Friday 8 February 2019, 7.30pm
ERIKM + SCANNER
Archives sauvées des eaux, for two DJs — Exploitation des concepts n°1 , (2000) — 25 minutes. Memorised sounds Exploitation des concepts n°1, For 2CDs and a set of LPs
"The idea of using my archives was born from the necessity to update the medium those memories were inscribed on. In my studio, I have analog tapes containing all the recordings I made since 1960, some I have used, some not. While copying those across to CDs, I was seized by the impulse to turn that tedious job into a creative undertaking. And so instead of copying, I started composing. Thus was born a new composition that exploits the 1974 archives (I had to start somewhere.” – Luc Ferrari
WP Ghent Vooruit, May 2000, by Luc Ferrari and DJ Olive / Commissioned by Hermes Ensemble / Version for SuperDeluxe, Tokyo, 2003, by Luc Ferrari and Otomo Yoshihide / CD Disc Callithump, CPCD-001 — 2008 / Version for Plastic, Milan, 2004, by Luc Ferrari and eRikm / CD Angle, angle cd 008 — 2004 / Orchestral version, for the Laborintus Ensemble and eRikm / CD Césaré, 06/03/4 —2006 / Grand Prix Charles Cros 2005 In Memoriam / Score published by Association PRESQUE RIEN
ERIKM + THURSTON MOORE
Les ProtoRythmiques (ProtoRhythmics, June 2004 - January 2005) — approx. 60 minutes. For two DJs
“After playing Archives sauvées des eaux with eRikm, I suggested we work on this new piece together. That first experience, which had taken me into a field where I had never before been an active participant; the statement I now made with Les ProtoRythmiques took me to more adventurous, and democratic, territories (if one can still use the word democratic after the way the Bush administration abused it.” – Luc Ferrari
WP Les Instants Chavirés, Montreuil, 12 February 2005 by Luc Ferrari and eRikmCD ROOM40, RM417 — 2007
eRikm is a French improviser, composer and visual artist who has been active in art since 1992. Maintaining a constant fusion between thought, instinct and sensitivity, he pursues a simultaneity of practices and addresses the interplay between various compositional modes, relating to and using all languages. From his early experience as a guitarist through to his later visual work, he is a maverick genre-bender who breaks down anyone’s attempts to conveniently classify him. Quickly recognised as a virtuoso turntablist and sound artist (1996), eRikm has made a longlife habit of crossing all territories and « world-systems » deemed "independent", "institutional". At the same time (1997), he has developed an open and aspirational approach toward the technological media, both as a means of development for a new economic model and as an instrument for creation, production and diffusion. He deals with sounds like living organisms, constantly in flux, always open to the risk of accident or delight/unisson. As he plays with all these contradictions in his improvisations, his performance reaches new heights of intensity, trading off both understanding and sensation, seriousness and farce, anticipation and instinct. His work references both the intimate and political, both popular and high culture, but without demonstration. Rather he creates a short-circuit connection between points with his live generated (and degenerated) material – from noise to reference – presenting multiple ways to capture each moment of the present in clear focus. Throughout his career, collaborations have naturally occurred with his audiences and contemporaries, most notably :Luc Ferrari,Christian Marclay,Mathilde Monnier,Bernard Steigler,Fm Einheit... The kind of coincidences which have confirmed his instinctive search for transmutation, and to play on several levels. Since 1997, on his own or with collaborators, eRikm has toured (with 5-7 on-tour projects to date), or created by request specific pieces, both transversal or for fixed spaces (record labels, radio, festivals, art centres...) In the meanwhile, each time building on what has emerged before, the most personal fragments from his work (notably from his early artworks in photography, drawings, visual installations and video) continue to substantiate a singular kaleidoscopic vision.
Thurston Moore started Sonic Youth in 1980 and has been at the forefront of the alternative rock scene since that particular sobriquet was first used to signify any music that challenged and defied the mainstream standard. With Sonic Youth, Moore turned on an entire generation to the value of experimentation in rock n roll – from its inspiration on a nascent Nirvana, to Sonic Youth’s own Daydream Nation album being chosen by the US Library of Congress for historical preservation in the National Recording Registry in 2006. Thurston records and performs in a cavalcade of disciplines ranging from free improvisation to acoustic composition to black/white metal/noise disruption. He has worked with Yoko Ono, John Zorn, David Toop, Cecil Taylor, Faust, Glenn Branca and many others. His residency at the Louvre in Paris included collaborations with Irmin Schmidt of CAN. Alongside his various activities in the musical world, he is involved with publishing and poetry, and teaches writing at Naropa University, Boulder CO, a school founded by Allen Ginsberg and Anne Waldman in 1974. Thurston also teaches music at The Rhythmic Music Conservatory (Rytmisk Musikkonservatorium) in Copenhagen. Presently he performs and records solo, with various ensembles and in his own band, The Thurston Moore Group.
Robin Rimbaud, Scanner, is an artist and composer working in the UK, whose works traverse the experimental terrain between sound, space, and form, connecting a bewilderingly diverse array of genres – a partial list would include sound design, film scores, computer music, contemporary composition, large-scale multimedia performances, product design, architecture, fashion design, rock music and jazz.
Since 1991 he has been intensely active in sonic art, producing concerts, installations and recordings, the albums Mass Observation (1994), Delivery (1997), and The Garden is Full of Metal (1998) hailed by critics as innovative and inspirational works of contemporary electronic music. He scored the hit musical comedy Kirikou & Karaba (2007), and campaigns for Nike, Chanel, Mercedes, Versace, Sprint FCUK, and in 2018 CISCO telephones the world over feature his sound design.
To date he has scored 65 contemporary dance productions, including works for the London Royal Ballet and Merce Cunningham in NYC. In 2016 he installed his Water Drops sound work in Rijeka Airport in Croatia, Ghosts at Cliveden National Trust UK, and scored the world’s first ever Virtual Reality ballet, Nightfall.
More unusual projects have included designing sound for the Philips Wake-Up Light (2009), the re-opening of the Stedelijk Museum, Amsterdam in 2012 and currently an App that measures the quality of soil in Europe with live data with artist Kasia Molga. His work Salles des Departs is permanently installed in a working morgue in Paris whilst Vex, the residential house by Chance de Silva architects, featuring his permanent soundtrack, won the RIBA London Award 2018.
Committed to working with cutting edge practitioners he has collaborated with Bryan Ferry, Michael Nyman, Laurie Anderson, The Royal Ballet, Wayne McGregor, Steve McQueen, Hermes, Hussein Chalayan, Philips Design, Mike Kelley, and Miroslaw Balka. His work has been presented throughout the United States, South America, Asia, Australia and Europe.