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FRONT COVER MICHELLE ANOUK. Pintando en amarillo HOM ISOBEL CAMPBELL & MARK LANEGAN. HAWK The beauty behind death 1
NAU NALYSSA GREEN. BAROCK Beyond your eyes
PARSLEYMUSIC. BROKEN FLOWERS Breaking flowers
MICHELLE ANOUK. ESCANEAR Living in red
eRikm. DOS D’ÂNES The mirrors awakening
NUA KENNETH ANGER Lucifer, mon amour
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ENVERS MARY ANNE HOBBS Discover the present 2 ESBÓS MICHELLE ANOUK Faktory
GRUNGE Graffreaks tactics
MU! Vertical illustrations
BORN DAAN Housewife
NAU NUA October 2010 Issue number 1 Published by NAU NUA ART MAGAZINE DL B-42.495-2010 ISSN 2014-0002 Edited and written by Juan Carlos Romero All contents used under license. All rights reserved to their legal owners and signatories for all the contents in this publication.
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ADRIENNE JALBERT Sculptures inhabited by the Haute Couture 3
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Adrienne Jalbert paints flashing calligraphies of a West which caresses the East. She sculpts incredible spheres of terrestrial metals that call to the Cosmos. And the French-American artists invents a collection of sculpture-clothing that take your breath away. Because from ther fascinating hands, this magician of shapes, gives birth to bewitching works. Reminiscences of her childhood? Of the piano and the harp she wished to learn? Of the dance that she mastered. Of fashion that captured her. Emerge sculptures of metal wires in love with movement. Of movement that inhabits the mind and allows to appear bodies, admirable and so marvellously transparent. Open, invisible women, astonishingly present. Offered. The regard is blurred. Troubled. Seized. Overwhelmed. With her fascinating hands that battle continually with the strengths of the metals, Adrienne Jalbert creates. Still more interlacing and weaving of materials. More volume and lightness. This lightness so well held and yet staggeringly airy and feminine. Born, an “Apparition”. A dream. A vision. An evanescent revelation of brass, bronze, crystal and gold. And if suspended above a Venetian wave, balancing and flying to the woman mysterious and moving. Dancing and exalting. Absolutely divine. Text by and courtesy of Anne Kerner. © 2011Ouvretesyeux All works by and courtesy of © Adrienne Jalbert Edition by Juan Carlos Romero
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ULRIKE HAAGE A light for the soul 6
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“Light is essential for my soul, I am like a plant...” Ulrike Haage was born in Kassel, Germany, near the river Fulda, and grew up listening to her parents’ collection of jazz records while she trained playing piano. Sound artist, pianist, composer, she has by the years developed a very eclectic music career which started as a teenager playing guitar and composing songs in a garage band but also playing classic piano and exploring improvisation. In her mind the sounds of Thelonious Monk, Stravinsky or King Crimson were always experienced from a deep and very special curiosity, always looking for new sounds, new spaces, new ways of expression, so essential to her art like the light she needs for her soul. In the middle eighties, she built the German Jazz band Reichlich Weiblich and worked on the theatre play Andi along with Peter Zadek. Then she met Frank-Martin Strauß, better known as F.M. Einheit, percussionist of the influential industrial group Einstürzende Neubauten, and they joined to Vladimir Estragon, a band created by the multimedia artist and multi-instrumentalist musician Alfred 23 Harth. As a result of their magnificent experimental spirits they release in the late eighties the album Three Quarks For Muster Mark, but the project died soon and Ulrike Haage continued developing her special creative universe. Music for fiction films, documentaries, dance, theatre and radio plays, as well as for children in her recent album Flügel und Katze, shows us that her music has no boundaries like the title of one of her latest solo album In:finitum (2011, Blue Pearls Music) in which we can discover how she works on minimalism as a life attitude, giving to the silence some of the space it’s losing in our daily life. As she says “a single tone has to have the expression of a whole orchestra”. What’s behind your In:finitum? Music! Great music, listen to it. Enjoy it. Despite your jazz influences from your parents you played guitar in a garage band, how it was? This was in my youth and felt completely alright. I was learning how to play guitar, I was starting to write songs and I was working with my friends in their first bands. We exchanged our visions and of course wanted to become famous musicians. Next to that I was starting to play classical piano and expressed myself in parallel by improvising on the keys of this fascinating instrument. Sometimes we met on Saturdays after school to listen to our collections of vinyl records together. That's how I came to know King Crimson and fell in love with drummers in general. These sessions were extremely exciting, because there was always new music to discover and to discuss. Later, taking the name from a Beckett’s character, you founded the band Vladimir Estragon along with FM Einheit, Alfred Harth and Phil Minton releasing the polyhedral album Three Quarks For Muster Mark. Jazz, rock, electronic and even opera reminiscences. Why was that project so ephemeral? This project was founded by Alfred Harth who asked me to join in. We said that we could each bring in a second partner. I brought FM and he brought Phil. That's how we formed the quartet. But FM and I were especially busy at that time with the Neubauten and the Rainbirds so the time of this quartet was slightly limited. It was also a child of a certain time. A time where we combined Free Jazz, Industrial elements and Pop and embraced extremes on stage. And then the new Rainbirds flew. Remembering the title of one of your albums, In a different light, what was the different light you provided to the project? I was asked by the singer and founder of the Rainbirds, Katharina Franck, to join in for concerts, future records and composing. I think that I brought my own cosmos into the band, more keys of
