Da war die Musik, da war der Beat, doch vor allem Fred Rapid: Am 05. März 2010 veröffentlicht das Label Haute Areal in Zusammenarbeit mit dem Kölner Kunstbuchverlag StrzeleckiBooks das Debütalbum Glassworks von FRED RAPID.

Ähnlich Paul McCarthys berühmten »Trunks«, die ab 1982 mit den Props seiner Performances gefüllt wurden, sind die »Three Boxes« konzipiert, die Videofilme aus den Jahren 1970-75 enthalten und als geschlossene, aufeinander gestapelte Kisten ausgestellt werden. Ihr Inhalt wird in der vorliegenden Publikation erstmals und einzigartig öffentlich gemacht und dokumentiert.

This soundproject was curated by Jacob Fabricius and Tommy Lund.

Oliver Augst, Rüdiger Carl and Christoph Korn are Blank and they play the Duden.

A new publication comprised of book and record, "September Spring" documents a project of the same name held at The Kitchen from September 10th - October 10th, 2015 - curated by Lumi Tan.

“Musicforcicadas” [is] an extended collage of Japanese singing and insects, folded and endlessly looped into a hypnotic Steve Reich/Oval-inspired minimalist glitch mantra.

Das Heft richtet sich, um die, Zitat, »besten Musiken der Welt« ans Tageslicht befördern zu können, naturgemäß auch gegen kunstfernere Geschäftspraktiken, die sich allseits fest etabliert haben.

»Wer hätte nicht einen flüchtigen Schauder, eine geheime Scheu und Beklommenheit zu bekämpfen gehabt, wenn es zum ersten Male oder nach langer Entwöhnung galt, eine venezianische Gondel zu besteigen?

This issue of Metronome is the result of two situations reflected under the chapter headings Magnetic Speech and Le Bâtard, and preceded by introductory texts.

Ein ruhig gelesener Vortrag, ein lebhaftes Zwiegespräch und ein expressives Stück Sprechtheater deklinieren die Möglichkeiten einer rein auf Sprache basierenden imaginären Musik.

Kim Feser, Matthias Pasdzierny: „… and a musicologist present at all times“ – elektronische Tanzmusik im Fokus populärer Diskurse und akademischer Forschung.

Das Album "Du" des Wiener Musikers Thomas Declaude im CD Format.

Publication following Thomas Hörl’s exhibition at the Salzburger Kunstverein (12/13/2014-02/01/2015).

The research of Mariateresa Sartori revolves around three thematic fulcrums: empirical scientific method; behavioural dynamics, often in relation to neurosciences; music and sound in relation to language. Depending on the project she embarks upon, the artist uses different mediums ranging from drawing – whether for small or wall-size works – to pinhole photography, video, and sound recordings.

Booklet zu Spacelength Througth mit Enigmatic Whisper 12” Schallplatte; eine Ergänzung zu Printed Cinema #17

This LP is a collection of 29 pieces recorded 1980-84. Outsider art home-recordings using voice, acoustic guitar, accordion and bontempi organ.

An audio portrait of British artist Liam Gillick, An Idea Just Out of Reach was recorded at the Hamburger Bahnhof in Berlin in February 2009, and records his thoughts on everything from his own work to larger matters of contemporary art. As a talker and an interlocutor, Gillick proved to be quick-witted and always open to new perspectives.

Wiener Festwochen 1961 CD

"Interesting Productions" erscheint anlässlich der gleichnamigen Ausstellung von Bo Christian Larsson, Murena und Tobias Yves Zintel in der Lothringer 13 - Städtische Kunsthalle München.

A sonic documentary of a series of projects, performances, exhibitions, and collaborations.

«Das magische Quadrat» ist ein Erlebnis für Schönberg-Anfänger und -Kenner. Die Box als Archiv selten zugänglichen Materials ist zugleich ein ungewöhnliches, anregendes Instrument zur Vermittlung von Musik- und Kunstgeschichte im schulischen und im privaten Musikunterricht. Im Stile eines Lehrmittels angelegt, will das "Magische Quadrat" seinen Benutzern keine Lerninhalte eintrichtern, sondern zum handelnden und forschenden Aneignen animieren.

