Rough Trade II Interviews: Philip Fryer | Elena Katsulis & Erin Peisert

 

ERIN PEISERT & ELENA KATSULIS

 

Elena Katsulis and Erin Peisert 2012 from The Present Tense on Vimeo.

TPT: How did you meet? How long have you been making work together?

E&E: We were once co-workers. We bonded over a mutual love for performance and decided that we should collaborate. We’ve been working together for about a year and a half.

 

TPT: Can you describe your process for collaborating?

E&E:  Most often, it starts with an interesting image, concept, or material that we’d like to explore. After some discussion, we realize that there is usually an implied subject to which we both relate; in a general way. Then we share our personal impressions and individual experiences in relation to the subject and these are what form the more specific intentions behind the piece. In terms of collaborating on durational work, we’ve discovered a previously unexperienced level of investment and accountability. It is very different from performing solo. As a duo, you find it’s necessary to find that general commonality and put your specific differences aside.

 

TPT:  Do you have individual practices? Can you talk about them?

Elena: I have done a few solo pieces, and also work with a performance trio called KEN. We use movement, music, hand-made objects and sculptural costumes. I also write.
Erin: I practice butoh dance, movement, some 2D visual stuff, and sounds.

 

Elena Katsulis & Erin Peisert 2012 photo by Daniel S. DeLuca

TPT:  How did the context of the Pozen Center inform your work?

E&E:  More than the Pozen Center itself, it was our relation to each other and those around us in the space that informed the piece. In the space of the Pozen Center, we decided to position ourselves in the front doorway; with intent to disrupt the expected pattern of foot traffic.

 

TPT: Why rope?

E&E: Physically, the rope functioned in binding us together; externally. It allowed for added dimension in negotiating our release. Aesthetically, it seemed like the simplest, most raw material. Visually this reminded us of a Chinese finger trap. Unable to successfully separate until both committed to doing so.

 

TPT:  How did you communicate through your piece?

E&E: We could sense subtle energetic and physical shifts; intuition. One would initiate and the other would agree.

 

Elena Katsulis & Erin Peisert 2012 photo by Daniel S. DeLuca

 

TPT:  The audience became concerned for you as the piece evolved. Elena was visibly cold and your fingers were turning blue. Some came over and touched you. How did this inform the work for you?

E&E: It definitely broke the traditional audience/performer unspoken boundaries. We were no longer just objects to be looked at. The fact that our physical well-being was a concern for those around us certainly brought a compassionate quality to the piece that we weren’t expecting. The viewers became actively invested. The people who came to warm our hands had the courage to step outside of, not just the traditional artist/viewer relationship, but possibly their own hesitation, in terms of breaking that barrier. That was particularly inspiring.

Elena Katsulis & Erin Peisert 2012 photo by Daniel S. DeLuca

 

TPT:  Can you talk about the intention behind the actions? Did that intention change once your were in the piece?

E&E:  We wanted to explore how two people relate to each other and how that relationship changes over time. One person’s actions and desires undeniably effect the other. When there is mutual investment, and over the course of time, one change will eventually effect the dynamic of the whole either by transformation or dissolution.
The intention didn’t change once we were in the piece, but once we were actually bound and laying on the floor, we became less focused on the intention behind the piece and more on the present situation. For me (elena), I had a hard time separating myself from the physical aspects of the action and surroundings. I was freezing, and shaking uncontrollably. When I could sense people standing over us and witnessing that, I started to shake even more. I became aware that people might be concerned about us.Visually this reminded us of a Chinese finger trap. Unable to successfully separate until both committed to doing so.

 

TPT: What were you thinking about during your piece?

Erin: I feel like my body-awareness is heightened when I’m at ground level. I try and be as present with every aspect of my physical condition as possible. I often think of Elena and how she’s doing. Sometimes I observed the space, the people in it, sounds, shapes, and light from a different perspective; the floor.

Elena: My mind was wandering. Like a graph that starts small, curves upwards, then slopes back down again. I was thinking about the smallest things: my toes, the temperature, etc., to observing the surroundings and what I could view of the people, to Erin and what she might be experiencing; and to larger concepts…then back down again.

 

TPT:  What were some of your expectations/ hopes (if any) of your audience?

E&E:  We didn’t have any expectations, but by obstructing the open doorway, we hoped that the audience would be engaged in a way that they weren’t expecting and that they might reconsider boundaries between audience and performer.

 

TPT:  Were there any moments that surprised you?

