Hasta La Ideas

Our interview with Li Daiguo on the band’s experimental mix of tradition and ceremony

One of the most interesting phenomena to hit Chinese avant-garde music is The Tea Rockers Quintet—a tea ceremony performed by master Lao Gu and accompanied by the all-stars of Chinese contemporary music: contemporary folk singer Xiao He, China’s top noise artist Yan Jun, academic guqin player Wu Na and the young and talented instrumentalist, Li Daiguo. Together they create a mesmerizing blend of traditional instruments, vocalisms, noise music, and harmonious movement.

We recently had the chance to talk with Li Daiguo (aka Douglas Lee)—the ensemble’s eclectic musician and gifted solo performer—just before the release of their first album “Ceremony.”

How was the idea of the Tea Rockers Quintet born?

Yan Jun was invited to participate in a Swiss cultural/arts festival in 2010 and he put us together for two shows that went well. That was probably the catalyst for making us decide that this is a long-term project. Before that, we were all friends and had played together in various formations as duos and trios etc., but nothing regular like the Tea Rockers had become.

You have different styles and backgrounds, how do you work together?

We all love new music, different kinds of Chinese traditional music, improvisation, nature and each other. Finding the right blend is a matter of mutual listening and enjoying each others’ sounds. Musicians are often regularly getting new ideas or developing new skills and techniques, so it’s really important to improvise together to listen to who a person is and what they are saying at that moment and not be stuck in some image you have of their identity or who they should be based on your past experiences with them.

You started playing piano and violin when you were five years old. Where does your passion for music come from?

I trained in different kinds of classical music for years before I realized it was a form of expression that really works for me. It has become an important practice for me, and one of the guiding things in my life because it is such an integral part of how I keep learning more about my body and consciousness and other important things.

In your work you’ve been exploring several music traditions from all over the world—what contributed the most to shape your own style?

Western classical music and the classical musics of the erhu and pipa were huge influences early on in terms of technique. Later I studied bluegrass, played a lot of heavy metal, and was getting into different kinds of new music. Aesthetically I am really touched by so many different sounds, but I would say in recent years I have been influenced most by Shona music of Zimbabwe and different music from Mali. Of course I am still practicing 5-8 hours a day, so my ideas and techniques are still developing.

You grew up in Oklahoma and you studied in San Diego, why did you decide to leave the U.S. and come back to China?

Since I was young and was interested in erhu and other things about Chinese tradition, I was attracted to the idea of coming to China to live. My father is a pretty spiritual person and is really interested in Daoism and Buddhism, and that had some influence on me for sure. By the time I moved to Sichuan in 2004 I was already very interested in different kinds of spiritual practices, so one of the things in my mind in coming was to get closer to some of those traditions. When I arrived and stayed for a year there were so many doors opened and so many possible roads to go down I just decided to stay and eventually built my life here.

Released on 4 April 2012, The Tea Rockers Quintet’s debut album “Ceremony” is now available through Amazon and iTunes.

Gary Panter and Joshua White tune you in and trip you out with an array of mind-bending works

Meeting Joshua White and Gary Panter is like stepping back in time. Not because White is responsible for creating the Joshua Light Show—the beautifully psychedelic backdrop that entertained thousands at Fillmore East concerts for Janis Joplin, Jimmy Hendrix, The Who and more in the 1960s—but because they continue designing experiences with the same childlike nature they likely possessed as creative young kids decades ago. This skillful, ingenuous approach is evident in their retrospective-like exhibition currently on view at the Museum of Contemporary Art Detroit, where Panter’s playfully simple illustrations and hypnotic graphics glow under White’s tightly orchestrated theater lights.

While kindred in spirit, the two are actually from slightly different eras. Panter neatly sums it up when he says, “Free love didn’t happen to me.” White began synthesizing music and lights in the late ’60s, making a name for himself among the rock ‘n’ roll crowd in New York shortly after graduating from USC. Panter, who grew up in Texas, read about the Joshua Light Show in magazines at his local drug store. A trained painter and genuine magpie, after graduating college Panter moved to New York and began hosting small shows at record shops in Williamsburg, where he would wiggle a flashlight behind a shiny piece of film while making weird noises with abandoned beat boxes. White saw one of these shows, thought he could help Panter streamline his production, and their friendship and working relationship began.