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course, different harmonies & collaborations with strings. I proposed for example a song for nine cellos and Katharina’s lovely voice and arranged it (todos contentos). Or I proposed that on each record we have one instrumental song that contained experimental elements. You’ve composed many works for theatre and radio. What draws you to these projects? I guess it is the exchange with other forms of art, language and expression. I love to work with words and actors. It brings the whole world of the body as a tool into the work. To produce for radio means to produce for a room without images. It challenges the imagination and asks the listener to participate. As a composer it gives me an enormous freedom. At least…I take it. Theatre, radio and films. Sometimes, probably too much, directors use music to emphasise. How do you work that kind of compositions? It depends on directors. I’m working a lot with documentary filmmakers, which is very nice. In general music emphasises pictures this is a fact. It can give a lot of power to images. First I am really observing the film, the edit, the people, the theme and try to find keynotes and soundmarks for the film, from which on I develop the compositions. What about the Ring project? Ring was a wonderful choreographic project, with which we toured throughout the world. It was an interactive piece, where music choreography and the spectators were the motor of the spectacle together. The part of the public was infused with touches and compliments of their personal dancers and the live played mostly electronic music supported our way of reacting to the different situations in each show! Each ending was a big techno party, our own and quite sophisticated techno. The piece Nunatak was created in dialoguing with the paintings of Anna-Eva Bergman. I think your music is deeply visual, at least that’s my experience with your compositions especially the ones from the recent years. How the light inspires you? Light is essential for my soul, I am like a plant, I get depressed when the weather is always grey like a lot of times in Berlin. And the abstract paintings from Anna-Eva Bergman or Hans Hartung inspire me because there is a lot of space to think and develop imagination in their paintings. For composing I prefer abstract art to concrete art, it does not impose anything on me. The light and colours in Bergman’s paintings are very subtly nuanced as she used also gold and silver foil. Your latest release is a duo with Eric Schaefer under the title For all my walking. Could you tell us about the creation process of the album? Eric and I were in Japan for three months. We walked together in the mountains and visited important Buddhist temples. We gave some concerts and travelled to cities like Osaka and Tokyo. During this time we studied the haikus of Basho and Santoka. The result was music we composed specially for our Duo and our instruments, the prepared piano and the suiruon, an instrument made of pottery, played like a xylophone with mallets. We then wrote a text to accompany our musical concept and invited a Japanese lyrical sopranist who sung and also spoke parts of the text. The result was first premiered in October 2013 on SWR radio and will now be released in May 2014 as a CD, with Sans Soleil. It is a very personal musical CD.
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Music, theatre, dance, cinema, radio, painting...what’s art? Art is everything that turns our day-to-day perception into more then the predictable. It can be your own pencil, when it does not write a word but draws a line. Do you think the avant-garde music will become classical some day? For me it is already. We are already in the middle of another time. People listen to music or consume music? Strawinsky said that Radio kills the music, because we start to consume it instead of studying it. I do not agree, as I discovered an enormous amount of music through special broadcasts which widened my horizon. I think that people in masses can be lazy and just consume two minutes of each piece of new music, but that has probably to do with the torrent of songs that come out each day in our times, each hour in our world today. It is true that the permanent availability of music on channels like spotify or simfy makes people think that they know everything and can talk about everything. This is surely not true, as you have to go deeper into the music, when you want to know more. And the live experience of any music is still unbeatable. Where does your minimalism come from? This has to do with my history. I grew up with bebop, cool jazz, all these great musicians, hardly any still living, who played their soul out of their bodies. With a lot of tones. Perhaps that's why I always preferred Monk or Garner or Miles Davis to others. Sometimes I just found it too much. I decided that a single tone has to have the expression of a whole orchestra. I worked a lot on articulation and sound on my instrument (the piano). During my classical education I discovered composers like Moondog, Steve Reich and Philip Glass. And I loved their first works a lot. I guess all this influenced my choice of going in a more minimalistic direction. Too much noise in the world? I just gave a seminary at the Leuphana University of Lüneburg where I am also artist-in-residence for one year. It was about sensitising our ears to our environment and reflecting what we hear in our day-to-day life. The chronology of my themes also brought us to the extremely modern subject of acoustic ecology as places of silence rapidly disappear. The discussion was endless, as first you have to open your ears and notice what you hear before you can say what silence is, what noise is and what’s required to be less disturbed by noise in order to enjoy the sounds of silence. Life is a lament? Do you quote the song ”Lament” that I wrote after the death of the pianist Esbjörn Svensson? Sometimes things do touch us very deeply. And the answer to these feelings can be a piece of music, a requiem, a lamento, no? A lot of the greatest music came out of deep shock, positive as well as negative.