E&E:  Yes. One time was when we were treated us as, not art, but people through the warming of our hands. Another time, we both noticed that people had started to congregate around us; waiting patiently for what seemed like us to “do something”. After the piece ended, we talked about that moment and discovered that, while it it, we each had the initial impulse to move our bodies as if to satisfy a perceived desire for entertainment, but consciously resisted.

 

TPT: How was performing in Boston different from making work in Chicago?

E&E:  In Boston, most of the audience we performed for had very little preconception of our work as artists or of us personally. Elena was interested in how that informed their perceptions of the work, compared to some of our peers in Chicago who know us in a different way. We also noticed a great willingness by the Boston audience to wait out the duration.

TPT:  What imprints did Boston leave on you?

E&E:  In Boston there was a strong sense of community. It opened our eyes to a world of artists who initiate events; previously unknown to us.

 

TPT:  Why did you choose to create this work over the duration of 3 hours?

E&E:  We wanted to become part of the structured event as a whole more than an action to be watched from beginning to end. Even when we remain relatively still, as time goes by, there are many external variables which end up demonstrating that passing of time. By remaining for three hours, we hoped to show this change physically.

 

TPT:   What is the role of repetition in this work?

E&E:  Most often our performances do use very clear repetitive actions, however this happened to be one of our most static. Despite that, we did still experience similar changes in energy as we do in our more clearly repetitive work.

 

TPT:  What is inspiring you at the moment?

E&E:  Push/pull, initiate/allow, finding interest in the mundane, accepting not knowing the unknown, time, idiosyncrasies, reduction, bare essentials vs. excess, discipline (within reason) self-observation, ‘obstacles’

 

TPT:   What are you studying?

E&E:  Sincerity.

PHILIP FRYER

 

Philip Fryer “TREE/POOL/SKY” 2012 from The Present Tense on Vimeo.

 

 

Sandrine Schaefer:  How did the context of Defibrillator impact this piece?

PF: Since sound is such an essential part of this performance, the noises I found within the space really dictated how the piece was performed. The movable walls and the metal attached to the wall helped to lay out how and where I did each action.

SS: What was your inspiration for this piece?

PF: The lyrics of a Mount Eerie song titled “Summons”. It’s about a pool of water formed by the roots of a tree being pulled out of the ground when it fell over, reflecting the image of the sky. The visual of this in my head made me think about how these things are seemingly separate, but at that moment are connected. I aim to do the same in this piece, to find hidden things within a space and imagine what else might lie behind walls or under the floor.

SS: This was the 3rd version of TREE/POOL/SKY. How has it evolved?

PF: The first version in Boston was much more paired down, partially because it was in a small space. It felt unfinished so I decided to perform it again. A few months later I was in Montreal, where it really took on a life of its own. Many actions were added in that version, including sounding the space, peering at audience member through the black portal,  and recording and playing a cassette loop live. I had anticipated doing the same actions as I did in Boston but once the performance started I felt the piece wanting to fill the space (which was enormous). The third version in Chicago didnt really see any actions added, but they certainly altered based on where I was and who I was with. Rather than interacting with audience members I didn’t know like I did in Montreal, I chose to acknowledge people I did know (Sandy Huckleberry and Marilyn Arsem). Marilyn was the first person to take the interaction a step further and put her hand through the portal and touched my lip. I can’t explain why, but this interaction makes me feel like this performance is now complete.

SS: Can you elaborate on the sound that was present?

PF:  I like to think of it as a heartbeat. A heartbeat generated by the space that is unique and omnipresent. It is one of a million possibilities. 

SS: Talk about portals…

PF:  This is a new element to my work that is yet to be really explored. I have a feeling that the next things I work on will delve further into what a portal is to me. In TREE/POOL/SKY, it is simply something that can swallow a being or alter its form. 

 

Phil Fryer "TREE/POOL/SKY" 2012 photo by Daniel S. DeLuca

 

SS: Can you talk about the intention behind your actions? Did that intention change once your were implementing the piece?

No, the piece has stayed pretty true to what I set out to do. It’s the first time that I’ve had an idea that I’ve felt the need to explore until it feels completed by performing it several times. 

image

SS: Can you talk about the extension?

PF: The extension came to me more as a visual than as an idea. I really liked the image in my head of a body extension that erases identity and creates something that looks almost non-human.

SS: What did it feel like to engage in such an intimate action with the audience (eye contact through the portal) then to be cut off from them? When you couldn’t see or hear were you scared or did you feel that that first action cultivated a sense of safety in the space?