Exploring the infra-spaces between images, sound, and voice in the work of artist Marcelline Delbecq, in conversation with art historian Pascale Cassagnau (in the framework of the “Beyond Sound” interview series, dedicated to sound arts).

Die unbehaglichen, aufwühlenden und verstörenden Stimmen in Ulrike Müllers Audioinstallationen verkörpern die Affekte gegenwärtiger Entfremdung und die freakhafte, nicht anpassungsfähige Eigenart des Individuums. ZuhörerInnen werden in gesprochenen Texten mit der Erfahrung der eigenen grundlegenden Differenz von anderen vor dem Hintergrund sozialer Begegnungen konfrontiert.

This interview with Romain Kronenberg by curator Anne-Laure Chamboissier traces the filmmaker's progression, from his first projects to the most recent, including some currently in development. It reveals the complexity of a body of work where the relationship between image and sound is constantly reinvented with each new creation. (in the framework of the “Beyond Sound” interview series, dedicated to sound arts).

"Subetage" is an English-language non-fiction work featuring interviews with and about Sabotage comrades-in-arms. For the first time, strategies in the music sector, nasal perspectives, design and fashion tactics, future operational objectives, and free-land zones are discussed in interview-like conversations.

„But, there are always people who do, kind of, die, in sort of part of a creative process, and we need to, kind of, cherish and appreciate those people. That was a bit of a downer wasn’t it!“ Peter Sleazy Christopherson.

Requests and Antisongs is an artist’s book to accompany a sequence of exhibitions by James Richards held at Bergen Kunsthall, Norway; Institute of Contemporary Arts, London; and the Kestner Gesellschaft, Hanover.

o.A

"Born to be a Star" geht dem Paradigma des Starsystems unter dem Aspekt der ästhetischen und symbolischen Produktion und seiner kulturellen und popkulturellen Auswirkungen nach.

Signal-to-Noise

Die Bedeutung des Kunstwerks im ausschließlich musealen Sinne gibt es kaum noch. Heute liegt der Fokus in den Künsten vermehrt auf dem Entstehungsprozess und der Interaktion. Da so kaum etwas Konkretes übrig bleibt, sind Dokumentationen umso wichtiger geworden: Sie sind gewissermaßen das neue Produkt des Kunstprozesses.

Trance has been the flagship for electronic music across the globe during the nineties and early zeroes. The sound’s trademark optimistic and euphoric aspects has brought some of the most compelling musical pieces of its time, and undoubtedly had a significant influence on future electronic music to come. Yet, its historical significance has been highly overlooked.

Florian Fusco spent three months (Oct-Dec 2010) interviewing homerecording artists in their homes and bedrooms in Greater Manchester and Blackpool. - comes with CD

Texts by Johanna Billing, Christian Nae, Christian Jendreiko, William Tyler, and James Merle Thomas. Photos by Jörg Koopmann. Collages by Martin Fengel

With texts by Benjamin Aranda, Bryce Dessner, Francesca von Habsburg, Florian Hecker, Caroline A. Jones, Chris Lasch, Tony Myatt, Matthew Ritchie, Mark Wasiuta, Peter Weibel. Photography by Todd Eberle.

Buchla creates immersive, intricate, and at times overwhelming soundscapes carried by masterful viola and synth renditions, broken up only by his dark yet soft, almost hushed voice.

The Möbius Cantata ZART provokes a musical experience along the “eventhorizon of time”. (German / English)

"Ich, Uwe Bressnik, Kärntner Künstler" und "Io, Uwe Bressnik, artista austriaco": in diesen minimalen Differenzen erscheint das Bild einer sehr ernsthaften, ironischen, in vielen Medien und Stilen operierenden Künstlers, der hier eine ganze Reihe von Autoren zu intensiven Auseinandersetzungen mit seinem Werk verführen kann.

CD

Anlässlich der Welturaufführung von Michal Kosakowkis „Just Like the Movies“ in der Städtischen Kunsthalle München erscheint diese Publikation in Deutsch und Englisch, in der Bildcollagen von „Just Like the Movies“ Texten von Goran Mimica und Joseph Denize gegenüber gestellt werden.

General Fundy is the name of a collaborative audio art project critical of "the decadence of Western policy and Western economy."

