Friday 8 February 2019, 7.30pm
ERIKM + SCANNER
Archives sauvées des eaux, for two DJs — Exploitation des concepts n°1 , (2000) — 25 minutes. Memorised sounds Exploitation des concepts n°1, For 2CDs and a set of LPs
"The idea of using my archives was born from the necessity to update the medium those memories were inscribed on. In my studio, I have analog tapes containing all the recordings I made since 1960, some I have used, some not. While copying those across to CDs, I was seized by the impulse to turn that tedious job into a creative undertaking. And so instead of copying, I started composing. Thus was born a new composition that exploits the 1974 archives (I had to start somewhere.” – Luc Ferrari
WP Ghent Vooruit, May 2000, by Luc Ferrari and DJ Olive / Commissioned by Hermes Ensemble / Version for SuperDeluxe, Tokyo, 2003, by Luc Ferrari and Otomo Yoshihide / CD Disc Callithump, CPCD-001 — 2008 / Version for Plastic, Milan, 2004, by Luc Ferrari and eRikm / CD Angle, angle cd 008 — 2004 / Orchestral version, for the Laborintus Ensemble and eRikm / CD Césaré, 06/03/4 —2006 / Grand Prix Charles Cros 2005 In Memoriam / Score published by Association PRESQUE RIEN
ERIKM + THURSTON MOORE
Les ProtoRythmiques (ProtoRhythmics, June 2004 - January 2005) — approx. 60 minutes. For two DJs
“After playing Archives sauvées des eaux with eRikm, I suggested we work on this new piece together. That first experience, which had taken me into a field where I had never before been an active participant; the statement I now made with Les ProtoRythmiques took me to more adventurous, and democratic, territories (if one can still use the word democratic after the way the Bush administration abused it.” – Luc Ferrari
WP Les Instants Chavirés, Montreuil, 12 February 2005 by Luc Ferrari and eRikmCD ROOM40, RM417 — 2007
eRikm is a French improviser, composer and visual artist who has been active in art since 1992. Maintaining a constant fusion between thought, instinct and sensitivity, he pursues a simultaneity of practices and addresses the interplay between various compositional modes, relating to and using all languages. From his early experience as a guitarist through to his later visual work, he is a maverick genre-bender who breaks down anyone’s attempts to conveniently classify him. Quickly recognised as a virtuoso turntablist and sound artist (1996), eRikm has made a longlife habit of crossing all territories and « world-systems » deemed "independent", "institutional". At the same time (1997), he has developed an open and aspirational approach toward the technological media, both as a means of development for a new economic model and as an instrument for creation, production and diffusion. He deals with sounds like living organisms, constantly in flux, always open to the risk of accident or delight/unisson. As he plays with all these contradictions in his improvisations, his performance reaches new heights of intensity, trading off both understanding and sensation, seriousness and farce, anticipation and instinct. His work references both the intimate and political, both popular and high culture, but without demonstration. Rather he creates a short-circuit connection between points with his live generated (and degenerated) material – from noise to reference – presenting multiple ways to capture each moment of the present in clear focus. Throughout his career, collaborations have naturally occurred with his audiences and contemporaries, most notably :Luc Ferrari,Christian Marclay,Mathilde Monnier,Bernard Steigler,Fm Einheit... The kind of coincidences which have confirmed his instinctive search for transmutation, and to play on several levels. Since 1997, on his own or with collaborators, eRikm has toured (with 5-7 on-tour projects to date), or created by request specific pieces, both transversal or for fixed spaces (record labels, radio, festivals, art centres...) In the meanwhile, each time building on what has emerged before, the most personal fragments from his work (notably from his early artworks in photography, drawings, visual installations and video) continue to substantiate a singular kaleidoscopic vision.
Thurston Moore started Sonic Youth in 1980 and has been at the forefront of the alternative rock scene since that particular sobriquet was first used to signify any music that challenged and defied the mainstream standard. With Sonic Youth, Moore turned on an entire generation to the value of experimentation in rock n roll – from its inspiration on a nascent Nirvana, to Sonic Youth’s own Daydream Nation album being chosen by the US Library of Congress for historical preservation in the National Recording Registry in 2006. Thurston records and performs in a cavalcade of disciplines ranging from free improvisation to acoustic composition to black/white metal/noise disruption. He has worked with Yoko Ono, John Zorn, David Toop, Cecil Taylor, Faust, Glenn Branca and many others. His residency at the Louvre in Paris included collaborations with Irmin Schmidt of CAN. Alongside his various activities in the musical world, he is involved with publishing and poetry, and teaches writing at Naropa University, Boulder CO, a school founded by Allen Ginsberg and Anne Waldman in 1974. Thurston also teaches music at The Rhythmic Music Conservatory (Rytmisk Musikkonservatorium) in Copenhagen. Presently he performs and records solo, with various ensembles and in his own band, The Thurston Moore Group.
Scanner, British artist Robin Rimbaud, has been intensely active in sonic art, producing concerts, installations and recordings since the 1980s, connecting a bewilderingly diverse array of genres. His adventures are brilliantly strange – from scoring 1,000 dancers in Trafalgar Square London for the Olympics, creating permanent soundtracks in a London house, Riga Airport and a working morgue in Paris, to scoring the world’s first VR ballet with Dutch National Ballet. He doesn't drink alcohol, tea, coffee, or smoke and has kept a diary every day since he was 12 years old, never missing a daily entry.