PF: I like the idea of an experience transforming over the course of time. Initially, this experience with the audience is an intimate one and only a few have it, which makes it kind of sweet. Later in the performance, the portal changes its tone and takes away my senses. It was very scary in this performance, however, I did a different piece titled “APOCRYPHA” there I stood on the edge of a shipping container for 3 hours wearing the extension. It was really scary because I was only a few feet away from a 10 foot drop, and the sensory deprivation made it so that I could tell how close I was to the edge. That was pretty scary. 

SS: Talk about Xfiles and John Cage.

PF: I recently came out of the closet as an x-files nerd. It’s really had a big impact on my work. I just really enjoy the fact that each episode is its own rhetorical question, and challenges the viewer to question things in our realities that we take at face value. I wish they had done an episode about John Cage, that would have been awesome.

SS: What are some of your expectations/ hopes of your audience?

PF: I really just hope that the audience gets something out of the performance. I hope what I’m trying to convey is coming across but I really like hearing interpretations as well. Marilyn push my expectations a bit because I don’t get a lot of unsolicited interactions with my work, and it was really nice to have that happen. It really makes you check in with yourself about what your doing and how your doing it. If someone is moved enough to interact in an unexpected way it forces you to evaluate why it happened. 

SS: How was performing in Chicago different from making work in Boston?

PF: It’s always something I think about when I don’t perform in Boston, that different cities have different influences and histories. Therefore, your work is going to be read via that lens. 

SS: What imprints did Chicago leave on you?

PF: The most American city I’ve ever been in. Looking at the Sears tower from an empty lot. Triumph and tragedy. 

SS: What is inspiring you at the moment?

PF: Lucky Dragons “Ouija Miore (A Wave That Interferes)” synthesizer. An interactive, sonic and visual synthesizer that utilizes both chaos and order. So. Fucking. Cool.

SS: What’s next?

PF: I’m searching for the “Tonybee Tiles” that are in Boston. These tiles are from some sort of bizarre personal mythology that led someone to embed into the streets and sidewalks. I’ve seen them before in other cities but didnt really take note until I say the documentary (Resurrect Dead) about them. They seem to be disappearing and deteriorating rapidly so they might not be viewable much longer. I love the idea of chasing a decaying idea and it feels important to what is coming next for me. 

SS: Any words of wisdom?

PF: “If you understood everything I said, you’d be me” -Miles Davis

Rough Trade II Interviews: Sandy Huckleberry | Adam Rose

The Present Tense is pleased to begin our series of extended interviews with artists who participated in our recent exchange between Boston and Chicago, ROUGH TRADE II!  To start us off, Sandy Huckleberry (Boston) and Adam Rose (Chicago) share their thoughts.  Enjoy!

 

 

 

SANDY HUCKLEBERRY

Sandy Huckleberry “Fishing” 2012 from The Present Tense on Vimeo.

 

TPT:  Your last few performances have been collaborative but this one wasn’t, how does your work change when its just you?

 

SH: I think my response in collaboration is a little like when I’m talking to someone with a strong accent and I just can’t help but start falling into the rhythm of that speech and doing it myself a bit. Either that, or I become a little more intensely the opposite of whatever’s happening. When working with Jeff, for example, I tend to get a little butch. Working with Mari, I tend to react to her intensity and slowness by becoming very quick and flighty. Working with her recently brought this to my awareness. I was almost like a dog shaking off water, trying to get through the task of the performance so quickly.

When I first started performing, almost 30 years ago, I had such a self-assured sense of “presence” (from being a dancer, singer, actress, etc.) that it kind of annoyed me. It almost seemed hackneyed, or something, so I wanted to throw it away. I oriented my work toward doing tasks, and got used to talking to the audience as if I were chatting with guests in my kitchen while I cooked. Working with Mari, and then seeing your performance at Defibrillator, I realized that (in comparison to your sense of presence) I had thrown my own “presence” so far away that it had gotten lost and it almost seemed like I’ve been hurrying through performances to get them done, as if they were the slightly less interesting items on a long to-do list. What they really are is a sacred opportunity to come into communion with myself and others. So I wanted that back, and for this performance I decided to give myself the time to try, and quite possibly fail, to do something almost impossible.

When I’ve just been working with others, and then work with myself, I’m still resonating to a sense of challenging/emulating an “other”, and so I think I look for the “other” in myself. This particular performance, I was trying to figure out some aspects of a recent experience that were obscure to me. So I was searching (or “fishing”) for something to be learned, something I knew was there but I couldn’t figure out. 

