Primal Uproar III
29.6.18 - 1.7.18
MS Stubnitz
Kirchenpauerkai 29,
20457 Hamburg
Deutschland
Experience the powerful interaction between noise and site-specific art in a unique environment.
The Festival Primal Uproar III features over 40 International Contemporary Sound Art and Music artists. Located on the awesome historical ship Ms Stubnitz, Primal Uproar creates two days of Experimental Music and Avant Garde Sound.
Transformed 25 years ago into a ship for cultural events, the former fishing vessel offers an incredible Post-Industrial atmosphere contributing an element often missing within the Industrial/Noise genre, a specific, relevant and meaningful environment for its performance.
Enter the deep hull of the Ms Stubnitz and have your mind blown by energetic sound acts, performances, visual art performances. Be a part of an ultimate spectrum from Experimental Avant-Garde Arts to Harsh Industrial Rhythmic Noise. The Festival, constructed & curated by Dr. Nexus and Jose Macabra, will run from the evening of the 29th of June to the morning of the 1st of July of 2018.
Discharge Working I (2017) screening as part of the Short film program on 30.7.18.
5.4.18
Total Black Nacht 001
OHM Berlin
Köpenicker Straße 70,
10179 Berlin
Deutschland
Becka Diamond - DJ
Commercial Tower - live
Entertainment - live / DJ
God 69 - live
Halv Drøm - live
Sofia Ozdravovna - live
Live visuals with Halv Drøm using Super 8 material from Aurum (2018).
Process Film Festival 2018
22. - 25.3.18
Kino Bize
Elizabetes iela 37-2
(ieeja no pagalma)
Rīga, LV 1010
Latvija
Program: Introspection
Here we have films like different shaped chisels carving out cracks in the visible surface. A passage opens to an unpredictable inside where language, minds, the physical bodies of creatures, things and films are not what they seem. They will guide us in a journey to fourteen cardinal directions, whilst whispering unrepeatable messages into our third ear about a world whose outside keeps multiplying. (All will end well.)
Filmmakers: Johnny Welch, Leslie Supnet, Roger Deutsch, Sophie Watzlawick, Josh Weissbach, Miki Ambrózy, Ignacio Tamarit, Tomasz Konart, Karissa Hahn, Melina Pafundi & Katrin Eissing, July Saragosa, James Edmonds, Anna Kipervaser, Scott Fitzpatrick.
Curated by Lasma Bertule
Screening: Discharge Working II (2018) on 24.3.18
Traverse Vidéo Festival 2018
7. - 31.3.18
Abattoirs Museum
76 Allées Charles de Fitte,
31300 Toulouse
France
Screening: Discharge Working I (2017) on 11.3.18.
Text from the Catalogue pg. 139-140:
(translated from French)
Discharge Working I as endogenous footage works using shots for Sonic Intangible, from beginning 2015, with the connotation of recall and remembrance. Celluloid-film as material as well as analog / tangible post-production prove to be important in this project which focuses on the physical reality, the chance and the chaos of the celluloid medium to reflect the organic way in which the brain works with memories; those particularly which alternate and repeat.
The original Super 8 negative developed by contact print was then filmed to create speed-varying loops before lengthening them in 16mm. Moreover, this negative, including expired stock, was subsequently developed manually, resulting in some fragments of the film stuck together or deliberately badly performed bleaching to create burns and effects of textures along the film . The material was assembled in the edit, which added layers of dust and fingerprints, before a last contact print to develop the film as positive.
The soundtrack mixes optical and digital audio synchronised from a CD; the optical sound being randomly composed of buzzing, noises or scratches. As for the digital sound, it is an electronic square signal which crescendoes until it reaches a level where it resonates in the body of the spectator. The voice is a collage of cut phrases that have haunted the mind over the years.
Diffraktion #8 screening
10.2.18
CRCLR Circular Economy House
Rollbergstr. 26
12053 Berlin
Deutschland
Discharge Working II premiere screening on 16mm film.
17.10.15
Sonic Intangible (2016) review by Alessandro Violante for Fluxproject
Often the best things happen in the dark, and Johnny Welch’s Sonic Intangible is one of these: it’s a documentary characterized by a strongly experimental approach in terms of montage, sound and visual practices that recall the modus operandi of the artists belonging to the historic avantgardes of the XX° century.
Sonic Intangible is a short document, that is going to be released at the end of 2015, that approaches in a particular way the so called new underground electronic sound letting three artists of this new wave talk, artists associated to the cities in which they operate and to different contexts and visual techniques. What link images, words and songs is their work’s main concept: Amnertia, Max Leonard Hitchings’s project, concentrate upon music conceived as flow in movement and as a need. The artist has the music and the music has the artist, and this is associated to a running train and to dark images of factories. The sound of the project is ambient-like, obscure, and the beats are obscure and stabbing.
Keluar operate in Berlin and put their attention upon the relationship between music, body and movement, and between the body and the sorrounding bodies within the same musical space in which they interact. At the origin of all there’s the experience, the situation in which everyone is in at a specific moment, within which music automatically makes us move, and this process of merging with what sorround us is a form of trascendence. Images, there’s no need to say it, concentrate upon bodies and portrait them in detail, showing flesh for what it is, deleting the aura that we use to build around them. Their sound is a really particular form of minimal synth that several people already know.
The british artist Evil Moisture, who has lived in France for ten years, has a more conceptual approach, incentrated upon the idea of authoring of ideas and of the creative work. This lack of property is explained as the result of the mutation made possible on the result of the creative act, that sometimes don’t make possible to recognize the original product. His sound is experimental and destructured noise and images concentrate upon filthy indoor areas and forest’s close-ups, natural elements and post-industrial landscapes.
While waiting to better going deep through the documentary with the help of the characters in the following months, we invite the reader to watch the trailer, this one already available.
Sonic Intangible (2016) at the 17th Dresdner Schmalfilmtage
21. - 23.1.15
Motorenhalle – Projektzentrum für zeitgenössische Kunst
Wachsbleichstraße 4a
01067 Dresden
Your route will be recalculated …
‘Give me your tired, your poor, your huddled masses, yearning to breathe free, the wretched refuse of your teeming shore, send these, the homeless, tempest-tost to me, I lift my lamp beside the golden door.’
Emma Lazarus – inscription on the Statue of Liberty
By land, by sea and by air – in 2016, the dresdner schmalfilmtage cut the wheels off of the wagon and search for collective and migrational movements of the 20th and 21st century. What succeeds the wakening call GO WEST, 240 years after the Declaration of Independence, which was followed by millions and millions of Europeans? What succeeds war, Arabellion and Fortress Europe? The festival starts searching for traces in Paris, Athens, Hamburg. It highlights war situations, architecture, new and old utopias of space and fuses the haptic images with the idea of liberté, égalité, fraternité.
For all those who think that Super8/16mm is dead: This programme will allow yourself to get convinced by the opposite. Purists and experimentalists, aestheticists and pranksters, united by one format. No matter if in 3D, 4K or 48fps – as long as it’s originally shot on 8mm or 16mm film, it is worth to be promoted to the supreme discipline: The Competition – the festival’s crown jewel.
Sonic Intangible was nominated for the International Super 8/16 Competition and screened on 23.1.15.