We recently visited Panter’s studio, an airy space on the top floor of his Brooklyn home, filled with random shiny objects, stacks of records, acrylic paintings, sculptural mobiles and around 200 sketchbooks. The duo calls much of this miscellany “light show potential”—things that can be thrown in the mix to modify the already trippy liquid light show. At its foundation, the spectacle’s lava lamp quality is as simple as colored water and colored oil continuously moving around on top of an overhead projector.

As the MoCAD show demonstrates, their approach has expanded in concept and size over the years, but really only in a sense of refinement. The DIY vibe still lingers, evident in the shoebox mockup, sketches and sculptural models Panter created for the exhibition. The fun house effect Panter lends the show is likely a nod to his days working on the sets of Pee Wee’s Playhouse, which now provides the perfect environment for White’s immersive light show installation at the museum. Whether in a slightly more static setting like the Detroit exhibition or in their performative light shows that reflect the music playing at the moment, White and Panter’s work always stems from their art first.

Their candid analog style isn’t without any digital elements—they often distort computer-generated imagery in their light show performances—but you definitely won’t catch them doing a laser light show. “I have two problems with lasers,” White explains. “One is that it is a very strange repurposing of something that is so magnificently pure. And the other thing is the colors—well it’s not a rich palette. Kind of cold.” Instead they employ a “less is more” approach to their work, which keeps the shows from becoming what White calls “too soupy or too speedy” while allowing the audience’s minds to wander. “We have people coming up to us going ‘were there camels carrying giant bears?’ or something, and we always say ‘You saw that? Good for you!'” They toy with synesthesia, giving freedom to the people watching to interpret the visuals how they like.

Together they continue to put on performative light shows, working with bands whose musical style closely matches their own experimental nature. Separately they both work on personal projects, and soon Panter will begin a residency at the Cullman Center at the New York Public Library, which is funding the third installment and paradise version of his Divine Comedy graphic novels. Panter painstakingly dipped a chopstick in ink to draw the first two intricately detailed books, “Jimbo in Purgatory” and “Jimbo’s Inferno”.

The most obvious realization that comes across after spending any amount of time with White and Panter is that they are both highly intelligent and their work is a distillation of their hyperactive minds. Their ability to funnel ideas into various artistic forms speaks to their innate creative talents, and the results are entertaining as well as enlightening.

“Joshua White and Gary Panter’s Light Show” is currently on view at MoCAD through 29 April 2012. Panter shows his fine art work at Fredericks & Freiser gallery in NYC and performs with his band, Devin Gary & Ross at venues around Bushwick in Brooklyn.

Photos of Panter’s studio shot by Charis Kirchheimer. See more images in the slideshow.

Our interview with the owner of Prague’s newest experimental retail and experiential gallery space

by Perrin Drumm

Yasmin Keshmiri Hejduk opened Gallery by Minty Concept Club in Prague less than a year ago and already it’s become the city’s go-to destination as an experiential retail and gallery. “Gallery is a space where people meet, browse through new magazines and enjoy a more social setting to find goodies within the heart of Prague,” Hejduk says. “Gallery combines the cool aesthetic of Scandinavian design with friendly charm, creating a modern vibe and opportunity to discover a new world.” She is kept busy moving a constant rotation of clothes and accessories through the front of the shop while planning the next big pop-up event in the back, but after a well-earned vacation she sat down to tell us the story behind Minty.

You opened Minty in September, 2011. What did you do before that? What led you to create an art/retail space?

I met my husband in 2002 in Prague when I came over to shoot a commercial. Having worked in the film industry for years in London and then running a Production Company in Prague gave me a real taste for creative activities. Though I’m a producer, I still felt that it was a creative job—you certainly have to be creative with money!

