New Media Talk No 36 | Neil van der Linden
‘The Invisible Orchestra.
Losing Sense of Space and Time.’
How initially plain Romanticist composer Richard Wagner conceived the idea of the Total Work of Art and not only revolutionised music and theatre, and aimed to change visual art, but also deeply influenced philosophy (Nietzsche) and psychology (Freud(, and even politics. And it paved the way for French impressionism in music, Debussy, and German/Austrian and Russian expressionism in music, Richard Strauss, Schoenberg, Stravinsky, Schreker, Korngold, Hindemith, and even German expressionist film, Murnau, Lang, Wiene. And what are contemporary answers to his radically new but sometimes hypertrophic ideas?
Having graduated in medicine and law, Neil van der Linden is curator, programmer and matchmaker in arts in the Middle-East and North-Africa.
Thursday Feb 2, 2017, 5-9 pm
New Media Projects:
No 3, Arabi 3 St., Kheradmand Shomali St.,
Karimkhan St., Tehran – Iran
Tel: 88829253 – 86071640
New Media Society in collaboration with Noise Works presents
New Media Talk Series #33 | Andreas Specht
Memory in Circle
Artist talk with Andreas Specht
Wednesday, December 21, 2016 – 7pm
New Media Projects
Andreas Spechtl, born in Austria 1984, studied Media Science in Vienna and is currently living in Berlin.
Now and then he ́s also writing about music and literature for German and Austrian newspapers as well as online platforms like Spiegel, Falter or Fm4.
Over the years Andreas Spechtl was frequently invited by Cultural Institutes like Goethe Institute or DAAD to various countries like Italy, Ghana, Egypt, Sudan und Great Britain. In Alexandria he held a workshop at the Bibliotheca Alexandria with music students and developed some songs that were later performed in the Great Hall of the Bibliotheca. In Sudan ́s capital Khartoum he held a workshop at the University of Music Sudan and also one at an elementary school, recording some of his songs with children between the age of 7 to 10. In Birmingham’s Aston University he held a 2 weeks course on German and Austrian pop culture and discussed current political events in Germany and how they have influenced his work. He will be returning in Spring 2017. 2016 he spend several months in sicily ́s capital Palermo working with the artist Uwe Jäntsch on a soundtrack for his famous outdoor installa- tion Piazza Garrafello. Andreas Spechtl also frequently participates in panel discussions throughout Germany and Austria, regarding the topics music production, literature, poetry and politics.
With his Band Ja, Panik he recently published a book called FUTUR II, which was critically acclaimed throughout Germany, Austria and Switzerland.
His group Ja, Panik is traded as one of the most influential music groups in Germany of his generation. They have reached several billboard chart entries in Germany, Austria and Switzerland and released 5 full length albums in their ten years of existence.
Andreas Spechtl started to play the piano when he was 6 years old and changed to the electric guitar at the age of 10. He studied guitar until the age of 22 at Joseph Haydn Conservatory in Eisenstadt/Austria. Over the years he also taught himself to play the drums and the electric bass. In recent years he expanded his interests to sound production and electronic music. He arranged and produced two albums for the acclaimed german singer Christiane Rösinger and released his first Solo Album Sleep in 2015, which he recorded and played largely on his own. This album marked a turning point in his career as he moved away from his roots in classical songwriting towards an approach grounded in old dub techniques using the mixer and diverse effect devices as his main instrument. His album was described as a very genuine mixture of Ambient, Dub, Folklore and Italian Film Music of the 60ies.
He himself always states the importance of working in different layers. The first layer, and starting point, are mostly field recordings Spechtl habitually does when on the road with the band or traveling on his own. What he is most interested in is recording background noises, the humming of taxi motors or the summery nighttime chatter in front of a bar. These background noises of politics, machineries and everyday chatter are the actual starting point – the ambience which he’s recording and gradually turning into tracks. He somehow sees this recordings as the lyrical layer in his work, that has now turned mostly instrumental. What he once used to sing about, talks now for itself.
New Media Society & Limited Access Festival in collaboration with Aaran art Gallery and Polish Embassy in Tehran present:
Polish Video Art (1973-1979) – Yet Unwritten Story
Lectuer by Dr. Marika Kuzmicz
Saturday 27 Feb, 2016. 6 – 7 PM
Aaran Projects, room 2
Video art in Poland first emerged in the early 70s. Despite the inaccessibility of equipment (like video cameras) in that time in Poland, video soon became important medium, used by polish artists in diverse ways.
Avant-garde artists (members of independent experimental groups like Workshop of the Film Form and Gallery of Current Art), based on their experience of experimental film, explored the relationship between reality (visual reality) and the perception of the viewers.
According to this, they used video to make viewers fully aware of traps and manipulations of mass-media and of reality. They analysed the properties of broadcast television and it role in everyday reality in communist country. Only a few of them, like Paweł Kwiek and Jolanta Marcolla (first polish female video artist) received access to the TV Studio. The result of this situation were significant works of Kwiek “Video A”, “Video C” and “Video P” (1974/5) and – not preserved works of Marcolla “Dimension 1-4” (1975).
Polish video art of that time includes also video installations by Wojciech Bruszewski and Andrzej Różycki among others. Installations are evidences of intensive examination of the nature of this medium in the field of visual art in Poland and exploring its potential of communication of abstract ideas or communication, in general.
History of early polish video still need to be developed but for now, important video works are accessible in Arton Foundation on-line repository. The goal of that document is to present selected, significant works and artists, based on the content collected by Arton Foundation since 2011.
Dr. Marika Kuzmicz – a graduate of art history at the University of Warsaw, PhD in Institute of Art, Polish Academy Institute of Sciences in Warsaw. She conducts research on polish art of 70s. Head of Arton Foundation (Warsaw), non-profit organization, concentrates on researching and exhibiting polish art of the 70’s. The curator of contemporary art exhibitions, including “Conceptualism. Photographic medium “(Lodz, Poland, 2010) and” Conceptual Photography Poland “(Berlin 2011), “Doing the Impossible Light” (in cooperation with Florian Zeyfang (Warsaw 2015) and many others. Co-author and co-editor books devoted to the polish art of 70s. Lecturer at Warsaw University and Collegium Civitas (Warsaw).