Pleased to have composed the musical score for this important film by Yony Leyser.
Dissatisfaction with “bourgeois” aspects of the gay rights movement and machismo in the 1980s punk scene triggered the emergence in Toronto of queercore, a portmanteau of queer and hardcore. Queercore: How to Punk a Revolution documents the development of this anarchistic, alternative punk/gay culture. It embraced the DIY attitude of punk – making fanzines, distributing your own records, inventing and expressing your own aesthetic – to address revolutionary gay politics in homemade magazines and experimental films. After the film, the Berlin electro duo Hyenaz, who created the soundtrack for the documentary, will give a wild live performance. https://www.facebook.com/Queercoremovie/
Pleased to have contributed music for this forthcoming film about one of our inspirational interlocuters and talented Berlin performance artists ReveRso.
Here is the trailer for the new film “the beauty of reverso”, a documentary portrait about ReveRso by Michael Brent Adam.
Queercore: How To Punk a Revolution + Live: HYENAZ
Uit onvrede met de ‘bourgeois’-aspecten van de homobeweging en het toenemende machogehalte van de punkscene in de jaren tachtig, ontstond in Toronto homocore – een samentrekking van homoseksueel en hardcore. Queercore: How to Punk a Revolution documenteert het ontstaan van deze anarchistische, alternatieve punk homocultuur. Deze omarmde de DIY-attitude van punk: het maken van eigen fanzines, het onafhankelijk distribueren van eigen platen, en het uitvinden en uitventen van een eigen esthetiek en revolutionaire homopolitiek.
Na de film doet het electro-duo Hyenaz uit Berlijn, dat de soundtrack verzorgde, een wilde live-performance.
Techniques for Auditory Resistance
a weekend intensive electronic music workshop with HYENAZ
13 -15 October 2017 at betOnest
This was a sound art workshop and collaborative laboratory facilitated by HYENAZ. Using a variety of tools, with an emphasis on free and open source software, we explored a variety of approaches to creating sound in an electronic music context, including the manipulation of field recordings through sampling, digital synthesis and vocal recordings. We explored techniques of arrangement to create sonic landscapes from the sounds that emerged and began to think about how we can develop sound art that responds to the experiences of those who gathered as well our context at betOnest.
PROBABILITY PRAXIS 21 of 28 waning gibbous
COVEN – Underdog Gallery
short reflection and photos from Mil …
“I have really appreciated your open and inclusive approach to performance making. There is so much bullshit around in the world and in the art world that it was great to experience something genuine, layered but simple, and with integrity. I loved the different textures – smooth painted bodies, laced canvass strip used to wrapped Adrienne at the beginning, plain cotton strips used for blindfolds, a large plastic sheet, small pieces of paper, metal bars – that were used or been available during the ritual. And the fact that we were part of a breathable structure that allowed all of us, you, interlocutors and audience alike, to feel supported together but also left with plenty of space and time to improvise, join in or take a step back on our own, and in Nietzche’s words to become who we are. Someone said that a lesson in art he learned from Tarkovsky was to allow room for spirituality and to be true to reality. I think you achieved both in your performance of Critical Magic on Saturday. Thank you!” — Mil Vukovik Smart
PROBABILITY PRAXIS 21 of 28
London. COVEN at Underdog Gallery.
16.09.2017 Waning Gibbous
Interlocutors: Lizzie Masterton, Mil Vukovic-Smart
reflections from Kate
This centering, with the help of the interlocutors, was very helpful for me personally to ground myself during the show. And our intention was based on some of the work that Mil is doing currently about how people lie to themselves, and this causes the most stress in our lives. So our intention as a small group was about bringing to light the truth, and combating that self deception.
I would love to work more with contact dance during the blindfold moment. Focusing on the the very minuscule moments of contact, helping to create the eternal NOW. this is always challenging, not only with new audience members, but even with adrienne.
i loved the moment when lizzie came up and in the center lay down on the floor. i would in the future also bring people out of their chairs and lay them down on the floor. the chairs i found to be difficult to navigate. there was a moment of hesitation in myself and i think i went the “easier” route. i could have challenged myself more.
i overheard one person say something about the sexuality of the performance; i suppose i can completely understand, that the presentation of the almost nude body invites a sexualized gaze. And yet partly the idea of the nude body is the rawness, the naturalness of the form that we emerge as from birth. it somehow feels just as unnatural, or even more awkward, to cover the body with some kind of appropriated fabric, with its own origins, separateness, vague disorientation of origin. yet i also understand how the nude body can separate more.
there are some sound issues we have to take care of, ie, the boominess during federicas dance. and the synths in dong dae mun. this for next time.
i am enjoying the stage set, with the line across the stage and the hanging blindfolds. i would also like to create a static presentation, place for the plastic.
i am thinking about how to create a dynamic generation of the binaries so that the audience has more control over which ones are called out, and how to engender participation in this time, especially if the audience is shy to move.
again, like winchester, the verbal response afterwards was so overwhelmingly positive, warm, some person said it was the best thing theyd seen in london in years. another wrote us a beautiful note about magic. another was a dancer, who said that she felt inspired about what could be done, what still can be done, in the realm of participation. i felt lifted and carried by this and renewed in the labour of performative praxis.
PROBABILITY PRAXIS 20 of 28
Winchester, UK 15.09
(notes from Kate)
Someone we spoke to in Copenhagen gave us the idea that we should begin with a more focused energy, perhaps by asking everyone to clap at the same time. He suggested that this would allow us to pull everyone in, make everyone feel a part of the ritual, without having to say anything, and to give it more solemnity. We still havent tried that yet, but we are coming around to the idea. I suppose this series is about giving every idea a chance, to see how it will function.
We are doing better at getting the circle to come around and focusing together as a duo to come together but we both need to rehearse our vocal cues. we also feel that we need to refocus our spoken parts. i for one need to slow down when I am speaking and i would like to add something about the idea of “critical”, I want to communicate that I dont believe that simply by shouting out our intentions that we can make them real. But I do believe that by being in the same place together, forming a union together, in that space, even just touching bodies, even with our hands, we can make change.
Each time we perform this spoken part, I feel like it needs to be renewed and refreshed, to fit the particular context in which we are working. This is no doubt a challenge, especially when we have just a few hours pre show to soak in where we are. The centering that we have been doing, the mapping around our area, is helping me to feel more grounded and connected to our particular location. I think this is invaluable.
The “leave” and “remain” binary that Adrienne suggested I found both particularly triggering and powerful for people here, the white blindfolds as well. I still worry that the depart the octagon can approach clowning and I worry about this.
After the show we have a long talk about how important it is to us to set a beautiful stage and how we want to make more attention to the layout and design of the stage. In our dreams we make the altar and the technics the same thing — like a kind of transformation of the technological into the magical, or rather, posing them as possibility of one and same. But in order to do this I feel strongly that we need to have hardcases and a sturdy structure to hide the technical things from getting thrown on the ground.
I was happy to feel that many people were really moved by the show and that they went deep with us. At times I worried that there was shyness from audience members about body contact and involvement, but i realized from the verbal feedback afterwards that they were really moved. Even one conversation like this, even just one, makes me feel like we are continuing in productive art that is making change.