After having my two sons, I wanted to branch out in a different way and decided to set up Minty Concept Club as a creative studio/experiential agency. Minty became big in Prague due to the number of pop-up projects we executed and we soon got a reputation as a company that brings a real creative edge to commercial projects. It was a natural progression to find a space that can give us the opportunity to continue.

What were your goals for Gallery when you first started out? What kind of role did you see yourself playing in the community?

The goal of Gallery was to bring lifestyle and trend-inspired projects to Prague while collaborating with young designers and artists. We really try to promote the people we have collaborated with. For example, we worked with Veronika Jirouskova on our set direction, Lenka Mikova, who designed the Gallery furniture and Veronika Vlkova for graphics and the murals on the walls. Hopefully, through these creative yet commercial projects, they can build a good portfolio for the future and we are proud to be part of that success.

Can you tell me a bit more about how Minty splits its functions as both a gallery and a retail space? Is it common for people to visit and just look at the items for sale like objects of art, or to sit in a chair and read one of the magazines without browsing the clothes or other items for sale?

Absolutely. Gallery is all about creating an atmosphere within which we sell what we love, and the space almost acts as a mood board for Minty’s creative activities. The layout is perfect for what we’re about. The front is a more commercial shop with jewelry, one-off designer collections, magazines and emotive objects. The middle is a reading room and the back is an empty white space for exhibitions and instillations. I think the reason we’re receiving such positive feedback is because we’re more than a shop or a gallery. Gallery is based in Prague, but I think a space like this sits very well in any cosmopolitan city that has a thirst for beauty and inspiration.

How does Minty’s neighborly vibe shape the way it functions in the community?

We are just off of Old Town Square and Parizska, and as much as we welcome passers-by we do not rely on the tourist trade. There’s always something happening and Gallery is becoming a sort of creative hang out. This is very important to the function of Gallery as our visitors are contemporary, fashion conscious and open minded individuals who add a very unique vibe to the neighborhood.

Does the space become a more “normal” storefront in between pop-up exhibitions, or is it always in a state of constant exhibition, moving straight from one show to the next?

The space changes all the time. It all depends on the timing of our own projects, collaborations or exhibitions, which can last a few days to a month. We try to keep things different and fresh from merchandising and swapping the space around. The spaces have had dramatic changes from the Rocka Billy Tattoo Parlour for Zoe and Morgan, to a Black Forest designed by Igor Hosnedl. Even in between projects there’s something new to see, a new brand we’re launching or new collection arrivals. Some people even come in just to hear what music we are playing!

Can you talk a bit about your current exhibition, “Melt Your Cold Cold Heart?”

“Melt Your Cold Cold Heart” was a collaboration with design duo Rozbijim Se and Photographer Ladislav Babusak. We produced 14 limited edition Valentine’s chocolate photo packaged keepsakes. Within the project we created a glass instillation which had tasting stations with crystal water glasses. And finally in the back we created a black box with only a photograph lit, where the visitors sampled the chocolate in a more intense setting. It was a very fragile and personal experience that really enhanced the chocolate’s unique taste and the individual’s bond to the setting.

What we can expect to see from you in the coming months?

We have lots of lovely exhibitions planned. We’re working with one of our favorite photographers, Bet Orten, and the indie music band, Please the Trees. Gallery has many possibilities. We love to continue to work with chocolate and branch out into coffee. I would like to say there is a really great coffee shop in the centre of Prague but sadly so far there’s not. There are many lovely spaces like Sucr Kava Limonada or Cafe Louvre, but the coffee quality is falling behind other cities, so you can imagine what’s next on Minty’s agenda!

Punchdrunk Theater Company’s designer talks to us about creating an immersive and interactive set

An intensely detailed set, we took a minute to find out more about the challenges and excitement of Punchdrunk Theatre Company’s Sleep No More‘s decor from the Associate Designer Livi Vaughan. Check out our video for an in-depth look at what it takes to create such an enigmatic ambiance and read on to learn more about the immersive theater’s experience.

