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| Daisuke Ishida being interviewd by Sabine Sanio |
Cultural Identity...this is a topic one can approach pretty widely.
That´s kind of what happened last saturday at ACUD Macht Neu in Berlin. The organizers Berlin Artist Program from DAAD and Deutschland Radio Kultur - Klangkunst let the discussion pretty open and many interesting thoughts came out of it.
I was writing all the time and wanted to share with you some issues that have been spoken, but as I don´t have the permissions, I won´t write names.
Take a deep breath and...here it goes:
sound travels easily
radio travels easily
the concept of belonging to a culture
or a nation is totally obsolete
sound and video and soundscapes
making sound art not using it as an
identity
using cooperations without signifying
new identities
coming from soundscapes recording
prespective with working with musiciains
leaving the listener the context
african masks if there isn´t any sound
art in africa?
maybe not in the galleries, but on the
street, in front of your home, the guy who´s doing your shoes uses
his instruments to make music
lagos influences me more to make sound
art
can´t sleep here because it´s too quiet
maybe berlin will make me listen
differently
contrasts
provoque very loud and very quiet sound
we never discuss about cultural
identitites
tuff words
reading a poem in japanesese is the
same as singing
basho: drop on the bowl, the sound of
it inside the liquid
the sound in japanese culture he has
been aware of it and it has been like this for ages
creating an environment without any clear source
ordinary place and a sound coming from
somewhere
everyday life´s consciousness
doing the same routine
criticism
being confronted with something in your
routine
making art bringing confrontations,
intervenience
sound art technology poiesis
creating something
tracking the city
japanese pottery when you get the crack
gap in the golden locker you emphasize the crack
fixing the pottery is as a very
personal way the surface is named landscape in japanese
to fix it emphasizing the crack to make
it more personal
finding your own crack in the city
bottom up activities
try not to control, but it is clear
what i want
eating alone
a website collecting pictures of people
eating alone in a restaurant
big table with playful situations
sensors
when you flip the beer something´s
coming up
it doesn´t have to be sound art
after this internet thing
still therefore we´re still living in
this situation
on normal streets, i am physically
present
not a question of cultural identity but
of everyday life
it´s me or not me
everyone with his/her own life
round table
1. visual or sound – contrast
2. relationship between everyday life
cultural identity
3. is it possible to change what sounds
stands for
4. what kind of a perception is sound
5. political and economical power
behind this possibility to move between different cultural identities
6. cultural identity or artistical
identity – is it important?
2 gigs in asia
french institute – unpolitical,
entrance fee, elitist, no one interested in music
diy – political – inviting people
from the neighborhood
politicians are not interested in art,
are not curious
problem is also in the politics of the
art, that you have to present a result
what is art for us?
haus der künste
boxes
labels
to be widely open is producing problems
if you include so many things in this
discussion like traditional music you can end anywhere
art is based on legitimation
labeling
present ourselves something useful
sound art comes from visual art
allow certain people to question
is art a product?
if somebody has an approach based on
listening, if the result is traditional music, why is it not sound
art?
not in traditional chinese art, not
based on listening
to break the routine in sound is and
european approach
why would ishida´s work not work in
africa?
what is africa?
curators round table
how international is experimental music
today really?
very international, because of
internet, people are creating networks, subculture is growing big out
of mainstream
if we consider sound art in the berlin
sense,
are african artists and artists from
non-mainstream countries reaching europe?
sound art is not as much sold as visual
arts
sound art white male middle upper
class?
i´m not interested in the sound art
term
here in berlin yes
but in turkey there are lots of turkish
artists
so why are they not here?
people not getting visa to fly to
europe
but otherwise the societies are not so
white
book about the turkish scene
it was like this in the 70es that
turkish people were more integrated to the punk and noise scene
why do you travel?
first frustration
people telling that in africa or in
asia there was nothing
i decided to go there and bring lots of
music and make people listen to it
even people in the places ignore what
people in the neighborhood were doing
people in china didn´t know a thing
about vietnamese art
or in tunesia about nigeria
so i was wanting to connect them
to me internet is not enough
if you have a vynil, a cd or a tape,
you listen to it
like a book
artists in asia
how do they deal with the cultural
market?
are they avoiding traditions positions?
