-- phpMyAdmin SQL Dump -- version home.pl -- http://www.phpmyadmin.net -- -- Host: localhost -- Czas wygenerowania: 07 Lip 2013, 16:18 -- Wersja serwera: 5.5.30-log -- Wersja PHP: 5.2.17 SET SQL_MODE="NO_AUTO_VALUE_ON_ZERO"; SET time_zone = "+00:00"; /*!40101 SET @OLD_CHARACTER_SET_CLIENT=@@CHARACTER_SET_CLIENT */; /*!40101 SET @OLD_CHARACTER_SET_RESULTS=@@CHARACTER_SET_RESULTS */; /*!40101 SET @OLD_COLLATION_CONNECTION=@@COLLATION_CONNECTION */; /*!40101 SET NAMES utf8 */; -- -- Baza danych: `avantart3` -- -- -------------------------------------------------------- -- -- Struktura tabeli dla tabeli `wp_commentmeta` -- CREATE TABLE IF NOT EXISTS `wp_commentmeta` ( `meta_id` bigint(20) unsigned NOT NULL AUTO_INCREMENT, `comment_id` bigint(20) unsigned NOT NULL DEFAULT '0', `meta_key` varchar(255) DEFAULT NULL, `meta_value` longtext, PRIMARY KEY (`meta_id`), KEY `comment_id` (`comment_id`), KEY `meta_key` (`meta_key`) ) ENGINE=InnoDB DEFAULT CHARSET=utf8 AUTO_INCREMENT=1 ; -- 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`last_id`, `sent`, `track`, `list`, `type`, `query`, `editor`, `sex`, `theme`) VALUES (1, 'Rusza 5. AVANT ART FESTIVAL – święto niemieckiej muzyki i sztuki!', '
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\r\n \r\n | \r\n\r\n \r\n | \r\n\r\n | \r\n | \r\n | \r\n | \r\n | \r\n Avant Art Festival\r\n | \r\n\r\n | \r\n | \r\n | \r\n | \r\n \r\n | \r\n\r\n \r\n | \r\n\r\n \r\n | \r\n
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Jeśli chcesz się wypisać, kliknij tutaj.
', '', '', '', '', '2012-10-01 12:47:02', 'sent', 2994, 3002, 2994, 0, 0, 'email', '', 0, '', 'blank'), (2, 'Showcase’y Avant Art Festival w Berlinie i Kolonii!', '\r\n | \r\n | \r\n | \r\n | \r\n | \r\n | \r\n | \r\n \r\n | \r\n\r\n | \r\n | \r\n | \r\n | \r\n | \r\n | \r\n |
\r\n \r\n | \r\n\r\n \r\n | \r\n\r\n | \r\n | \r\n | \r\n | \r\n | \r\n Avant Art Festival\r\n | \r\n\r\n | \r\n | \r\n | \r\n | \r\n \r\n | \r\n\r\n \r\n | \r\n\r\n \r\n | \r\n
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Jeśli chcesz się wypisać, kliknij tutaj.
', '', '', '', '', '2012-10-12 12:07:28', 'sent', 2996, 3010, 2996, 0, 0, 'email', '', 0, '', 'blank'), (3, 'ALPENGLOW III - fundacja Avant Art, Klub Firlej oraz V:MN (Graz) zapraszają!', '\r\n | \r\n | \r\n | \r\n | \r\n | \r\n | \r\n | \r\n \r\n | \r\n\r\n | \r\n | \r\n | \r\n | \r\n | \r\n | \r\n |
\r\n \r\n | \r\n\r\n \r\n | \r\n\r\n | \r\n | \r\n | \r\n | \r\n | \r\n ALPENGLOW III / Graz & Styria meets Wrocław\r\n | \r\n\r\n | \r\n | \r\n | \r\n | \r\n \r\n | \r\n\r\n \r\n | \r\n\r\n \r\n | \r\n
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Jeśli chcesz się wypisać, kliknij tutaj.
', '', '', '', '', '2012-11-19 21:25:46', 'sent', 2993, 3014, 2993, 0, 0, 'email', '', 0, '', 'blank'), (4, 'Rosja na AVANT ART FESTIVAL 2013', '\r\n | \r\n | \r\n | \r\n | \r\n | \r\n | \r\n | \r\n \r\n | \r\n\r\n | \r\n | \r\n | \r\n | \r\n | \r\n | \r\n |
\r\n \r\n | \r\n\r\n \r\n | \r\n\r\n | \r\n | \r\n | \r\n | \r\n | \r\n\r\nZnamy już daty i kraj przewodni szóstej edycji AVANT ART FESTIVAL – międzynarodowych prezentacji niebanalnej muzyki, filmu i sztuki. Kolejna odsłona AVANT ART odbędzie się w dniach 1-6 października 2013 roku we Wrocławiu pod hasłem „Rosja”.\r\nPo doskonałej edycji niemieckiej przyszedł czas na artystów rosyjskich. W trakcie szóstej odsłony AVANT ART zaprezentowane zostają najciekawsze projekty z Rosji. Będzie można również usłyszeć i zobaczyć kilka projektów z Polski i Europy. \r\nJesteśmy w trakcie przesłuchiwania zespołów rosyjskich. Sprawdziliśmy już około 300 projektów, z których kilka bardzo dobrze się zapowiada. A to dopiero początek. Jak zwykle chcemy pokazać nieznane dotąd oblicze muzyki i zaskoczyć odbiorcę nową jakością. Rosyjska scena muzyczna i dla nas jest ciekawym odkryciem i wyzwaniem. Prócz muzyki z tego kraju pokażemy również filmy oraz projekty performatywne. Pracujemy także nad koprodukcjami polsko-rosyjskimi – mówi Kostas Georgakopulos, dyrektor AVANT ART. \r\nAVANT ART od czterech lat konsekwentnie kieruje się tym samym kluczem programowym – co roku na festiwal zapraszani są artyści konkretnego regionu. Od 2008 roku były to kolejno: Węgry, Norwegia, Szwajcaria i Niemcy. \r\nDo tej pory na AVANT ART zagrali wybitni artyści, eksploratorzy nowych obszarów muzyki i performance’u jak Radian, OffOnOff, Maja Ratkje, Arve Henriksen, FM Einheit, The Bug, a także DAF - żywa legenda techno i EBM. Swoje showcase’y miały prestiżowe wytwórnie niemiecke: Raster-Noton i Project: Mooncircle, solo występował także Alva Noto. \r\nTegoroczna edycja zwiększyła zasięg oddziaływania na inne, poza muzyką, przestrzenie dla kultury. Odbyła się pierwsza edycja AVANT ART FILM we współpracy z Helios Nowe Horyzonty. Zrealizowany został także międzynarodowy projekt recyklingowy, odbyły się wystawa i debata o kulturze. \r\nMuzyka pozostaje rdzeniem festiwalu, ale liczą się dla nas także inne obszary oddziaływania jak film czy sztuka, dyskusje społeczne i warsztaty. Niezwykle istotne są koprodukcje z krajem partnerskim. Chcemy tworzyć wspólnie nową jakość, międzynarodową mieszankę talentów, wizji i doświadczenia. Najnowszy projekt koprodukcyjny pokażemy jeszcze w listopadzie tego roku – zapowiada Kostas Georgakopulos. \r\nW dniach 22-24 listopada 2012 r. AVANT ART zaprasza do Wrocławia na ALPENGLOW III / Graz & Styria meets Wrocław - międzynarodowe spotkanie 24 muzyków sceny improwizowanej, elektroakustycznej i awangardowej z Austrii (Graz) i Polski (Wrocław / Warszawa). Muzycy, którzy nigdy nie występowali razem na jednej scenie, po raz pierwszy staną na niej wspólnie, by stworzyć projekt nieprzewidywalny w skutkach. \r\nTo jeden z wielu projektów koprodukcyjnych, które AVANT ART pokaże w ciągu najbliższego roku, aż do 6. edycji festiwalu, która odbędzie się w dniach 1-6 października 2013 roku we Wrocławiu. \r\nWięcej informacji na www.avantart.pl oraz www.facebook.com/AvantArtFestival \r\n\r\n | \r\n\r\n | \r\n | \r\n | \r\n | \r\n \r\n | \r\n\r\n \r\n | \r\n\r\n \r\n | \r\n
\r\n \r\n | \r\n\r\n \r\n | \r\n\r\n | \r\n | \r\n | \r\n | \r\n | \r\n \r\n Avant Art Festival | \r\n
Jeśli chcesz się wypisać, kliknij tutaj.
', '', '', '', '', '2012-11-22 12:42:05', 'sent', 2986, 3014, 2986, 0, 0, 'email', '', 0, '', 'blank'), (5, 'Avant Art na warszawskim festiwalu „ДА! ДА! ДА”! | 2.06.2013, 14:00', '\r\n
W Warszawie trwa festiwal „ДА! ДА! ДА! - pierwsza od lat tak szeroka prezentacja współczesnego teatru rosyjskiego w Polsce. Jego celem jest zaprezentowanie nowych zjawisk i trendów w rosyjskiej inscenizacji, dramaturgii i sztuce aktorskiej oraz przybliżenie polskiemu odbiorcy postaci ważnych twórców rosyjskiej sceny. W programie festiwalu „ДА! ДА! ДА!” znalazło się ponad 70 wydarzeń: spektakle, spotkania z twórcami, konferencje oraz koncerty. Projekt „ДА! ДА! ДА!” organizowany jest przez Instytut Adama Mickiewicza i Festiwal „Złota Maska”.
\r\nSwoje miejsce w przestrzeni festiwalu będzie miał również Avant Art, którego tegoroczna, 6. już., edycja poświęcona będzie sztuce rosyjskiej. Zapraszamy na prezentację Avant Art Festival „Rosja”, która odbędzie się 2 czerwca o godz. 14 w Klubie Festiwalowym (BAR STUDIO przy Teatrze Studio w Pałacu Kultury i Nauki, pl. Defilad 1). O Avant Art i programie tegorocznej edycji opowie dyrektor festiwalu - Kostas Georgakopulos.
\r\nAvant Art Festival odbędzie się w dniach 4-13 października we Wrocławiu. AAF 2013 to przede wszystkim muzyka, tear, film oraz polsko-rosyjskie projekty koprodukcyjne.
\r\nWięcej informacji o „ДА! ДА! ДА” na www.culture.pl/dadada
\r\nWiecej o Avant Art Festival 2013 wkrótce na www.avantart.pl oraz facebooku
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\nAt ten years, it’s fun to reflect on our beginnings. We launched WordPress on 27th May 2003, but that wasn’t inception. Go back far enough, and you can read a post by Michel Valdrighi who, frustrated by the self-hosted blogging platforms available, decided to write his own software; “b2, a PHP+MySQL alternative to Blogger and GreyMatter.” b2 was easy to install, easy to configure, and easy for developers to extend. Of all the blogging platforms out there, b2 was the right one for me: I could write my content and get it on the web quickly and painlessly.
\nSometimes, however, life gets in the way. In 2002, Michel stopped maintaining b2. Over time, security flaws became apparent and updates were needed and, while the b2 community could write patches and fixes, no one was driving the software forward. We were lucky that Michel decided to release b2 under the GPL; the software may have been abandoned, but we weren’t without options. A fork was always a possibility. That was where it stood in January 2003, when I posted about forking b2 and Mike responded. The rest, as they say, is history.
\nFrom the very beginning to the present day, I’ve been impressed by the thought, care, and dedication that WordPress’ developers have demonstrated. Each one has brought his or her unique perspective, each individual has strengthened the whole. It would be impossible to thank each of them here individually, but their achievements speak for themselves. In WordPress 1.2 the new Plugin API made it easy for developers to extend WordPress. In the same release gettext()
internationalization opened WordPress up to every language (hat tip: Ryan Boren for spending hours wrapping strings with gettext). In WordPress 1.5 our Theme system made it possible for WordPress users to quickly change their site’s design: there was huge resistance to the theme system from the wider community at the time, but can you imagine WordPress without it? Versions 2.7, 2.8, and 2.9 saw improvements that let users install and update their plugins and themes with one click. WordPress has seen a redesign by happycog (2.3) and gone under extensive user testing and redesign (Crazyhorse, Liz Danzico and Jen Mylo, WordPress 2.5). In WordPress 3.0 we merged WordPress MU with WordPress — a huge job but 100% worth it. And in WordPress 3.5 we revamped the media uploader to make it easier for people to get their images, video, and media online.
In sticking to our commitment to user experience, we’ve done a few things that have made us unpopular. The WYSIWYG editor was hated by many, especially those who felt that if you have a blog you should know HTML. Some developers hated that we stuck with our code, refusing to rewrite, but it’s always been the users that matter: better a developer lose sleep than a site break for a user. Our code isn’t always beautiful, after all, when WordPress was created most of us were still learning PHP, but we try to make a flawless experience for users.
\nIt’s not all about developers. WordPress’ strength lies in the diversity of its community. From the start, we wanted a low barrier to entry and we came up with our “famous 5 minute install”. This brought on board users from varied technical background: people who didn’t write code wanted to help make WordPress better. If you couldn’t write code, it didn’t matter: you could answer a question in the support forums, write documentation, translate WordPress, or build your friends and family a WordPress website. There is space in the community for anyone with a passion for WordPress.
\nIt’s been wonderful to see all of the people who have used WordPress to build their home on the internet. Early on we got excited by switchers. From a community of tinkerers we grew, as writers such as Om Malik, Mark Pilgrim, and Molly Holzschlag made the switch to WordPress. Our commitment to effortless publishing quickly paid off and has continued to do so: the WordPress 1.2 release saw 822 downloads per day, our latest release, WordPress 3.5, has seen 145,692 per day.
\nI’m continually amazed by what people have built with WordPress. I’ve seen musicians and photographers, magazines such as Life, BoingBoing, and the New York Observer, government websites, a filesystem, mobile applications, and even seen WordPress guide missiles.
\nAs the web evolves, WordPress evolves. Factors outside of our control will always influence WordPress’ development: today it’s mobile devices and retina display, tomorrow it could be Google Glass or technology not yet conceived. A lot can happen in ten years! As technology changes and advances, WordPress has to change with it while remaining true to its core values: making publishing online easy for everyone. How we rise to these challenges will be what defines WordPress over the coming ten years.
\nTo celebrate ten years of WordPress, we’re working on a book about our history. We’re carrying out interviews with people who have involved with the community from the very beginning, those who are still around, and those who have left. It’s a huge project, but we wanted to have something to share with you on the 10th anniversary. To learn about the very early days of WordPress, just after Mike and I forked b2 you can download Chapter 3 right here. We’ll be releasing the rest of the book serially, so watch out as the story of the last ten years emerges.
\nIn the meantime, I penned my own letter to WordPress and other community members have been sharing their thoughts:
\nYou can see how WordPress’ 10th Anniversary was celebrated all over the world by visiting the wp10 website, according to Meetup we had 4,999 celebrators.
\nTo finish, I just want to say thank you to everyone: to the developers who write the code, to the designers who make WordPress sing, to the worldwide community translating WordPress into so many languages, to volunteers who answer support questions, to those who make WordPress accessible, to the systems team and the plugin and theme reviewers, to documentation writers, event organisers, evangelists, detractors, supporters and friends. Thanks to the jazzers whose music inspired us and whose names are at the heart of WordPress. Thanks to everyone who uses WordPress to power their blog or website, and to everyone who will in the future. Thanks to WordPress and its community that I’m proud to be part of.
\nThank you. I can’t wait to see what the next ten years bring.
\nFinal thanks to Siobhan McKeown for help with this post.
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\nThank you to everyone who has ever contributed to this project: your labors of love made this day possible.
\nBut today isn’t just about reflecting on how we got this far (though I thought Matt’s reflection on the first ten years was lovely). We are constantly moving forward. As each release cycle begins and ends (3.6 will be here soon, promise!), we always see an ebb and flow in the contributor pool. Part of ensuring the longevity of WordPress means mentoring new contributors, continually bringing new talent and fresh points of view to our family table.
\nI am beyond pleased to announce that this summer we will be mentoring 8 interns, most of them new contributors, through Google Summer of Code and the Gnome Outreach Program for Women. Current contributors, who already volunteer their time working on WordPress, will provide the guidance and oversight for a variety of exciting projects this summer. Here are the people/projects involved in the summer internships:
\nDid you notice that our summer cohort is as international as the #wp10 parties going on today? I can only think that this is a good sign.
\nIt’s always a difficult process to decide which projects to mentor through these programs. There are always more applicants with interesting ideas with whom we’d like to work than there are opportunities. Luckily, WordPress is a free/libre open source software project, and anyone can begin contributing at any time. Is this the year for you? We’d love for you to join us as we work toward #wp20.
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\nThis is software still in development and we really don’t recommend that you run it on a production site — set up a test site just to play with the new version. To test WordPress 3.6, try the WordPress Beta Tester plugin (you’ll want “bleeding edge nightlies”). Or you can download the beta here (zip).
\nBeta 3 contains about a hundred changes, including improvements to the image Post Format flow (yay, drag-and-drop image upload!), a more polished revision comparison screen, and a more quote-like quote format for Twenty Thirteen.
\nAs a bonus, we now have oEmbed support for the popular music-streaming services Rdio and Spotify (the latter of which kindly created an oEmbed endpoint a mere 24 hours after we lamented their lack of one). Here’s an album that’s been getting a lot of play as I’ve been working on WordPress 3.6:
\n\n\nPlugin developers, theme developers, and WordPress hosts should be testing beta 3 extensively. The more you test the beta, the more stable our release candidates and our final release will be.
\nAs always, if you think you’ve found a bug, you can post to the Alpha/Beta area in the support forums. Or, if you’re comfortable writing a reproducible bug report, file one on the WordPress Trac. There, you can also find a list of known bugs and everything we’ve fixed so far.
\nWe’re looking forward to your feedback. If you find a bug, please report it, and if you’re a developer, try to help us fix it. We’ve already had more than 150 contributors to version 3.6 — it’s not too late to join in!
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\nThis is software still in development and we really don’t recommend that you run it on a production site — set up a test site just to play with the new version. To test WordPress 3.6, try the WordPress Beta Tester plugin (you’ll want “bleeding edge nightlies”). Or you can download the beta here (zip).
\nThe longer-than-usual delay between beta 1 and beta 2 was due to poor user testing results with the Post Formats UI. Beta 2 contains a modified approach for format choosing and switching, which has done well in user testing. We’ve also made the Post Formats UI hide-able via Screen Options, and set a reasonable default based on what your theme supports.
\nThere were a lot of bug fixes and polishing tweaks done for beta 2 as well, so definitely check it out if you had an issues with beta 1.
\nPlugin developers, theme developers, and WordPress hosts should be testing beta 2 extensively. The more you test the beta, the more stable our release candidates and our final release will be.
\nAs always, if you think you’ve found a bug, you can post to the Alpha/Beta area in the support forums. Or, if you’re comfortable writing a reproducible bug report, file one on the WordPress Trac. There, you can also find a list of known bugs and everything we’ve fixed so far.
\nWe’re looking forward to your feedback. If you find a bug, please report it, and if you’re a developer, try to help us fix it. We’ve already had more than 150 contributors to version 3.6 — it’s not too late to join in!
\n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:36:"http://wellformedweb.org/CommentAPI/";a:1:{s:10:"commentRss";a:1:{i:0;a:5:{s:4:"data";s:60:"http://wordpress.org/news/2013/04/wordpress-3-6-beta-2/feed/";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:38:"http://purl.org/rss/1.0/modules/slash/";a:1:{s:8:"comments";a:1:{i:0;a:5:{s:4:"data";s:1:"0";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}}}i:4;a:6:{s:4:"data";s:45:"\n \n \n \n \n \n \n \n\n \n \n \n \n \n ";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";s:5:"child";a:5:{s:0:"";a:7:{s:5:"title";a:1:{i:0;a:5:{s:4:"data";s:42:"Summer Mentorship Programs: GSoC and Gnome";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"link";a:1:{i:0;a:5:{s:4:"data";s:76:"http://wordpress.org/news/2013/04/summer-mentorship-programs-gsoc-and-gnome/";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:8:"comments";a:1:{i:0;a:5:{s:4:"data";s:85:"http://wordpress.org/news/2013/04/summer-mentorship-programs-gsoc-and-gnome/#comments";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:7:"pubDate";a:1:{i:0;a:5:{s:4:"data";s:31:"Thu, 25 Apr 2013 03:18:41 +0000";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:8:"category";a:2:{i:0;a:5:{s:4:"data";s:9:"Community";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}i:1;a:5:{s:4:"data";s:11:"Development";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"guid";a:1:{i:0;a:5:{s:4:"data";s:33:"http://wordpress.org/news/?p=2573";s:7:"attribs";a:1:{s:0:"";a:1:{s:11:"isPermaLink";s:5:"false";}}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:11:"description";a:1:{i:0;a:5:{s:4:"data";s:358:"As an open source, free software project, WordPress depends on the contributions of hundreds of people from around the globe — contributions in areas like core code, documentation, answering questions in the support forums, translation, and all the other things it takes to make WordPress the best publishing platform it can be, with the most […]";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:32:"http://purl.org/dc/elements/1.1/";a:1:{s:7:"creator";a:1:{i:0;a:5:{s:4:"data";s:8:"Jen Mylo";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:40:"http://purl.org/rss/1.0/modules/content/";a:1:{s:7:"encoded";a:1:{i:0;a:5:{s:4:"data";s:5071:"As an open source, free software project, WordPress depends on the contributions of hundreds of people from around the globe — contributions in areas like core code, documentation, answering questions in the support forums, translation, and all the other things it takes to make WordPress the best publishing platform it can be, with the most supportive community. This year, we’re happy to be participating as a mentoring organization with two respected summer internship programs: Google Summer of Code (GSoC) and the Gnome Outreach Program for Women.
\nGSoC is a summer internship program funded by Google specifically for college/university student developers to work on open source coding projects. We have participated in the Google Summer of Code program in the past, and have enjoyed the opportunity to work with students in this way. Some of our best core developers were GSoC students once upon a time!
\nOur mentors, almost 30 talented developers with experience developing WordPress, will provide students with guidance and feedback over the course of the summer, culminating in the release of finished projects at the end of the program if all goes well.
\nStudents who successfully complete the program earn $5,000 for their summer efforts. Interested, or know a college student (newly accepted to college counts, too) who should be? All the information you need about our participation in the program, projects, mentors, and the application process is available on the GSoC 2013 page in the Codex.
\nIt’s not news that women form a low percentage of contributors in most open source projects, and WordPress is no different. We have great women in the contributor community, including some in fairly visible roles, but we still have a lot of work to do to get a representative gender balance on par with our user base.
\nThe Gnome Outreach Program for Women aims to provide opportunities for women to participate in open source projects, and offers a similar stipend, but there are three key differences between GSoC and Gnome aside from the gender requirement for Gnome.
\nThe summer installment of the Gnome Outreach Program for Women follows the same schedule and general application format as GSoC, though there are more potential projects since it covers more areas of contribution. Women college students interested in doing a coding project are encouraged to apply for both programs to increase the odds of acceptance. All the information you need about our participation in the program, projects, mentors, and the application process is available on the Gnome Outreach Program for Women page in the Codex.
\nThe application period just started, and it lasts another week (May 1 for Gnome, May 3 for GSoC), so if you think you qualify and are interested in getting involved, check out the information pages, get in touch, and apply… Good luck!
\nGoogle Summer of Code 2013 Information
\nGnome Summer Outreach Program for Women 2013 Information
In honor of the upcoming 10th anniversary celebrations, we’ve put a special 10th anniversary tshirt in the swag store at cost — $10 per shirt plus shipping. They’ll be on sale at this price until the anniversary on May 27, and they’ll start shipping out the week of April 29.
\nSome people who are planning parties or who organize meetups are already talking about doing group orders to save on shipping costs, which is a great idea — just make sure you allow enough shipping time. If you’re not sure if the tees could make it to you in time on your side of the world, use the contact options at the bottom of the store page to ask about shipping times. If they can’t reach you in time and you want to have a local printer do some for your group, we’ll post the vector file on the wp10 site within the next week (and this post will get updated accordingly).
\nThe shirts are available in black or silvery gray. Why silvery gray? Because of trivia: the traditional gift for 10th anniversaries is tin or aluminum.
\n\n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:36:"http://wellformedweb.org/CommentAPI/";a:1:{s:10:"commentRss";a:1:{i:0;a:5:{s:4:"data";s:71:"http://wordpress.org/news/2013/04/wordpress-10th-anniversary-tees/feed/";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:38:"http://purl.org/rss/1.0/modules/slash/";a:1:{s:8:"comments";a:1:{i:0;a:5:{s:4:"data";s:1:"0";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}}}i:6;a:6:{s:4:"data";s:42:"\n \n \n \n \n \n \n\n \n \n \n \n \n ";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";s:5:"child";a:5:{s:0:"";a:7:{s:5:"title";a:1:{i:0;a:5:{s:4:"data";s:21:"Save the Date: May 27";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"link";a:1:{i:0;a:5:{s:4:"data";s:55:"http://wordpress.org/news/2013/04/save-the-date-may-27/";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:8:"comments";a:1:{i:0;a:5:{s:4:"data";s:64:"http://wordpress.org/news/2013/04/save-the-date-may-27/#comments";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:7:"pubDate";a:1:{i:0;a:5:{s:4:"data";s:31:"Thu, 11 Apr 2013 13:48:42 +0000";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:8:"category";a:1:{i:0;a:5:{s:4:"data";s:13:"Uncategorized";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"guid";a:1:{i:0;a:5:{s:4:"data";s:33:"http://wordpress.org/news/?p=2555";s:7:"attribs";a:1:{s:0:"";a:1:{s:11:"isPermaLink";s:5:"false";}}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:11:"description";a:1:{i:0;a:5:{s:4:"data";s:329:"What’s on May 27, you ask? May 27, 2013 is the 10th anniversary of the first WordPress release! We think this is worth celebrating, and we want WordPress fans all over the world to celebrate with us by throwing their own parties. We’re using Meetup Everywhere to coordinate, and will be putting up a website […]";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:32:"http://purl.org/dc/elements/1.1/";a:1:{s:7:"creator";a:1:{i:0;a:5:{s:4:"data";s:8:"Jen Mylo";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:40:"http://purl.org/rss/1.0/modules/content/";a:1:{s:7:"encoded";a:1:{i:0;a:5:{s:4:"data";s:2102:"What’s on May 27, you ask?
\nMay 27, 2013 is the 10th anniversary of the first WordPress release!
\nWe think this is worth celebrating, and we want WordPress fans all over the world to celebrate with us by throwing their own parties. We’re using Meetup Everywhere to coordinate, and will be putting up a website just for the 10th Anniversary so that we can collect photos, videos, tweets, and posts from all the parties.
\nThe rules are very simple:
\nWe’ll be using Meetup Everywhere to coordinate parties all over the world, so get your city on the map and register your party now !
\nWe’ll follow up with registered organizers over the next few weeks with some tips for how to publicize your party and to get addresses for swag packages. To that end, make sure you check the option that lets WordPress 10th Anniversary know your email, or we won’t be able to get in touch with you for these things or to give you access to the WP10 blog.
