Closure PODEWIL + New start TESLA

我在Podewil演出過兩次,那是一個很捧的多媒體藝術中心,很可惜關門了.

Closure PODEWIL + New start TESLA
of art program in the Klosterstrasse

On December 31, 2004 the art program of the Podewil was closed down.A new crew will take over the programming under the name “tesla” in the Podewils’ Palais on April 29, 2005.

Podewil 1992-2004

The Podewil – Center for Contemporary Arts says good bye to its audience.
12 years of art programming bear testimony to the Podewil’s effort, to
anchor the art of tomorrow – in political, aesthetical as well as technological terms – in the current art scene of Berlin and outside. Via a national and international network of cooperating partners, the Podewil initiated and supported newest developments in the field of music (curator: Elke Moltrecht), theatre and performance art (curator: Aenne Quinones, dance (Ulrike Becker/André Theriault) and media art (Andreas Broeckmann).The artistic contributions of around 2500 individual artists and groups guided the Podewil in becoming a venue for progressive and experimental projects. The spatial structure as well as the technical possibilities of the building in the Klosterstrasse facilitated this development: as it had a club, a foyer, a multifunctional hall, a small performance space, a dance studio, several rehearsal rooms and artists’ studios. More than 40 artists worked in the studios during their stay as artists-in-residence at the Podewil. Xavier Le Roy (1996-2001), zeitkratzer (2000-2002) and Gob Squad (2000-2002) are just three of those young and in thosedays not yet established artists who were provided professional work conditions by the Podewil for the first time in their careers. This initial support helped them to achieve good public reception and international reputation since then. The Podewil was a competent partner of the artists in searching for and finding new and adequate production formats and development methods. Manifold festivals, program series and projects in a lot of different forms, which evolved during the years, are evidence of the unorthodox methods and the vivid exchange that characterised this venue. To mention just a few: MontagsMusik, thematic music festivals (“Intonations -In selten guter Stimmung”, “off-ICMC”, “x-tract CHICAGO”, “x-tract Sculpture Musicale” etc.), “reich & berühmt”, “KÖRPERSTIMMEN – Tanz und Performance International” and the open-air summer program. Some of the festivals and program series that were formerly hosted by the Podewil have moved to other sites: The “transmediale – international media art festival berlin” (1993 to 2001 in the Podewil) has taken place at the Haus der Kulturen der Welt since 2002. The “Literarischer Salon Britta Gansebohm” has been presented since the beginning of this year at the BKA Theatre.
However, for the festival “Tanz im August – Internationales Tanzfest”
(since 1992 in the Podewil) the building in the Klosterstrasse will remain
a permanent venue also in the future.

We would like to thank to all artists, the critical and open-minded audiences, our partners, friends, supporters and our competitors. We are
confident that the Podewil will have left its marks in the cultural landscape of the city and far beyond.

Background information on the close-down of the Podewil

The closure of the Podewil was decided by the supervisory board of the
Berliner Kulturveranstaltungs-GmbH (BKV), the company that has been running the Podewil since its opening in 1992. The supervisory board headed by the Senator for Cultural Affairs, Thomas Flierl, initiated a public invitation to tender for the artistic programming of the venue in the Klosterstrasse in 2004. Beforehand the contract of Wilhelm Grossmann, managing director of the BKV since 1995 and program director of the Podewil since 1998, had been terminated.

The public tender made an end to the long lasting struggle to keep the
Podewil with its program profile as a platform for the whole variety of
contemporary art production. Back in 2002 the Podewil was for the first
time threatened by cuts of 750.000 € by the Senate of Berlin. This would
have meant the immediate closure. As a result of massive protests in the
art scene here in Germany and abroad the cuts were partially withdrawn. The reduction of financial support by the city were still substantial in the
years 2002 and 2003, which made extremely difficult to maintain the
programming at the acknowledged high level. Finally in 2004 the repeated
cuts resulted in a break down of program continuity. Established series
like “KÖRPERSTIMMEN” were confronted with a project budget reduced by 50 percent, highlights like thematic music festivals and the popular
“Sommerfest” had to be cancelled. On the top of that, the more unclear the
future of the venue became the more difficult it was to raise funds for
projects that depended on external funding like the performance festival
“reich & berühmt” for example did.

Among ten applications in the public tender a concept by Carsten Seiffarth,
Detlev Schneider and Andreas Broeckmann was chosen to be realised from 2005 on.

We wish good luck to the new crew and we hope that the art will have a good
place to stay in the Klosterstrasse in the long term

the former Podewil team

I would personally like to thank all artists, collaborators and friends who
have contributed to creating the profile of Podewil’s music program.
Even if the Podewil don’t exist furthermore in it’s previous shape, I would
like to inform you, that I’am still employed by the Berliner Kulturveranstaltung, GmbH.

Elke Moltrecht
Music Curator
Berliner Kulturveranstaltungs-GmbH

幻想打在后脑勺上—记11.26日根据地WPD Trio音乐会

哈!想指正一下我沒有做過師,雖然它是我往的職業,我PNF的一位隊友的確是一位中菜大他叫阿全,現是5星酒店的大.偉(I666,)是法菜大,可能因這為這樣而誤傳我也是師吧!我是讀設計和畫畫的.