i´m not interested in sound art as a
medium, but in sound as a carrier of approaches
the other one brings his curiosity and
organizes things on spot, not importing artists from the outside but
using what´s there with new point of view
to create other kinds of rhythm in
reality, a kind of arrhythmia
taquirrhythmia
to bring in some thrive
there are different ways of
understanding art
in Island if i say i´m an artists no
one is asking me what kind of art i do
as a curator, what´s going in the
nerves
china for instance
people are stopping doing art and doing
entertainment instead because it gives money
the chinese state injects money only to
get an image,
but for other countries there is no
state funding, and only private
expectations, challenges of curating
challenges: finding the finances,
creating the concept, mediation, communication between the works
funding
as an artist I spend 80% of the time
working on applications
how can we explain to the politicians
how important is it what artists are doing?
i cannot pretend to make a big project
in africa
it is the question of making it work in
the reality
an invitation of an academic body means
that you are already used in the moment you are there
applying for cultural funding is having
to fit in the frame
i think the frame is very elastic
yes you can do big projects in africa
i dont´think it is a good idea to do
everything conform
explore the area of crowdfunding
the work of an artist is to reflect the
imperfections
and i see now different imperfections
now as the time i was in iran
recorded in a refugee camp in germany
person singing is from algeria
a folcloric arabic singing
if i had two haearts i would leave one
behind and bring one with me
reflecting the situation of being
forced to move
how is it for you to be from mexico
being here,
are you more here or in mexico?
the contrast of living in these 2
places is what interests me more
you have reality, visual materials and
sonic materials,
you want to confront us with the
reality?
produce entropy, the negative, the
black whole
confront with the situation and the
meaning is not important
like being in front of a wild animal,
that´s stronger than you
the work with the bell
exhibited lying on the floor, not
sounding
and after the exhibition being
destroyed
a bell means a sound
you can buy itit for a private gallery
but if you buy it you would have to
accept that the object itself will be buried under a church of the
16th century in mexico
where people where buried alive
centuries ago
i´m not interested in this discourse
in first person
art practice is an ethical position
art practice adressing his own person
is egoist
bowles travelled in marroko 1959 with
the idea of preserve it recording savage sounds
i see there potential of working with
this
ahwach music and poetry in marokko
bowles positioned himself as an
invisible expectator
trying to give a detailed description
he never sees himself as an observator
a kind of a lack of criticism on one´s
own position
trying to rediscover a story behind the
making of this archives
what stays from the first topics of the
day
finding ways to work around
difficulties can be very empowering
raising the question of what is sound
art or not is important
post-colonialism
who does the sound belong to
how is it, to record cultures and make
sound art with it?
for me it´s over,
i think it is important to separate
sound art and ethnological work
mapping sound is interesting for
historic reasons
the concept of landscape in art at
least 200 years old
the concept of soundscape in sound art
is at the most 50 years old
soundscape is objective and not
subjective
sound is phenomenological, you have to
be there to experience it
problem of sound mapping is most of the
time you access it in a compressed file
possibility to be in areas where you
cannot be, remote areas
my problem with urban areas, most of
the times it becomes this touristic postcards
playing deutsche bahn in mexico or of a
market in mexico in germany
the artists do they work and most of
the times, the artist is wrong
if you want to understand different
realities the frame must be smaller
it depends of the intention from who is
recording
maybe the problem is not the material
but how i put my position clear
i don´t think i have to bring
something new or provoking
when i play field recordings my goal is
to please myself and hope that the audience will feel good
for me there is a difference between
handcraft, art and creativity
i try to allow myself to get surprised
i think it´s impossible to say you
haven´t heard nothing new in the last 10 years
there is a lot of stuff that happened
before and haven´t been heard
i think he doesn´t mean something good
one wants to make the audience feel
good
and the other want to provoke, to
confront people with the work
for me as a sound artist
i can use any sound material but what
is my sujet?
if i use sound of praying people it
could be a problem for this people
i´ve been to a field recording
festival,
that´s not sound art for me
but almost a kind of journalism
we can record if we want to
there are things you can only things
when you´re there
i don´t wanna see your vacation
photos,
i want to be there
luc ferrari is incredibly personal in
farthest land
i don´t see the benefit of saying
something is over
what do you mean by field recordings,
what kind of practice, etc
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