\nWhose party will be the biggest? The most fun? The most inventive? Will it be yours?
\nNote: If you already run a group on meetup.com, making your party an event in your group is great, but you still need to post it and have people RSVP at the special party page, because regular groups and Meetup Everywhere groups aren’t connected yet.
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\nThis is software still in development and we really don’t recommend that you run it on a production site — set up a test site just to play with the new version. To test WordPress 3.6, try the WordPress Beta Tester plugin (you’ll want “bleeding edge nightlies”). Or you can download the beta here (zip).
\nWe’ve been working for nearly three months and have completed all the features that are slated for this release. This is a bit of a change from the betas of previous release cycles. I felt very strongly that we shouldn’t release a beta if we were still working on completing the main features. This beta is actually a beta, not an alpha that we’re calling a beta. If you are a WordPress plugin or theme developer, or a WordPress hosting provider, you should absolutely start testing your code against this new version now. More bugs will be fixed, and some of the features will get polished, but we’re not going to shove in some big new feature. We’re ready for you to test it, so jump in there! The more you test the beta, the more stable our release candidates and our final release will be.
\nAs always, if you think you’ve found a bug, you can post to the Alpha/Beta area in the support forums. Or, if you’re comfortable writing a reproducible bug report, file one on the WordPress Trac. There, you can also find a list of known bugs and everything we’ve fixed so far.
\nHere’s what’s new in 3.6:
\nDevelopers: You make WordPress awesome(er). One of the things we strive to do with every release is be compatible with existing plugins and themes. But we need your help. Please test your plugins and themes against 3.6. If something isn’t quite right, please let us know. (Chances are, it wasn’t intentional.) If you’re a forward-thinking theme developer, you should be looking at implementing the new Post Format support in some of your themes (look to Twenty Thirteen for inspiration).
\nWe’re looking forward to your feedback. If you break it (i.e. find a bug), please report it, and if you’re a developer, try to help us fix it. We’ve already had more than 150 contributors to version 3.6 — it’s not too late to join the party!
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\nAdditionally, a bug affecting Windows servers running IIS can prevent updating from 3.5 to 3.5.1. If you receive the error “Destination directory for file streaming does not exist or is not writable,” you will need to follow the steps outlined on the Codex.
\nWordPress 3.5.1 also addresses the following security issues:
\nDownload 3.5.1 or visit Dashboard → Updates in your site admin to update now.
\n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:36:"http://wellformedweb.org/CommentAPI/";a:1:{s:10:"commentRss";a:1:{i:0;a:5:{s:4:"data";s:55:"http://wordpress.org/news/2013/01/wordpress-3-5-1/feed/";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:38:"http://purl.org/rss/1.0/modules/slash/";a:1:{s:8:"comments";a:1:{i:0;a:5:{s:4:"data";s:1:"0";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}}}i:9;a:6:{s:4:"data";s:42:"\n \n \n \n \n \n \n\n \n \n \n \n \n ";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";s:5:"child";a:5:{s:0:"";a:7:{s:5:"title";a:1:{i:0;a:5:{s:4:"data";s:17:"2012: A Look Back";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"link";a:1:{i:0;a:5:{s:4:"data";s:51:"http://wordpress.org/news/2013/01/2012-a-look-back/";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:8:"comments";a:1:{i:0;a:5:{s:4:"data";s:60:"http://wordpress.org/news/2013/01/2012-a-look-back/#comments";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:7:"pubDate";a:1:{i:0;a:5:{s:4:"data";s:31:"Tue, 01 Jan 2013 02:22:20 +0000";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:8:"category";a:1:{i:0;a:5:{s:4:"data";s:13:"Uncategorized";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"guid";a:1:{i:0;a:5:{s:4:"data";s:33:"http://wordpress.org/news/?p=2525";s:7:"attribs";a:1:{s:0:"";a:1:{s:11:"isPermaLink";s:5:"false";}}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:11:"description";a:1:{i:0;a:5:{s:4:"data";s:344:"Another year is coming to a close, and it’s time to look back and reflect on what we’ve accomplished in the past twelve months. The WordPress community is stronger than ever, and some of the accomplishments of the past year are definitely worth remembering. Software Releases We had two major releases of the WordPress web […]";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:32:"http://purl.org/dc/elements/1.1/";a:1:{s:7:"creator";a:1:{i:0;a:5:{s:4:"data";s:8:"Jen Mylo";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:40:"http://purl.org/rss/1.0/modules/content/";a:1:{s:7:"encoded";a:1:{i:0;a:5:{s:4:"data";s:4441:"Another year is coming to a close, and it’s time to look back and reflect on what we’ve accomplished in the past twelve months. The WordPress community is stronger than ever, and some of the accomplishments of the past year are definitely worth remembering.
\nWe had two major releases of the WordPress web application with versions 3.4 and 3.5, as well as 5 security releases during 2012. 3.4 included the theme customizer, while 3.5 became the long awaited “media release” featuring a new uploader and gallery management tool. 3.5 contained code contributions from more people than ever, and we hope to continue growing the contributor ranks in the year ahead. We currently have native apps on 6 mobile platforms — iOS, Android, Blackberry, Windows Phone, Nokia, and WebOS — and saw several updates there as well.
\nA number of improvements were made to the Plugin Directory in 2012. More cosmetic updates, like the introduction of branded plugin page headers, make it a nicer browsing experience, while functional changes like better-integrated support forums, plugin reviews, and a favorites system made the plugin directory even more useful as a resource.
\n2012 was the year that saw the creation of Make.wordpress.org, a network of sites for the teams of contributors responsible for the different areas of the WordPress project. Now anyone can follow along and get involved with the teams that work on core, theme review, forum support, documentation, and more. In 2013 we’ll work to improve these sites to make it easier to become a contributor. Each team also now has elected Team Reps, a new role that has already led to more cross-team communication. Team reps post each week to the Updates blog so that the other reps can keep up with what’s going on in other teams.
\nAt the end of October, about 100 of the most influential and respected members of the WordPress community attended an inaugural summit to discuss where we all stand, and to figure out where we go next with WordPress. A “conference of conversations,” this unconference made everyone an active participant, and while not every issue brought to the table was solved by the end of the event, the right questions were being asked.
\nThe WordPress Foundation now has a central account with Meetup.com. We’ve brought in a couple dozen existing meetup groups as a pilot to test the system, and are in the process of working with more existing meetups (as well as new ones) to join us so that local organizers won’t have to pay organizer dues and can get more support from the WordPress project.
\nWe participated in the protest against SOPA/PIPA, Internet Blackout Day, on January 18. Though we usually stay out of politics, this campaign was important, and we not only participated in the blackout on WordPress.org, we encouraged our users to do so as well, and recommended plugins to provide blackout functionality. It was deemed the largest online protest in history.
\nAnd finally, it wouldn’t be a recap without counting up the WordCamps! There were 67 WordCamps around the world in 2012, bringing together WordPress users, developers, and fans. If you didn’t make it to a WordCamp this year, maybe it can be one of your new year resolutions: check the schedule to find one near you!
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\nOn the one hand, I read Tom’s post and come away thinking that everyone should just shut up and stare at the sign that says Patches Welcome which at times, appears to be the answer to any form of criticism or discussion about WordPress. On the other, I see the point of being more civil towards one another when disagreements or engagement occurs. This thing we call the WordPress community does an excellent job of policing itself but a quick Google search shows that at times, we certainly eat our own for lunch. I can see how this public display of back and forth fighting could turn off a lot of people from contributing to WordPress much less be a part of that circle.
\nIn Tom’s article, Jake Goldman of WordPress consulting firm 10up left this great comment:
\n\nAny large, enthusiastic community is going to have louder, more opinionated voices, and softer “never offend” voices. And even those of us that generally strive to be loud only when the subject seems in need of broader discussion, sometimes err in how we communicate (I know I regret the way I framed a point about business and WordCamps that was, ironically, sensationalized here).
\nFollow any large audience – Android fans, UX groups, Joomla communities – and you’ll find the same characteristics. It’s a sign that we’re passionate, diverse, and engaging. And human!
\nNo one would argue that calmer, more professional dialog is a bad thing. IMHO, lets just remember its not uniquely endemic to WordPress, and try to embrace, not shun, the more opinionated among us.
WPTavern has played host to several important discussions surrounding WordPress over the years and I can’t count the number of times I saw core WordPress developers shrug people and their concerns off as ‘big deal‘. It’s infuriating to be passionate about WordPress, raise a valid concern and instead of those close to the heart of WordPress taking an active stance and being part of the conversation, they insist on shrugging people and the conversation off. I would like to formally recognize Mark Jaquith as NOT being one of those people. Mark has often participated in these discussions offering rational, level-headed approaches to our discussions and sometimes, validating our concerns while providing us direction on how to solve them. As far as I’m concerned, he’s a role model for those at the top on how to deal with issues that are raised by members of the community.
\nUltimately, the WordPress eco-system is better off by eliminating unnecessary insults, threats, public displays of bashing, and being the crudest of human beings. There’s no room in the community for that crap. It doesn’t mean that we’re forced to sit around a campfire and be happy WordPress hippies signing kumbaya. It just means we can have meaningful dialogue among each other to generate forward progress without having to take part in all the above.
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With the impending shutdown of Google Reader on July 1st, I’ve been looking for Feedreader alternatives. I happened to stumble across a recently developed plugin called PressForward. Developed for the Roy Rosenzweig Center for History and New Media at George Mason University by Aram Zucker-Scharff, Boone B. Gorges, and Jeremy Boggs, PressForward provides not only a set of curation tools for authors, but a simple feedreader as well. The plugin is in beta form and it’s obvious once you start using it but here is my experience with it thus far.
\n\nMy main interest was determining whether PressForward could work as my primary feedreader with the added benefit of being within the back-end of WordPress. After experimenting with it for the better part of the day, I’ve determined that it’s not something that fulfills my needs. For starters, there is no way to browse feeds by folder/site, it’s all or nothing. Adding feeds is another matter. It’s not as simple as clicking an RSS feed button and adding the site to the back-end of WordPress. Instead, you’ll need to link to a OPML file or provide the URL of a single feed. In the future, it would be beneficial to have the ability to upload an OPML file instead.
\nThe ideas behind this plugin start to shine when you consider its feature set mixed with a multi-author website. Say we have a website with 7 authors dedicated to all things WordPress. All 7 authors can use the feedreader in PressForward to curate content from those feeds and then nominate their content to be published to the front page. When a piece of content is nominated, it goes under review and from here, authors can automatically create a draft post from the nominated content.
\n\nIt’s not just the administrators that can curate content. PressForward has drop-down menus that control the permission levels for specific sections of the plugin. I could see this becoming handy for someone that wanted to create a crowd-sourcing site dedicated to a specific topic.
\n\nOne of the other neat aspects is the built-in commenting system. Each article can be commented on which aids in collaborating on the story. Those comments are not accessible to the public.
\nPressForward is not a good recommendation for single site authors looking to replace their desktop or service based feedreaders with something that exists within WordPress. However, this is definitely a plugin to keep your eyes on if you’re the owner of a multi-authored website that covers specific topics and would like an easier way to collaborate with others on different stories.
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\n\nWhen it’s done. There’s no new timeline because we just need to get things done and ship, and we don’t know how long that’ll take just yet.
The last thing I want to do is be a hindrance on the core developers of WordPress and ask a silly question like, “When will so and so be released” especially if the answer to that question is already answered on the make.core.wordpress site but in this instance, it wasn’t and it’s been two weeks since the public has had any news on what is going on. At the same time, I’ve been reminded that if there are no updates on the Make.Core.WordPress site it’s because the developers are knee deep in code trying to get things fixed.
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\n\nRebecca’s main concern is showing these themes to clients, especially younger ones where these type of images border on inappropriate. Obviously, for porn themes, sex sells, but I can’t remember the last time I saw a theme on a marketplace that stopped me dead in my tracks because of a demo content image of a naked woman or a naked man or anything close that I would consider to be inappropriate. Have you? Also, is this a legitimate concern amongst other WordPress consultants?
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\n\nTo create a more enjoyable and feature-packed service than WordPress.com. I’m not gunning for WP.com, but it’s the easiest way to explain what I’m going to build. And instead of re-inventing the wheel, I’ll use WP.com’s business model — freemium — as well.
In a recent blog post on DevPress.com, Tung Do outlines something akin to a business plan. While his personal project won’t be a direct WP.com competitor, he’ll use the freemimum model popularized by Automattic. The service will have one theme, not many although he mentions the possibility of child themes down the road. While the initial account will be free, there will be optional paid upgrades.
\nTung Do’s follow up comment to his article is also worth reading to get a better idea about what he’ll be working on. While the hosting business is tough as nails, I think there is still room in that segment to succeed. I reached out to Tung to find out more about his project but he doesn’t want to go into details about something that doesn’t exist yet.
\nIf you had any advice for Small Potato, what would you tell him?
\n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:7:"pubDate";a:1:{i:0;a:5:{s:4:"data";s:31:"Tue, 18 Jun 2013 21:12:15 +0000";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:32:"http://purl.org/dc/elements/1.1/";a:1:{s:7:"creator";a:1:{i:0;a:5:{s:4:"data";s:6:"Jeffro";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}}}i:9;a:6:{s:4:"data";s:13:"\n \n \n \n \n \n \n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";s:5:"child";a:2:{s:0:"";a:5:{s:5:"title";a:1:{i:0;a:5:{s:4:"data";s:53:"WordPress.tv: Understanding WordPress Post Categories";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"guid";a:1:{i:0;a:5:{s:4:"data";s:28:"http://wordpress.tv/?p=18554";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"link";a:1:{i:0;a:5:{s:4:"data";s:71:"http://wordpress.tv/2013/06/18/understanding-wordpress-post-categories/";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:11:"description";a:1:{i:0;a:5:{s:4:"data";s:638:"I’m very pleased to announce the release of Capsule v1.1 (and Capsule Server v1.1). In this release we added some pretty handy features along with addressing the usual array of 1.0-related issues.
\nThe download and an online demo are available on the Crowd Favorite website.
\nSome of the highlights in the new version include:
\nWe’ve also added some hooks and addressed a number of issues relating to syntax highlighting, additional default display styling and formatting, etc.
\nA big thank you to everyone who reported issues, suggested features and submitted patches. If you’re interested in contributing, please join us on GitHub.
\nCapsule is a developer’s code journal, implemented as a WordPress-based app. Think of it as a replacement for that text file you have open while you’re building things. Instead of throwing those artifacts away, easily tag and capture them for the future.
\nAnd only 30 minutes later, version 1.1.1 fixes the missing JS in the build file (optimized.js).
";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:7:"pubDate";a:1:{i:0;a:5:{s:4:"data";s:31:"Tue, 18 Jun 2013 17:59:13 +0000";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:32:"http://purl.org/dc/elements/1.1/";a:1:{s:7:"creator";a:1:{i:0;a:5:{s:4:"data";s:4:"Alex";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}}}i:11;a:6:{s:4:"data";s:13:"\n \n \n \n \n \n \n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";s:5:"child";a:2:{s:0:"";a:5:{s:5:"title";a:1:{i:0;a:5:{s:4:"data";s:63:"WordPress.tv: Colin Loretz: Consuming Web APIs within WordPress";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"guid";a:1:{i:0;a:5:{s:4:"data";s:28:"http://wordpress.tv/?p=19397";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"link";a:1:{i:0;a:5:{s:4:"data";s:80:"http://wordpress.tv/2013/06/18/colin-loretz-consuming-web-apis-within-wordpress/";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:11:"description";a:1:{i:0;a:5:{s:4:"data";s:676:"Did you know WordPress for BlackBerry is an Open Source project, which means anyone, including you, can play a part in its development?
\nWordPress for BlackBerry is released under the GNU General Public License. Both our app and source code are free to download and use however you’d like. In return, if you’re able, we’d love it if you contributed your code, design skills, or even your suggestions for this project.
\nOur developers now discuss development plans and progress at make.wordpress.org under the “BlackBerry” tab. We invite you to follow along and join the discussion there. You can also follow the changes to our source code in Trac. (The login system uses the WordPress.org registration.)
\nJohn O’ Nolan believes that publishing on the web is in a state of complete disrepair. That is hard to believe considering it’s never been as easy to publish content online as it is today. However, whether or not WordPress is the best tool for THAT job is up for debate. There is a reason why some WordPress faithful like Jason Schuller of Press75.com have stopped using WordPress for their personal sites and instead, have gone off to create their own vision of what a publishing platform should be like. I asked Jason what pushed him over the edge to stop using WordPress.
\n\nI’m not sure that any one thing in particular pushed me over the edge. Being excited, happy and passionate about what I’m working on/with is very important to me, and I no longer feel any of those things when it comes to WordPress. Creating a simple WordPress theme (for example) has become a grueling task because there are certain expectations that you have to consider in order for the WordPress community to accept your work.
\nI still think WordPress is an amazing piece of software that has opened so many doors for so many people and that is something I will never forget… it’s just not something that interests me in its current state or direction. My focus is on creating simple/elegant solutions that actual people can use without having to spend weeks reading through tutorials or sifting through admin menus. Also, in order to continue to learn and grow as an entrepreneur I have to leave WordPress behind and find my own path.
Then there is Habari. Habari is another project created from the ground up from former WordPress developers/users. If you want to hear Matt’s thoughts on Habari at the time, I highly encourage you to listen to episode 18 of the original WordPress Podcast from January 18th, 2007 starting at the 10:34 mark. Their news bit includes a quote from Matt with his thoughts on the release of Habari as well as open-source competitors. I wonder if his attitude on competitors is the same today as it was back then.
\nThere are a handful of other publishing platforms available but the core point I want to draw attention to is that they all seem to focus around one thing. Simplicity. One of the major features of WordPress in its early years was in fact, simplicity. Now it seems as though that simplicity is disappearing and is ending up in entirely new codebases. There is no need to panic but it’s a trend worth taking note of.
\nI love the freedoms that WordPress provides but I’d hate to see people give up those freedoms to go behind a walled garden because WordPress is just too darn complex to use. A strong pillar of the WordPress ecosystem is its third-party community via plugins and themes. But this pillar can not exist as the foundation of WordPress, nor should it. The foundation should be the publishing software. If the third-party ecosystem becomes the only reason to use WordPress and I were a core developer, I’d be extremely disappointed.
\n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:7:"pubDate";a:1:{i:0;a:5:{s:4:"data";s:31:"Mon, 17 Jun 2013 21:28:23 +0000";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:32:"http://purl.org/dc/elements/1.1/";a:1:{s:7:"creator";a:1:{i:0;a:5:{s:4:"data";s:6:"Jeffro";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}}}i:14;a:6:{s:4:"data";s:13:"\n \n \n \n \n \n \n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";s:5:"child";a:2:{s:0:"";a:5:{s:5:"title";a:1:{i:0;a:5:{s:4:"data";s:67:"WPTavern: Matt Mullenweg Donates $1.5 Million To Bay Lights Project";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"guid";a:1:{i:0;a:5:{s:4:"data";s:31:"http://www.wptavern.com/?p=7343";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"link";a:1:{i:0;a:5:{s:4:"data";s:118:"http://feedproxy.google.com/~r/WordpressTavern/~3/KhEalHFe6rI/matt-mullenweg-donates-1-5-million-to-bay-lights-project";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:11:"description";a:1:{i:0;a:5:{s:4:"data";s:751:"WordPress founder Matt Mullenweg has stepped up and donated the remaining 1.5 million dollars to the Bay Lights project in San Francisco, California. Talk about generosity! Thanks to his donation, the project will be able to go through with its planned 2-year run. Now I have one more reason to view the bridge when I attend WordCamp San Francisco.
\nThe news came out this weekend on Mercury News and the Chronicle, so it’s worth addressing here: The Bay Lights, a public art project that uses San Francisco’s Bay Bridge as its canvas, is a project I’ve supported since I first heard of it and the idea captured my imagination. I was happy to make the first monetary donation when the project got started, and as of last week I was able to make a closing bookend donation for the remaining amount they needed, a bit above $1.5M. It was an honor to chip in along with the thousands of other supporters who have already donated to make the project a reality.
\n\nThe purpose of art is washing the dust of daily life off our souls. — Pablo Picasso
My hope is that over the next few years, and perhaps beyond that, the lights brighten people’s experience of San Francisco whether they see them every night or they’re one of the 16 million that visit the city every year. Hopefully that effect, however small, spreads to their other interactions long after the lights are off and the sun comes up. There are countless good causes around the world, some which I support regularly are listed on my about page, and I hope to have the opportunity to support many more in the future, but this close-to-home gift to a city that has given me so much seemed like the right thing right now.
\nIf you haven’t seen them yet, here are the lights in action, more on the tech fixes happening to the lights on TBL, and photos I took climbing the bridge a few months ago:
\n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:7:"pubDate";a:1:{i:0;a:5:{s:4:"data";s:31:"Mon, 17 Jun 2013 15:09:54 +0000";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:32:"http://purl.org/dc/elements/1.1/";a:1:{s:7:"creator";a:1:{i:0;a:5:{s:4:"data";s:4:"Matt";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}}}i:18;a:6:{s:4:"data";s:13:"\n \n \n \n \n \n \n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";s:5:"child";a:2:{s:0:"";a:5:{s:5:"title";a:1:{i:0;a:5:{s:4:"data";s:84:"WP Windows Phone 7: Version 2.2 Now Available: Gallery Support for self-hosted sites";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"guid";a:1:{i:0;a:5:{s:4:"data";s:42:"http://wpwindowsphone.wordpress.com/?p=456";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"link";a:1:{i:0;a:5:{s:4:"data";s:59:"http://wpwindowsphone.wordpress.com/2013/06/17/version-2-2/";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:11:"description";a:1:{i:0;a:5:{s:4:"data";s:3983:"Version 2.2 of WordPress for Windows Phone is now available in the Windows Phone Store. It introduces gallery support for self-hosted sites running WordPress 3.5 or higher. It also resolves many of the outstanding issues and quirks that you have mentioned on the forums and on Twitter.
\nGalleries are a great way to share pictures with your friends and followers. An image gallery will display thumbnails for all images attached to a particular post or page. Readers can tap or click any image to launch the gallery full-screen, displaying huge versions of your images.
\nYou can create a gallery straight from your device by attaching two or more pictures to a post or a page. You can even customize the appearance of a gallery by tapping the “gallery settings” button and choosing the best options for your site.
\nYou have great control over how the gallery will be displayed: as a thumbnail grid, or as a slideshow. Both gallery types offer a lot of options to choose, not limited to: random order, page or file attachment.
\nBelow is an example of an image gallery using the default thumbnail setting. If you click on any of the images you will be able to see what the carousel view looks like:
\n\n\n\n\n\n\nGallery as a slideshow
\nClick to view slideshow.\n\nThis release also includes improvements for WordPress.com push notifications, as well as fixes for crashes and other bugs.
\nReady to get the latest? Click the link below to update the best WordPress app for Windows Phone so far.
\nDownload AppWordPress for Windows PhoneSupported: WordPress.com or self-hosted WordPress (v. 2.9+)
\nA huge thanks to the contributors that worked on this release: daniloercoli, and jkv1.
\nWould you like to get in on the fun? Let us know at make/mobile on WordPress.org and we’ll help you get started as a contributor. Do you have an idea for a new feature or have you encountered a bug that needs fixing? Tell us about it on the WordPress for Windows Phone Trac.
\nMake sure to follow @WPWindowsPhone on Twitter to get the latest news first.
\nIn light of my recent appearance on DradCast, the topic of conversation recently has focused on whether WordPress news centric websites can be self-sustainable. I came to the conclusion that they can’t which was the basis behind my WordPress news sites disappearing into the bermuda triangle post. I’ve had a chance to look at all the feedback surrounding the topic and it’s clear that some have totally missed the point I was trying to make. Some of the websites that have repeatedly been used as examples of success in this market include WPDaily.co, WPBeginner, WPCandy, and WPMU.org to name a few. The only website in that group that comes close to what I tried to achieve is WPCandy. The other sites all have a source of income that is not based on the content they are publishing.
\nWPDaily.co – This website is backed by 8Bit
\nWPBeginner – They offer services such as consulting and custom WordPress designs.
\nWPMU.org – This site is funded by a commercial plugins and themes
\nWPRealm – All of the contributors are compensated outside of the content they produce on WPRealm.
\nStarting to notice a trend here?
\nAll four of those websites publish WordPress news and related items on a routine basis but they’re also excellent examples of the primary point I made: A news centric website takes so much time and energy to maintain and keep fresh, it’s not worth it in the long run unless you have a company backing you or an auxiliary source of cash that pays the bills and puts food on the table at the same time.
\nA number of people suggested I should have started a consulting section on WPTavern but that was something I was never interested in doing. I was and still am a content creation guy. I needed to figure out how to make the content I created pay for the bills while also getting to the point where the site was self-sustainable. I tried affiliate links for themes and plugins I reviewed, display advertising, sponsorships, nothing I tried was as consistent as a 40 hour work week. I did toy with the idea of putting up a paywall but I wanted as many people as possible to read what I had to say.
\n\nI believe that there is space to make money providing WordPress news and information without selling out. I also think that this notion that there would be a void had Matt Mullenweg not bailed out the Tavern and funded Jeff to write there is totally false.
\nThe WordPress ecosystem is a market like any other, and holes in markets tend to be filled. What fills a hole in a particular market may take different shape over time as the solutions evolve, but people are always out there to fill voids. Especially if you can do something to fill a void that you are passionate about. Brian Krogsgard – PostStat.us On WordPress News Sites
I agree with Brian that there would not have been a void had the Tavern disappeared. Once things started to go south on this website, WPCandy was rocking and rolling. I watched from the sideline as WPCandy became the coolest place to be in the WordPress community and saw Ryan Imel take ideas I had for the Tavern and turn them into reality e.g. the first print edition WordPress magazine, The WPCandy Quarterly. Once things started to go south for WPCandy, WPDaily.co became the new popular watering hole. There is never a void in the WordPress news space.
\nOne of the few people to understand my original point is Curtis McHale. He has an ongoing conversation taking place on Google+. At the end of his comment, he asks the following question: Can a WordPress site monetize just on the news it produces? It may be a naïve assumption that it’s possible (without a ton of ads). A similar type question asked on WMPU.org Is WordPress news worth paying for? After my experience with WPTavern, I don’t think it’s possible for a WordPress news centric site to survive solely on the content it produces. I’m interested to see if Brian proves me wrong with PostStat.us.
\nI’ll close out this post by providing these words of wisdom.