 

TPT: You mentioned this performance came from a childhood ritual, can you tell us about that?

 

SH: When we were kids, my mom used to make this game for my sisters’ and my birthday parties. She would hang a sheet over the chin-up bar that spanned the doorway to our bedroom, and each kid would hold a “fishing rod” (a stick with a string attached) and “fish” over the sheet and pull over a little treat or toy of some kind that they could keep. 

 

Sandy Huckleberry "Fishing" 2012 photo by Sandrine Schaefer

 

TPT: It was quite a difficult task to catch an object, was it that difficult when you were young?

 

 SH: Not at all. My mom was on the other side, tying the treats onto the string!

 

TPT: You had two distinct parts of this performance, one part on the ground with your objects and one above. Can you tell us about why you chose to have two different approaches to the same action and what they symbolized to you?

 

SH: Well, I think this goes back to the sense of searching for something. I needed an alternate place to get a perspective on what I was searching for. I didn’t know whether the forest or the trees would be more helpful. In the end, it was the forest.

 

TPT: Many of the materials used in this piece were things you got while in Chicago, what went into the process of choosing what objects you wanted to use?

 

SH: Well, I went into the thrift shop open to what I might find. I was looking for things I might, or might not, be able to catch on my hook. (Practical.) Other than that I just found things that I might be interesting to look at, or catch the light. (Formal.) I also hoped there might be some things that would resonate with me ( I found some goblets that reminded me of my grandmother) and some things I really disliked (a detached, broken plastic holder for speaker wire with a bit of wire trailing off of it). (Content.)

For the stick and stones, I went foraging on a lovely walk in a park and around the neighborhood. That’s always a huge pleasure for me, and an important part of the performance. 

 I borrowed the string.

I purchased the wig (my one “souvenir”). 

“Something old, something new, something borrowed, something blue.” Good for weddings, good for performances…?

 

Sandy Huckleberry "Fishing" 2012 photo by Sandrine Schaefer

 

TPT: Why the blue wig?

 

SH: That was actually the first clear image I had for the performance. Although I brought the emotional content of the performance with me, I waited until I got to the space to figure out the particulars of the action. My eyes were drawn upward (such wonderous high ceilings) and I saw the corner of the partition, that looked like I could climb up there. I got an immediate picture in my head of wearing a blue wig and looking through binoculars down at the crowd. I liked the sense of distance the wig gave me… distance from the “other” me that was toiling down below. I guess the wig was “she” (the forest) and the one below was “me” (the trees).

 If I think about it now, where that image came from, I guess I think of two things. 

One is that the idea of being up above the crowd, on that little partition in the corner, makes me think about an experience I had when I was about 15. It must have been 1978 or 9 and I was at a club in New York with some friends. It might have even been called the Triangle club. It was a tiny little place, a loft in the shape of an isoceles triangle. 60 feet at its longest, with a teeny stage in the sharpest corner. We’d gone there to hear an electric violinist called “Nash the Slash”. I guess it was what would now be considered a hipster place, because I remember Debbie Harry was there (she threw up in the elevator, as I recall) and so was David Bowie. He took a turn with the DJ, who was perched in the dark above us all on a tiny little platform at the top of a very similar partition against one wall, and began spinning tunes of his own choice for us all to dance to. Great memory. (I loved to dance!)

Anyway, the second thing was that I saw “Moonrise Kingdom” this summer and the girl in it reminded me of me at that age. Really into dressing up and being somebody else, somebody who wouldn’t be caught dead in the time and place in which she actually found herself. 

So, yeah, I think that’s why the blue wig.

 

TPT: Is there anything else you’d like us to know about this piece?

 

SH: Jeez! I’ve already said a lot. I never write this much about a piece! Mostly, I just do them and then they’re done. I sometimes tell people about what happened, if they seem interested, but that’s it.

I will say that I was able to feel more present and less rushed than I have in a while. Maybe it was because Marilyn’s piece was durational and Daniel’s was brief and in a “lecture” format, that I felt I had the opportunity, or even the responsibility, to take my time and allow the piece to be a longer one. The crowd was very kind (by which I mean attentive and enthusiastic) and it was only after that I worried I might have bored some people. (That’s always a speed-inducing thought if it occurs in the middle of the performance.)

So maybe I did find some of the elusive stuff I was fishing for…

 

Sandy Huckleberry "Fishing" 2012 photo by Sandrine Schaefer

 

 

 

ADAM ROSE

 

Adam Rose “Neu Iconoclasts: Wig Party” 2012 from The Present Tense on Vimeo.