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Could you tell us a dream? A real one or a wish? My main dream is that people use the achievements of the “siècle de Lumière” to tolerate and appreciate each other on earth so we become a creative free intelligent planet where profit mismanagement out of greed, the cold monsters politics, like Jean Ziegler says, should be prosecuted by law. I quote the Four Freedom Speech of Roosevelt from 1941: People ought to enjoy – Freedom of speech and expression – Freedom of worship – Freedom from want – Freedom from fear.
An interview by Juan Carlos Romero Photos by Thomas Nitz courtesy of Ulrike Haage All rights reserved
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LE VOLUME COURBE Dark and tense 12
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Since she killed her best friend I’m in love with her songs. The French singer and songwriter Charlotte Marionneau grew up in a small town in Pays de la Loire but she moved to London in 1995 because she felt in London music is part of the culture and she could be herself. From this achieved freedom, she created le volume courbe, her personal music project, and began composing songs collaborating with musicians like Hope Sandoval, Kevin Shields, David Roback and Colm O’Ciosoig, contributing to her debut album which was mostly recorded at home. The album was titled I killed my best friend like one of the featuring songs and it was released in 2006. The album opened with Harmony / Papillon de nuit which have been already released as a single in 2001. Her studies in cinema and photography and influences from Citizen Kane, Polanski’s The Tenant and Repulsion, Jean Cocteau, Harmony Korine, Andy Warhol’s footage of Edie Sedgwick and the Factory, and the songs of Serge Gainsbourg, her mother’s favourite artist, as well as Patti Smith and Yoko Ono, configures a very special personal universe of an artist who, in her own words, doesn’t see herself as a traditional chanteuse. Why did you decide to get into music? I got into music at an early age because I was an only child. I guess loneliness got me into music and then I started singing and started collaborating at school with friends. You left your natal France to move to London. Do you miss something? I didn’t feel free to express myself and was physically sick all the time. When I moved to London I felt like I could be myself and stopped being sick so I stayed. Why are you le volume courbe? A old friend of mine called Marcel Marionneau invented a sculpture called “le volume courbe” and he used to talk about his theory all the time when I was growing up in my town so when I was looking for a name it hit me. I like it as it can have many meanings and it’s quite feminine. Your debut single was Harmony /Papillon De Nuit. A night butterfly is a beautiful image but what does it suggest you? What’s funny about this song is that my friend Damon wrote those lyrics and I translated them. At the time my English wasn’t so good and in the song he talks about moth which I translated by butterfly of the nights. Only few years later I realised that I was singing about moths! These butterflies that eats jumpers! I discovered your music thanks to your first album I Killed My Best Friend (2006). In the title song you wonder where to hide all the bodies of the people you’ve killed. Where are they right now? They are reborn and well. To die to be reborn? Maybe. You have to give people another chance. In fact the album opened with Harmony. What is harmony for you and have you found it? I don’t think I have yet.
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The atmosphere of the album is dark and dense. Using one of your songs I should ask you who are you? Dark and tense I guess that’s me. Why do you think The mind is a horse? The mind is a horse is a song about panic attacks I’ve had for ten years now. The heartbeat sounded like a horse galloping and a mind racing like a horse. The mind is mysterious things and we still don’t know where these panic’s attack come from. Your latest released was in 2011. It’s the EP titled Theodaurus Rex featuring songs like Born to lie. Were you? We all are. Originally the lyrics were a letter I wrote to someone who let me down and lied to me and then I also admitted that I do too. We all do. The EP continues developing the intimate sound style of your debut album. What direction will you take in the second album? The second album still has that intimate sound a bit but is less lo fi I think. Puis-je vous demander de me raconter un rêve en français? L’autre jour j’ai revé de David Bowie, d’avoir parler avec lui et il connaissait mes amis Andrew et Alison. Je n’arrivais pas à le croire! C’est tout ce dont je me souviens mais ça m’a amusé quand je me suis reveillée. An interview by Juan Carlos Romero Photos courtesy of Charlotte Marionneau. All rights reserved
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Nicolas Dhervillers Hommage à Julius Leblanc Stewart, 2013 Tirage argentique sous diasec mat, lambda print 110x90 cm ©Nicolas Dhervillers courtesy School Gallery / Olivier Castai
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DANIEL FAWCETT & CLARA PAIS Savages witches 29
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ROBERT HEINECKEN Object matter 39
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VEE SPEERS BULLETPROOF
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REFERENCES Isobel Campbell http://www.isobelcampbell.com Nalyssa Green http://www.myspace.com/nalyssagreen ParsleyMusic http://www.myspace.com/ceciliesvendsen Michelle Anouk http://www.flickr.com/photos/peppermaniaka eRikm http://www.erikm.com Kenneth Anger http://www.myspace.com/kenneth_anger Mary Anne Hobbs http://www.maryannehobbs.com Grunge http://graffreakstactics.com MU! http://www.mu-illustration.com Daan http://www.daan.be
NAU NUA OCTOBER 2010 NUMBER 1 EDITION PUBLISHED BY NAU NUA ART MAGAZINE http://naunua.blogspot.com CONTACT naunua@live.com
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