MEMORABILIA. COLLECTING SOUNDS WITH…
Ed Veenstra. Part II
Music selected by Ed Veenstra. Mix produced by Genís Segarra
In the early sixties Milan Knížák began experimenting with vinyl records by scratching, painting, burning or even breaking them. These fierce treatments affected not only radically the original compositions but also expanded the function of the records themselves. Because it was almost impossible to transfer the distorted sounds to standard sheet music, Knížák considered the records with all their cuts, paint, punched holes, glue and scratches a new form of musical notation. Additionally the records became art objects.
On February 18, 1988, Daadgalerie in Berlin opened its doors for Broken Music. The exhibition, curated by Ursula Block and Michael Glasmeier, featured objects, sleeves, and installations by visual artists with records as main source. Many of the exhibited works featured sound by visual artists. The exhibition catalogue containing theory, a historical overview and an extensive and illustrated discography is still influential and an asset for anyone interested in visual artists working with records as medium and/or sound.
More than twenty years after the exhibition and the never reprinted catalogue the term Broken Music managed to survive as a genre although its definition seems to have narrowed down to just sound by visual artists. This audio-selection is mainly focused on visual artists for whom sound is an extension or component of their visual work. Some of the records you are about to hear were chosen because they are extraordinary rare. Some are here because they are. Ed Veenstra, 2011
In PROBES #28 Chris Cutler follows the incorporation into new works of saws, sandpaper and power tools, artisans and knitting machines – and goes on to investigate the repurposing of radios and gramophones as musical resources.
Transcript
Transcript of PROBES #28, curated by Chris Cutler.
Meta-records
A selection of records that mention, replicate, utilise or study the phenomena of vinyl, the record player and/or recordings.
Jonny Trunk. Part I
Jonny Trunk walks us through a hard-to-find and yet very familiar genre: library music. Or as he puts it: 'The strange noise that TV makes at night.'
Transcript of Ed Veenstra's lecture: "Broken Music, anti-records and object records".
Ed Veenstra. Teaser
This music selection was used as a teaser for the MEMORABILIA. Collecting sounds with... Ed Veenstra lecture, which took plave on April 15th, 2011 at the MACBA, and features some of the highlights of Ed Veenstra’s collection.
Conversation with Ed Veenstra on his sound collection.
This is a conversation by email with Dutch collector Ed Veenstra, which took place on April 2011, to prepare a monograph on his sound collection.
Ed Veenstra. Part I
Dutch collector Ed Veenstra is one of the world’s leading authorities on the genre of Broken Music: records and paramusical works produced by visual artists and other avant-garde creators.
William Bennett. Part I
International noise music legend William Bennett is also an avid record collector. Both critical and eclectic in his selective accumulation, the British artist’s record collection comprises a singular labyrinth of sounds that make it possible to chart different paths through the musical preferences of its owner.