Wandering, disoriented and alone, no two people will ever experience Sleep No More in the same fashion. This choose-your-own-adventure sets audiences in a dark and stormy, detail-obsessed mash-up of film noir and Shakespeare’s Macbeth. This is not a play you take a seat for. In fact, you might just find yourself running through a forest chasing after a blood-soaked witch. Defying category, this immersive experience blends ambiance, dance, and elements of a carnival fun house for three hours of interactive theater.

Sleep No More takes place in The McKittrick Hotel—three Chelsea warehouses, gutted and linked together in a labyrinthine manner. From its exterior, McKittrick wouldn’t warrant a second glance. Once inside, the performance begins immediately as guests meander through a dark maze, finding their way into a gaudy cabaret, complete with a full bar and jazz band.

Masked and regrouped, everyone’s experience diverges from here. A bellhop lays out the rules and from then on, nothing can be taken at surface value. The McKittrick Hotel dictates your course, much the same way the Overlook Hotel lead to the unraveling of Jack Torrance in The Shining. Dull, throbbing mood music fills every room and floor, and each turn casts a unique sense of awe or mystery. Walls yield. One moment guests are in a grand ballroom, the next at the remains of a castle foundation. You can indulge in a candy shop, or admire the taxidermy. Everything can be touched. All the while, a loose adaptation of Macbeth, circa the 1930s, breezes around you.

Unexpectedly, guests catch sight of a sole unmasked figure. It is an entry point, with the option to follow. Taking place, simultaneously throughout, the characters of Macbeth interact. You can follow one character through the entirety of the production, or stray and seek a point of reentry. The dialogue is minimal, but if chance or preparation allow, you can glimpse Lady Macbeth and her iconic, “out, out damn spot!”

Physical, dance-driven performances illuminate character and plot points. Murder, betrayal and sex are all choreographed elements. Without much warning the performers disperse, leaving the guest to pick a direction and scramble among throngs of onlookers.

Playing off one another, the McKittrick and the actors vie for guest attention. Macbeth has been adapted over and over, but this site-specific production embodies a striking breed of theater where the guests themselves are an active component. All attendees, losing identity behind their masks, are ghosts populating the magical realism. With balletic grace, performances erupt and cease. Plot points may fall to the wayside, but the text is so familiar that it bears no influence. The space shifts and performs, leaving no moment unfilled. Therein lies Sleep No More’s greatest ally—unbridled, consistent stimulation uniquely yours.

Two cold brew systems go head to head for the ultimate summer java

Cold brewed coffee is smoother, less acidic and exceptionally more tasty than dumping ice into a steaming hot cup of coffee. By relying on time rather than temperature the results are much more concentrated. To see which of the more well known cold-brewing systems do the job better we pitted the beautiful Japanese Hario against the more plain-spoken American Toddy.

Hario’s Water Dripper Clear sticks to the conventional drip set up of most cold brewers. A nozzle easily adjusts to leak water at roughly one drop per second from from the glass container into a grounds-filled beaker below. The drop-by-drop percolation process takes three to five hours, filling a small glass pitcher (in Hario’s charming trademark shape) with the the highest-quality concentrate.

The Toddy, on the other hand, has less stunning looks but equally satisfying results. Easing the grounds into the brewing process involves a series of steps designed to ensure thorough saturation. Once the 12 hour steeping period is over you remove a small rubber cork from the bottom, which allows the fresh coffee to drip freely through a filter into the pot. The resulting bold infusion is reportedly 67% less acidic than a hot brewed version.

Both processes produce a strong flavor specific to the cold brew process, but Hario was the office favorite. Not only does it look like a mad science project on kitchen counters, it produces a slightly cleaner-tasting concentrate and involves a less complicated process. The Hario sells at a steep $243 through Amazon. For the price and utility (it’s easier to clean too) the Toddy is also a great system, selling for a considerably more accessible $35 though Toddy’s online shop.