\n\n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:7:"pubDate";a:1:{i:0;a:5:{s:4:"data";s:31:"Fri, 14 Jun 2013 19:57:50 +0000";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:32:"http://purl.org/dc/elements/1.1/";a:1:{s:7:"creator";a:1:{i:0;a:5:{s:4:"data";s:6:"Jeffro";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}}}i:24;a:6:{s:4:"data";s:13:"\n \n \n \n \n \n \n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";s:5:"child";a:2:{s:0:"";a:5:{s:5:"title";a:1:{i:0;a:5:{s:4:"data";s:90:"WordPress.tv: Michelle Blais: 5 Ways to Maintain Brand Consistency in Your WordPress Theme";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"guid";a:1:{i:0;a:5:{s:4:"data";s:28:"http://wordpress.tv/?p=19708";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"link";a:1:{i:0;a:5:{s:4:"data";s:107:"http://wordpress.tv/2013/06/14/michelle-blais-5-ways-to-maintain-brand-consistency-in-your-wordpress-theme/";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:11:"description";a:1:{i:0;a:5:{s:4:"data";s:730:"My advice to anyone wanting to start a WordPress news centric website, especially if you think it’s going to make you some money is to stop immediately. Focus your efforts on where the real cash is. Commercial plugins, themes, and services. A news centric website takes so much time and energy to maintain and keep fresh, it’s not worth it in the long run unless you have a company backing you or an auxiliary source of cash that pays the bills and puts food on the table at the same time. The value and worth comes from writing code, not text.
Custom post types are one of those things in WordPress that’s been difficult for me to figure out. However, after reviewing the Americanaura theme combined with the AudioTheme framework, I have a better understanding of why custom post types are so cool.
\n\nUnlike a traditional theme framework, the majority of the functionality is located in the AudioTheme Plugin. Without this plugin, AudioTheme themes will not function. This setup enables the separation between code and design. The nuts and bolts behind this theme are the custom post types. There are three primary post types, Gigs, Discography, and Videos. Each one has a set of custom meta boxes like record details, or ticket prices. While the screenshot shows off a tool-tip, I would like to see more of these added. For example, when adding a new gig, there is a custom meta box for Tickets. One of the fields is for configuring a tickets URL. It’s not obvious if this URL is something within the theme or a URL to an outside source such as TicketMaster. A simple tool-tip could explain exactly what that field is for. However, most of the theme is self-explanatory.
\n\nOne of the coolest features within this framework is the jukebox. The source of music can come from a record or a list of tracks. Once the jukebox is set up, a media player will show up at the bottom of the browser window giving visitors the option to browse through tracks, stop/play, click to a specific point in the music timeline, and volume control. While it’s a small nitpick, I found the volume control confusing. In most media players, moving the slider down to up or left to right will increase volume. In the jukebox, moving from left to right will increase the volume but the way it’s displayed makes it look as though the volume is being lowered. A simple color switch would solve this problem.
\n\nBoth the themes and the plugin framework are licensed under the GPLv2, the same license as WordPress. While checking out, you’ll notice text that stipulates how many sites you can use the framework on. This is related to how many sites can receive support and is not a restriction of use. Because of the separation between theme and plugin, each has its own price tag. If you’re a theme developer, you’ll probably want to look at purchasing only the AudioTheme framework and design around it. But for non-coders, you’ll most likely need to buy both a theme and the framework. However, the website states that any theme purchase will come with a personal license to use the framework.
\nIt’s not the most user-friendly setup but I like the versatility it provides them as a company. By keeping the framework separate, AudioThemes can work with other companies to build designs around their plugin as they did with Press75. I’m hoping that in the future, they have a ton of designs to choose from.
\nOverall, the theme I reviewed along with the framework was not only easy to install, but easy to use as well. I remember 5-8 years ago that some of the features that come standard with the AudioTheme Framework and with WordPress were very hard to come by in any other CMS. Take the Jukebox for example. Something like the Jukebox 5-8 years ago would involve installing hacks or using some sort of third-party service. This example of utilizing custom post types has taught me why their versatility is such an exciting component of WordPress. Based on this theme and some other examples I’ve seen, when a good design is paired with custom post types, magical things happen. I can’t wait to come across indie or established artists utilizing AudioTheme to get their music to the world, without the need for a middle man.
\n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:7:"pubDate";a:1:{i:0;a:5:{s:4:"data";s:31:"Fri, 14 Jun 2013 07:04:20 +0000";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:32:"http://purl.org/dc/elements/1.1/";a:1:{s:7:"creator";a:1:{i:0;a:5:{s:4:"data";s:6:"Jeffro";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}}}i:27;a:6:{s:4:"data";s:13:"\n \n \n \n \n \n \n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";s:5:"child";a:2:{s:0:"";a:5:{s:5:"title";a:1:{i:0;a:5:{s:4:"data";s:56:"WPTavern: What’s Going On With The WordPress Importer?";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"guid";a:1:{i:0;a:5:{s:4:"data";s:31:"http://www.wptavern.com/?p=7313";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"link";a:1:{i:0;a:5:{s:4:"data";s:104:"http://feedproxy.google.com/~r/WordpressTavern/~3/c2TvkfWm2CQ/whats-going-on-with-the-wordpress-importer";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:11:"description";a:1:{i:0;a:5:{s:4:"data";s:3608:"A few days ago, I received an email informing me that the WordPress importer plugin was having issues and was at the brink of receiving as many 1 star ratings as it had 5. It’s never a good sign when you see support forum stats like this: 0 of 10 support threads in the last two months have been resolved. But considering the topic creator has to mark the topic as resolved, this is not a fool-proof method of determining if a plugin is broken. From what I can tell, most of the issues surround partial imports and the importing of images.
\nI used the importer to move all the content from WPTavern.com to a local install of WordPress. I chose to do a full export/import. The WXR file was around 17 megs but WordPress seemed to take forever to process the file, even on my local machine. While all the images were imported properly, they were not attached to the proper posts. The images that were displayed on the local site were linked to the ones within the media library on WPTavern.com. After dropping all the tables from the database and starting over, I tried to import my files again with the same results. Just to see what would happen, I exported only my posts with attachments to see if both would be imported correctly. While the posts were imported correctly, none of the media attachments were brought over into the media library. As illustrated in the support forum post I linked above, the only way to move media attachments from one site to another is to export/import EVERYTHING. If I select attachments to be downloaded and exported, then that’s what should happen no matter which variety of ways I export the content.
\n\nIt’s been a long time since I’ve exported/imported content from one WordPress site to another so I don’t remember how the process is suppose to play out but if the behavior I described above is considered normal, the import process is definitely not as painless as it should be. After all, exporting/importing from WordPress to WordPress should be as easy as counting 1,2,3. Unlike other plugins that have a specific author, this one is developed by the WordPressdotorg team so it’s not clear who to contact.
\nIf you have used the WordPress export/import plugin within the past few weeks and have also run into problems, I’d love for you to chime in on the comments. I’d especially like to hear from those that export/import sites on a routine basis.
\n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:7:"pubDate";a:1:{i:0;a:5:{s:4:"data";s:31:"Thu, 13 Jun 2013 23:51:15 +0000";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:32:"http://purl.org/dc/elements/1.1/";a:1:{s:7:"creator";a:1:{i:0;a:5:{s:4:"data";s:6:"Jeffro";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}}}i:28;a:6:{s:4:"data";s:13:"\n \n \n \n \n \n \n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";s:5:"child";a:2:{s:0:"";a:5:{s:5:"title";a:1:{i:0;a:5:{s:4:"data";s:49:"BuddyPress: BuddyPress 1.8-beta1 is now available";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"guid";a:1:{i:0;a:5:{s:4:"data";s:31:"http://buddypress.org/?p=165934";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"link";a:1:{i:0;a:5:{s:4:"data";s:68:"http://buddypress.org/2013/06/buddypress-1-8-beta1-is-now-available/";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:11:"description";a:1:{i:0;a:5:{s:4:"data";s:38967:"Ladies and gentlemen, start your testing engines: BuddyPress 1.8-beta1 is ready for a lap around the track.
\nIf you develop BuddyPress themes or plugins, or if you run a BP-powered community site, now is the time to start testing the next major version of BuddyPress in your development environments. BP 1.8 will feature a large number of fixes and enhancements. For the full list, see the 1.8 milestone in Trac. Here is a short list of major changes, areas where you may want to focus your testing energies:
\nBP_Group_Extension
has been largely rewritten, with the goal of making Group Extension plugins faster and more consistent to write (#4955). We’ve worked hard to make sure that existing BP_Group_Extension
plugins will continue to work as before, but we encourage you to verify your own plugins. In the upcoming days, I’ll be writing updated Codex documentation for the Group Extension API, so you can see how the new features in BP 1.8 will make writing group extension plugins radically simpler. Watch bpdevel.wordpress.com for updates.bp_group_has_members()
stack that underpins the panels.groups/index-directory.php
, it’ll be used instead of buddypress.php
or page.php
when viewing the Groups directory. See r7212 for more details on the hierarchy, and watch the Codex and bpdevel for documentation between now and the 1.8 release.bp_has_groups()
and bp_has_activities()
now accept a meta_query
parameter (#3521). This means you can filter a group or activity query based on groupmeta or activitymeta, using the very same meta_query
syntax familiar from WP_Query.add_filter( ''bp_activity_do_mentions'', ''__return_false'' );
to your bp-custom.php file.BP_Activity_Feed
class, which makes the creation of custom feeds a breeze.Remember that BuddyPress 1.8-beta1 is beta software, and we don’t recommend running it on a production site quite yet.
\nGet 1.8-beta1 via svn, or by downloading the zip file from wordpress.org. Find a bug or have a question? Check out our support community, or visit our development tracker.
\n\n
You must be logged in to reply to this topic.
\nHow to best provide support for the software you create is an interesting point of deliberation. I’ve gone through various stages and iterations, all different as circumstances have evolved, but all driven by the same question:
\n\n\n How can I create the best experience for the user in a way that is sustainable?\n
On a podcast a while back I said something to this effect:
\n\n\n Free support is only sustainable on either end of the spectrum. Either you have so many users that you’re able to well monetize them to the point that you have a dedicated support team tasked with making sure they are well cared for; or you have so few users that the drain on your time is negligible and can easily be handled along with other day-to-day tasks. The tricky stuff lies in the middle.\n
When I first started writing hacks for b2 and plugins and themes for WordPress, my life looked a lot different than it does now. I had a day job which paid all my bills, a wife that also worked long hours, and the work I did on my own site was what generated most of the code I released to the community.
\nThe community was also much smaller and had a different profile back then. A handful of hackers that would use each other’s code, send each other suggestions, and generally collaborate as peers.
\nNowdays the profile of the average WordPress user is far different. WordPress has become a tool for business users that do not need to have technical experience to make WordPress work for them. This is awesome, but it fundamentally changes the nature of the support requests I see.
\nMy station in life has changed quite a bit too. I have a daughter, I run a great team of 15 people and I’m dealing with some medical issues. I don’t have the time that I used to, and what time I do have I’d rather spend building something than responding to emails.
\nHow I1 handle support today is to break it down into two types of support:
\nWith User Support, we provide one-on-one attention and do our best to solve whatever issues the user might be experiencing. This can even extend to troubleshooting plugin conflicts and server configuration issues. We reserve this level of support for our paid products (RAMP, Carrington Build, etc.).
\nFor our free products, we provide Product Support. This means we listen and pay attention to bug reports and try to fix anything that appears to have a reproducible use case. However we do not provide one-on-one support for users and do not dive deeply into one-off reports of edge cases.
\nI feel that this is a reasonable compromise, and I believe that most of the users of my products agree. There will always be people who believe they can make unreasonable demands on your time, but luckily there’s a handy button on those emails (or even voicemails, yikes!) for resolving them with minimal effort.
\nA few years back I had the idea that the collective support burden on WordPress plugin developers had grown to the point that we should all outsource it to a 3rd party. To support this, I created WP HelpCenter and tried to partner with plugin and theme developers through a referral program.
\nThis ended up being a flop, for a few reasons. The main on was users that actually needed support were typically unwilling to pay for it. From their perspective the plugin/theme wasn’t working and they were doing the developer a favor by reporting a bug. They certainly weren’t going to pay anything for it. What users are willing to pay for is customization, and that’s an entirely different beast.
\nI still think something like WP HelpCenter could work, but it would be a lot of work and would need real buy-in from all parts of the community.
\nI have the pleasure of being the guest host for episode 16 of DradCast tonight at 8PM Eastern time. I invite you to tune into the live video stream as we talk about WPTavern, the news of the week and whatever else pops up during the show. It’s an hour long so it won’t take up too much of your time. If you have any questions you’d like me to answer, post them in the comments and I’ll try to get to as many as I can near the end of the show.
\n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:7:"pubDate";a:1:{i:0;a:5:{s:4:"data";s:31:"Wed, 12 Jun 2013 18:21:15 +0000";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:32:"http://purl.org/dc/elements/1.1/";a:1:{s:7:"creator";a:1:{i:0;a:5:{s:4:"data";s:6:"Jeffro";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}}}i:33;a:6:{s:4:"data";s:13:"\n \n \n \n \n \n \n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";s:5:"child";a:2:{s:0:"";a:5:{s:5:"title";a:1:{i:0;a:5:{s:4:"data";s:52:"WPTavern: Global Notices Plugin For bbPress Released";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"guid";a:1:{i:0;a:5:{s:4:"data";s:31:"http://www.wptavern.com/?p=7302";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"link";a:1:{i:0;a:5:{s:4:"data";s:104:"http://feedproxy.google.com/~r/WordpressTavern/~3/wc4m1gN1Zq8/global-notices-plugin-for-bbpress-released";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:11:"description";a:1:{i:0;a:5:{s:4:"data";s:756:"Pippin has released a simple bbPress notices plugin that allows you to place forum notices that will be seen across the entire forum. By default, the notices appear at the top of the forum and use the default bbPress styling making integration painless.
\n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:7:"pubDate";a:1:{i:0;a:5:{s:4:"data";s:31:"Wed, 12 Jun 2013 17:10:33 +0000";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:32:"http://purl.org/dc/elements/1.1/";a:1:{s:7:"creator";a:1:{i:0;a:5:{s:4:"data";s:6:"Jeffro";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}}}i:34;a:6:{s:4:"data";s:13:"\n \n \n \n \n \n \n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";s:5:"child";a:2:{s:0:"";a:5:{s:5:"title";a:1:{i:0;a:5:{s:4:"data";s:62:"Alex King: Twitter Tools 3.0.4: Twitter v1.1 API Compatibility";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"guid";a:1:{i:0;a:5:{s:4:"data";s:28:"http://alexking.org/?p=17215";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"link";a:1:{i:0;a:5:{s:4:"data";s:64:"http://alexking.org/blog/2013/06/12/twitter-tools-3-0-4-v1-1-api";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:11:"description";a:1:{i:0;a:5:{s:4:"data";s:1385:".threads-post-notice {\n background: #e8e8e8;\n padding: 10px;\n}\n.threads-post-notice a {\n font-weight: bold;\n}\n\nI’ve released Twitter Tools version 3.0.4 which now uses the Twitter v1.1 API. Since Twitter has turned off the 1.0 API, this is pretty much a “must upgrade” situation.
\nIf Twitter Tools has been active for you over the last few days, you’ll need to do a little cleanup:
\nGrab the code from GitHub where active development occurs, or from WordPress.org where it is distributed.
\nThat should do it. As always post any weirdness you see in the support forums. While I can’t provide individual support, I do look for any issues and reports that would indicate a bug that I can fix.
\nThis post is part of the thread: Twitter Tools – an ongoing story on this site. View the thread timeline for more context on this post.
";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:7:"pubDate";a:1:{i:0;a:5:{s:4:"data";s:31:"Wed, 12 Jun 2013 15:11:48 +0000";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:32:"http://purl.org/dc/elements/1.1/";a:1:{s:7:"creator";a:1:{i:0;a:5:{s:4:"data";s:4:"Alex";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}}}i:35;a:6:{s:4:"data";s:13:"\n \n \n \n \n \n \n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";s:5:"child";a:2:{s:0:"";a:5:{s:5:"title";a:1:{i:0;a:5:{s:4:"data";s:78:"WordPress.tv: Dr. Renee Hobbs: The Implementation Of WordPress in The Academia";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"guid";a:1:{i:0;a:5:{s:4:"data";s:28:"http://wordpress.tv/?p=19695";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"link";a:1:{i:0;a:5:{s:4:"data";s:94:"http://wordpress.tv/2013/06/12/dr-renee-hobbs-the-implementation-of-wordpress-in-the-academia/";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:11:"description";a:1:{i:0;a:5:{s:4:"data";s:705:"I’ve made it a habit to read WordPress related Press Releases despite how boring most of them are. Occasionally, I’ll come across something that is pretty interesting such as TeslaThemes. TeslaThemes is a brand new theme club with the goal of producing one theme per month. In particular, I thought their Cool Stuff theme introduced a unique way of displaying content via Post Formats and a timeline. After browsing around the site, I decided to get in touch with TeslaThemes to find out how they plan on surviving the WordPress theme market, especially as a theme club.
\nIn an ever growing crowd of companies, what do you think will set TeslaThemes apart from the competition?
\nWe are aware of this very fast growing market, and especially this makes us very confident in what we do and how we do. At this moment income is not a priority, we’re mainly focused on delivering really useful themes to end-users, we do not want to create this “plastic”, “industrial”, “copy paste” WordPress templates as so many do. The market is over saturated with themes and templates and they all look the same. People need something unique, that can stand out of the crowd. We have a very loyal group of followers that give us the boost and confidence for what we have planned.
\n \nIn your opinion, what makes a good WordPress theme?
\nDepends on who is asked. For many, they say 90% is design and 10% code, for others vice versa. We want to merge it to a golden middle, creating handcrafted design interface plus very intuitive customization process for the user, so that he enjoys personalizing his own website, without headache or paying additional developers for that. At the end of the day, when everything is done, what the rest see the design, its usability and navigation, how clean and understandable is it. For sure everyone appreciates it. No one has time to search on the page, our eyes must catch everything from a single glance. To resume, important is the design, the concept, perfect code and very intelligent and user friendly framework that will guide anyone.
\nWhy have you chosen to develop commercial themes for WordPress instead of Joomla, or Drupal?
\nFrankly, we do not stop on WordPress, at this very minute we have 5 templates in the queue, where 1 is ecommerce. However, the main course is WordPress indeed. Our research shows that more and more people are opting for a simple yet complex blog or website based on WordPress, this is already both a trend and necessity. If at the beginning WordPress was meant for blogs, now it’s escalated to pretty big web applications that are using it. At TeslaThemes we can adapt any theme to any needs.
\n\nWhat is the Tesla Framework?
\nTesla Framework is another one of our proud products. The decision to develop it was unanimous and instant. There are many reason why, first of all we were thinking about our customers who are purchasing our Premium Templates. We’ve noticed that not very many have any technical background, the tickets we were receiving at the time were related rather to lack of technical experience and WordPress knowledge than some technical problems of the theme. At a certain point we had a huge data base of Q&A and decided to build our own Framework, adapting and combining all the issues we’ve got during our daily activity. The end result, without modesty is a brilliant tool that helps anyone to customize its template in a very simple and fun way. We noticed an 85% drop for tickets, since we launched it and all the feedback we get from our customers is just great. Another strong reason to make it was the technical aspect, it increased our theme development up to 40%. Now any Tesla developer can work on any of our themes without any problem, switching whenever is needed, it is a unique platform that saves time and development costs. At the end of the day Tesla Framework was a very inspired decision both for end-users and our developers.
\n\nTheme clubs are a tough way to do business. Many have come and gone. Why have you decided to go with the club route instead of charging $60-$70 per theme?
\nThat’s correct, Jeff. For sure we will not go for too long with club way. The reason we have so affordable prices for single themes and annual subscription, is lack of financial priority at the moment. Of course we are not Red Cross, we also have bills and want to drive nice cars and nice vacations. All the prices for sure will go up in the next few months. Our design and development department are working now on 5 templates that must come up by middle of July, 2013. The 24/7 support we have, the handcrafted design, uniqueness, they all cost money and I am sure, people want to have really the best and they will buy our themes.
\nOne of my favorite designs from TeslaThemes is the Cool Stuff theme. What was the inspiration behind the timeline display of content?
\nThat’s right, Cool Stuff is one of our best sellers. It is very simple and has a modern layout. The idea behind it was very simple, inspired by flat design trend we decided to create our first flat design theme. It was rather from fun, but turned out to be a success. As a matter of fact, 4 out of 5 themes we have in the queue, are flat. The timeline display gives a faster navigation thru the page, saves user’s time and keeps a higher focus on the content. And content is king!
\n \nDo you have any opinions on themes bundling plugins whether they are commercial or free?
\nI think that bundling plugins (whether they are commercial or free) is not good for the end user. By nature, plugins need to be detached from the framework, because in case something goes wrong the plugin can be deactivated and the user can maintain a working website without losing traffic. On the other side, bundling plugins with a theme means to compel a user to use only one plugin for a given enhancement, when the user could have used another plugin, giving the same functionality, but which the user knows better how to use.
\nWhy did you decide to license the themes under the same license WordPress has? (GPL V2)
\nBecause adopting this kind of license for our themes is better than writing our own, and limit what our users can do with their themes. GPL gives a sense of freedom, and clients love to hear that they have the freedom to do whatever they want with their themes after they buy it. In addition, having this license gives us some advantages, like the opportunity to promote our marketplace on WordPress.org
\nAnything you would like to say to the WordPress Community?
\nTo keep up and continue to innovate. Inspiration and satisfaction. The tough market is a risk indeed but let’s see it rather as an opportunity to stand out of the crowd with great service and products. The competition develops and brings real value for everyone.
\n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:7:"pubDate";a:1:{i:0;a:5:{s:4:"data";s:31:"Tue, 11 Jun 2013 22:19:18 +0000";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:32:"http://purl.org/dc/elements/1.1/";a:1:{s:7:"creator";a:1:{i:0;a:5:{s:4:"data";s:6:"Jeffro";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}}}i:39;a:6:{s:4:"data";s:13:"\n \n \n \n \n \n \n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";s:5:"child";a:2:{s:0:"";a:5:{s:5:"title";a:1:{i:0;a:5:{s:4:"data";s:55:"WPTavern: Experimental Plugin Review – Inline Preview";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"guid";a:1:{i:0;a:5:{s:4:"data";s:31:"http://www.wptavern.com/?p=7284";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"link";a:1:{i:0;a:5:{s:4:"data";s:103:"http://feedproxy.google.com/~r/WordpressTavern/~3/IqjqafuFxhs/experimental-plugin-review-inline-preview";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:11:"description";a:1:{i:0;a:5:{s:4:"data";s:2162:"Inline Preview is a brand new plugin being developed by Christopher Finke. Instead of previewing posts in a new browser tab, this plugin adds an editor to the right of the post within the same tab enabling you to see what the post will look like.
\n \nIf you end up giving this plugin a try, be warned that once you click the preview button, the only way to close the inline preview area is to either reload the page or save the draft. Once I saw a screenshot of this plugin in action, I was initially excited because this is one of the features I saw in Ghost that intrigued me. However, this plugin is only at the experimental level and I’m not sure how far Chris is going to take it. But if he plans on putting more development time into it, here are a couple things on my checklist I’d like to see.
\nAnything else you can think of that would make a plugin like this useful to you?
\n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:7:"pubDate";a:1:{i:0;a:5:{s:4:"data";s:31:"Tue, 11 Jun 2013 20:31:01 +0000";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:32:"http://purl.org/dc/elements/1.1/";a:1:{s:7:"creator";a:1:{i:0;a:5:{s:4:"data";s:6:"Jeffro";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}}}i:40;a:6:{s:4:"data";s:13:"\n \n \n \n \n \n \n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";s:5:"child";a:2:{s:0:"";a:5:{s:5:"title";a:1:{i:0;a:5:{s:4:"data";s:39:"WP Android: You’ve Got Notifications!";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"guid";a:1:{i:0;a:5:{s:4:"data";s:35:"http://android.wordpress.org/?p=847";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"link";a:1:{i:0;a:5:{s:4:"data";s:54:"http://android.wordpress.org/2013/06/11/notifications/";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:11:"description";a:1:{i:0;a:5:{s:4:"data";s:3864:"Need to get your WordPress.com or Jetpack notifications on the go? With version 2.4 of WordPress for Android you’ll see all your Notifications right on your Android device.
\nWith the new streamlined Notifications view, you can step away from your computer but still stay connected to your readers. With just a few taps you can:
\nDon’t need so many notifications? You can turn off specific notification types (for example “Likes”) in the Settings panel. You can also mute entire blogs if it gets too noisy.
\nSelf-hosted WordPress.org blogs get to join the party, too! Simply connect your blog using the Jetpack plugin and your self-hosted blog’s notifications will appear. Already have Jetpack set up? Then you don’t need to do a thing.
\n \n \nWe also added a few more nifty features in this release:
\nWe’ve got some great new features in the works including improvements to Media, Account Setup, and the Reader.
\nA huge thanks to the contributors that worked on this release: beaucollins, daniloercoli, mrroundhill, isaackeyet, and aagam94.
\nHow do you like the new Notifications? Drop a comment here or follow us @WPAndroid to let us know!
\nTell us who you are and how long you’ve been using WordPress.
\nMy name is Kevin Muldoon. I am a writer, blogger and internet marketer. I am from Scotland but for the last two years I have been living in South America.
\nI first tried WordPress in 2006. During that year I had tried just about every blogging script out there. The one I chose to use for my travel blog was Serendipity. I had been using CMS’s for several years so I started looking more into using blogging platforms to create small content websites. Eventually, that led me to WordPress and I have used it ever since.
\nI discovered you through BloggingTips.com. Every time I see your name, it’s behind a different blog. Are you in the business of creating and selling websites?
\n\nI have sold hundreds of websites over the years, though it is not something I always set out to do. When I sold BloggingTips at the beginning of 2010, I had been working on it every day for 3 years. I was keen to do something else. My next blog, WP Mods, was sold in part because of an upcoming trip throughout South America and partly to free up more time to work on other websites I was developing.
\nTo date I have over $200k worth of sales on Flippa, but I wouldn’t consider myself a website flipper. All of the websites I have sold have been developed from scratch by me.
\nI understand you make a substantial amount of your income from your work online. From your experience, which revenue generating technique has garnered the most cash?
\nI make 100% of my income online. I started working online in 2000. I was working in Finance at the time and would work on websites at night. I probably made a few hundred dollars a month, which was never enough to leave my full time job. I did make a few good sales from domains. One time in 2002 I bought a domain name at work at 8.30am and sold it at 12.00pm for around $300-$400. I had bigger sales but that was probably the most satisfying due to how quickly I turned a profit.
\nAround 2004 I started making enough to work full time online. All of my money was coming from affiliate commissions. At the height of the gambling craze I was making over $20,000 a month. That helped pay off some debts from university and allowed some fun trips around the world.
\nToday, I still make most of my money from affiliate referrals, adsense and banner ad sales. I am starting to make money from selling books and I earn money from freelance writing too.
\nBack in May of 2009, you and Sarah started a WordPress theme club titled appropriately enough, BlogThemesClub.com. Whatever happened to the club and what valuable lessons did you learn from that experience?
\n\nhaha We sold that one too :)
\nThat site developed out of BloggingTips.com. Through that site I had released several WordPress themes to the community free. We then looked into releasing premium designs to blog readers but later decided that it would be better long term to sell themes from a new domain.
\nI am primarily a writer/marketer and Sarah is primarily a coder. Due to this, we had to outsource all the design work. This was not without its difficulties. Looking back, we probably should have brought in a designer as a partner from the start. That would have allowed us to develop themes quicker. I am sure we could have made it a success if we stuck to it though we decided to cut our losses and move on as we were spending a lot of time on it.
