Hasta La Ideas

A collaborative ensemble of musicians brings the symphony to NYC parks

The String Orchestra of Brooklyn (SOB) is committed to an inclusive approach to music-making, opening up their expert ensemble to a range of site-specific musical experiments and collaborations with musicians from around the greater New York area. Due to the orchestra’s smaller size and rotating cast of volunteer musicians, they are able to explore a more obscure repertoire and adapt to different venues. “What sets us apart from other orchestras is our versatility and willingness to try anything that’s out there,” explains executive director and founder Eli Spindel. “We have the flexibility to take risks and follow our musical curiosity wherever it might lead.”

In late 2011, the SOB collaborated with American Opera Projects, presenting Philip Glass’ Kafka-based opera “In the Penal Colony”. Many music lovers are familiar with Glass’ magnificent “Satyagraha”, but the SOB opted to bring the more obscure “Penal Colony” story to life instead, gaining the orchestra a spot on The New York Times’ Best of 2011 list.

The SOB will again team up with The Fort Greene Park Conservancy for the annual Parks Concert Series where city-dwellers may escape to enjoy a free evening of music in Fort Greene Park. The 2012 lineup will feature works by Fela Sowande, Noel Pointer, and Beethoven, taking place on 21 July 2012 at 6 p.m. in Fort Greene Park.

The SOB will also be collaborating with ISSUE Project Room on String Theories 2012. String Theories has commissioned four composers—Anthony Coleman, Eric Wubbels, Spencer Yeh, and MV Carbon—to create performances on a scale larger than what is typically possible. The composers push the boundaries of the string repertoire through extended techniques, innovations in notation and improvisation, and new approaches to writing for large ensembles. Specifically, each of the performances focuses on a playful awareness of the orchestra’s physicality. “It will definitely get a bit rowdy,” Spindel says. “The resulting musical textures will be new to much of our audience.” String Theories 2012 will happen this Saturday, 17 March 2012 at 8pm in St. Ann’s Church in Brooklyn.

Keep up with the orchestra’s ever-changing repertoire and performance schedule on their blog.

Artifacts collected from Doug Aitken’s cinematic installation

Following his lauded MoMA installation “Sleepwalkers” (2007), Doug Aitken has just released a limited edition box set of materials related to the project in collaboration with Princeton Architectural Press and DFA Records. The original piece turned MoMA’s multiple courtyard facades into an interactive multiplex, simultaneously screening eight vignettes that each starred a different character. For fans of Aitken, the 1,000 numbered box sets—which cover the video project, music and stills—bring a new life to his ambitious project, providing insight into the process behind the work.

Accompanying the DVD of the installation are two audio CDs and a vinyl disc, both of which are covered by original artwork by Aitken. Designed specifically to be spun at 33rpm, the record comes to life with an animation when played. The CDs act as soundtracks to Sleepwalkers, and the record includes three unreleased tracks by Broadcast in addition to an opera from Aitken entitled “The Handle Comes Up, The Hammer Comes Down”.

An interview on the DVD between architect Jacque Herzog and Aitken anticipates the installation of Sleepwalkers on the soon-to-open new location of the Miami Art Museum, which was designed by Swiss firm Herzog & de Meuron. As with all publications from Princeton Architectural Press, the box and components are meticulously bound to create a visually striking collection.

The look of the original exhibition at MoMA is replicated in miniature form in two flip books in the set, and Aitken provides a double-sided poster as well—one side original artwork, the other a collage of movie stills and inspiration. Aside from the film itself, the most compelling piece is a book that shows the creation of Sleepwalkers through images and text. All told, the collection marks a testament to the artist’s prolific range and talent across mediums.

The Sleepwalkers Box is available online through www.sleepwalkersbox.com for $300.

Exclusive content and Sub Pop’s showcase live streamed to parties in five cities during SXSW, courtesy of MasterCard®

Sponsored content:

We’re bringing you exclusive content from Austin and bringing a little bit of the city to you courtesy of MasterCard PayPass®. You’re familiar with the Cool Hunting motto “Always More”, so it’s no surprise that one party isn’t enough. That’s why we’re throwing five parties. At the same time. This Friday night, 16 March 2012, you can join us in NYC, LA, DC, SF and Chicago to see a live stream of the Sub Pop SXSW Showcase featuring Niki & the Dove, Spoek Mathambo and THEESatisfaction.

The events feature outstanding DJs like Boy Wonder and Jon Huang in Chicago, Chances With Wolves in NYC, Chris Holmes + Brie Larson + Elijah Wood + Turquoise Wisdom in LA, Stretch Armstrong in D.C. and Claude VonStroke in San Francisco. Each will have an open bar and our special South by Southwest cocktail created by celebrated mixologist Jim Meehan, along with food from some of the country’s best food trucks—all for free. You can RSVP via the city links above, just make sure that you bring your MasterCard, or a friend who has one.

For those of you who can’t make it to one of the parties you can watch the stream live on the Tap Into SXSW section of Cool Hunting. In addition to the bands mentioned, Debo Band and Gashcat will also be streamed lived starting at 9pm CDT.

We’ll be adding new content daily to the Tap Into SXSW section of Cool Hunting, so check back often for exclusive interviews, videos and more.

