting the world from where they stood on the street, and seeking to jack it for all they could. Over a decade has passed and the pair’s music continues to sound just as progressive, vital, and confounding.

Beyond the genre-setting and -defying music and the genius of Hagerty’s playing, they were fronted by a willfully non-archetypal female singer whose stance became it’s own archetype over the years, as the world caught on to the need for a new breed. Subsequently, a generation of females looked to Jennifer Herrema for inspiration, emulation and commodification.
Royal Trux have done as much to define the look, attitude and sound of rock & roll as any other group in the rock & roll era. This is due to their Bitches Brew approach: “everything in the pot whether you like it or not,” deriving from world music, punk rock, jazz, metal, electronic, southern, teeny-bop and all the rest. In the tradition of the blues, through appropriation and evaluation, Royal Trux changed the way we think of music — it is no surprise that their Truxian language has been further absconded with and recited uncredited for years. Such organic perpetuation only happens with original thought worthy of its own definition. This was and is Royal Trux: innovators and dedicated lifers among the sounds they love. Odds are, whether you know it or not, if you find yourself reading this you’ve been touched by Royal Trux. But only in the right places!

Now you know a little — but Royal Trux got a lot of things to come, including the forthcoming upcoming fly-in tour of Euro and UK festivals, as well as a musical and journalistic trip back to Austin. Texas, where last year’s Psych-fest was cancelled by rising water, this time in the name of that which we call (the new) SXSW. They took to the stages and played with no more than a day to prepare, creating unhinged music from their the solid undercarriage of their songs. With more shows in the pipeline, all we can wonder is all we’ve ever wondered about Royal Trux — what’s next?

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Foto: © Jen Neil