\nIt was a good experience and I did learn a lot from running a membership driven website and with working with a partner, so it is not something look back on with regret.
\nDo you find it difficult to generate content for your various sites or does it come natural?
\nNo. That is something that I have never had a problem with. Never have, never will. I am always reading other blogs and I buy books regularly too, so I am never short of ideas. My personal blog KevinMuldoon.com currently has 125 draft posts, all of which are partly written or have details of what needs to be written.
\nThe main problem is time to actually write. Over the next few months I need to greatly reduce my own writing responsibilities and bring in others to help me maintain my websites and blogs.
\nObviously you’re only one person. What tips can you provide for those looking to hire people to write for their site?
\n\nUnless you want your website or blog to always remain at the same level, you need to bring people in to help you. With BloggingTips.com I had over a dozen people writing regularly. By the time I sold WPMods.com I had two or three people helping me write articles.
\nObviously, getting the right people is key. It can be tempting to just get the cheapest writers but you need to remember that sometimes a badly written post is worse than having no post published at all. At the start it can be a balancing act trying to keep writing costs down and turn a profit, but long term it is worth it. Generally speaking, I would rather spend money on hiring good writers than spending money on an advertising campaign or some SEO service.
\nAs you rightly point out, there is only one of me, so for me to move on and do other things, I need to hire other people. There is no other way round it. The old idiom “hire people smarter than you” definitely runs true, and once they know what you are looking for, you should feel comfortable letting them get on with their job. Spending too much time micro-managing them can be counter-productive.
\nWhat is it about WordPress that has you using it for just about every site you create?
\nPossibility.
\nNo other platform out there, blogging or otherwise, comes even close to offering the same level of customization that WordPress does. Can you think of any other platform that offers thousands and thousands of free and premium plugins and themes?
\nWhat is your biggest pet peeve with WordPress?
\nI would say it is that every plugin developer out there wants to hijack my admin area and place a large menu link on my admin sidebar. There are plugins that only take two minutes to set up and then you never need to configure them again, yet they hog my sidebar. All major plugin developers, including Automattic, seem to be doing this.
\nI am aware that there are plugins out there that let me remove links from the main menu and put them somewhere else, however I do not feel that WordPress users should need to do this. Why should we have to go to the hassle of cleaning up their mess?
\nWhere would you like to see WordPress 5 years from now?
\n\nI like the fact that WordPress has started removing things like blogrolls and adding them back as plugins. The core version should not be too bloated.
\nThe problem is that there is so much functionality lacking from the core that you end up installing lots of plugins, thereby slowing down your site. Take commenting for example, WordPress blogs suffer from spam so badly that you need to install Akismet right off the bat. Then you need to install at least one additional plugin to reduce spam, whether it be to add a CAPTCHA field or trick bots into thinking they have completed all fields.
\nMany people have turned to third-party commenting systems to address this, though they are not always ideal either. So, like many people, I have started using Jetpack for my comments. It works great, but using that plugin means that I a need to install many other things that I do not want installed.
\nThe same thing can be said about security. I have had a few of my blogs infected with malware over the last year so I now install security plugins on every WordPress website I own. It would be better if WordPress tackled this problem head on and make the product more secure. I understand that WordPress is always going to be targeted more than other platforms due to its popularity, though when it comes to the point of needing to install anti-spam and anti-malware plugins every time they use WordPress, you need to step back and think about whether the core product needs to be upgraded.
\nToday, I have over a dozen plugins that I install on every website. I review the plugins I have installed regularly, though a quick check on my personal blog shows that I have 37 activated plugins. Many of these plugins address problems with other plugins or problems with the core. For example, I have Manual Control for Jetpack to stop the Jetpack plugin automatically enabling new modules they add and I have WP Missed Schedule installed to stop WordPress not publishing my articles on time (and never sending me an email to notify me of this).
\nLast but not least, I think that WordPress is starting to look dated in some respects. Without doubt it is functional, but along the way it has lost its style. I use the WordPress iOS app regularly and it works great, however accessing WordPress through my browser seems clunky at times.
\nWordPress has become the number one content management system in the world, though I think there is a danger of it losing its title as the best blogging platform. New blog platforms such as SquareSpace and Ghost are simplifying the whole process of blogging and allowing people to focus more on content instead of worrying about spam, viruses and configuring cache plugins.
\nCompetition is good and I hope that WordPress can take the best features of these new platforms and integrate it into their own platform.
\nAnything you’d like to say to the entire WordPress community?
\nI would encourage people to support plugin and theme developers where they can; whether it be telling others of their good work, making a donation or upgrading to their premium products. That being said, I also think WordPress users are allowed to be critical, even of those who release products for free. As a content producer, I understand why many developers get touchy about criticism, though it is essential to their products, and WordPress as a whole, getting better.
\nSo be supportive and be critical about something if you need to be, though make sure you are polite and professional when you do so. Those who complain for the sake of complaining deserve to be ignored :)
\n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:7:"pubDate";a:1:{i:0;a:5:{s:4:"data";s:31:"Tue, 11 Jun 2013 16:48:25 +0000";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:32:"http://purl.org/dc/elements/1.1/";a:1:{s:7:"creator";a:1:{i:0;a:5:{s:4:"data";s:6:"Jeffro";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}}}i:42;a:6:{s:4:"data";s:13:"\n \n \n \n \n \n \n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";s:5:"child";a:2:{s:0:"";a:5:{s:5:"title";a:1:{i:0;a:5:{s:4:"data";s:42:"WPTavern: Recap Of WordCamp Milwaukee 2013";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"guid";a:1:{i:0;a:5:{s:4:"data";s:31:"http://www.wptavern.com/?p=7264";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"link";a:1:{i:0;a:5:{s:4:"data";s:94:"http://feedproxy.google.com/~r/WordpressTavern/~3/JbJHpoCeOY4/recap-of-wordcamp-milwaukee-2013";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:11:"description";a:1:{i:0;a:5:{s:4:"data";s:850:"This past weekend, WordCamp Milwaukee 2013 took place. If you missed it, Brad Parbs has a short recap of the event complete with links to a bunch of different slides from presentations. With over 300 attendees this go around, I congratulate the event organizers on another successful WordCamp.
\n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:7:"pubDate";a:1:{i:0;a:5:{s:4:"data";s:31:"Tue, 11 Jun 2013 01:18:44 +0000";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:32:"http://purl.org/dc/elements/1.1/";a:1:{s:7:"creator";a:1:{i:0;a:5:{s:4:"data";s:6:"Jeffro";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}}}i:43;a:6:{s:4:"data";s:13:"\n \n \n \n \n \n \n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";s:5:"child";a:2:{s:0:"";a:5:{s:5:"title";a:1:{i:0;a:5:{s:4:"data";s:136:"WordPress.tv: John Botte, Jason Narciso, Michael Chevalier, Lindsay Logan, Valerie: Panel on Developer/Designer/Strategist Communication";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"guid";a:1:{i:0;a:5:{s:4:"data";s:28:"http://wordpress.tv/?p=19685";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"link";a:1:{i:0;a:5:{s:4:"data";s:147:"http://wordpress.tv/2013/06/10/john-botte-jason-narciso-michael-chevalier-lindsay-logan-valerie-panel-on-developerdesignerstrategist-communication/";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:11:"description";a:1:{i:0;a:5:{s:4:"data";s:816:"Coen Jacobs developer for WooThemes has used his personal site to vent about commercial themes bundling commercial plugins. There were at least two themes hosted on the ThemeForest marketplace that were bundling commercial WooThemes plugins along with a copy of GravityForms. Those themes have been temporarily hidden from view by ThemeForest until they comply with revised guidelines. This is a great article filled with a number of great points but the comments are just as good.
\nIt’s Just A Bad Idea – Bundling plugins with themes is already a bad practice but when those plugins have a commercial nature to them and need API access keys to work properly, it becomes an incredibly bad idea.
\nSupport Nightmare – I love the infinite loop for support described by Coen so much, I’m just going to paste it here as it clearly illustrates how bad it can be for users to get support.
\nGPL – People are still confused when they see a theme or plugin licensed under the GPL and then see licenses that specify the number of websites the plugin can be used on. Being licensed under the GPLv2 means the code is freely available and can be modified or redistributed. During the checkout process, if the word restrict is in the description it generates red flags. It’s important to note that most commercial GPL theme/plugin licenses deal strictly with how many sites will be supported by them based on which support license you buy. In some instances such as GravityForms, you’re not only purchasing a support license, but also an API access key that provides access to updates and other functionality. The API aspects of GravityForms have nothing to do with GPL. As Carl Hancock points out, look at Akismet, VaultPress, or WordPress.com as good examples of plugins that are GPL but the features they offer are through an API/service which is not accessible because it’s a software as a service model.
\nIt’s important to note that redistributing any themes or plugins licensed under the GPL commercial or not for free or for a price is completely within the confines of the license as long as proper attribution is maintained and the copyright notice is left in tact. What the two themes on ThemeForest were doing was not illegal.
\nAbuse Of The Unlimited Sites License – This is an interesting one. Using GravityForms as an example, if you buy the unlimited sites option, you’ll have support for unlimited sites, support multi-site, have unlimited forms, unlimited entries, 1 year of updates, etc. According to Simone, team leader of Your Inspiration Themes, they had purchased a Developer License granting them the ability to install GravityForms on an unlimited amount of sites. They were bundling GravityForms with their themes but in order for customers to receive upgrades, they would push out a new theme update which included the newest version of GravityForms.
\nI have to give Simone credit for coming up with a somewhat creative way of being able to offer GForms updates without their theme customers needing to have an individual access key. However, because of how GravityForms works, they have the ability to turn off keys if they discover they are used in such a way that violates their TOS.
\nNot Getting What You Paid For – According to Simone, by bundling plugins like GForms in their themes, they are offering value. In reality, the are offering headaches. The following paragraph in Simone’s response is important to take note of.
\n\nKeep in mind that we are not re-selling the plugins and above all we don’t provide key licenses to our customers. When an update of those plugins is released, we will as soon as possible release a new theme update with the new version of the plugin. We know how important is to keep updated the WordPress installation.
When customers buy their themes, they’re not actually buying the plugins that are bundled with them. If that’s the case, why bother bundling the plugins at all? The only conclusion I can come to is that they are ripping off GravityForms and others while providing so called value to their customers.
\nI hope YIT and ThemeForest have both learned their lesson in this ordeal. ThemeForest needs to tighten up its theme reviewing process. YIT needs to remove the commercial plugins until they can strike a unique reseller deal with both GForms and WooThemes. Since Simone claims their themes sold well without having any plugins, I hope they remove them because the overall practice of bundling plugins with themes is stupid.
\n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:7:"pubDate";a:1:{i:0;a:5:{s:4:"data";s:31:"Mon, 10 Jun 2013 16:11:04 +0000";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}s:32:"http://purl.org/dc/elements/1.1/";a:1:{s:7:"creator";a:1:{i:0;a:5:{s:4:"data";s:6:"Jeffro";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}}}}i:47;a:6:{s:4:"data";s:13:"\n \n \n \n \n \n \n";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";s:5:"child";a:2:{s:0:"";a:5:{s:5:"title";a:1:{i:0;a:5:{s:4:"data";s:80:"WordPress.tv: Brian Casel: Building Your Niche Freelance Business With WordPress";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"guid";a:1:{i:0;a:5:{s:4:"data";s:28:"http://wordpress.tv/?p=19665";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:4:"link";a:1:{i:0;a:5:{s:4:"data";s:97:"http://wordpress.tv/2013/06/09/brian-casel-building-your-niche-freelance-business-with-wordpress/";s:7:"attribs";a:0:{}s:8:"xml_base";s:0:"";s:17:"xml_base_explicit";b:0;s:8:"xml_lang";s:0:"";}}s:11:"description";a:1:{i:0;a:5:{s:4:"data";s:710:"If there has been one graphical element that has seen some changes over the years, it’s the template hierarchy diagram. The original diagram is located on the Codex and while it provides a graphical representation as to how Templates work within WordPress, it’s not pretty. I remember in 2008 when Michael Castilla took the original concept and simply added some style to it. A few years later, Chip Bennett added detailed information to the diagram. Just last month, Michelle created a colorful version of the diagram.
\nThat brings us to the current day where Rami Abraham has taken Michelle’s colorful design and has not only been given its own domain name, but has also made it interactive.
\n\nThe core information remains the same but now if you click on any one of the various parts of the diagram, it will take you to the appropriate Codex page. Between the various diagrams and the Codex, there is no way of not knowing what goes on within the WordPress template process.
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Jak co roku głównym bohaterem festiwalu będzie muzyka we wszystkich stanach skupienia, formach i kontekstach, niemniej równie ważne będą pozostałe działania: po raz pierwszy ruszy cykl AVANT ART FILM, odbędą się spotkania z literaturą, performance’y oraz warsztaty i debaty. Więcej szczegółów wkrótce!Following the main idea of the 5th edition, AVANT ART FESTIVAL will create a true “space for culture” in Wrocław; this time – German culture. Like each year, the main hero of the festival will be music in all density variations, forms and contexts; nevertheless, the remaining activities will be as important: the AVANT ART FILM series which will commence for the first time, the event will hold meetings with literature, performances, workshops and debates. More details soon!', 'AVANT ART 2012 stworzy przestrzeń dla kulturyAVANT ART 2012 to create a space for culture', '', 'publish', 'open', 'open', '', 'hello-world', '', '', '2012-08-01 15:51:22', '2012-08-01 13:51:22', '', 0, 'http://avantart.pl/?p=1', 0, 'post', '', 0), (5, 1, '2012-07-06 15:37:39', '2012-07-06 13:37:39', 'Avant Art\r\nul. Bolesławiecka 1/24a\r\n52-614 Wrocław, Polska\r\ninfo@avantart.pl\r\n\r\nDyrektor festiwalu:\r\nKostas Georgakopulos\r\nkostas@avantart.pl, tel. 513103826\r\n\r\nProducent:\r\nGrazyna Górka-Dudek\r\ngrazyna@avantart.pl, tel. 665727271\r\n\r\nKontakt dla mediów:\r\nMagda Kotowska\r\nmagda.kotowska@highlite.pl, tel. 792 234 779\r\n\r\nWolontariat:\r\nwolontariat@avantart.plAvant Art
\r\nul. Bolesławiecka 1/24a
\r\n52-614 Wrocław, Polska
\r\ninfo@avantart.pl
Festival director:
\r\nKostas Georgakopulos
\r\nkostas@avantart.pl, tel. 513103826
Producer:
\r\nGrazyna Górka-Dudek
\r\ngrazyna@avantart.pl, tel. 665727271
Media:
\r\nMagda Kotowska
\r\nmagda.kotowska@highlite.pl, tel. 792 234 779
Volunteers:
\r\nwolontariat@avantart.pl
Avant Art
\nul. Bolesławiecka 1/24a
\n52-614 Wrocław, Polska
\ninfo@avantart.pl
Festival director:
\nKostas Georgakopulos
\nkostas@avantart.pl, tel. 513103826
Producer:
\nGrazyna Górka-Dudek
\ngrazyna@avantart.pl, tel. 665727271
Media:
\nMagda Kotowska
\nmagda.kotowska@highlite.pl, tel. 792 234 779
Volunteers:
\nwolontariat@avantart.pl
Like each year, the main character of the Avant Art Festival is music – music in all density variations, all forms and contexts. Standalone music and music combining diverse branches of art. One will have a chance to see unique artists during six days (from October 2nd to October 7th, 2012) on the festival stages; artists who search, blaze new trails and, like each year, eclecticism, originality and innovation will rule.
\r\nThis year’s edition will take place under the sign of Germany – a country uniquely rich with interesting artists. German artists lead in creating new trends and aesthetics, which conquer the stages of the world with their freshness and inventiveness, since many years. Both renown creators – pioneers of genres, who enjoy popularity throughout the whole world since years, and young artists – reformers, who are a driving force of the music with their fresh blood and talent, will perform during the festival. DAF – one of the most important groups of the 80s of the XXc., who laid down the basis for such genres as electro or EBM with their output, will appear in Wrocław. Apart from them one will have a chance to hear Caspar Brötzmann Massaker – something for the enthusiasts of brutal and dirty guitar-based sounds, based on pure and unrestrained expression, improvisation and a free-to-roam creative passion. The combination of the most up-to-date technologies with new techniques of creating sounds will be presented by the musicians of the famous label Raster-Noton - Frank Bretschneider, Byetone and Kangding Ray. Moritz Von Oswald Trio will present their own vision of melting such remote stylistics like techno, jazz and dub into a single entity. FM Einheit, once a member of the influential industrial group Einstürzende Neubeuten, will prove how to create multi-layered and rich music with, at first glance, non-musical instrumentarium. The Berlin nutcases of Bonaparte will prove, that a concert can be not only a mere presentation of sounds, but a unique and expressive spectacle as well. Youth will play with year-long experience in a single team in the form of a collaborative project of the young Polish musicians from the Defibrillator ensemble together with the titan of free jazz Peter Brötzmann. Artists of Danseland will skilfully combine post-punk with free improvisation on the stage, and the formation Dÿse will present their own, rich with various references, version of noise rock. The intercontinental, Canadian-German project Knuckleduster will build a bridge between world music, post-rock and electronics, and Tannhäuser Sterben & das Tod will turn all music stylistics known so far inside out. The dance-side of experimentation with sound will be revealed to the audience by projects from the prestigious Berlin-based label Project: Mooncircle, and during the show by the Time Art Ensemble one will have a chance to engulf oneself in the worlds created from avant-garde sounds and visualisations. Mex Gerngesehen Avant Art Project, a collaboration of German and Polish musicians especially founded for this edition of the festival, will showcase that, what is most important in the modern experimental trends.
\r\nThis year, Avant Art leaves the concert halls and goes out into the streets in the form of the Social Up Spacing project – a common initiative of Polish and German musicians and artists, who will present their recycling installations in the open municipal space. A very important fulfilment of the programme will be screenings of documentaries and films regarding the German music scene in the Helios cinema; these will complete the music stage of the festival in a visual manner, and putting it in a social and historical context. Numerous workshops, discussion panels and meetings with literature will take place as well. The fifth Avant Art Festival will leave Wrocław for the first time – particular shows and presentations will take place in Berlin and Koln as well.
\r\nSearches for something new in the field of art never stop. It is worth taking a look at new artists, fresh trends and newly originated notions. And once again, the criterion of selecting the artists invited to the festival is not limited by any particular genre, trend or aesthetic – their originality, resulting from breaking the fixed barriers in art, the skill of combining diverse forms into a coherent whole, experimental or even avant-garde attitude to the matter of sound, movement and image. Avant Art Festival is, out of assumption, a holiday of artistic eclecticism, which is visible on numerous planes. One can expect everything from Avant Art Festival – we wish to surprise and to amaze, put the spectator in a position opposite to the established schematics and a classical attitude towards art. Here rejection of traditions is the tradition, breaking canons is the canon, non-conventionality is the convention. We aim at diversity, multitude of genres and are open towards anything that is original.
\r\n', 'O festiwaluAbout the festival', '', 'publish', 'closed', 'closed', '', 'o-festiwalu', '', '', '2013-01-14 22:26:51', '2013-01-14 21:26:51', '', 0, 'http://avantart.pl/?page_id=12', 0, 'page', '', 0), (13, 1, '2012-07-06 19:08:38', '2012-07-06 17:08:38', '', 'O festiwalu', '', 'inherit', 'closed', 'closed', '', '12-revision', '', '', '2012-07-06 19:08:38', '2012-07-06 17:08:38', '', 12, 'http://avantart.pl/12-revision/', 0, 'revision', '', 0), (14, 1, '2012-07-06 19:09:35', '2012-07-06 17:09:35', 'Organizatorem festiwalu jest fundacja Avant Art.\r\n\r\nFundacja Avant Art\r\n PRZESTRZEŃ - KULTURA\r\n\r\nFundacja w swoim założeniu stworzona i wymyślona została do prowadzenia projektu Avant Art Festival, obecnie jednak w kontekście dynamiki i rozwoju wspiera nie tylko festiwal, ale kreuje też inne działania interdyscyplinarne związane ze sztuką performatywną. Cały czas obowiązuje nas artystyczna postawa „in between”.\r\nPodstawowym celem strategii fundacji Avant Art w ciągu najbliższych kilku lat jest kontynuacja zmiany charakteru i formy działań realizowanych w jej obrębie. Tak więc obecnie projekt fundacji i nasza strategia myślenia o Kulturze obejmuje stworzenie i kreacje przestrzeni przeznaczonej na całoroczną aktywność artystyczną, kuratorską, edukacyjną oraz społeczną związaną z prowadzeniem warsztatów i szkoleń w ramach projektów cyklicznych oraz samych projektów cyklicznych. Bardzo istotne w strategii fundacji jest także prowadzenie oraz realizacja działań koprodukcyjnych.\r\n\r\nTe dynamiczne zmiany i przekształcenia w myśleniu o fundacji mają służyć także realizacji wielu wydarzeń artystycznych we współpracy z różnymi artystami czy organizacjami. Przykładem są tegoroczne (2012r.) realizacje Avant Art:\r\nRePLAY – Rozbudowa Instalacji Recyklingowej ReFUN, projekt zrealizowany w Warszawie czy przestrzeń galeryjno - warsztatową Pop Up 203, prowadzona we Wrocławiu przez Gabukow/Gabrielę Kowalską i Alicje Wacowską. Według naszej koncepcji fundacja Avant Art ma stać się wyzwolicielem kontaktów oraz interdyscyplinarnych działań, a przez to także bazą nowatorskich przedsięwzięć artystycznych. Artyści zaproszeni są i będą, by w jej ramach prezentować swoje dotychczasowe projekty, ale bardzo istotne są też nowe kreacje rozumiane jako „kontynuacje” i „łączenia”, czyli aktywności związane z pracą artystów, których będziemy prezentować w ramach różnych programów. Ponadto ważną intencją fundacji Avant Art jest coraz częściej rola inicjująca działania edukacyjne i społeczne, takie jak edukacja kulturalna oraz aktywizacja społeczności lokalnych, co możliwe będzie nie tylko w ramach festiwalu Avant Art, ale przede wszystkim we współpracy z artystami, kuratorami oraz innymi instytucjami czy organizacjami związanymi z Kulturą.\r\n\r\nDzięki swoim działaniom fundacja Avant Art ma się stać się „artystycznym żywym organizmem”. Program aktywności fundacji ma być wynikiem stałych kontaktów partnerskich między artystami, managerami i kuratorami z całej Europy, a także rezultatem całorocznej pracy nad projektami realizowanymi w ramach funkcjonowania fundacji. Ma się stać „miejscem” łączenia w ramach koprodukcji działań o zasięgu nie tylko lokalnym czy krajowym, ale przede wszystkim międzynarodowym. Planowane realizacje, system budżetowania oraz strategia promocji umożliwiać będzie funkcjonowanie fundacji jako nowoczesnej instytucji kultury, zachowującej w pełni autonomię i niezależność.\r\n\r\n\r\n\r\nThe Festival is organized by Avant Art Foundation \r\n\r\nAvant Art Foundation\r\nSPACE – CULTURE\r\n\r\nIn its assumption, the foundation was devised and created to carry out the Avant Art Festival project, however currently in the context of dynamics and the development it supports not only the festival, but also creates other multi-disciplinary activities connected with performative art. We are still obliged by the artistic attitude “in between”.\r\nThe main aim of the Avant Art Foundation’s strategy in the next few years is the continuation of changes in character and form of the activities carried out within its limits. Thus, currently the project of the foundation and our strategy concerning thinking about Culture includes creating and shaping a space intended for an all-year-long artistic, curator, educational and social activity, connected with running workshops and trainings as a part of cyclical projects and the projects themselves. Carrying out co-production activities is also very important in the strategy of the foundation.\r\n\r\nThese dynamic changes and transformations in the thinking about the foundation, are also supposed to serve the production of numerous artistic events in co-operation with diverse artists or organisations. This year’s (2012) Avant Art’s productions are an example: RePLAY. An expansion of the ReFUN Recycling Installation, a project carried out in Warsaw or the Pop Up 231 gallery-workshop space in Wrocław by Gabukow/Gabriela Kowalska and Alicja Wacowska. According to out conception, the Avant Art Foundation is supposed to become a liberator of contacts and inter-disciplinary activities, thus becoming a base for innovative artistic endeavours. Artists are and will be invited, in order to present their previous projects, but new creations understood as “continuations” and “combinations” are as important; i.e. activities concerned with the work of artists, who will be presented as a part of different programmes. Furthermore, a very important intention of the Avant Art Foundation is more and more frequently the role of initiating educational and social activities, such as cultural education and the acquisition of local societies, which will be possible not only as a part of the Avant Art Festival, but above all in co-operation with the artists, curators and other institutions or organizations related to Culture.\r\n\r\nThanks to its activities, the Avant Art Foundation is intended to become “a living artistic organism”. The programme of the foundation’s activities is supposed to be a result of constant partnership contacts between artists, managers and curators from all around Europe, as well as a result of a year-long work on the projects carried out as a part of the foundations actions. It is aimed at becoming a “place” combining, within the limits of co-productions, activities of not only local or nation reach, but first of all of international reach. The planned productions, budgeting system and promotion strategy will allow the functioning of the foundation as a modern culture institution, retaining full autonomy and independence.', 'OrganizatorOrganizer', '', 'publish', 'closed', 'closed', '', 'organizator', '', '', '2012-09-16 12:38:33', '2012-09-16 10:38:33', '', 12, 'http://avantart.pl/?page_id=14', 0, 'page', '', 0), (15, 1, '2012-07-06 19:09:15', '2012-07-06 17:09:15', '', 'Organizatorzy', '', 'inherit', 'closed', 'closed', '', '14-revision', '', '', '2012-07-06 19:09:15', '2012-07-06 17:09:15', '', 14, 'http://avantart.pl/14-revision/', 0, 'revision', '', 0), (16, 1, '2012-07-06 18:54:48', '2012-07-06 16:54:48', 'Welcome to WordPress. This is your first post. Edit or delete it, then start blogging!', 'Hello world!', '', 'inherit', 'closed', 'closed', '', '1-revision-3', '', '', '2012-07-06 18:54:48', '2012-07-06 16:54:48', '', 1, 'http://avantart.pl/1-revision-3/', 0, 'revision', '', 0), (17, 1, '2012-07-06 19:14:35', '2012-07-06 17:14:35', 'Welcome to WordPress. This is your first post. Edit or delete it, then start blogging!', 'Hello world!', '', 'inherit', 'closed', 'closed', '', '1-autosave', '', '', '2012-07-06 19:14:35', '2012-07-06 17:14:35', '', 1, 'http://avantart.pl/1-autosave/', 0, 'revision', '', 0), (18, 1, '2012-07-06 19:15:32', '2012-07-06 17:15:32', 'The sale of the performance tickets and whole-festival tickets for all the events under the link BILETY ONLINE and via www.billetin.pl, at the Impart (Mazowiecka Street 17, Wrocław, open on week days from 12:00 to 18:00) and via the Ticketpro ticket sellers.