Lavishly documenting in music manuscripts and texts the historic May 15, 1958 concert at New York's Town Hall. Includes Cage's essays "The Future of Music: Credo" (1937) and "Experimental Music" (1957). Original second edition printing.

Musik für die 35 mm Filminstallation „Expressive Rhythm“ von Florian Pumhösl. Veröffentlich im Rahmen der Ausstellung „Florian Pumhösl. 6 7 8“ im Museum Moderner Kunst Stiftung Ludwig Wien vom 3.März – 29. Mai 2011.

“Arc” by award-winning author Paul Savoie is a poem which captures the pensive impressions of a moment and is suffused with a quiet musicality. Savoie’s passion for and practice of music inform this long melancholy song. Mélanie Mesager, a French dancer and scholar in contemporary dance, selected a few passages (in bold in Savoie’s text) and,

Published on the occasion of the exhibitions: Cachivache Bugui Bugui at Bozar Brussels and The Sound of White Smoke at Krinzinger Gallery Vienna

With texts on The Visitors, Stars Exploding, and The Man, an Interview with Edek Bartz and Ragnar Kjartansson, a Who is Who of the Visitors by Ragnar Kjartansson, and much more.

Music has been just as central as art, film and architecture in the formation of the German capital’s unique identity, although too often neglected by Berlin’s historians and biographers.

NELLA FANTASIA is a study about horizontality, time, and nomadic structures. (deutsch/ englisch)

Trance has been the flagship for electronic music across the globe during the nineties and early zeroes. The sound’s trademark optimistic and euphoric aspects has brought some of the most compelling musical pieces of its time, and undoubtedly had a significant influence on future electronic music to come. Yet, its historical significance has been highly overlooked.

Die Publikation "Sound" widmet sich der Bedeutung des Klangs in der bildenden Kunst.

Bruce Russell is like, the granddaddy of new music. If you think the dings and tings you're hearing in low lit performance spaces are out of this world, imagine what he's been up to for the past few decades. From the Dead C to Handful of Dust, he's made his mark by refining (and redefining) sound art from his hometown in Dunedin.

The Danish label/imprint arbitrary announces the release of Framework 3 (arbitrary11) by Mads Emil Nielsen. Framework 3 is the latest instalment in Nielsen’s sequence of graphic scores and recordings. The series includes the Danish composer’s own subjective translations of visual materials and sound pieces accompanied by visual notations.

Stimmbänder und Abstimmungen. Pop und Parlamentarismus. Voice Definition Verstimmungen zwischen Kultur und Politik. Sprechen von und Sprechen für. Data Corrupter. Die Stimme, die du selbst erhebst und die Stimmen, für die du eintrittst.

Koproduktion mit der Kunsthalle Wien

Fourth part in the Selten Gehörte Musik reissue series. Two CDs packaged in illustrated 12“ LP gatefold-sleeve. Edition of 500 copies.

Although John Cage occasionally worked in large, sophisticated studios - for example, when he composed Fontana Mix in 1958 - his approach to electronic and tape music was often uncomplicated, makeshift, and pragmatic, employing simple tabletop devices: tape machines, phonograph cartridges, contact microphones, record players, portable radios, etc.

The first release on Decemberism records is a document of the temporary bar that the artists Lucy McKenzie and Paulina Olowska ran for one month in Warsaw, 2003, in collaboration with Foundation Gallery Foksal.

D/P/I (Alex Gray) is a musician, DJ and visual artist from USA; he has made music under the alias of Deep Magicand as a part of various Sun Araw Trios, Duos and Quartets. Now, most of the time, he plays drums, guitar, or saxophone at home for his other half & two cats. Here he presents Composer. Mastered and cut by Rashad Becker at D+M.

BREAKING THE BAR was commissioned by the Bludenzer Tage Zeitgemäßer Kunst and performed there on November 29, 2008. Following the instructions in the score, the musicians broke bars of chocolate on their chairs, and the audience was offered to eat the bits and pieces. Subsequently, the chairs were taken off the stage and placed in the entrance hall where the audience could read the score on the glass facade. The drawing measures 27 x 2 m.

«An Unhappy Archive» versammelt künstle