in brieflive

Noise in the White Cube

Aros: »Unruly – the Body in Punk«

© Karen Knorr & Olivier Richon, Vortex 6 from the Punks series, 1976 - 1977, gelatin silver print on paper,18,7 x 28,2 cm, Tate. Courtesy of the artists.

Andreo Michaelo Mielczarek. © Kåre Viemose

The first thing that hits you at Aros' Unruly – the Body in Punk isn't dog collars, leather jackets or fishnet stockings. It's the sound. It rumbles through the galleries. After all, what is punk doing in a museum? Punk was never made for museums. It's dirty, loud and ephemeral. It thrives on amateurism, mistakes and resistance. One might fear that the white cube would turn three-chord fury into cultural history and noise into background music. Curator Marie Arleth Skov has created an exhibition in which sound doesn't merely illustrate history – it propels it. Raw guitars, piercing saxophones, flickering Super 8 films and concert footage merge into a rush of noise, images and bodies.

Unruly is not a comprehensive history of punk but a sharply focused snapshot of a culture in which sound and the body were inseparable. Punk's godmothers appear alongside Danish bands such as Lost Kids, Pussy Punk and Sods in previously unseen footage from a legendary punk happening in Copenhagen. A leather drum kit by Käthe Kruse of Die Tödliche Doris stands as a sculpture bearing the dry title In Leder, while Cornelia Schleime's video reveals the vulnerability and poetry that also inhabited punk rebellion. The contrast with Erik Satie's stripped-back piano music is exquisite. Walking through the exhibition feels like stepping inside a three-dimensional fanzine. Everywhere, it celebrates misfits and those who never asked for permission. Leopard-print cushions, raw materials and tactile installations make you feel as if you could almost touch punk itself.

In art museums, sound is often reduced to atmosphere. Here, it becomes a material on equal footing with fabric, video and the body. Noise is treated as an artistic method rather than a soundtrack. Fifty-year-old noise still sounds astonishingly contemporary as it resonates with the exhibition's newer works. You feel it vibrating through your body. Instead of muting the world, the museum becomes an amplifier.

Can rebellion survive inside a museum? Unruly shows that punk's energy does not necessarily disappear when it enters an institution. Only two things are missing: the chance to experience the exhibition at four o'clock in the morning – and a lavish catalogue bound in latex.

English translation: Andreo Michaelo Mielczarek

in briefrelease

08.02.2024

Behind the Words

Alexander Tillegreen: »In Words«

Raster. 24.11

Rasmus Weirup

One of the most mysterious – and at times boundary-pushing – interviews ever captured on tape is Meatball Fulton’s 1967 interview with Pink Floyd’s Syd Barrett. Filled with broken sentences, incongruous word combinations, questions and answers that seem to bear no relation to one another, and pauses that feel endless, the interview pushes the limits of what can meaningfully be called communication at all. »Your impression of me… which you must have… would you care to tell me? And be like absolutely honest… Do you have one?« the interviewer asks at one point. »In words?« Barrett replies.

In Words is also the title of multidisciplinary artist Alexander Tillegreen’s debut album, whose closing composition samples a full seven minutes of the interview. It is not difficult to understand what Tillegreen hears in this peculiar exchange. For someone who, in his artistic explorations of psychoacoustics and phantom words, has consistently probed sound’s possibilities and limitations as a carrier of meaning, the interview must appear as a rather sensational example of the illusory nature of language.

None of this would, of course, be of any interest if the music were not as strong as it is: richly atmospheric, detailed, texturally varied, emotionally potent, and filled with pleasing, warm synth tones that recall 1970s German Kosmische Musik. The fact that a large part of the compositions originate in earlier installation works often leaves me with the strange feeling that there is a dimension or context I do not fully grasp – which, of course, is entirely in keeping with Tillegreen’s spirit.

playlist

07.02.2024

My name is Phil Battiekh – would you like to see my playlist?

Phil Battiekh (Basel, Switzerland) has been a Mahraganat DJ and producer for over a decade. He is one of the first to dedicate himself to Mahraganat outside of Egypt. In addition to his most popular Mahraganat mixes on Soundcloud (over 450K streams worldwide), he released the acclaimed Cairo Concepts compilation in 2019. Featuring DJ Plead, DJ Haram, Alaa Fifty, Nustaliga and others, Cairo Concepts contextualises the impact and developments of the Mahraganat scene and examines the way certain artists have appropriated Mahraganat for club scenarios.

Mahraganat (Egyptian Arabic: مهرجانات( , which literally means »festivals«, is a mix of Egyptian Shaabi, electronic dance music, rap and trap. It is characterized by percussion-heavy rhythms, massive bass and loads of autotune. Phil Battiekh is curating the SWANA night – a joint event by pantropical, turkis, and Volume Village, which takes place at the latter in Aarhus. Next to his own set, Phil will also have a role as Wezza Montaser's DJ.

playlist

01.01.2024

My name is Bill Frisell – would you like to see my playlist?

Bill Frisell. © Carole D'Inverno

»I like when it's impossible to tell at first if something is black or white, or country or blues, or whatever.«

Bill Frisell’s career as a guitarist and composer has spanned more than 40 years and many celebrated recordings. From Aaron Copeland and Charles Ives to Bob Dylan and Madonna. Born in Baltimore, Bill Frisell played clarinet throughout his childhood in Denver, Colorado. His interest in guitar began with his exposure to pop music on the radio.

playlist

11.09.2023

My name is John Grant – would you like to see my playlist?

»Music has been a healing balm for me.«

John William Grant is an American singer, musician, and songwriter holding both American and Icelandic citizenship. He first came to prominence as a co-founder, lead vocalist, pianist, and primary songwriter of the alternative rock band The Czars. After releasing six albums between 1994 and 2006, the band disbanded, and Grant withdrew from music for four years before embarking on a solo career.

He returned in April 2010 with a critically acclaimed debut album recorded in collaboration with Midlake. Queen of Denmark was named Album of the Year 2010 by Mojo magazine and was also selected as one of the ten best albums of 2010 by The Guardian’s music critics and writers.

playlist

13.06.2023

My name is Allan Gravgaard Madsen – would you like to see my playlist?

»In his music, composer Allan Gravgaard Madsen tries to create a better version of himself.«

Allan Gravgaard Madsen is a Danish composer based in Copenhagen. His most recent works include Träume nicht and Nachtmusik. He tries to create a better version of himself in his music – where his personality tends to be restless, chatty and has an active inner life, his music is controlled, simple and merciless in its expression. He is the recipient of the Carl Nielsen & Anne Marie Carl-Nielsens Hæderspris 2022.