\r\nInformation about the sale points spread throughout the country can be found on: http://www.ticketpro.pl/jnp/
Film tickets and the film carnet can be bought at the Helios Nowe Horyzonty cinema (Kazimierza Wielkiego street 19a-21, Wrocław) and via www.heliosnh.pl.
\r\nThe tickets will also be available at the day of the event, one hour before its beginning.
\r\nWhole-festival ticket for all festival events: 90 PLN
\r\nFilm carnet: 30 PLN
\r\nFree-of-charge entry:
\r\n1) Reading in the Dark. Herta Müller / a production of RITA BAUM
\r\n2) "Miasta B w Galerii U [B-category cities at the U Gallery]" exhibition
\r\n3) Debate on culture
\r\nContact: bilety@avantart.pl
\r\n', 'BiletyTickets', '', 'publish', 'closed', 'closed', '', 'bilety', '', '', '2012-10-01 12:16:39', '2012-10-01 10:16:39', '', 0, 'http://avantart.pl/?page_id=23', 0, 'page', '', 0), (24, 1, '2012-07-06 19:31:26', '2012-07-06 17:31:26', '', 'Bilety', '', 'inherit', 'closed', 'closed', '', '23-revision', '', '', '2012-07-06 19:31:26', '2012-07-06 17:31:26', '', 23, 'http://avantart.pl/23-revision/', 0, 'revision', '', 0), (25, 2, '2012-10-01 11:59:19', '2012-10-01 09:59:19', 'Sprzedaż biletów na koncerty i karnetów na wszystkie wydarzenia pod linkiem BILETY ONLINE,\na także za pośrednictwem www.billetin.pl, w Imparcie (ul. Mazowiecka 17, Wrocław, w dni powszednie od 12:00 do 18:00) oraz w SieciTicketpro.\n\nInformacje o punktach sprzedaży na terenie całego kraju dostępne na stronie:\nhttp://www.ticketpro.pl/jnp/gdzie-kupic-bilety/index.html\n\nBilety na filmy i karnet filmowy do nabycia w Helios Nowe Horyzonty (ul. Kazimierza Wielkiego 19a-21, Wrocław) oraz na www.heliosnh.pl .\n\nBilety dostępne będą także w miejscach festiwalowych na godzinę przed rozpoczęciem wydarzenia.\n\nKarnet na wszystkie wydarzenia festiwalu: 90 zł\nKarnet filmowy: 30 zł\n\nPobierz program z cenami biletów plik pdf\n\nThe sale of the performance tickets and whole-festival tickets for all the events under the link BILETY ONLINE and via www.billetin.pl, at the Impart (Mazowiecka Street 17, Wrocław, open on week days from 12:00 to 18:00) and via the Ticketpro ticket sellers.
\nInformation about the sale points spread throughout the country can be found on: http://www.ticketpro.pl/jnp/
Film tickets and the film carnet can be bought at the Helios Nowe Horyzonty cinema (Kazimierza Wielkiego street 19a-21, Wrocław) and via www.heliosnh.pl.
\nThe tickets will also be available at the day of the event, one hour before its beginning.
\nWhole-festival ticket for all festival events: 90 PLN
\nFilm carnet: 30 PLN
\nFree-of-charge entry:
\n1) Reading in the Dark. Herta Müller / a production of RITA BAUM
\n2) "Miasta B w Galerii U [B-category cities at the U Gallery]" exhibition
\n3) Debate on culture
\nContact: bilety@avantart.pl
\n', 'BiletyTickets', '', 'inherit', 'closed', 'closed', '', '23-autosave', '', '', '2012-10-01 11:59:19', '2012-10-01 09:59:19', '', 23, 'http://avantart.pl/23-autosave/', 0, 'revision', '', 0), (26, 1, '2012-07-06 19:33:25', '2012-07-06 17:33:25', 'Kontakt dla mediów:\r\nMagda Kotowska | magda.kotowska@highlite.pl, tel. 792 234 779\r\n\r\nKontakt dla mediów:
\r\nMagda Kotowska
\r\nmagda.kotowska@highlite.pl, tel. 792 234 779
\r\n', 'Press Room', '', 'publish', 'closed', 'closed', '', 'press-room', '', '', '2012-11-21 12:22:05', '2012-11-21 11:22:05', '', 0, 'http://avantart.pl/?page_id=26', 0, 'page', '', 0), (27, 1, '2012-07-06 19:33:16', '2012-07-06 17:33:16', '', 'Press Room', '', 'inherit', 'closed', 'closed', '', '26-revision', '', '', '2012-07-06 19:33:16', '2012-07-06 17:33:16', '', 26, 'http://avantart.pl/26-revision/', 0, 'revision', '', 0), (28, 1, '2012-07-06 19:33:48', '2012-07-06 17:33:48', 'MECENAT\r\n\r\nPATRONAGE
\r\n\r\n
STRATEGIC PARTNER
\r\nMAIN PARTNERS
\r\nPARTNERS
\r\nCOPRODUCTION PARTNERS
\r\nCOOPERATION
\r\nMEDIA PATRONS
\r\nDAF – i.e. Deutsch-Amerikanische Freundschaft – are a living legend. There are not many so influential groups in the history of music like this particular one, brought to life in 1978 by Gabi Delgado Lopez and Robert Görl – two hotheads set on creating something entirely new, which will inevitably shake the foundations of future music. There would not be the New German Wave, in the form as we know it today, without DAF; the famous British promoter, John Peel, called them the grandfathers of techno; they are the real pioneers of electropunk and the main inspiration for an entire throng of synthpop composers. The all new genre, EBM, combining the characteristics of industrial music and punk, would not come to existence without them. DAF is a band, which forerun way into the future, is a direct link combining avant-garde punk and electronic music. DAF’s style just cannot be copied – pulsating synthesizer music, operating with an energy load resembling the one operated by the best punkrock bands, disturbing rhythmic and a characteristic dense sound combined with unique lyrics became the trademarks of the group and unrivalled example for numerous other artists. Without a doubt – DAF is one of the most important bands founded on the wave of the punk rebellion, which can surprise us with its fresh and powerful sound even in the new century.
\r\n\r\n\r\n\r\n\r\nwww.myspace.com/officialdaf
\r\nwww.deutschamerikanischefreundschaft.de
Sebastian Smolyn, playing on the electronic trombone and his brother, Artur, wielding electronics chose the direction of improvised music on their artistic path. Their personal experiences became a template for such music, which is governed by its own rules and uses all possible means in order to achieve its goal. There are no avant-garde stylistics they have not yet explored – their output is inspired by free jazz, nu jazz, noise or hardcore in many different forms. After a few years of searches, Olivier Steidle, a unique jazz drummer, has joined their sound voyages – thus the trio named Defibrillator came to be, a uniquely energetic group, sound of which is heavily rooted in the aesthetic of grindcore and noise. The next step in their career was inviting a musician, who was a major inspiration for them since many years, to a co-operation - Peter Brötzmann, one of the most important representatives of the world’s free jazz and improvised music. Youth and energy in comparison with a many year-long experience on the grounds of experimental sounds – that can be expected from the new project of the Smolyn brother.
\r\n\r\n\r\n\r\n\r\n', 'DEFIBRILLATOR & PETER BRÖTZMANN', '', 'publish', 'closed', 'closed', '', 'defibrillator-peter-brotzmann', '', '', '2012-10-02 10:53:14', '2012-10-02 08:53:14', '', 36, 'http://avantart.pl/?page_id=44', 0, 'page', '', 0), (45, 2, '2012-07-07 22:20:35', '2012-07-07 20:20:35', 'DEFIBRILLATOR & PETER BRÖTZMANN\n\n\nGrający na elektronicznej trąbce Sebastian Smolyn i posługujący się elektroniką jego brat Artur na swoje artystycznej ścieżce wybrali kierunek muzyki improwizowanej. Ich osobiste doświadczenia złożyły się na matrycę dla takiej muzyki, która rządzi się swoimi własnymi prawami i używa wszystkich możliwych środków, by osiągnąć swój cel. Nie ma dla nich stylistyk awangardy, których by nie eksplorowali – ich twórczość jest zainspirowana przez free jazz, nu jazz, noise czy hardcore w wielu różnych postaciach. Po kilku latach wspólnych poszukiwań do ich dźwiękowych wypraw dołączył wyjątkowy perkusista jazzowy Oliver Steidle – tak powstało trio o nazwie Defibrillator, niezwykle energetyczna formacja, której brzmienie silnie zakotwiczone jest w estetykach grindcore i noise. Kolejnym krokiem w ich karierze stało się zaproszenie do współpracy muzyka, który od lat stanowił dla nich ważną inspirację – Petera Brötzmanna, jednego z najważniejszych przedstawicieli światowego free jazzu i muzyki improwizowanej. Młodość i energia w zestawieniu z wieloletnim doświadczeniem na gruncie eksperymentalnych dźwięków – tego właśnie można spodziewać się po nowym projekcie braci Smolyn.', 'DEFIBRILLATOR & PETER BRÖTZMANN', '', 'inherit', 'closed', 'closed', '', '44-revision', '', '', '2012-07-07 22:20:35', '2012-07-07 20:20:35', '', 44, 'http://avantart.pl/44-revision/', 0, 'revision', '', 0), (46, 2, '2012-07-07 22:23:18', '2012-07-07 20:23:18', ' Frank Bretschneider – obok Olafa Bendera i Carstena Nicolaia jeden z trzech ojców-założycieli wytwórni Raster-Noton – w przeciwieństwie do wielu zanurzonych w samouwielbieniu artystów nie sili się na dorabianie specjalnej filozofii do swojej twórczości. Nie ma dla niej osobnej definicji, a tworzone przez siebie dźwięki określa jako muzykę praktycznie w całości wykreowaną przy pomocy komputera, która w równej mierze jest zainspirowana muzycznym akademizmem i popkulturą, a także nauką i sztuką. Ta artystyczna skromność przekłada się na niezwykle wysoką jakość jego twórczości we wszystkich sferach, w których się udziela – zarówno jako muzyka, jak i kompozytora i artysty wizualnego. Jego utwory wyróżniają się bardzo precyzyjnym cyzelowaniem dźwięków, kompleksowymi, splatającymi się strukturami rytmicznymi i specyficznym, minimalistycznym podejściem do całego procesu tworzenia. Jego muzyka jest w różnoraki sposób opisywana – jako abstrakcyjny analogowy puentylizm, jako kompozycje przyszłości, które powinny wypełniać futurystyczne poczekalnie i hale portów kosmicznych czy też jako nowatorskie, pełne organiczności techno – i w każdym z tych określeń jest sporo prawdy. Jego twórczość można usytuować w królestwie awangardy, nie pozbawionej jednak pewnej formy popowej wrażliwości – i dlatego jego muzyka nadaje się zarówno do tańczenia w klubach, jak i do słuchania w słuchawkach w domowych warunkach na wysokiej klasy audiofilskim sprzęcie.\r\nFrank Bretschneider (live at Berghain Kantine, Berlin) from mediateletipos on Vimeo.
\r\n www.frankbretschneider.com\r\nFrank Bretschneider – one of the three founding-fathers of the Raster-Noton label, beside Olaf Bender and Carsten Nicolai – in opposition to numerous artists engulfed in self-admiration, he does not try to assign a special philosophy to his creations. He does not have a separate definition for it, and describes the sounds created by himself as music, practically, entirely created with the help of a computer, which is equally inspired by musical academism and pop culture, as well as science and art. This artistic modesty is translated into an extremely high quality of his creations in all spheres, in which he contributes – both as a musician, as well as composer and visual artist. His compositions are characterised by a very precise craftsmanship of sounds, complex, intertwining rhythmic structures and a particular, minimalistic approach towards the entire process of creation. His music is described in various different ways – as an abstract analogue pointillism, as compositions of the future, which should fill out futuristic waiting rooms and space port halls or as innovative organic techno – and there is a lot of truth in each and every of these descriptions. His creation can be situated in the kingdom of avant-garde, however one which does not lack a certain form of poppy sensibility – and that is why his music is suited for, both, dancing in clubs, as well as listening to back home with headphones on, on high quality audiophile equipment.
\r\n\r\nFrank Bretschneider (live at Berghain Kantine, Berlin) from mediateletipos on Vimeo.
\r\n\r\n', 'FRANK BRETSCHNEIDER', '', 'publish', 'closed', 'closed', '', 'frank-bretschneider', '', '', '2012-10-03 16:30:25', '2012-10-03 14:30:25', '', 36, 'http://avantart.pl/?page_id=46', 0, 'page', '', 0), (47, 2, '2012-07-07 22:22:30', '2012-07-07 20:22:30', 'FRANK BRETSCHNEIDER\n\n \n\nFrank Bretschneider – obok Olafa Bendera i Carstena Nicolaia jeden z trzech ojców-założycieli wytwórni Raster-Noton – w przeciwieństwie do wielu zanurzonych w samouwielbieniu artystów nie sili się na dorabianie specjalnej filozofii do swojej twórczości. Nie ma dla niej osobnej definicji, a tworzone przez siebie dźwięki określa jako muzykę praktycznie w całości wykreowaną przy pomocy komputera, która w równej mierze jest zainspirowana muzycznym akademizmem i popkulturą, a także nauką i sztuką. Ta artystyczna skromność przekłada się na niezwykle wysoką jakość jego twórczości we wszystkich sferach, w których się udziela – zarówno jako muzyka, jak i kompozytora i artysty wizualnego. Jego utwory wyróżniają się bardzo precyzyjnym cyzelowaniem dźwięków, kompleksowymi, splatającymi się strukturami rytmicznymi i specyficznym, minimalistycznym podejściem do całego procesu tworzenia. Jego muzyka jest[J1] w różnoraki sposób opisywana – jako abstrakcyjny analogowy puentylizm, jako kompozycje przyszłości, które powinny wypełniać futurystyczne poczekalnie i hale portów kosmicznych czy też jako nowatorskie, pełne organiczności techno – i w każdym z tych określeń jest[J2] sporo prawdy. Jego twórczość można usytuować w królestwie awangardy, nie pozbawionej jednak pewnej formy popowej wrażliwości – i dlatego jego muzyka nadaje się zarówno do tańczenia w klubach, jak i do słuchania w słuchawkach w domowych warunkach na wysokiej klasy audiofilskim sprzęcie.\n', '', '', 'inherit', 'closed', 'closed', '', '46-revision', '', '', '2012-07-07 22:22:30', '2012-07-07 20:22:30', '', 46, 'http://avantart.pl/46-revision/', 0, 'revision', '', 0), (48, 2, '2012-07-07 22:24:38', '2012-07-07 20:24:38', ' Wydawanie płyt w prestiżowej wytwórni Raster-Noton jest synonimem wysokiej jakości muzycznej – i to właśnie można powiedzieć o dźwiękach tworzonych przez Davida Letelliera, osiadłego w Berlinie francuskiego muzyka, znanego jednak całemu środowisku fanów niebanalnej elektroniki pod pseudonimem Kangding Ray. Artysta w umiejętny sposób potrafi połączyć brzmienie elektronicznych urządzeń z żywymi instrumentami i tak tworzyć subtelne i rytmiczne suity, w których współgrają ze sobą glitche, ściany przesterowanych dźwięków, masywne ścieżki basowe, ludzkie głosy i nagrania terenowe. Wynikiem jest mieszanka głębokich, tanecznych bitów i mrocznej atmosfery – a całość możemy opisać jako „abstrakcyjną muzykę basową”. To dźwięki pełne chłodnych prądów, melodii zakamuflowanych w rytmie i eleganckich bitów wycyzelowanych ze spartańskim rygorem. To rzadko spotykana eksplozja unikalnej wrażliwości nałożonej na totalnie zdyscyplinowaną, pełną ukrytych detali odmianę muzyki stworzonej przy pomocy komputera. Kangding Ray proponuje nam imprezę taneczną, na jakiej jeszcze nie dane nam było być. Jego muzykę możemy określić jako muzykę pogranicza – zręcznie balansuje ona z jednej strony na krawędzi eksperymentu i awangardy, z drugiej jest przystępna dla wszystkich zwolenników kultury klubowej. \r\n\r\n\r\nwww.kangdingray.comReleasing albums in the prestigious Raster-Noton label is synonymous for a high musical quality – exactly that can be said about the sounds created by David Letellier, a French musician residing in Berlin, known to the entire circle of fans of non-trivial electronics under the moniker of Kangding Ray. The artist can skilfully combine the sound of electronic equipment with living instruments and thus create subtle and rhythmic suites, in which glitches harmonise with walls of distorted sounds, massive bass tracks, human voices and field recordings. The result is a mix of deep, dance beats and a dark atmosphere – and the whole can be described as “abstract bass music”. These are sounds full of cold currents, melodies camouflaged in rhythm and elegant beats crafted under a Spartan discipline. It is a rarely encountered explosion of unique sensibility applied on an entirely disciplined music, filled with hidden details, created with the help of a computer. Kangding Ray proposes a dance party we have never been to before. We can describe his music as the music of the borderland – it skilfully balances on, one hand, the border of experiment and avant-garde, and on the other – it is accessible to all the supporters of the club culture.
\r\n\r\n\r\n\r\n', 'KANGDING RAY', '', 'publish', 'closed', 'closed', '', 'kangding-ray', '', '', '2012-10-03 16:30:53', '2012-10-03 14:30:53', '', 36, 'http://avantart.pl/?page_id=48', 0, 'page', '', 0), (49, 2, '2012-07-07 22:24:30', '2012-07-07 20:24:30', '\n\n\n \n\nWydawanie płyt w prestiżowej wytwórni Raster-Noton jest synonimem wysokiej jakości muzycznej – i to właśnie można powiedzieć o dźwiękach tworzonych przez Davida Letelliera, osiadłego w Berlinie francuskiego muzyka, znanego jednak całemu środowisku fanów niebanalnej elektroniki pod pseudonimem Kangding Ray. Artysta w umiejętny sposób potrafi połączyć brzmienie elektronicznych urządzeń z żywymi instrumentami i tak tworzyć subtelne i rytmiczne suity, w których współgrają ze sobą glitche, ściany przesterowanych dźwięków, masywne ścieżki basowe, ludzkie głosy i nagrania terenowe. Wynikiem jest mieszanka głębokich, tanecznych bitów i mrocznej atmosfery – a całość możemy opisać jako „abstrakcyjną muzykę basową”. To dźwięki pełne chłodnych prądów, melodii zakamuflowanych w rytmie i eleganckich bitów wycyzelowanych ze spartańskim rygorem. To rzadko spotykana eksplozja unikalnej wrażliwości nałożonej na totalnie zdyscyplinowaną, pełną ukrytych detali odmianę muzyki stworzonej przy pomocy komputera. Kangding Ray proponuje nam imprezę taneczną, na jakiej jeszcze nie dane nam było być. Jego muzykę możemy określić jako muzykę pogranicza – zręcznie balansuje ona z jednej strony na krawędzi eksperymentu i awangardy, z drugiej jest przystępna dla wszystkich zwolenników kultury klubowej.', 'KANGDING RAY', '', 'inherit', 'closed', 'closed', '', '48-revision', '', '', '2012-07-07 22:24:30', '2012-07-07 20:24:30', '', 48, 'http://avantart.pl/48-revision/', 0, 'revision', '', 0); INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (50, 2, '2012-07-07 22:24:38', '2012-07-07 20:24:38', 'Wydawanie płyt w prestiżowej wytwórni Raster-Noton jest synonimem wysokiej jakości muzycznej – i to właśnie można powiedzieć o dźwiękach tworzonych przez Davida Letelliera, osiadłego w Berlinie francuskiego muzyka, znanego jednak całemu środowisku fanów niebanalnej elektroniki pod pseudonimem Kangding Ray. Artysta w umiejętny sposób potrafi połączyć brzmienie elektronicznych urządzeń z żywymi instrumentami i tak tworzyć subtelne i rytmiczne suity, w których współgrają ze sobą glitche, ściany przesterowanych dźwięków, masywne ścieżki basowe, ludzkie głosy i nagrania terenowe. Wynikiem jest mieszanka głębokich, tanecznych bitów i mrocznej atmosfery – a całość możemy opisać jako „abstrakcyjną muzykę basową”. To dźwięki pełne chłodnych prądów, melodii zakamuflowanych w rytmie i eleganckich bitów wycyzelowanych ze spartańskim rygorem. To rzadko spotykana eksplozja unikalnej wrażliwości nałożonej na totalnie zdyscyplinowaną, pełną ukrytych detali odmianę muzyki stworzonej przy pomocy komputera. Kangding Ray proponuje nam imprezę taneczną, na jakiej jeszcze nie dane nam było być. Jego muzykę możemy określić jako muzykę pogranicza – zręcznie balansuje ona z jednej strony na krawędzi eksperymentu i awangardy, z drugiej jest przystępna dla wszystkich zwolenników kultury klubowej.', 'KANGDING RAY', '', 'inherit', 'closed', 'closed', '', '48-revision-2', '', '', '2012-07-07 22:24:38', '2012-07-07 20:24:38', '', 48, 'http://avantart.pl/48-revision-2/', 0, 'revision', '', 0), (51, 2, '2012-07-07 22:19:10', '2012-07-07 20:19:10', 'DAF – czyli Deutsch-Amerikanische Freundschaft – to żywa legenda. Niewiele jest równie wpływowych formacji w dziejach muzyki niż właśnie ta, powołana do życia w 1978 roku przez Gabiego Delgado Lopeza i Roberta Görla – dwóch zapaleńców zdecydowanych, by stworzyć coś zupełnie nowego, co nieuchronnie wstrząśnie posadami przyszłej muzyki. Bez DAF nie byłoby Nowej Niemieckiej Fali w formie, jaką dzisiaj znamy, słynny promotor John Peel nazwał ich dziadkami muzyki techno, są właściwymi pionierami electropunka i podstawową inspiracją dla całej rzeszy twórców synthpopowych. Bez ich wkładu nie powstałby zupełnie nowy gatunek, łączący w sobie cechy muzyki industrialnej i punka czyli EBM. DAF to zespół, który wybiegł daleko w przyszłość, będąc bezpośrednim ogniwem łączącym awangardowy punk i muzykę elektroniczną. Stylu DAF zwyczajnie nie da się podrobić – pulsująca syntezatorowa muzyka, operująca podobnym ładunkiem energii jak najlepsze zespoły punkrockowe, niepokojąca rytmiczność i specyficzne gęste brzmienie w połączeniu z oryginalnymi tekstami stały się znakiem rozpoznawczym grupy i niedoścignionym wzorem dla wielu innych muzyków. Bez dwóch zdań – DAF to jeden z najważniejszych zespołów powstałych na fali punkowej rebelii, który nawet w nowym stuleciu potrafi nas zaskoczyć swoim świeżym i mocnym brzmieniem.', 'DAF', '', 'inherit', 'closed', 'closed', '', '40-revision-3', '', '', '2012-07-07 22:19:10', '2012-07-07 20:19:10', '', 40, 'http://avantart.pl/40-revision-3/', 0, 'revision', '', 0), (52, 2, '2012-07-07 22:26:34', '2012-07-07 20:26:34', ' Knuckleduster, transatlantycka kolaboracja niemieckiego artysty dźwiękowego Roberta Lippoka i rezydującego w Kanadzie indyjskiego multimedialnego twórcy Debashisa Sinhy, rozpoczęła się od obustronnej fascynacji dźwiękiem i jego produkcją. Po dyskusjach prowadzonych podczas spotkań w Berlinie i Toronto oraz za pośrednictwem internetu, obaj muzycy stworzyli podstawy do kreowania wspólnych kompozycji. Lippok, jedna z najważniejszych postaci berlińskiej sceny elektronicznej i założyciel słynnej formacji To Rococo Rot, znany jest przede wszystkim jako osoba, która odnowiła stylistykę post-rocka poprzez włączenie do niego sztuki konceptualnej, instalacji i improwizacji. Sinha, znawca rytmicznych systemów z różnych kultur, w swojej twórczości łączy czysto etniczne dźwięki i tradycyjne techniki z elementami zachodniej improwizacji i elektroniki. Ze zderzenia doświadczeń dwóch tak różnych osobowości muzycznych powstała muzyka, w której nowoczesność spotyka się z archaicznością, tworząc multikulturowy konglomerat brzmieniowy, który potrafi porwać słuchacza w niezwykłą podróż w czasie i przestrzeni. Akustyczne instrumenty i wysoko zaawansowana technologia, ludzki głos i syntetyczne brzmienia, szamanizm i nauka – to wszystko można odnaleźć w kompozycjach i improwizacjach tego oryginalnego duetu. \r\n\r\n kdmusic.orgKnuckleduster, a transatlantic collaboration of the German sound artist, Robert Lippok, and Debashis Sinhy, a Hindu multimedia creator residing in Canada, began from a mutual fascination with sound and its production. After the discussions conducted during their meetings in Berlin and Toronto, and via the Internet, both musicians created the basis for creating collaborative compositions. Lippok is one of the most important figures of the Berlin electronic scene and founder of the famous To Rococo Rot, renown foremost as a person, who renew the post-rock stylistics by including the conceptual art, installations and improvisation into it. Sinha, an expert of rhythmic systems of different cultures, in his creations combines purely ethnic sounds and traditional techniques with elements of Western improvisation and electronics. Music, in which modernity meets archaism, creating a multicultural sound conglomerate, which can take the listener on a unique journey through time and space, came to be out of the collision of experiences of two such different personalities. Acoustic instruments and highly sophisticated technology, the human voice and synthetic sounds, shamanism and science – it all can be found in the compositions and improvisations of this original duo.
