Jan Kempenaers Work from Spomenik. Buy the book here. “Powerful photographs of mysterious monuments in former Yugoslavia. Willem Jan Neutelings, quoted from this book: “The Antwerp-based photographer Jan Kempenaers undertook a laborious trek through the Balkans in order to photograph a series of these mysterious objects. He captures the Spomeniks in the misty mountain landscape [...]

"Pastoral V.2" is a curated overview by Jon Leidecker hoping to underline the history of those classic works of electronic and concrète music which sought to mimic and extend the voices and sounds of our pastoral landscape, which can be closer to the heart of the medium’s inherent potential than the more common identifications with inhuman or alienated expressions of industrial culture.<br />
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Link: http://bit.ly/dlkapp<br />
Music: http://bit.ly/a4LREP <br />
Very recommended related text/essay: http://bit.ly/a4LREP <br />
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The emerging medium of electronic music found its way to a wider public audience in the 1950′s, accompanied by descriptions of the sounds as inherently unearthly, fantastic, or cold and inhuman. Partially this was in response to the medium’s instant adoption as sound effects for science fiction films and television shows, as spearheaded by Louis and Bebe Barron in their score for the film "Forbidden Planet". But electronic musical instruments also possessed the ability to closely emulate and extend the voices of the animal world to a greater degree than any musical instrument in history. A gated tone oscillator or untempered synthesizer gives a player a better chance at creating melodies that sound like birdsong than any violin or flute – save perhaps for a recording of a flute that’s been sped up several octaves, using the techniques of musique concrète.<img src="http://rhizome.org/syndicate/nothing.gif?f=announce" border="0"><img src="http://feeds.feedburner.com/~r/rhizome-announce/~4/nykFLRGWf1k" height="1" width="1"/>

Earlier this week, art historian Monica Amor lectured at the Mildred Lane Kemper Art Museum at Washington University in St. Louis on the topic of Neo-Concrete art in Brazil in the late 1950s and 1960s. This talk was presented in coordination with the mid-career survey of work by contemporary Brazilian artist Rivane Neuenschwander, organized by [...]

Does contemporary art swing from one pole of “everything” to its opposite of “nothing”?  This very casual notion stems from two French artists, Yves Klein and Arman.  In the late 1950s Klein famously exhibited “Le Vide” (The Void), an empty space “sensitized” by the artist, at Iris Clert’s gallery in Paris. About a year later, [...]

Gabriele Senn Galerie is a new entry, Welcome…!opening September 17, 2010www.galeriesenn.at 

03.07.2008 – 03.08.2008

New work from two young london based artists. Kate McMorrine is an artist from the Isle of Skye, a tiny island just off the coast of Scotland where she “learned to play magical instruments and see colors no other can ever see…