Visit Tap into Austin 2012 to catch the Sub Pop Showcase livestream on Friday night and learn more about what’s happening in Austin during SXSW.

The musician shares the tools of her trade at her Montreal studio

We recently visited the acclaimed Canadian singer Ariane Moffatt at her Montréal studio in the Mile End section neighborhood of Plateau-Mont-Royal just days before she launched her latest album, MA. Having written in both French and English, Moffatt holds an eclectic, multi-genre appeal, incorporating elements of folk and jazz into her distinct electro-pop sound. With seemingly so much of her musical inspiration stemming from her creative space, we asked Moffatt to show us her favorite instruments. Here she explains how she used these tools to develop some of the brightest songs yet.

Supro Dual Tone Electric Guitar (1960)

This electric guitar is the first instrument I ever bought on the Internet. It was purchased specifically for a performance at Victoires de la Musique (France’s equivalent to the Grammys) in Paris. I love its retro punk look, its heavy shape and dark tone—David Bowie agrees! We sometimes call it the baseball bat because of its thick, heavy neck. While recording MA, every time I had an idea for a riff, I couldn’t help myself from grabbing this baby and plugging it in to my small Vox amp. A really good-looking electric couple.

Steel Drums from Tobago

I bought these pans during a trip to Trinidad and Tobago. I always loved Calypso music and the warm sound of this metallic, percussive instrument made from old oil drums. It always surprised me how such warmth could come from a metal surface. I always wanted to transpose that magical aspect into a different style of music. I tweaked the sound using different effects, and played the instrument instinctively, since I have no formal training.

Even before leaving for my trip I had the idea to bring home pans in my suitcase. I bought mine from a young, talented player who was moving away to attend university in the U.S. He delivered them to my hotel room late one night, and included a case, the drums, stands and proper sticks. I was all set to bring them back to Montreal’s -25-degree weather! I have never been able to tune them properly since.

Roland Jupiter-6 Synthetiser (1983)

This was bought off of a friend of mine a while ago. It took me a long time to get used to this ’80s tank of a keyboard. It really is the main player on my most recent album. I love playing with its big buttons while crafting my sounds. It’s a huge machine that is totally impractical to bring on tour, but it represents the audio aesthetic of my album and I am profoundly attached to its infinite creative possibilities and strong personality.

Roland ’70s Beat Box

On the road I have a habit of shopping for vintage instruments the way some people shop for antique furniture. Finding a hidden shop or market where you can get treasures at ridiculously low prices is totally satisfying. That’s how this old wooden analog beat box and I met. It emulates beats from the foxtrot to the rhumba in a full and soft way. I can sample its different parts and construct my own beats to integrate into my songs anyway I want. During an acoustic set a few years ago the audience and I baptized it with the name “Tapageur”. It is the grandfather of all the toys in my studio.

Heintzman Upright Piano (Toronto, 1877)

There’s an old piano shop in near my home called Montreal Pianos. The owner’s son, JR, restores old pianos and brings them back to life. My Heintzman was a love-at-first-touch encounter. I keep it at home and only half-dressed to show off the gold keys and hammers inside. I find a piano in one’s home to be an important decorating element by bringing calm and openness to a room. This inviting instrument is not only an inspiring friend for songwriting, but playing around on it keeps our home feeling alive!

Photography by SPG LePigeon

Ethereal neon and abstract forms in new work by Evan Gruzis

Opening tomorrow at Duve Berlin, an exhibition of new work by Evan Gruzis explores the interstices of waking and dreaming life. “Alpha Wave” derives its aesthetic from the afterimage effect—the “burning” of an image on ones vision after the original image has disappeared. Gruzis—a young artist whose resume already boasts work in the Whitney Museum Collection and a solo show at Deitch—presents a series of hauntingly minimal works on paper and through video.

While his past work bears the mark of nostalgia for Hollywood of the 1980s—a byproduct of his time spent in LA—this collection marks significant growth. Gruzis ditches pop elements in favor of a more streamlined look, going beyond gloss and neon to convey the “alpha wave” narrative throughout the work. While he made a name for himself based on his masterful employment of india ink, the artist has turned mainly to watercolor in this collection. Gruzis uses a liberal amount of water in the creation of his gradients, which are painted on “arches aquarelle” paper. Stretching the paint, he slowly builds layers to create his transitions. The photorealistic effect looks to be the product of a neon light show or early digital design. In addition to watercolor, Gruzis employs graphite and acrylic into most of the works that are included in Alpha Wave.

One of the standout works, “Movie”, is a purple canvas of watercolor, gouache, india ink and spray paint. Highlighted with pinpoints of star-like specks, the somber, glowing piece conveys a unique effect that serves as testament to Gruzis’ curious experimentation.

The exhibition also includes “TV”, an abstract video work of projected LED lights. Interpretive and hypnotic, the installation carries Gruzis’ dream-like sensibility. Gruzis first made his way onto our radar last year in his collaboration with Rafael de Cardenas called Exotic Beta, though this exhibition certainly sets him apart in his own right.

“Alpha Wave” will be on view at Duve Berlin through 20 April 2012.

Duve Berlin

9 March – 20 April 2012

Invalidenstr. 90

Berlin, DE 10115