\r\n\r\n', 'KNUCKLEDUSTER', '', 'publish', 'closed', 'closed', '', 'knuckleduster', '', '', '2012-10-02 14:42:18', '2012-10-02 12:42:18', '', 36, 'http://avantart.pl/?page_id=52', 0, 'page', '', 0), (53, 2, '2012-07-07 22:26:22', '2012-07-07 20:26:22', '\n\n\n \n\n Knuckleduster, transatlantycka kolaboracja niemieckiego artysty dźwiękowego Roberta Lippoka i rezydującego w Kanadzie indyjskiego multimedialnego twórcy Debashisa Sinhy, rozpoczęła się od obustronnej fascynacji dźwiękiem i jego produkcją. Po dyskusjach prowadzonych podczas spotkań w Berlinie i Toronto oraz za pośrednictwem internetu, obaj muzycy stworzyli podstawy do kreowania wspólnych kompozycji. Lippok, jedna z najważniejszych postaci berlińskiej sceny elektronicznej i założyciel słynnej formacji To Rococo Rot, znany jest przede wszystkim jako osoba, która odnowiła stylistykę post-rocka poprzez włączenie do niego sztuki konceptualnej, instalacji i improwizacji. Sinha, znawca rytmicznych systemów z różnych kultur, w swojej twórczości łączy czysto etniczne dźwięki i tradycyjne techniki z elementami zachodniej improwizacji i elektroniki. Ze zderzenia doświadczeń dwóch tak różnych osobowości muzycznych powstała muzyka, w której nowoczesność spotyka się z archaicznością, tworząc multikulturowy konglomerat brzmieniowy, który potrafi porwać słuchacza w niezwykłą podróż w czasie i przestrzeni. Akustyczne instrumenty i wysoko zaawansowana technologia, ludzki głos i syntetyczne brzmienia, szamanizm i nauka – to wszystko można odnaleźć w kompozycjach i improwizacjach tego oryginalnego duetu.', 'KNUCKLEDUSTER', '', 'inherit', 'closed', 'closed', '', '52-revision', '', '', '2012-07-07 22:26:22', '2012-07-07 20:26:22', '', 52, 'http://avantart.pl/52-revision/', 0, 'revision', '', 0), (54, 2, '2012-07-12 22:25:24', '2012-07-12 20:25:24', '\n\nKnuckleduster, transatlantycka kolaboracja niemieckiego artysty dźwiękowego Roberta Lippoka i rezydującego w Kanadzie indyjskiego multimedialnego twórcy Debashisa Sinhy, rozpoczęła się od obustronnej fascynacji dźwiękiem i jego produkcją. Po dyskusjach prowadzonych podczas spotkań w Berlinie i Toronto oraz za pośrednictwem internetu, obaj muzycy stworzyli podstawy do kreowania wspólnych kompozycji. Lippok, jedna z najważniejszych postaci berlińskiej sceny elektronicznej i założyciel słynnej formacji To Rococo Rot, znany jest przede wszystkim jako osoba, która odnowiła stylistykę post-rocka poprzez włączenie do niego sztuki konceptualnej, instalacji i improwizacji. Sinha, znawca rytmicznych systemów z różnych kultur, w swojej twórczości łączy czysto etniczne dźwięki i tradycyjne techniki z elementami zachodniej improwizacji i elektroniki. Ze zderzenia doświadczeń dwóch tak różnych osobowości muzycznych powstała muzyka, w której nowoczesność spotyka się z archaicznością, tworząc multikulturowy konglomerat brzmieniowy, który potrafi porwać słuchacza w niezwykłą podróż w czasie i przestrzeni. Akustyczne instrumenty i wysoko zaawansowana technologia, ludzki głos i syntetyczne brzmienia, szamanizm i nauka – to wszystko można odnaleźć w kompozycjach i improwizacjach tego oryginalnego duetu.', 'KNUCKLEDUSTER', '', 'inherit', 'closed', 'closed', '', '52-autosave', '', '', '2012-07-12 22:25:24', '2012-07-12 20:25:24', '', 52, 'http://avantart.pl/52-autosave/', 0, 'revision', '', 0), (55, 2, '2012-07-07 22:26:34', '2012-07-07 20:26:34', 'Knuckleduster, transatlantycka kolaboracja niemieckiego artysty dźwiękowego Roberta Lippoka i rezydującego w Kanadzie indyjskiego multimedialnego twórcy Debashisa Sinhy, rozpoczęła się od obustronnej fascynacji dźwiękiem i jego produkcją. Po dyskusjach prowadzonych podczas spotkań w Berlinie i Toronto oraz za pośrednictwem internetu, obaj muzycy stworzyli podstawy do kreowania wspólnych kompozycji. Lippok, jedna z najważniejszych postaci berlińskiej sceny elektronicznej i założyciel słynnej formacji To Rococo Rot, znany jest przede wszystkim jako osoba, która odnowiła stylistykę post-rocka poprzez włączenie do niego sztuki konceptualnej, instalacji i improwizacji. Sinha, znawca rytmicznych systemów z różnych kultur, w swojej twórczości łączy czysto etniczne dźwięki i tradycyjne techniki z elementami zachodniej improwizacji i elektroniki. Ze zderzenia doświadczeń dwóch tak różnych osobowości muzycznych powstała muzyka, w której nowoczesność spotyka się z archaicznością, tworząc multikulturowy konglomerat brzmieniowy, który potrafi porwać słuchacza w niezwykłą podróż w czasie i przestrzeni. Akustyczne instrumenty i wysoko zaawansowana technologia, ludzki głos i syntetyczne brzmienia, szamanizm i nauka – to wszystko można odnaleźć w kompozycjach i improwizacjach tego oryginalnego duetu.', 'KNUCKLEDUSTER', '', 'inherit', 'closed', 'closed', '', '52-revision-2', '', '', '2012-07-07 22:26:34', '2012-07-07 20:26:34', '', 52, 'http://avantart.pl/52-revision-2/', 0, 'revision', '', 0), (56, 2, '2012-07-07 22:31:49', '2012-07-07 20:31:49', '\r\n\r\nŻywiołowy taniec i zaduma nad artyzmem, wpadająca w ucho melodyjność i surowość wykorzystanych środków, najnowsza technologia i sentymentalna wycieczka w przeszłość muzyki – tak w skrócie można opisać muzykę Byetone, jednego z najważniejszych projektów ze stajni niemieckiej wytwórni Raster-Noton. To muzyka pełna nawracających fraz, wielowymiarowych warstw dźwięku, gęstości i energii zaprezentowanych z melodyjnością i wręcz inżynieryjną finezją. Utwory Olafa Bendera – bo tak nazywa się muzyk skrywający się pod pseudonimem Byetone – wręcz opalizują dzięki licznym zmianom i seriom kulminacji – tempo zmienia się w nich często, na przemian zwalniając i przyspieszając, a polirytmiczne frazy wirują wokół prostych bitów. Muzyka projektu pozornie kojarzyć się może z minimalnym techno z wczesnych lat dziewięćdziesiątych XX wieku, lecz jest od niego znacznie bogatsza. Naukowe zainteresowanie artysty procesami rządzącymi ludzką pamięcią odciska piętno na jego muzyce, która będąc na wskroś nowoczesna, jest jednocześnie gęsto nasycona cytatami z przeróżnych stylistyk rocka i popu, jednak zręcznie unika zbytniego osadzenia w przeszłości – dzięki temu żadnej z jego kompozycji nie da się opisać sztywną definicją jakiegokolwiek z gatunków. Byetone zabiera słuchaczy do alternatywnej dźwiękowej rzeczywistości, gdzie nie obowiązują zasady fizycznego świata i w której rządzi nieodparty impuls do tańca. To bity, które pompują do serca nie krew, ale chemikalia.\r\n\r\n \r\nwww.raster-noton.net \r\nImpetuous dance and deep thoughts over artistry, a melodicity catching the ear and the rawness of means, the most recent technology and a sentimental journey into the past of music – that is how one can describe Byetone’s music in a nutshell; Byetone – one of the most important projects of the German label Raster-Noton. It is music filled with repeated phrases, the multidimensionality of the sound layers, density and energy presented together with melodicity and a downright engineer-like finesse. The tracks by Olaf Bender – as that is the name of the musician hiding behind the pseudonym of Byetone – simply opalesce thanks to numerous shifts and series of culminations – the tempo undergoes frequent changes, decelerating and accelerating by turns with the polyrhythmic phrases twirling around simple beats. The music of the projects can, on the surface, bring to mind minimal techno from the early 90s of the XX c., however it is much richer from the mentioned. The scientific interests of the artist, with processes governing the human memory, make a clear imprint on his music, which although being modern, is at the same time densely filled with citations from various stylistics of rock and pop, but skilfully manages not to be placed in the past too much – thanks to that none of his compositions can be described with a rigid definition of any of the genres. Byetone takes the listeners to an alternative sound reality, where no rules of the physical world are in force and which is ruled by an irresistible impulse to dance. These are beats, which do not pump blood into one’s heart – they pump chemicals.
\r\n\r\n \r\n\r\n', 'BYETONE', '', 'publish', 'closed', 'closed', '', 'byetone', '', '', '2012-10-03 16:27:51', '2012-10-03 14:27:51', '', 36, 'http://avantart.pl/?page_id=56', 0, 'page', '', 0), (57, 2, '2012-07-07 22:31:39', '2012-07-07 20:31:39', '\n\n\n \n\nŻywiołowy taniec i zaduma nad artyzmem, wpadająca w ucho melodyjność i surowość wykorzystanych środków, najnowsza technologia i sentymentalna wycieczka w przeszłość muzyki – tak w skrócie można opisać muzykę Byetone, jednego z najważniejszych projektów ze stajni niemieckiej wytwórni Raster-Noton. To muzyka pełna nawracających fraz, wielowymiarowych warstw dźwięku, gęstości i energii zaprezentowanych z melodyjnością i wręcz inżynieryjną finezją. Utwory Olafa Bendera – bo tak nazywa się muzyk skrywający się pod pseudonimem Byetone – wręcz opalizują dzięki licznym zmianom i seriom kulminacji – tempo zmienia się w nich często, na przemian zwalniając i przyspieszając, a polirytmiczne frazy wirują wokół prostych bitów. Muzyka projektu pozornie kojarzyć się może z minimalnym techno z wczesnych lat dziewięćdziesiątych XX wieku, lecz jest od niego znacznie bogatsza. Naukowe zainteresowanie artysty procesami rządzącymi ludzką pamięcią odciska piętno na jego muzyce, która będąc na wskroś nowoczesną, jest jednocześnie gęsto nasycona cytatami z przeróżnych stylistyk rocka i popu, jednak zręcznie unika zbytniego osadzenia w przeszłości – dzięki temu żadnej z jego kompozycji nie da się opisać sztywną definicją jakiegokolwiek z gatunków. Byetone zabiera słuchaczy do alternatywnej dźwiękowej rzeczywistości, gdzie nie obowiązują zasady fizycznego świata i w której rządzi nieodparty impuls do tańca. To bity, które pompują do serca nie krew, ale chemikalia.', 'BYETONE', '', 'inherit', 'closed', 'closed', '', '56-revision', '', '', '2012-07-07 22:31:39', '2012-07-07 20:31:39', '', 56, 'http://avantart.pl/56-revision/', 0, 'revision', '', 0), (58, 2, '2012-09-25 23:14:30', '2012-09-25 21:14:30', '\n\nŻywiołowy taniec i zaduma nad artyzmem, wpadająca w ucho melodyjność i surowość wykorzystanych środków, najnowsza technologia i sentymentalna wycieczka w przeszłość muzyki – tak w skrócie można opisać muzykę Byetone, jednego z najważniejszych projektów ze stajni niemieckiej wytwórni Raster-Noton. To muzyka pełna nawracających fraz, wielowymiarowych warstw dźwięku, gęstości i energii zaprezentowanych z melodyjnością i wręcz inżynieryjną finezją. Utwory Olafa Bendera – bo tak nazywa się muzyk skrywający się pod pseudonimem Byetone – wręcz opalizują dzięki licznym zmianom i seriom kulminacji – tempo zmienia się w nich często, na przemian zwalniając i przyspieszając, a polirytmiczne frazy wirują wokół prostych bitów. Muzyka projektu pozornie kojarzyć się może z minimalnym techno z wczesnych lat dziewięćdziesiątych XX wieku, lecz jest od niego znacznie bogatsza. Naukowe zainteresowanie artysty procesami rządzącymi ludzką pamięcią odciska piętno na jego muzyce, która będąc na wskroś nowoczesna, jest jednocześnie gęsto nasycona cytatami z przeróżnych stylistyk rocka i popu, jednak zręcznie unika zbytniego osadzenia w przeszłości – dzięki temu żadnej z jego kompozycji nie da się opisać sztywną definicją jakiegokolwiek z gatunków. Byetone zabiera słuchaczy do alternatywnej dźwiękowej rzeczywistości, gdzie nie obowiązują zasady fizycznego świata i w której rządzi nieodparty impuls do tańca. To bity, które pompują do serca nie krew, ale chemikalia.\n\nwww.raster-noton.net \nImpetuous dance and deep thoughts over artistry, a melodicity catching the ear and the rawness of means, the most recent technology and a sentimental journey into the past of music – that is how one can describe Byetone’s music in a nutshell; Byetone – one of the most important projects of the German label Raster-Noton. It is music filled with repeated phrases, the multidimensionality of the sound layers, density and energy presented together with melodicity and a downright engineer-like finesse. The tracks by Olaf Bender – as that is the name of the musician hiding behind the pseudonym of Byetone – simply opalesce thanks to numerous shifts and series of culminations – the tempo undergoes frequent changes, decelerating and accelerating by turns with the polyrhythmic phrases twirling around simple beats. The music of the projects can, on the surface, bring to mind minimal techno from the early 90s of the XX c., however it is much richer from the mentioned. The scientific interests of the artist, with processes governing the human memory, make a clear imprint on his music, which although being modern, is at the same time densely filled with citations from various stylistics of rock and pop, but skilfully manages not to be placed in the past too much – thanks to that none of his compositions can be described with a rigid definition of any of the genres. Byetone takes the listeners to an alternative sound reality, where no rules of the physical world are in force and which is ruled by an irresistible impulse to dance. These are beats, which do not pump blood into one’s heart – they pump chemicals.
\n\n', 'BYETONE', '', 'inherit', 'closed', 'closed', '', '56-autosave', '', '', '2012-09-25 23:14:30', '2012-09-25 21:14:30', '', 56, 'http://avantart.pl/56-autosave/', 0, 'revision', '', 0), (59, 2, '2012-07-07 22:31:49', '2012-07-07 20:31:49', 'Żywiołowy taniec i zaduma nad artyzmem, wpadająca w ucho melodyjność i surowość wykorzystanych środków, najnowsza technologia i sentymentalna wycieczka w przeszłość muzyki – tak w skrócie można opisać muzykę Byetone, jednego z najważniejszych projektów ze stajni niemieckiej wytwórni Raster-Noton. To muzyka pełna nawracających fraz, wielowymiarowych warstw dźwięku, gęstości i energii zaprezentowanych z melodyjnością i wręcz inżynieryjną finezją. Utwory Olafa Bendera – bo tak nazywa się muzyk skrywający się pod pseudonimem Byetone – wręcz opalizują dzięki licznym zmianom i seriom kulminacji – tempo zmienia się w nich często, na przemian zwalniając i przyspieszając, a polirytmiczne frazy wirują wokół prostych bitów. Muzyka projektu pozornie kojarzyć się może z minimalnym techno z wczesnych lat dziewięćdziesiątych XX wieku, lecz jest od niego znacznie bogatsza. Naukowe zainteresowanie artysty procesami rządzącymi ludzką pamięcią odciska piętno na jego muzyce, która będąc na wskroś nowoczesną, jest jednocześnie gęsto nasycona cytatami z przeróżnych stylistyk rocka i popu, jednak zręcznie unika zbytniego osadzenia w przeszłości – dzięki temu żadnej z jego kompozycji nie da się opisać sztywną definicją jakiegokolwiek z gatunków. Byetone zabiera słuchaczy do alternatywnej dźwiękowej rzeczywistości, gdzie nie obowiązują zasady fizycznego świata i w której rządzi nieodparty impuls do tańca. To bity, które pompują do serca nie krew, ale chemikalia.', 'BYETONE', '', 'inherit', 'closed', 'closed', '', '56-revision-2', '', '', '2012-07-07 22:31:49', '2012-07-07 20:31:49', '', 56, 'http://avantart.pl/56-revision-2/', 0, 'revision', '', 0), (60, 2, '2012-07-07 22:34:09', '2012-07-07 20:34:09', ' Trudno przecenić wpływ postaci Caspara Brötzmanna na współczesną muzykę gitarową. Ten niesamowity instrumentalista swoim oryginalnym, określanym często mianem neoprymitywnego, stylem gry na gitarze od początków swojej kariery inspirował – i wciąż inspiruje – rzesze nowych muzyków odrzucających skostniały akademizm kompozycyjny i stawiających na wyzwoloną z wszelkich reguł ekspresję. Brötzmann jest porównywany do takich muzycznych osobowości jak Jimi Hendrix (zawdzięcza to podobnemu upodobaniu do ekstremalnej głośności i zręcznej manipulacji przesterami) czy Edgar Varèse, z którym łączy go przenikliwa świadomość znaczenia samej natury dźwięków. Po kilkunastu latach przerwy muzyk powrócił w chwale na sceny ze swoim flagowym projektem – Caspar Brötzmann Massaker – w którego najnowszej inkarnacji wspierają go Eduardo Delgado Lopez na basie i Danny Arnold Lommen na perkusji. Takiej muzyki nie słyszy się na co dzień – w jednym utworze formacji potrafią zdarzyć się minuty ogłuszających ataków dźwiękowych i minuty tak ciche, że usłyszeć można dotknięcia strun o gryf gitary. Psychodeliczne improwizacje łączą się tu z marszowym, masywnym rockiem a radykalny minimalizm z wręcz barokowymi i misternymi pasażami. Jest tu pierwotność i agresja, niespotykane dźwięki, niesamowite budowanie napięcia. To muzyka intuicyjna, naiwna w pozytywnym znaczeniu tego słowa – a przez to szczera i na swój sposób romantyczna. Twórczość Caspar Brötzmann Massaker brzmi jak herezja w świecie zdominowanym przez spokojne i wymuskane samplerowe brzmienia. To czysty, nieskrępowany i uwolniony żywioł. Nie bez powodu Caspar Brötzmann zyskał przydomek Demona Decybeli.\r\n\r\n\r\n\r\nwww.casparbroetzmannmassaker.comIt is difficult to overrate the influence of the figure that is Caspar Brötzmann on modern guitar-based music. This amazing instrumentalist with his unique style of playing guitar, frequently described by the name of neoprimitive, since the beginning of his career has inspired – and still inspires – throngs of new musicians, who reject the stiff compositional academism and chose expression liberated from all the rules. Brötzmann is compared to such musical personalities as Jimi Hendrix (which he owes to a similar fondness for extreme loudness and a skilful manipulations of the distortions) or Edgar Varèse, with whom he is united by a perceptive awareness of the sheer nature of sounds. After a couple of years, the musician has, in glory, returned to the stage with his leading project - Caspar Brötzmann Massaker – with Eduardo Delgado Lopez, on bass, and Danny Arnold Lommen, on drums, who support him in the projects newest incarnation. Such music cannot be heard on a daily basis – one track of the group can feature minutes of deafening sound attacks and minutes so quiet, that one can hear the strings touch the guitar neck. Psychedelic improvisations are combined with march-like, massive rock and radical minimalism with outright meticulous baroque passages. Here one is able to experience primitivism, aggression, unique sounds and extraordinary build-up of tension. This is intuitive music, naive in a positive sense – and thus, sincere and romantic in a way. Caspar Brötzmann Massaker’s output sounds like heresy in a world dominated by mellow and foppish sampler sounds. This is a pure, unrestrained and free element. Not without cause did Caspar Brötzmann receive the nickname of Demon of the Decibels.
\r\nwww.casparbroetzmannmassaker.com
\r\n', 'CASPAR BRÖTZMANN MASSAKER', '', 'publish', 'closed', 'closed', '', 'caspar-brotzmann-massaker', '', '', '2012-10-02 10:55:42', '2012-10-02 08:55:42', '', 36, 'http://avantart.pl/?page_id=60', 0, 'page', '', 0), (61, 2, '2012-07-07 22:33:43', '2012-07-07 20:33:43', '\n\n\n \n\nTrudno przecenić wpływ postaci Caspara Brötzmanna na współczesną muzykę gitarową. Ten niesamowity instrumentalista swoim oryginalnym, określanym często mianem neoprymitywnego, stylem gry na gitarze od początków swojej kariery inspirował – i wciąż inspiruje – rzesze nowych muzyków odrzucających skostniały akademizm kompozycyjny i stawiających na wyzwoloną z wszelkich reguł ekspresję. Brötzmann jest porównywany do takich muzycznych osobowości jak Jimi Hendrix (zawdzięcza to podobnemu upodobaniu do ekstremalnej głośności i zręcznej manipulacji przesterami) czy Edgar Varèse, z którym łączy go przenikliwa świadomość znaczenia samej natury dźwięków. Po kilkunastu latach przerwy muzyk powrócił w chwale na sceny ze swoim flagowym projektem – Caspar Brötzmann Massaker – w którego najnowszej inkarnacji wspierają go Eduardo Delgado Lopez na basie i Danny Arnold Lommen na perkusji. Takiej muzyki nie słyszy się na co dzień – w jednym utworze formacji potrafią zdarzyć się minuty ogłuszających ataków dźwiękowych i minuty tak ciche, że usłyszeć można dotknięcia strun o gryf gitary. Psychodeliczne improwizacje łączą się tu z marszowym, masywnym rockiem a radykalny minimalizm z wręcz barokowymi i misternymi pasażami. Jest tu pierwotność i agresja, niespotykane dźwięki, niesamowite budowanie napięcia. To muzyka intuicyjna, naiwna w pozytywnym znaczeniu tego słowa – a przez to szczera i na swój sposób romantyczna. Twórczość Caspar Brötzmann Massaker brzmi jak herezja w świecie zdominowanym przez spokojne i wymuskane samplerowe brzmienia. To czysty, nieskrępowany i uwolniony żywioł. Nie bez powodu Caspar Brötzmann zyskał przydomek Demona Decybeli', 'CASPAR BRÖTZMANN MASSAKER', '', 'inherit', 'closed', 'closed', '', '60-revision', '', '', '2012-07-07 22:33:43', '2012-07-07 20:33:43', '', 60, 'http://avantart.pl/60-revision/', 0, 'revision', '', 0), (62, 2, '2012-07-07 22:34:09', '2012-07-07 20:34:09', 'Trudno przecenić wpływ postaci Caspara Brötzmanna na współczesną muzykę gitarową. Ten niesamowity instrumentalista swoim oryginalnym, określanym często mianem neoprymitywnego, stylem gry na gitarze od początków swojej kariery inspirował – i wciąż inspiruje – rzesze nowych muzyków odrzucających skostniały akademizm kompozycyjny i stawiających na wyzwoloną z wszelkich reguł ekspresję. Brötzmann jest porównywany do takich muzycznych osobowości jak Jimi Hendrix (zawdzięcza to podobnemu upodobaniu do ekstremalnej głośności i zręcznej manipulacji przesterami) czy Edgar Varèse, z którym łączy go przenikliwa świadomość znaczenia samej natury dźwięków. Po kilkunastu latach przerwy muzyk powrócił w chwale na sceny ze swoim flagowym projektem – Caspar Brötzmann Massaker – w którego najnowszej inkarnacji wspierają go Eduardo Delgado Lopez na basie i Danny Arnold Lommen na perkusji. Takiej muzyki nie słyszy się na co dzień – w jednym utworze formacji potrafią zdarzyć się minuty ogłuszających ataków dźwiękowych i minuty tak ciche, że usłyszeć można dotknięcia strun o gryf gitary. Psychodeliczne improwizacje łączą się tu z marszowym, masywnym rockiem a radykalny minimalizm z wręcz barokowymi i misternymi pasażami. Jest tu pierwotność i agresja, niespotykane dźwięki, niesamowite budowanie napięcia. To muzyka intuicyjna, naiwna w pozytywnym znaczeniu tego słowa – a przez to szczera i na swój sposób romantyczna. Twórczość Caspar Brötzmann Massaker brzmi jak herezja w świecie zdominowanym przez spokojne i wymuskane samplerowe brzmienia. To czysty, nieskrępowany i uwolniony żywioł. Nie bez powodu Caspar Brötzmann zyskał przydomek Demona Decybeli.', 'CASPAR BRÖTZMANN MASSAKER', '', 'inherit', 'closed', 'closed', '', '60-revision-2', '', '', '2012-07-07 22:34:09', '2012-07-07 20:34:09', '', 60, 'http://avantart.pl/60-revision-2/', 0, 'revision', '', 0), (63, 2, '2012-07-07 22:35:29', '2012-07-07 20:35:29', 'Charlemagne Palestine to bez wątpienia jeden z najważniejszych kompozytorów naszych czasów i obok La Monte Younga, Terry''ego Rileya, Philipa Glassa, Steve''a Reicha i Tony''ego Conrada jest uznawany za jednego z ojców muzycznego minimalizmu. Ten instrumentalista, performer i artysta wizualny stworzył swój własny, pełen emocjonalności i rytualności styl, czerpiąc inspiracje z tradycyjnej muzyki etnicznej. Jego niezwykle rzadkie występy na żywo, podczas których otoczony wypchanymi zwierzętami Palestine pije koniak i pali namiętnie indonezyjskie goździkowe papierosy, są wydarzeniami oddziaływającymi na słuchacza nie tylko kreowanymi przez niego transowymi dźwiękami. W ostatnich latach odnalazł on idealnych współpracowników muzycznych – niemiecki elektroakustyczny ansambl Perlonex, którego unikalny sposób wykorzystania analogowych i cyfrowych instrumentów, pełen zapętleń i powoli rozwijających się motywów, stał się właściwym dopełnieniem tego, co od lat Charlemagne Palestine prezentuje w swojej twórczości.\r\n\r\nwww.zangimusic.de\r\n\r\nwww.myspace.com/ignazschick/music/songs/perlonex-charlemagne-palestineCharlemagne Palestine is without doubt one of the most important composers of our times and is said to be one of the fathers of musical minimalism side by side with La Monte Young, Terry Riley, Philip Glass, Steve Reich and Tony Conrad. This instrumentalist, performer and visual artist has created his own style, full of emotionality and rituality, drawing inspiration from the traditional ethnic music. His extremely rare live performances, during which Palestine drinks cognac and passionately smoke Indonesian cigarettes, while surrounded by stuffed animals, are events affecting the listener not only via the trance sounds created by him. In the recent years he found some perfect musical associates – the German electro-acoustic ensemble Perlonex, whose unique way of using analogue and digital instruments, full of loops and slowly developing motives, became the right fulfilment of that which Charlemagne Palestine presents in his output since years.\r\n\r\nwww.zangimusic.de\r\nwww.myspace.com/ignazschick/music/songs/perlonex-charlemagne-palestine', 'CHARLEMAGNE PALESTINE + PERLONEX', '', 'draft', 'closed', 'closed', '', 'charlemagne-palestine-perlonex', '', '', '2012-08-13 15:05:05', '2012-08-13 13:05:05', '', 36, 'http://avantart.pl/?page_id=63', 0, 'page', '', 0), (64, 2, '2012-07-07 22:34:42', '2012-07-07 20:34:42', '', 'Auto Draft', '', 'inherit', 'closed', 'closed', '', '63-revision', '', '', '2012-07-07 22:34:42', '2012-07-07 20:34:42', '', 63, 'http://avantart.pl/63-revision/', 0, 'revision', '', 0), (65, 2, '2012-07-07 22:36:22', '2012-07-07 20:36:22', ' Założona wiosną 2003 roku formacja Dÿse została nazwana na cześć motelu Dysecatmotel w Amsterdanie, w którym po raz pierwszy spotkali się jej muzycy. To, co początkowo miało być tylko pobocznym, powołanym do życia dla zabawy projektem dla grających już w innych składach gitarzysty i wokalisty Andre Dietricha i perkusisty Jari Rebeleina, wkrótce stało się pełnoprawnym zespołem, w którym jego założyciele mogli próbować wszystkiego co nowe, komponując utwory bez zwracania uwagi na jakiekolwiek ograniczenia czy oczekiwania od innych. Ich muzyka, z braku lepszego określenia, wrzucana jest do dość pojemnego worka opatrzonego etykietką noise rocka – jest to raczej prostolinijny rock''n''roll naładowany młodzieńczym gniewem, entuzjazmem i energią, dopełniony sporą dozą awangardowości i takich dźwięków, które najlepiej opisuje słowo bizarre. Ich twórczość jest głęboko zakorzeniona w latach 90-tych XX wieku, a jej ojcami chrzestnymi można nazwać takie zespoły jak Sonic Youth, Fugazi czy Refused. Tu brzęczące gitarowe riffy wspierane przez prostą rytmikę perkusji i wokal, który w jednej chwili potrafi przejść od szeptu do dzikiego krzyku, to nowa wersja metalu, który jednak potrafi wyjść poza swoje ramy gatunkowe i odważnie wkroczyć na terytoria jazzu i funku.\r\nSpecjalnie na AVANT ART Dÿse wystąpi z polskimi muzykami - akordeonistą Arkadiuszem Rejdą i trębaczem Tadeuszem Kulasem.\r\n\r\n\r\n\r\n\r\nThe group Dÿse, founded in the Spring of 2003, was named in honour of the Amsterdam motel Dysecatmotel, where the musicians first met. That, which initially was supposed to be a side-project, founded just for fun by guitarist and vocalist, Andre Dietrich, and drummer Jari Rebelein, both of whom already performed with some other acts, soon became a full-fledged band, where its founders could try out everything what is new, compose songs without paying attention to any restrictions and expectations of others. Their music, due to the lack of a better name, is frequently put on the quite spacious shelf labelled noise rock – it is rather straightforward rock’n’roll filled with youth anger, enthusiasm and energy, completed by quite a dose of ‘avant-gardeness’ and sounds with are best described by the word bizarre. Their output is heavily rooted in the 90s of the XX c., and such bands like Sonic Youth, Fugazi and Refused can be called Dÿse’s godfathers. Here buzzing guitar riffs, supported by a simple rhythmic of the drums and vocal, which can alternate from a whisper to a savage scream, are a new version of metal music, which in the end can surpass its genre boarders and courageously enter new territories of jazz and funk.