TPT:  Your work explores the interstices of dance and performance art.  Do you feel that this has made your work more or less accessible to certain audiences?

 

AR:  Dance and Performance Art audiences tend to have different expectations, and I encounter different obstacles in each context.  Where as a dance audience might question my technique or level of training, or be confused and put off by the imagery I employ, a performance art audience might be disappointed by seeing something that’s ‘just a dance.’  

I think dance and performance art are two contemporary manifestations of a more primordial performance tradition that underlies them both.  I learn from performing in both contexts, and any confusion or misunderstandings that might arise are ultimately productive.  

 

TPT:  Do you have an ideal context that you like to make work in?

 

AR:  No, no context is ideal–not dance, not performance art, not butoh.  They each have their unique obstacles and expectations.  I enjoy the chance to perform in every context.

 

TPT: Can you talk about the role of personae in your work?

 

AR:  I don’t believe in the idea of a single self or single self-identity.  Anyway, I think it would be boring to perform as just me.  So I try to push self-expression to the point where the different aspects split off into separate characters with their own lives.  “My name is Legion, for we are many,” (Mark 5:9).  But basically I have two personas, a male persona and a female persona, Elena.

 

 

Adam Rose "Neu Iconoclasts: Wig Party" 2012 photo by Daniel S. DeLuca

 

TPT:  Who is Elena?

 

AR:  Elena is my goth girl persona.  I’ve been performing as her since 2007.  She is a witch and acts as a channel for my more purely gothic obsessions.  She’s a little more than just a character though–I’ve had several dreams in which I was a woman, or looked in a mirror and saw a woman’s face.  So she definitely is a strong part of my psyche, and is with me even when I’m not performing in drag.

 

TPT:  In Neu Iconoclasts: Wig Party, you used sound in an interesting way.   Can you talk about this choice, how you created the pre-recorded sound pieces, and the choice to use your voice as you exited the space at the end of the piece?

 

AR: In dance performance it’s pretty standard to use pre-recorded sound coming from a single sound source–you have a moving body that’s very present, and then a kind of distant layer of sound that seems almost arbitrary.  That can be frustrating, so recently I’ve been trying to make the sound more embodied.  

In Neu Iconoclasts: Wig Party there’s the sound of Elena’s (my) voice coming from a portable speaker tied around my neck, guitar samples playing from a guitar amp, and the overhead in-house sound.  I distorted my voice for the vocal track using auto-tune software, and created the rest using samples and a MIDI keyboard.  

Using my own, live voice at the end of the piece was not the original plan.  The pre-recorded vocal track was supposed to continue till the end, but I had transferred the wrong file so it ended early.  I had to improvise and it seems to have actually worked out better that way.

 

TPT:  You used the majority of the space in this piece.  Even if your body wasn’t present in all of the nooks and crannies of the space, your shadow or sound was.  Was this intentional?

 

AR: The Pozen Center is such a big space, I was determined to not be overwhelmed by it and instead conquer it in some way.  I’ve also lately been working with imagery related to Nyx, the Goddess of the Night Sky. As the Night Sky, she is also the Goddess of Space.  She embodies what appears to be empty, and so using the totality of the space would be an aspect of her expression.

 

Adam Rose "Neu Iconoclasts: Wig Party" 2012 photo by Daniel S. DeLuca

 

TPT:  Do you consider your work to be site-specific?

 

AR:  Not especially.  Although I do consciously plan and try to think about the space I’ll be performing in, and make last minute changes once I’m in it.  I’ve noticed that if I don’t consider the space enough, the piece is more likely to fail.  

 

TPT:  Something I was struck by was your use of facial expression in this piece.  Can you talk about this?

 

AR:  I naturally make facial expressions when I dance, and I wasn’t taught to suppress this in my dance training, like in more classical forms of dance where the face is not expressive.  Of course in Butoh, using the face as an element of the dance is very important.  I’ve learned to use my facial expressions more consciously, as organic masks, as a way to both engage or manipulate the audience.  

 

Adam Rose "Neu Iconoclasts: Wig Party" 2012 photo by Daniel S. DeLuca

TPT:  What is Antibodycorp?

 

AR:  Antibody Corporation is a non-profit organization specializing in mind-body and occult research.  Antibody uses the specter of the Evil Corporation as one aspect of its sorcerous work.  Biotech is currently impacting our everyday lives in many ways, through the foods we eat, the drugs we take, expanding the range of mutations that are available to the species.  Antibody takes a DIY approach to epigenetic mutation, on the premise that the body may actually be able to mutate itself by mental effort alone.