幻想打在后脑勺上—记11.26日根据地WPD Trio音乐会

站在“根据地”门口的时候我不停的在演出海报前观望,深圳的冬季微带凉意,马路上的噪音声响凝成一股强劲的声浪把我罩在城市的喧嚣和夜色里,我像个崇拜偶像的小屁孩儿那样一遍一遍地浏览着一会儿就将给我视听输送新奇的那三个人的音乐履历,巴望着能从上面找到一些关于实验音乐的线索,因为我对这类音乐的聆听经验差不多为零,甚至可以套用中国著名乐评人郝舫的一本书名来讲就是“比零还少”。

正在看的那本书《法斯宾德论电影》里德国电影大师法斯宾德向我传达了他独特的“声音恐怖主义概念”,他说当今有什么东西会比来自电视、收音机、街上疲劳轰炸的声响、噪音、尖叫更为典型呢?作为被动地被卷入进步洪流的现代人,来自电视黑屏时的吱吱声、来自电冰箱暗夜启动时的嗡嗡声,楼下巧克力工厂的轰鸣都已经使我习以为常,这个充斥着噪音的世界像一袭巨大的尸衣那样覆盖在城市的星空上。

即兴噪音的概念使我联想起朋友王凡在沈阳的那次现场,那些来自台下的咒骂与疑惑使那个人为制造出的声场变得令人沮丧,而王凡的想象力也同样未能尽情释放。

李劲松是中国各类摇滚杂志经常提及的人物,其非凡的采样拼贴能力曾得到前卫音乐大师JOHN ZORN的击节赞赏,并赐其名曰“DJ DEE”;我是未闻其声,也未见其人,所以根本无法猜测他的音乐厨房里煲得是哪种味道的音乐靓汤。看介绍两个维也纳的老外来头都不小,曾与PET SHOP BOYS、LAMB这样的大牌电子艺人合作过,这次远赴中国来与李劲松合作,推广人的巡演名称也是煽动性很强“维也纳VS香港”,有点像游戏机里的对打互搏;不管怎么样,在这个夜晚里,我将品尝这锅标签为“即兴电子噪音”的前卫音乐之汤,滋味如何,还很难说。

当维也纳老头儿WERNER在那把横放在军鼓上的吉他上面敲响第一个声音的时候似乎没有几个观众是奔着音乐而来的,只有十几只照相机在闪闪烁烁地工作,间断的声音不时从扩音器里传来,这样的开始似乎我很少经历过,不会有人问:“你们准备好了吗?”也不会有那种口号式的呐喊:大家一起跳什么的。台上的人一丝不苟地在为声音、为未知的声场而工作。那把棕色的电吉他充当了独特的打击乐器,军鼓的共振使这种轻盈的敲击演变成随时空消逝的颤动。在十分钟之后,PATRICK的机器适时切入,给间歇的单调注射纷乱的质感,我有一种魔幻现实主义的感觉,似乎根据地酒吧昏暗的空间正在像“爱丽丝漫游仙境”里被连根拔起的房子一样,在深紫色的天空下缓慢的移动。噪声的昆虫扑扇着翅膀,正在分泌出的性质不明的元素。那架插满了插头及电源线的机器随着PATRICK的双手不息地变换着音源,而他的侧影落在我随灯光昏暗的视野里,我觉得他很像U2乐队的Bono。

李劲松的出场收获了稀稀落落的掌声,他长得就像香港电视剧里经常出现的典型的小资产阶级,框架眼镜,肚腩突出,面对那一大堆打碟机和苹果电脑以及其它叫不上名堂里的周边设备时其认真态度不亚于他在厨房里摆弄调料(据说其原职业为厨师,音乐原本是业余爱好,没想到玩着玩着就行驶上了轨道)。混成一团的音效出现了节奏,射向李劲松的灯光是暧昧的深褐色,转动着的不仅是灯光,还有DJ工作台上的黑胶唱片。WERNER终于像个吉他手那样抱起了吉他,画龙点睛一般地寻觅着节奏的空隙,然后把不成曲调的单音音符镶嵌进去,在左边的蓝色灯光下他那张日尔曼人特有的写满坚毅的脸显得分外肃穆。难以取悦世界大众的实验音乐原本需要一种持续的敬业态度和孤芳自赏的自傲去坚持和把握。

在声浪的汹涌当中我有一种想冲到台上去表演肢体语言的冲动,我想把身体打开成钟摆的形状去切割空气,或者在缓慢移动的冥想中让这集束而成的实验之声变成一把工具,把我的结构复杂的大脑抛开,把我的思维肢解在这不停摆动的噪音之海。

这时PATRCK那台机器播出了熟悉的苏格兰民歌“一路平安”的主旋律,吱吱嘎嘎地像一段谋杀前的破败序曲,破坏中的建设令人惊异。

在结束的一刻后面喝酒的哥们儿用破锣嗓子大声唱着:“神啊,救救我吧!”我笑了,我的幻想走到了终点,我要快点出去呼吸带着凉意的夜间空气。

外面不少CD摊在桌上卖,是李劲松和俩老外厂牌的出品,香港制造的最少也要卖五十块,奥地利来的是一百,真正的做到了价格上的曲高和寡,看来这种音乐最适合的消费群体是中产阶级。

我突然有了个奇怪的想法,如果有人问起演出怎么样,我会神秘地告诉他:我的幻想打在了后脑勺上。

——阿白—— 2004-12-1

正在忙Sulumi新專集的母帶處理

音樂很好聽是那種gameboy音樂類,比他之前DHC的可聽性,音色不錯,Sulumi的音樂越來越成熟了。不過發現在國內電子樂手用的聲卡普遍不專業,以致音質都比較弱,從收到的毋帶可以聽出.這點有點象早期玩吉他只有紅棉,成本底容易入手。