\r\n\r\n\r\n\r\n\r\n', 'DŸSE', '', 'publish', 'closed', 'closed', '', 'dyse', '', '', '2012-10-03 16:23:43', '2012-10-03 14:23:43', '', 36, 'http://avantart.pl/?page_id=65', 0, 'page', '', 0), (66, 2, '2012-07-07 22:36:07', '2012-07-07 20:36:07', '\n\n\n \n\nZałożona wiosną 2003 roku formacja Dÿse została nazwana na cześć motelu Dysecatmotel w Amsterdanie, w którym po raz pierwszy spotkali się jej muzycy. To, co początkowo miało być tylko pobocznym, powołanym do życia dla zabawy projektem dla grających już w innych składach gitarzysty i wokalisty Andre Dietricha i perkusisty Jari Rebeleina, wkrótce stało się pełnoprawnym zespołem, w którym jego założyciele mogli próbować wszystkiego co nowe, komponując utwory bez zwracania uwagi na jakiekolwiek ograniczenia czy oczekiwania od innych. Ich muzyka, z braku lepszego określenia, wrzucana jest do dość pojemnego worka opatrzonego etykietką noise rocka – jest to raczej prostolinijny rock''n''roll naładowany młodzieńczym gniewem, entuzjazmem i energią, dopełniony sporą dozą awangardowości i takich dźwięków, które najlepiej opisuje słowo bizarre. Ich twórczość jest głęboko zakorzeniona w latach 90-tych XX wieku, a jej ojcami chrzestnymi można nazwać takie zespoły jak Sonic Youth, Fugazi czy Refused. Tu brzęczące gitarowe riffy wspierane przez prostą rytmikę perkusji i wokal, który w jednej chwili potrafi przejść od szeptu do dzikiego krzyku, to nowa wersja metalu, który jednak potrafi wyjść poza swoje ramy gatunkowe i odważnie wkroczyć na terytoria jazzu i funku.', 'DŸSE', '', 'inherit', 'closed', 'closed', '', '65-revision', '', '', '2012-07-07 22:36:07', '2012-07-07 20:36:07', '', 65, 'http://avantart.pl/65-revision/', 0, 'revision', '', 0), (67, 2, '2012-07-07 22:37:09', '2012-07-07 20:37:09', ' Frank Martin Strauss, lepiej znany pod swoim artystycznym pseudonimem FM Einheit, to postać której znaczenia dla niemieckiej muzyki eksperymentalnej nie da się przecenić. Swoje pierwsze kroki muzyczne stawiał w legendarnej eksperymentalno-punkowej formacji Abwärts i w post-punkowym objawieniu kontynentalnej Europy Palais Schaumburg, by zaraz potem przyjąć posadę „głównego operatora maszynerii” – perkusisty jednego z najważniejszych i najbardziej wpływowych zespołów w dziejach muzyki, awangardzistów industrialu Einstürzende Neubauten. Te trzy zespoły były dopiero początkiem jego bogatej kariery muzycznej – w dalszych latach współpracował między innymi z takimi zespołami i artystami jak KMFDM, Goethes Erben, Mona Mur, Alfred 23 Harth czy Caspar Brötzmann Massaker i współtworzył projekty Stein i Gry. Stał się sławny dzięki swoistym, przygotowanym przez niego samego perkusyjnym instalacjom, złożonym z kawałków blachy, złomu i części rozmaitych urządzeń, na których grał podczas nagrań i występów na żywo. Cały czas udziela się solowo, komponując ścieżki dźwiękowe do filmów i spektakli teatralnych. Twórczość tego wizjonera perkusjonaliów to niezwykle unikalny dźwiękowy świat, w którym uderzenia metalu o metal, wiertarki i młoty współgrają z wysokiej jakości elektroniką. FM Einheit jest jedynym w swoim rodzaju, unikalnym artystą. \r\n\r\n\r\n\r\nwww.fmeinheit.org\r\nFrank Martin Strauss, better known under the artistic pseudonym FM Einheit, is a figure whose significance for the German experimental scene cannot be overrated. He made his first musical steps in the legendary experimental-punk group Abwärts and in the post-punk revelation of continental Europe, Palais Schamburg, in order to accept the post of “the main machinery operator” – the drummer of one of the most important and most influential bands in the history of music, the industrial avant-gardist Einstürzende Neubauten. These three bands where just the beginning of his rich music career – in the following years he co-operated with, among others, such bands and artists like KMFDM, Goethes Erben, Mona Mur, Alfred 23 Harth or Caspar Brötzmann Massaker and co-created Stein and Gry. He became famous for his particular, self-prepared percussion installations, consisting of a piece of a metal plate, scrap metal and pieces of various equipment, on which he played during the recording sessions and live performances. He still creates solo, composes soundtracks to films and theatre spectacles. The output of this percussion visionary is an unusual sound world, in which the hits of metal on metal, screwdrivers and hammers harmonise with high-end electronics. FM Einheit is one of a kind, unique artist.
\r\n\r\n\r\n\r\n', 'FM EINHEIT', '', 'publish', 'closed', 'closed', '', 'fm-einheit', '', '', '2012-10-03 16:26:36', '2012-10-03 14:26:36', '', 36, 'http://avantart.pl/?page_id=67', 0, 'page', '', 0), (68, 2, '2012-07-07 22:36:59', '2012-07-07 20:36:59', '\n\n\n \n\nFrank Martin Strauss, lepiej znany pod swoim artystycznym pseudonimem FM Einheit, to postać której znaczenia dla niemieckiej muzyki eksperymentalnej nie da się przecenić. Swoje pierwsze kroki muzyczne stawiał w legendarnej eksperymentalno-punkowej formacji Abwärts i w post-punkowym objawieniu kontynentalnej Europy Palais Schaumburg, by zaraz potem przyjąć posadę „głównego operatora maszynerii” – perkusisty jednego z najważniejszych i najbardziej wpływowych zespołów w dziejach muzyki, awangardzistów industrialu Einstürzende Neubauten. Te trzy zespoły były dopiero początkiem jego bogatej kariery muzycznej – w dalszych latach współpracował między innymi z takimi zespołami i artystami jak KMFDM, Goethes Erben, Mona Mur, Alfred 23 Harth czy Caspar Brötzmann Massaker i współtworzył projekty Stein i Gry. Stał się sławny dzięki swoistym, przygotowanym przez niego samego perkusyjnym instalacjom, złożonym z kawałków blachy, złomu i części rozmaitych urządzeń, na których grał podczas nagrań i występów na żywo. Cały czas udziela się solowo, komponując ścieżki dźwiękowe do filmów i spektakli teatralnych. Twórczość tego wizjonera perkusjonaliów to niezwykle unikalny dźwiękowy świat, w którym uderzenia metalu o metal, wiertarki i młoty współgrają z wysokiej jakości elektroniką. FM Einheit jest jedynym w swoim rodzaju, unikalnym artystą.', 'FM EINHEIT', '', 'inherit', 'closed', 'closed', '', '67-revision', '', '', '2012-07-07 22:36:59', '2012-07-07 20:36:59', '', 67, 'http://avantart.pl/67-revision/', 0, 'revision', '', 0); INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (69, 2, '2012-07-07 22:37:55', '2012-07-07 20:37:55', '\r\n\r\n Koprodukcja Avant Art Fesival, Wrocław; mex – experimentelle und intermediale Musikprojekte e.V., Dortmund and gerngesehen, Köln\r\n\r\nMex Gerngesehen Avant Art Project to premierowa realizacja muzyczno-performatywna, będąca koprodukcją wrocławskiego festiwalu Avant Art, dortmundzkiej organizacji Mex – intermediale und experimentelle Musikprojekte i Gerngesehen z Kolonii. To kooperacja kompozytorów, performerów i muzyków skupionych wokół kolońskiej sceny sound artu, muzyki eksperymentalnej i teatru z polskim środowiskiem muzyków tworzących w szeroko rozumianym idiomie muzyki współczesnej oraz improwizowanej. Rozszerzone techniki wokalne i performatywne używane przez kompozytorkę i performerkę Betine Wenzel, język ruchu oraz współczesny performance duetu „cri du coeur“ prowadzonego przez Fine Kwiatkowski i Willehada Grafenhorsta, obiekty dźwiękowe i sound art hansa w. kocha, synteza modularna, circuit-bending i synth-design w MAX/MSP Jokera Niesa, instrumenty dęte, saksofony oraz generatory fal Gerarda Lebika, preparowany fortepian i trąbka Piotra Damasiewicza, symfoniczne instrumenty perkusyjne z grupy idiofonów stosowane przez Wojtka Romanowskiego – to wszystko to elementy składowe, źródła dźwięku i techniki użyte w intermedialnych poszukiwaniach nad nieprzewidywalnością we wszystkich płaszczyznach kompozycji powstającej w ramach pierwszej współpracy artystów na tegorocznym Avant Art Festival.\r\n\r\nArtyści:\r\nNoGo by duo „cri du coeur“\r\nFine Kwiatkowski / Willehad Grafenhorst\r\ncrossing borders\r\nGerard Lebik / Piotr Damasiewicz / Wojciech Romanowski\r\nBettina Wenzel / hans w. koch / Joker Nies\r\n\r\nKuratorzy: Kostas Georgakopulos / Avant Art Festival; Olimpia Swist / [ su:p];\r\nMaija Julius /mex und Georg Dietzler / gerngesehen\r\n\r\nKoprodukcja wspierana przez: Ministerium für Familie, Kinder, Jugend, Kultur und Sport des Landes Nordrhein-Westfalen, NRW KULTURsekretariat, Polnisches Institut Berlin & Düsseldorf, Wrocław / Europejska Stolica Kultury 2016, Urząd Marszałkowski Dolnego śląska, Ministerstwo Kultury i Dziedzictwa Narodowego/Warszawa, Auswärtiges Amt der Bundesrepublik Deutschland, Goethe Institut\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\nwww.mexappeal.de\r\n\r\ngerardlebik.com/Mex_Gerngesehen_Avant_Art_Project_.html\r\n\r\nCo-production: Avant Art Fesival, Wrocław; mex – experimentelle und intermediale Musikprojekte e.V., Dortmund and gerngesehen, Köln\r\n\r\nPixel Klänge is a premiere hybrid arts co-production of the Wrocław festival Avant Art and the Dortmund organisation Mex – intermediale und experimentelle Musikprojekte and Gerngesehen from Koln. This is a co-operation ( of composers, performers and musicians focused around the Koln-based scene of sound art, experimental music and theatre with the Polish circle of musicians creating in the broadly understood idiom of contemporary and improvised music. The expanded vocal and performative techniques used by the performer Betina Wenzel, the language of movement and modern performance of the duo „cri du coeur“, led by Fina Kwiatkowski and Willehad Grafenhorst, sound objects and art of hans w koch, modular synthesis, circuit-bending and synth-design in MAX/MSP of Joker Nies, wind instruments, saxophone and wave generators of Gerard Lebik, self-prepared piano and trumpet of Piotr Damasiewicz, symphonic percussion instruments from the idiophone group used by Wojtek Romanowski – it all are components, sound sources and techniques used in the intermedial searches of the unpredictability on all planes of a composition, being created as part of the first encounter of artists at this year’s Avant Art Festival.\r\n\r\nArtists:\r\n\r\nNoGo by duo „cri du coeur“\r\n\r\nFine Kwiatkowski / Willehad Grafenhorst\r\n\r\ncrossing borders\r\n\r\nGerard Lebik / Piotr Damasiewicz / Wojciech Romanowski\r\n\r\nBettina Wenzel / hans w. koch / Joker Nies\r\n\r\nCurators: Kostas Georgakopulos / Avant Art Festival; Olimpia Swist / [ su:p]; Maija Julius / mex; Georg Dietzler / gerngesehen\r\n\r\nCo-production supported by: Ministerium für Familie, Kinder, Jugend, Kultur und Sport des Landes Nordrhein-Westfalen, NRW KULTURsekretariat, Polnisches Institut Berlin & Düsseldorf, Wrocław / Europejska Stolica Kultury 2016, Urząd Marszałkowski Dolnego śląska, Ministerstwo Kultury i Dziedzictwa Narodowego/Warszawa, Auswärtiges Amt der Bundesrepublik Deutschland, Goethe Institut\r\n\r\n\r\n\r\n\r\n\r\nwww.mexappeal.de\r\n\r\ngerardlebik.com/Mex_Gerngesehen_Avant_Art_Project_.html', 'PIXEL KLÄNGEPIXEL KLÄNGE', '', 'publish', 'closed', 'closed', '', 'mex-gerngesehen-avant-art-project', '', '', '2012-10-08 11:31:23', '2012-10-08 09:31:23', '', 36, 'http://avantart.pl/?page_id=69', 0, 'page', '', 0), (70, 2, '2012-07-07 22:37:47', '2012-07-07 20:37:47', '\n\n\n \n\n Mex Gerngesehen Avant Art Project to premierowa realizacja muzyczno-performatywna, będąca koprodukcją wrocławskiego festiwalu Avant Art, dortmundzkiej organizacji Mex – intermediale und experimentelle Musikprojekte i Gerngesehen z Kolonii. To kooperacja kompozytorów, performerów i muzyków skupionych wokół kolońskiej sceny sound artu, muzyki eksperymentalnej i teatru z polskim środowiskiem muzyków tworzących w szeroko rozumianym idiomie muzyki współczesnej oraz improwizowanej. Rozszerzone techniki wokalne i performatywne używane przez kompozytorkę i performerkę Betine Wenzel, język ruchu oraz współczesny performance duetu Duo Cri Du Coe prowadzonego przez Fine Kwiatkowski i Willehada Gratenhorsta, obiekty dźwiękowe i sound art Hansa W. Kocha, synteza modularna, circuit-bending i synth-design w MAX/MSP Jokera Niesa, instrumenty dęte, saksofony oraz generatory fal Gerarda Lebika, preparowany fortepian i trąbka Piotra Damasiewicza, symfoniczne instrumenty perkusyjne z grupy idiofonów stosowane przez Wojtka Romanowskiego – to wszystko to elementy składowe, źródła dźwięku i techniki użyte w intermedialnych poszukiwaniach nad nieprzewidywalnością we wszystkich płaszczyznach kompozycji powstającej w ramach pierwszej współpracy artystów na tegorocznym Avant Art Festival.', 'MEX GERNGESEHEN AVANT ART PROJECT', '', 'inherit', 'closed', 'closed', '', '69-revision', '', '', '2012-07-07 22:37:47', '2012-07-07 20:37:47', '', 69, 'http://avantart.pl/69-revision/', 0, 'revision', '', 0), (71, 2, '2012-10-08 11:32:26', '2012-10-08 09:32:26', '\n\n Koprodukcja Avant Art Fesival, Wrocław; mex – experimentelle und intermediale Musikprojekte e.V., Dortmund and gerngesehen, Köln\n\nMex Gerngesehen Avant Art Project to premierowa realizacja muzyczno-performatywna, będąca koprodukcją wrocławskiego festiwalu Avant Art, dortmundzkiej organizacji Mex – intermediale und experimentelle Musikprojekte i Gerngesehen z Kolonii. To kooperacja kompozytorów, performerów i muzyków skupionych wokół kolońskiej sceny sound artu, muzyki eksperymentalnej i teatru z polskim środowiskiem muzyków tworzących w szeroko rozumianym idiomie muzyki współczesnej oraz improwizowanej. Rozszerzone techniki wokalne i performatywne używane przez kompozytorkę i performerkę Betine Wenzel, język ruchu oraz współczesny performance duetu „cri du coeur“ prowadzonego przez Fine Kwiatkowski i Willehada Grafenhorsta, obiekty dźwiękowe i sound art hansa w. kocha, synteza modularna, circuit-bending i synth-design w MAX/MSP Jokera Niesa, instrumenty dęte, saksofony oraz generatory fal Gerarda Lebika, preparowany fortepian i trąbka Piotra Damasiewicza, symfoniczne instrumenty perkusyjne z grupy idiofonów stosowane przez Wojtka Romanowskiego – to wszystko to elementy składowe, źródła dźwięku i techniki użyte w intermedialnych poszukiwaniach nad nieprzewidywalnością we wszystkich płaszczyznach kompozycji powstającej w ramach pierwszej współpracy artystów na tegorocznym Avant Art Festival.\n\nArtyści:\nNoGo by duo „cri du coeur“\nFine Kwiatkowski / Willehad Grafenhorst\ncrossing borders\nGerard Lebik / Piotr Damasiewicz / Wojciech Romanowski\nBettina Wenzel / hans w. koch / Joker Nies\n\nKuratorzy: Kostas Georgakopulos / Avant Art Festival; Olimpia Swist / [ su:p];\nMaija Julius /mex und Georg Dietzler / gerngesehen\n\nKoprodukcja wspierana przez: Ministerium für Familie, Kinder, Jugend, Kultur und Sport des Landes Nordrhein-Westfalen, NRW KULTURsekretariat, Polnisches Institut Berlin & Düsseldorf, Wrocław / Europejska Stolica Kultury 2016, Urząd Marszałkowski Dolnego śląska, Ministerstwo Kultury i Dziedzictwa Narodowego/Warszawa, Auswärtiges Amt der Bundesrepublik Deutschland, Goethe Institut\n\n\n\n\n\n\n\nwww.mexappeal.de\n\ngerardlebik.com/Mex_Gerngesehen_Avant_Art_Project_.html\nCo-production: Avant Art Fesival, Wrocław; mex – experimentelle und intermediale Musikprojekte e.V., Dortmund and gerngesehen, Köln
\nPixel Klänge is a premiere hybrid arts co-production of the Wrocław festival Avant Art and the Dortmund organisation Mex – intermediale und experimentelle Musikprojekte and Gerngesehen from Koln. This is a co-operation ( of composers, performers and musicians focused around the Koln-based scene of sound art, experimental music and theatre with the Polish circle of musicians creating in the broadly understood idiom of contemporary and improvised music. The expanded vocal and performative techniques used by the performer Betina Wenzel, the language of movement and modern performance of the duo „cri du coeur“, led by Fina Kwiatkowski and Willehad Grafenhorst, sound objects and art of hans w koch, modular synthesis, circuit-bending and synth-design in MAX/MSP of Joker Nies, wind instruments, saxophone and wave generators of Gerard Lebik, self-prepared piano and trumpet of Piotr Damasiewicz, symphonic percussion instruments from the idiophone group used by Wojtek Romanowski – it all are components, sound sources and techniques used in the intermedial searches of the unpredictability on all planes of a composition, being created as part of the first encounter of artists at this year’s Avant Art Festival.