 

TPT:  Can you talk about your use of goth imagery?

 

AR:  In terms of the classical dichotomies of light/dark, male/female, left/right, and day/night, Western civilization has almost exclusively favored the right, light, male, and solar.  In Western culture, darkness is represented by the Gothic.  Gothicism emphasizes everything on the lunar and left hand side of the equation, and that’s what makes it worth paying attention to.  

Horror and goth may be considered low and adolescent forms, but it’s also possible to consider horror as a discipline.  There’s a discipline involved in continually turning towards what horrifies.  The longer you stay in negative affective states like anger and fear, the less human you become.  This can be seen positively as an evolution towards the alien, the above-human.

 

TPT:  Can you talk about the intention behind your piece?  Did that intention change?

 

AR:  Neu Iconoclasts: Wig Destruction is part of an ongoing investigation into the mythology of Nyx and her children, including Nemesis, which was a piece I performed over the summer.  Since civilization has obliterated the night sky with light pollution, making the stars invisible, Nyx exists as a strong adversarial current, opposing everything light/male/solar and right.  It was my intention to align myself with her.

 

TPT: What were some of your expectations/ hopes (if any) of your audience? Were there any moments that surprised you?

 

AR:  I try not to have too many expectations regarding the audience, but I was pleasantly surprised when I heard people laughing during the performance.  I always like to hear people laugh.  My favorite audience reactions are fear and laughter.

 

TPT:  How was performing in Boston different from making work in Chicago?  What imprints did Boston leave on you?

 

AR:  If I were to compare Boston and Chicago, I would say that Boston has these winding streets and Chicago is built on a grid pattern.  So maybe Boston is a more intuitive and organic place than Chicago.  Chicago is a very rational and productivist city, and that makes it crazy.  

I will remember most the conversations I had with Boston artists and audience members.  The atmosphere in Boston was serious, but also open-minded, generous, and not cynical.  

 

TPT:  What is inspiring and influencing your work at the moment?  What’s next?

 

AR:  The entire Midwest is inspiring me right now.  What’s next is Mistake on the Lake, a project I’m undertaking with Antibody ally Andrea Peterson.  Mistake on the Lake is Antibody’s response to the Midwest–what happens when the midwest reflects on itself, turns it values and symbols back in on itself?  

There is a tremendous aggressive energy hidden there, barely hidden behind a polite reserve and friendly smile.  You might say we Midwesterners are Children of the Corn–something strange and terrible is being birthed from these fields.  Mistake on the Lake will be performed in Chicago, Detroit, Columbus, OH, and at Antioch College in November.  

What I’m studying right now in relation to this project is a book on Chicago’s history, Nature’s Metropolis: Chicago and the Great West by William Cronon.  I’m continuing my occult research with Lords of the Left Hand Path by Stephen E. Flowers, a comprehensive history of sinister occultism.  And I’m reading Artificial Hells by Claire Bishop to figure out why participatory art makes me so uncomfortable.

 

TPT: Any words of wisdom?

 

AR:  The World does not need to be saved, and neither does Dance.  Beware those who force Dance to Speech.  Beware the Word.

Adam Rose "Neu Iconoclasts: Wig Party" 2012 photo by Daniel S. DeLuca

 

Johannes Bergmark – The Veloncell Marcel

The Veloncell Marcel is a hommage-copy of Duchamp’s famous Bicycle Wheel. The spokes of the wheel on the kitchen stool (and anything on the fork) are amplified through a contact microphone on the hub. Mine (made 80 years later), has a tyre and a dynamo, for the electrical sound (and light!) (thus the first “electric” instrument that I have made). It was exhibited at the Zanabazar Museum of Fine Arts, Ulanbaatar, mongolia, and donated to the Blue Sun group. It is now in use by the mongolian musician Magnai.

Amplified objects, improvised music, experimental musical instruments, piano technician, composer, writer. Sound sculptures, performance art, lectures, workshops. His materials are cheap, his methods transparent, inspired by the touch of the hands and the poetic appeal of found objects. Explores the microcosm of small sounds without electronic treatments. A performance is an improvised puppet play, he hopes to inspire people to create their own poor man’s utopias. Skeptic and surrealist, he has cooperated with 502 artists from 26 countries on 403 venues in 25 countries. Active in Fylkingen, Electronic Music Studio, Vetenskap och Folkbildning, the Surrealist Group in Stockholm.