\nArtists:
\nNoGo by duo „cri du coeur“
\nFine Kwiatkowski / Willehad Grafenhorst
\ncrossing borders
\nGerard Lebik / Piotr Damasiewicz / Wojciech Romanowski
\nBettina Wenzel / hans w. koch / Joker Nies
\nCurators: Kostas Georgakopulos / Avant Art Festival; Olimpia Swist / [ su:p]; Maija Julius / mex; Georg Dietzler / gerngesehen
\nCo-production supported by: Ministerium für Familie, Kinder, Jugend, Kultur und Sport des Landes Nordrhein-Westfalen, NRW KULTURsekretariat, Polnisches Institut Berlin & Düsseldorf, Wrocław / Europejska Stolica Kultury 2016, Urząd Marszałkowski Dolnego śląska, Ministerstwo Kultury i Dziedzictwa Narodowego/Warszawa, Auswärtiges Amt der Bundesrepublik Deutschland, Goethe Institut
\n\n\n\ngerardlebik.com/Mex_Gerngesehen_Avant_Art_Project_.html
\n', 'PIXEL KLÄNGEPIXEL KLÄNGE', '', 'inherit', 'closed', 'closed', '', '69-autosave', '', '', '2012-10-08 11:32:26', '2012-10-08 09:32:26', '', 69, 'http://avantart.pl/69-autosave/', 0, 'revision', '', 0), (72, 2, '2012-07-07 22:39:27', '2012-07-07 20:39:27', ' W ramach 5. AVANT ART FESTIVAL zagrają: KANGDING RAY, FRANK BRETSCHNEIDER oraz BYETONE. Nazwa Raster-Noton już od kilkunastu lat działa elektryzująco na wszystkich fanów niebanalnej muzyki elektronicznej. Odkrywczy, oryginalni, świeży, o wysokiej jakości – takimi epitetami najczęściej bywają też określani artyści związani z tą wytwórnią, a sam fakt wydawania w niej jest oznaką wysokiego prestiżu. Powstała z inicjatywy trzech tuzów współczesnego dźwiękowego eksperymentu – Olafa Bendera, Carstena Nicolaia i Franka Bretschneidera – stała się z założenia platformą promującą wszystkie te zjawiska, które znajdują się na żyznym terenie nachodzących na siebie płaszczyzn popu, sztuki i nauki. Raster-Noton to nie tylko muzyka – to kombinat, który działa też na polu sztuki instalacji czy też wydawania książek i albumów z tym związanych, a wszystko to połączone wspólną podstawą – ma być amalgamatem dźwięku, sztuki i dizajnu. Na koncie tego labelu znajduje się już ponad sto pozycji artystów uznawanych za ścisłą światową czołówkę tej estetyki – nie sposób wymienić ich wszystkich, ale kilka nazwisk wystarczy, by podnieść ciśnienie nie tylko tym, którzy kładą nacisk na detale kompozycji, specyfikę wykorzystania instrumentarium czy jakość dźwięku, ale także wszystkim, którzy na tanecznym parkiecie poszukują czegoś więcej, niż tylko schematycznej popowej młócki. A zatem: Alva Noto, Frank Bretschneider, Ryoji Ikeda, Kangding Ray, Byetone, Senking, Mika Vainio, Robert Lippok, William Basinski czy Carl Michael Von Hausswolff – by zaprezentować tylko kilku z nich. Muzyka ze stajni Raster-Noton to radykalny minimalizm, glitchowe kliki i stuki, ale też styl, elegancja i specyficzna filozofia w podejściu do materii dźwięku. Niemiecka awangarda zawsze miała bardzo silną tradycję – a Raster-Noton jest jej chwalebną, dostosowaną do współczesnych czasów odsłoną. www.raster-noton.net\r\n\r\nThe name Raster-Noton has a galvanizing influence on all the fans of non-trivial electronic music. Innovative, original, fresh, high quality – such are the epithets the artists, related to the label, are most frequently described with and the sole fact of releasing under its banner is a mark of great prestige. It was founded by the initiative of three major names of the modern sound experiment – Olaf Bender, Carsten Nicolai and Frank Bretschneider – and became a platform of promoting all the phenomena, which exist on the fertile soil of overlapping planes of pop, art and science. Raster-Noton is not only music – it is a union, which also acts on the field of the art of installation or publishing related books and albums and all that connected by a common basis – it is intended to be an amalgamate of sound, art and design. Over one hundred releases, which are seen as the strict leaders of this aesthetic, are on the labels account – in no way is it possible to mention them all, but a few names is enough to heighten the blood pressure of, not only those who put emphasis on the details of the compositions, the particularity of ways of using instruments or quality of sound, but also all who look for something more than just mere schematic pop battering on the dance floor. So: Alva Noto, Frank Bretschneider, Ryoji Ikeda, Kangding Ray, Byetone, Senking, Mika Vainio, Robert Lippok, William Basinski or Carl Michael Von Hausswolff – to name just a few of them. Music from the Raster-Noton label is radical minimalism, glitch clicks and knocks, as well as style, elegance and a particular philosophy in approach to the matter of sound. German avant-garde has always had a powerful tradition – and Raster-Noton is its praiseworthy appearance adapted to the modern times.\r\n\r\nwww.raster-noton.net', 'RASTER-NOTON SHOWCASE', '', 'publish', 'closed', 'closed', '', 'raster-noton', '', '', '2012-07-30 22:11:22', '2012-07-30 20:11:22', '', 36, 'http://avantart.pl/?page_id=72', 0, 'page', '', 0), (73, 2, '2012-07-07 22:39:13', '2012-07-07 20:39:13', '\n\n\n \n\nNazwa Raster-Noton już od kilkunastu lat działa elektryzująco na wszystkich fanów niebanalnej muzyki elektronicznej. Odkrywczy, oryginalni, świeży, o wysokiej jakości – takimi epitetami najczęściej bywają też określani artyści związani z tą wytwórnią, a sam fakt wydawania w niej jest oznaką wysokiego prestiżu. Powstała z inicjatywy trzech tuzów współczesnego dźwiękowego eksperymentu – Olafa Bendera, Carstena Nicolaia i Franka Bretschneidera – stała się z założenia platformą promującą wszystkie te zjawiska, które znajdują się na żyznym terenie nachodzących na siebie płaszczyzn popu, sztuki i nauki. Raster-Noton to nie tylko muzyka – to kombinat, który działa też na polu sztuki instalacji czy też wydawania książek i albumów z tym związanych, a wszystko to połączone wspólną podstawą – ma być amalgamatem dźwięku, sztuki i dizajnu. Na koncie tego labelu znajduje się już ponad sto pozycji artystów uznawanych za ścisłą światową czołówkę tej estetyki – nie sposób wymienić ich wszystkich, ale kilka nazwisk wystarczy, by podnieść ciśnienie nie tylko tym, którzy kładą nacisk na detale kompozycji, specyfikę wykorzystania instrumentarium czy jakość dźwięku, ale także wszystkim, którzy na tanecznym parkiecie poszukują czegoś więcej, niż tylko schematycznej popowej młócki. A zatem: Alva Noto, Frank Bretschneider, Ryoji Ikeda, Kangding Ray, Byetone, Senking, Mika Vainio, Robert Lippok, William Basinski czy Carl Michael Von Hausswolff – by zaprezentować tylko kilku z nich. Muzyka ze stajni Raster-Noton to radykalny minimalizm, glitchowe kliki i stuki, ale też styl, elegancja i specyficzna filozofia w podejściu do materii dźwięku. Niemiecka awangarda zawsze miała bardzo silną tradycję – a Raster-Noton jest jej chwalebną, dostosowaną do współczesnych czasów odsłoną.', 'RASTER-NOTON', '', 'inherit', 'closed', 'closed', '', '72-revision', '', '', '2012-07-07 22:39:13', '2012-07-07 20:39:13', '', 72, 'http://avantart.pl/72-revision/', 0, 'revision', '', 0), (74, 2, '2012-07-07 22:39:27', '2012-07-07 20:39:27', 'Nazwa Raster-Noton już od kilkunastu lat działa elektryzująco na wszystkich fanów niebanalnej muzyki elektronicznej. Odkrywczy, oryginalni, świeży, o wysokiej jakości – takimi epitetami najczęściej bywają też określani artyści związani z tą wytwórnią, a sam fakt wydawania w niej jest oznaką wysokiego prestiżu. Powstała z inicjatywy trzech tuzów współczesnego dźwiękowego eksperymentu – Olafa Bendera, Carstena Nicolaia i Franka Bretschneidera – stała się z założenia platformą promującą wszystkie te zjawiska, które znajdują się na żyznym terenie nachodzących na siebie płaszczyzn popu, sztuki i nauki. Raster-Noton to nie tylko muzyka – to kombinat, który działa też na polu sztuki instalacji czy też wydawania książek i albumów z tym związanych, a wszystko to połączone wspólną podstawą – ma być amalgamatem dźwięku, sztuki i dizajnu. Na koncie tego labelu znajduje się już ponad sto pozycji artystów uznawanych za ścisłą światową czołówkę tej estetyki – nie sposób wymienić ich wszystkich, ale kilka nazwisk wystarczy, by podnieść ciśnienie nie tylko tym, którzy kładą nacisk na detale kompozycji, specyfikę wykorzystania instrumentarium czy jakość dźwięku, ale także wszystkim, którzy na tanecznym parkiecie poszukują czegoś więcej, niż tylko schematycznej popowej młócki. A zatem: Alva Noto, Frank Bretschneider, Ryoji Ikeda, Kangding Ray, Byetone, Senking, Mika Vainio, Robert Lippok, William Basinski czy Carl Michael Von Hausswolff – by zaprezentować tylko kilku z nich. Muzyka ze stajni Raster-Noton to radykalny minimalizm, glitchowe kliki i stuki, ale też styl, elegancja i specyficzna filozofia w podejściu do materii dźwięku. Niemiecka awangarda zawsze miała bardzo silną tradycję – a Raster-Noton jest jej chwalebną, dostosowaną do współczesnych czasów odsłoną.', 'RASTER-NOTON', '', 'inherit', 'closed', 'closed', '', '72-revision-2', '', '', '2012-07-07 22:39:27', '2012-07-07 20:39:27', '', 72, 'http://avantart.pl/72-revision-2/', 0, 'revision', '', 0), (75, 2, '2012-07-12 20:33:00', '2012-07-12 18:33:00', '\n\nW ramach 5. AVANT ART FESTIVAL zagrają: KANGDING RAY, FRANK BRETSCHNEIDER oraz BYETONE.\n\nNazwa Raster-Noton już od kilkunastu lat działa elektryzująco na wszystkich fanów niebanalnej muzyki elektronicznej. Odkrywczy, oryginalni, świeży, o wysokiej jakości – takimi epitetami najczęściej bywają też określani artyści związani z tą wytwórnią, a sam fakt wydawania w niej jest oznaką wysokiego prestiżu. Powstała z inicjatywy trzech tuzów współczesnego dźwiękowego eksperymentu – Olafa Bendera, Carstena Nicolaia i Franka Bretschneidera – stała się z założenia platformą promującą wszystkie te zjawiska, które znajdują się na żyznym terenie nachodzących na siebie płaszczyzn popu, sztuki i nauki. Raster-Noton to nie tylko muzyka – to kombinat, który działa też na polu sztuki instalacji czy też wydawania książek i albumów z tym związanych, a wszystko to połączone wspólną podstawą – ma być amalgamatem dźwięku, sztuki i dizajnu. Na koncie tego labelu znajduje się już ponad sto pozycji artystów uznawanych za ścisłą światową czołówkę tej estetyki – nie sposób wymienić ich wszystkich, ale kilka nazwisk wystarczy, by podnieść ciśnienie nie tylko tym, którzy kładą nacisk na detale kompozycji, specyfikę wykorzystania instrumentarium czy jakość dźwięku, ale także wszystkim, którzy na tanecznym parkiecie poszukują czegoś więcej, niż tylko schematycznej popowej młócki. A zatem: Alva Noto, Frank Bretschneider, Ryoji Ikeda, Kangding Ray, Byetone, Senking, Mika Vainio, Robert Lippok, William Basinski czy Carl Michael Von Hausswolff – by zaprezentować tylko kilku z nich. Muzyka ze stajni Raster-Noton to radykalny minimalizm, glitchowe kliki i stuki, ale też styl, elegancja i specyficzna filozofia w podejściu do materii dźwięku. Niemiecka awangarda zawsze miała bardzo silną tradycję – a Raster-Noton jest jej chwalebną, dostosowaną do współczesnych czasów odsłoną.\n\nhttp://www.raster-noton.net/', 'RASTER-NOTON SHOWCASE', '', 'inherit', 'closed', 'closed', '', '72-autosave', '', '', '2012-07-12 20:33:00', '2012-07-12 18:33:00', '', 72, 'http://avantart.pl/72-autosave/', 0, 'revision', '', 0), (76, 2, '2012-07-07 22:35:29', '2012-07-07 20:35:29', 'Charlemagne Palestine to bez wątpienia jeden z najważniejszych kompozytorów naszych czasów i obok La Monte Younga, Terry''ego Rileya, Philipa Glassa, Steve''a Reicha i Tony''ego Conrada jest uznawany za jednego z ojców muzycznego minimalizmu. Ten instrumentalista, performer i artysta wizualny stworzył swój własny, pełen emocjonalności i rytualności styl, czerpiąc inspiracje z tradycyjnej muzyki etnicznej. Jego niezwykle rzadkie występy na żywo, podczas których otoczony wypchanymi zwierzętami Palestine pije koniak i pali namiętnie indonezyjskie goździkowe papierosy, są wydarzeniami oddziaływającymi na słuchacza nie tylko kreowanymi przez niego transowymi dźwiękami. W ostatnich latach odnalazł on idealnych współpracowników muzycznych – niemiecki elektroakustyczny ansambl Perlonex, którego unikalny sposób wykorzystania analogowych i cyfrowych instrumentów, pełen zapętleń i powoli rozwijających się motywów, stał się właściwym dopełnieniem tego, co od lat Charlemagne Palestine prezentuje w swojej twórczości.\r\n\r\n ', 'CHARLEMAGNE PALESTINE + PERLONEX', '', 'inherit', 'closed', 'closed', '', '63-revision-2', '', '', '2012-07-07 22:35:29', '2012-07-07 20:35:29', '', 63, 'http://avantart.pl/63-revision-2/', 0, 'revision', '', 0), (77, 1, '2012-07-08 10:59:56', '2012-07-08 08:59:56', 'Everyone, who attempts to describe the genre appurtenance of the Berlin-stationed musical collective Bonaparte, finds oneself in a tough spot. How can one describe the output of a group, which sound different with each song? The ones, who say that Bonaparte perform electro-rock infected with blues, will be right. But right will also have to be given to the one, who says it is electronic punk rave. Indie? Of course! We could argue over the labels for a long time – in a nutshell, one just has to state, that it is a rock’n’roll circus, run by an extrovert haunted mental case Tobias Jundt, who has gathered equally crazy musicians around him. You never know what to expect from them. In their tracks they possessed the ability to deform the classical sounds of instruments to such an extent, that it is hard to determine which comes from a synthesizer, and which – an electric guitar. However, Bonaparte is far from being chaotic – it is a music filled with melody and dance rhythms, based on traditional genres in the vein of blues or folk, but saturated to the bounds of possibility with the urban stylistics of electro, hip hop and dubstep.
\r\n\r\n', 'BONAPARTE', '', 'publish', 'closed', 'closed', '', 'bonaparte', '', '', '2012-10-02 10:58:28', '2012-10-02 08:58:28', '', 36, 'http://avantart.pl/?page_id=130', 0, 'page', '', 0), (131, 2, '2012-07-11 01:10:11', '2012-07-10 23:10:11', '\n Każdy, kto podejmuje próby określenia gatunkowej przynależności stacjonującego w Berlinie muzycznego kolektywu Bonaparte, znajduje się w wyjątkowo trudnej sytuacji. Bo jak można określić twórczość zespołu, który w każdym utworze brzmi inaczej? Ten, kto stwierdzi, że Bonaparte gra elektro-rock zainfekowany bluesem będzie miał rację. Ale rację trzeba będzie przyznać też temu, kto stwierdzi, że to elektroniczny punkowy rave. Indie? Oczywiście! Długo by można kłócić się o etykietki – w skrócie należy po prostu stwierdzić, że to rock''n''rollowy cyrk, prowadzony przez ekstrawertycznego nawiedzonego szaleńca Tobiasa Jundta, który zebrał wokół siebie równie zwariowanych muzyków. Nigdy nie wiesz, czego się można po nich spodziewać. W swoich kompozycjach posiedli umiejętność takiego zniekształcania klasycznego brzmienia instrumentów, że ciężko określić, który dźwięk pochodzi z syntezatora, a który z gitary elektrycznej. Bonaparte dalekie jest jednak od chaotyczności – to muzyka pełna melodyjności i tanecznych rytmów, oparta na tradycyjnych gatunkach w rodzaju bluesa czy folku, ale do granic możliwości nasycona miejskimi stylistykami elektro, hip hopu i dubstepu. \n', 'BONAPARTE', '', 'inherit', 'closed', 'closed', '', '130-revision', '', '', '2012-07-11 01:10:11', '2012-07-10 23:10:11', '', 130, 'http://avantart.pl/130-revision/', 0, 'revision', '', 0), (132, 2, '2012-10-02 10:59:31', '2012-10-02 08:59:31', '\n\nKażdy, kto podejmuje próby określenia gatunkowej przynależności stacjonującego w Berlinie muzycznego kolektywu Bonaparte, znajduje się w wyjątkowo trudnej sytuacji. Bo jak można określić twórczość zespołu, który w każdym utworze brzmi inaczej? Ten, kto stwierdzi, że Bonaparte gra elektro-rock zainfekowany bluesem będzie miał rację. Ale rację trzeba będzie przyznać też temu, kto stwierdzi, że to elektroniczny punkowy rave. Indie? Oczywiście! Długo by można kłócić się o etykietki – w skrócie należy po prostu stwierdzić, że to rock''n''rollowy cyrk, prowadzony przez ekstrawertycznego nawiedzonego szaleńca Tobiasa Jundta, który zebrał wokół siebie równie zwariowanych muzyków. Nigdy nie wiesz, czego się można po nich spodziewać. W swoich kompozycjach posiedli umiejętność takiego zniekształcania klasycznego brzmienia instrumentów, że ciężko określić, który dźwięk pochodzi z syntezatora, a który z gitary elektrycznej. Bonaparte dalekie jest jednak od chaotyczności – to muzyka pełna melodyjności i tanecznych rytmów, oparta na tradycyjnych gatunkach w rodzaju bluesa czy folku, ale do granic możliwości nasycona miejskimi stylistykami elektro, hip hopu i dubstepu. \n\nwww.bonaparte.cc\nEveryone, who attempts to describe the genre appurtenance of the Berlin-stationed musical collective Bonaparte, finds oneself in a tough spot. How can one describe the output of a group, which sound different with each song? The ones, who say that Bonaparte perform electro-rock infected with blues, will be right. But right will also have to be given to the one, who says it is electronic punk rave. Indie? Of course! We could argue over the labels for a long time – in a nutshell, one just has to state, that it is a rock’n’roll circus, run by an extrovert haunted mental case Tobias Jundt, who has gathered equally crazy musicians around him. You never know what to expect from them. In their tracks they possessed the ability to deform the classical sounds of instruments to such an extent, that it is hard to determine which comes from a synthesizer, and which – an electric guitar. However, Bonaparte is far from being chaotic – it is a music filled with melody and dance rhythms, based on traditional genres in the vein of blues or folk, but saturated to the bounds of possibility with the urban stylistics of electro, hip hop and dubstep.
\n\n', 'BONAPARTE', '', 'inherit', 'closed', 'closed', '', '130-autosave', '', '', '2012-10-02 10:59:31', '2012-10-02 08:59:31', '', 130, 'http://avantart.pl/130-autosave/', 0, 'revision', '', 0), (133, 2, '2012-07-11 01:10:40', '2012-07-10 23:10:40', 'Każdy, kto podejmuje próby określenia gatunkowej przynależności stacjonującego w Berlinie muzycznego kolektywu Bonaparte, znajduje się w wyjątkowo trudnej sytuacji. Bo jak można określić twórczość zespołu, który w każdym utworze brzmi inaczej? Ten, kto stwierdzi, że Bonaparte gra elektro-rock zainfekowany bluesem będzie miał rację. Ale rację trzeba będzie przyznać też temu, kto stwierdzi, że to elektroniczny punkowy rave. Indie? Oczywiście! Długo by można kłócić się o etykietki – w skrócie należy po prostu stwierdzić, że to rock''n''rollowy cyrk, prowadzony przez ekstrawertycznego nawiedzonego szaleńca Tobiasa Jundta, który zebrał wokół siebie równie zwariowanych muzyków. Nigdy nie wiesz, czego się można po nich spodziewać. W swoich kompozycjach posiedli umiejętność takiego zniekształcania klasycznego brzmienia instrumentów, że ciężko określić, który dźwięk pochodzi z syntezatora, a który z gitary elektrycznej. Bonaparte dalekie jest jednak od chaotyczności – to muzyka pełna melodyjności i tanecznych rytmów, oparta na tradycyjnych gatunkach w rodzaju bluesa czy folku, ale do granic możliwości nasycona miejskimi stylistykami elektro, hip hopu i dubstepu.', 'BONAPARTE', '', 'inherit', 'closed', 'closed', '', '130-revision-2', '', '', '2012-07-11 01:10:40', '2012-07-10 23:10:40', '', 130, 'http://avantart.pl/130-revision-2/', 0, 'revision', '', 0), (134, 2, '2012-07-10 20:18:35', '2012-07-10 18:18:35', 'Nazwa Raster-Noton już od kilkunastu lat działa elektryzująco na wszystkich fanów niebanalnej muzyki elektronicznej. Odkrywczy, oryginalni, świeży, o wysokiej jakości – takimi epitetami najczęściej bywają też określani artyści związani z tą wytwórnią, a sam fakt wydawania w niej jest oznaką wysokiego prestiżu. Powstała z inicjatywy trzech tuzów współczesnego dźwiękowego eksperymentu – Olafa Bendera, Carstena Nicolaia i Franka Bretschneidera – stała się z założenia platformą promującą wszystkie te zjawiska, które znajdują się na żyznym terenie nachodzących na siebie płaszczyzn popu, sztuki i nauki. Raster-Noton to nie tylko muzyka – to kombinat, który działa też na polu sztuki instalacji czy też wydawania książek i albumów z tym związanych, a wszystko to połączone wspólną podstawą – ma być amalgamatem dźwięku, sztuki i dizajnu. Na koncie tego labelu znajduje się już ponad sto pozycji artystów uznawanych za ścisłą światową czołówkę tej estetyki – nie sposób wymienić ich wszystkich, ale kilka nazwisk wystarczy, by podnieść ciśnienie nie tylko tym, którzy kładą nacisk na detale kompozycji, specyfikę wykorzystania instrumentarium czy jakość dźwięku, ale także wszystkim, którzy na tanecznym parkiecie poszukują czegoś więcej, niż tylko schematycznej popowej młócki. A zatem: Alva Noto, Frank Bretschneider, Ryoji Ikeda, Kangding Ray, Byetone, Senking, Mika Vainio, Robert Lippok, William Basinski czy Carl Michael Von Hausswolff – by zaprezentować tylko kilku z nich. Muzyka ze stajni Raster-Noton to radykalny minimalizm, glitchowe kliki i stuki, ale też styl, elegancja i specyficzna filozofia w podejściu do materii dźwięku. Niemiecka awangarda zawsze miała bardzo silną tradycję – a Raster-Noton jest jej chwalebną, dostosowaną do współczesnych czasów odsłoną.', 'RASTER-NOTON', '', 'inherit', 'closed', 'closed', '', '72-revision-6', '', '', '2012-07-10 20:18:35', '2012-07-10 18:18:35', '', 72, 'http://avantart.pl/72-revision-6/', 0, 'revision', '', 0), (135, 1, '2012-07-06 19:09:35', '2012-07-06 17:09:35', '', 'Organizatorzy', '', 'inherit', 'closed', 'closed', '', '14-revision-2', '', '', '2012-07-06 19:09:35', '2012-07-06 17:09:35', '', 14, 'http://avantart.pl/14-revision-2/', 0, 'revision', '', 0), (136, 1, '2012-07-08 19:55:05', '2012-07-08 17:55:05', 'Like each year, the main character of the Avant Art Festival is music – music in all density variations, all forms and contexts. Standalone music and music combining diverse branches of art. One will have a chance to see unique artists during six days (from October 2nd to October 7th, 2012) on the festival stages; artists who search, blaze new trails and, like each year, eclecticism, originality and innovation will rule.
\nThis year’s edition will take place under the sign of Germany – a country uniquely rich with interesting artists. German artists lead in creating new trends and aesthetics, which conquer the stages of the world with their freshness and inventiveness, since many years. Both renown creators – pioneers of genres, who enjoy popularity throughout the whole world since years, and young artists – reformers, who are a driving force of the music with their fresh blood and talent, will perform during the festival. DAF – one of the most important groups of the 80s of the XXc., who laid down the basis for such genres as electro or EBM with their output, will appear in Wrocław. Apart from them one will have a chance to hear Caspar Brötzmann Massaker – something for the enthusiasts of brutal and dirty guitar-based sounds, based on pure and unrestrained expression, improvisation and a free-to-roam creative passion. The combination of the most up-to-date technologies with new techniques of creating sounds will be presented by the musicians of the famous label Raster-Noton - Frank Bretschneider, Byetone and Kangding Ray. Moritz Von Oswald Trio will present their own vision of melting such remote stylistics like techno, jazz and dub into a single entity. FM Einheit, once a member of the influential industrial group Einstürzende Neubeuten, will prove how to create multi-layered and rich music with, at first glance, non-musical instrumentarium. The Berlin nutcases of Bonaparte will prove, that a concert can be not only a mere presentation of sounds, but a unique and expressive spectacle as well. Youth will play with year-long experience in a single team in the form of a collaborative project of the young Polish musicians from the Defibrillator ensemble together with the titan of free jazz Peter Brötzmann. Artists of Danseland will skilfully combine post-punk with free improvisation on the stage, and the formation Dÿse will present their own, rich with various references, version of noise rock. The intercontinental, Canadian-German project Knuckleduster will build a bridge between world music, post-rock and electronics, and Tannhäuser Sterben & das Tod will turn all music stylistics known so far inside out. The dance-side of experimentation with sound will be revealed to the audience by projects from the prestigious Berlin-based label Project: Mooncircle, and during the show by the Time Art Ensemble one will have a chance to engulf oneself in the worlds created from avant-garde sounds and visualisations. Mex Gerngesehen Avant Art Project, a collaboration of German and Polish musicians especially founded for this edition of the festival, will showcase that, what is most important in the modern experimental trends.
\nThis year, Avant Art leaves the concert halls and goes out into the streets in the form of the Social Up Spacing project – a common initiative of Polish and German musicians and artists, who will present their recycling installations in the open municipal space. A very important fulfilment of the programme will be screenings of documentaries and films regarding the German music scene in the Helios cinema; these will complete the music stage of the festival in a visual manner, and putting it in a social and historical context. Numerous workshops, discussion panels and meetings with literature will take place as well. The fifth Avant Art Festival will leave Wrocław for the first time – particular shows and presentations will take place in Berlin and Koln as well.
\nSearches for something new in the field of art never stop. It is worth taking a look at new artists, fresh trends and newly originated notions. And once again, the criterion of selecting the artists invited to the festival is not limited by any particular genre, trend or aesthetic – their originality, resulting from breaking the fixed barriers in art, the skill of combining diverse forms into a coherent whole, experimental or even avant-garde attitude to the matter of sound, movement and image. Avant Art Festival is, out of assumption, a holiday of artistic eclecticism, which is visible on numerous planes. One can expect everything from Avant Art Festival – we wish to surprise and to amaze, put the spectator in a position opposite to the established schematics and a classical attitude towards art. Here rejection of traditions is the tradition, breaking canons is the canon, non-conventionality is the convention. We aim at diversity, multitude of genres and are open towards anything that is original.
\n', 'O festiwaluAbout the festival', '', 'inherit', 'closed', 'closed', '', '12-autosave', '', '', '2013-01-14 22:27:52', '2013-01-14 21:27:52', '', 12, 'http://avantart.pl/12-autosave/', 0, 'revision', '', 0), (154, 2, '2012-07-06 19:31:37', '2012-07-06 17:31:37', 'I ich ceny ;)', 'Bilety', '', 'inherit', 'closed', 'closed', '', '23-revision-2', '', '', '2012-07-06 19:31:37', '2012-07-06 17:31:37', '', 23, 'http://avantart.pl/23-revision-2/', 0, 'revision', '', 0), (155, 2, '2012-07-06 19:15:32', '2012-07-06 17:15:32', 'Media', 'Media o nas', '', 'inherit', 'closed', 'closed', '', '18-revision-2', '', '', '2012-07-06 19:15:32', '2012-07-06 17:15:32', '', 18, 'http://avantart.pl/18-revision-2/', 0, 'revision', '', 0), (156, 2, '2012-07-11 22:30:04', '2012-07-11 20:30:04', 'Więcej informacji wkrótce', 'Bilety', '', 'inherit', 'closed', 'closed', '', '23-revision-3', '', '', '2012-07-11 22:30:04', '2012-07-11 20:30:04', '', 23, 'http://avantart.pl/23-revision-3/', 0, 'revision', '', 0), (157, 2, '2012-07-06 19:33:25', '2012-07-06 17:33:25', 'Czyli jakieś tam wycinki', 'Press Room', '', 'inherit', 'closed', 'closed', '', '26-revision-2', '', '', '2012-07-06 19:33:25', '2012-07-06 17:33:25', '', 26, 'http://avantart.pl/26-revision-2/', 0, 'revision', '', 0), (158, 2, '2012-07-11 22:34:15', '2012-07-11 20:34:15', 'Kontakt dla mediów:\r\nMagda Kotowska\r\nmagda.kotowska@highlite.pl, tel. 792 234 779', 'Press Room', '', 'inherit', 'closed', 'closed', '', '26-revision-3', '', '', '2012-07-11 22:34:15', '2012-07-11 20:34:15', '', 26, 'http://avantart.pl/26-revision-3/', 0, 'revision', '', 0), (159, 2, '2012-07-06 19:34:25', '2012-07-06 17:34:25', 'Festiwalowe a nie lokalizacje bo jest krótsze i musiałem!', 'Miejsca', '', 'inherit', 'closed', 'closed', '', '30-revision-2', '', '', '2012-07-06 19:34:25', '2012-07-06 17:34:25', '', 30, 'http://avantart.pl/30-revision-2/', 0, 'revision', '', 0), (160, 2, '2012-07-06 19:33:48', '2012-07-06 17:33:48', 'Lista', 'Partnerzy', '', 'inherit', 'closed', 'closed', '', '28-revision-2', '', '', '2012-07-06 19:33:48', '2012-07-06 17:33:48', '', 28, 'http://avantart.pl/28-revision-2/', 0, 'revision', '', 0), (161, 2, '2012-07-06 19:16:01', '2012-07-06 17:16:01', 'Lista poprzednich', 'Poprzednie edycje', '', 'inherit', 'closed', 'closed', '', '20-revision-2', '', '', '2012-07-06 19:16:01', '2012-07-06 17:16:01', '', 20, 'http://avantart.pl/20-revision-2/', 0, 'revision', '', 0), (162, 2, '2012-07-06 19:13:34', '2012-07-06 17:13:34', 'Welcome to WordPress. This is your first post. Edit or delete it, then start blogging!', 'Hello world!', '', 'inherit', 'closed', 'closed', '', '1-revision-4', '', '', '2012-07-06 19:13:34', '2012-07-06 17:13:34', '', 1, 'http://avantart.pl/1-revision-4/', 0, 'revision', '', 0), (163, 2, '2012-07-11 23:59:14', '2012-07-11 21:59:14', '', 'AVANT ART 2012 stworzy przestrzeń dla kultury', '', 'inherit', 'closed', 'closed', '', '1-revision-5', '', '', '2012-07-11 23:59:14', '2012-07-11 21:59:14', '', 1, 'http://avantart.pl/1-revision-5/', 0, 'revision', '', 0), (164, 2, '2012-07-12 00:01:10', '2012-07-11 22:01:10', '\r\n\r\nZ radością informujemy, że podczas 5. edycji AVANT ART (2-7 października) odbędzie się showcase artystów jednej z najbardziej prestiżowych wytwórni muzycznych w Europie. Pod szyldem Raster-Noton zagrają u nas: Kangding Ray, Byetone oraz Frank Bretschneider!\r\n\r\nWe are happy to announce, that a showcase by artists of one of the most prestigious music labels in Europe will take place during the 5th edition of AVANT ART (October 2nd-7th). The following will appear at our event under the banner of Raster-Noton: Kangding Ray, Byetone and Frank Bretschneider!.', 'RASTER–NOTON na AVANT ART 2012!RASTER-NOTON at AVANT ART 2012', '', 'publish', 'closed', 'closed', '', 'raster-noton-na-avant-art-2012', '', '', '2012-08-01 15:53:22', '2012-08-01 13:53:22', '', 0, 'http://avantart.pl/?p=164', 0, 'post', '', 0), (165, 2, '2012-07-12 00:00:31', '2012-07-11 22:00:31', '', 'RASTER–NOTON na AVANT ART 2012!', '', 'inherit', 'closed', 'closed', '', '164-revision', '', '', '2012-07-12 00:00:31', '2012-07-11 22:00:31', '', 164, 'http://avantart.pl/164-revision/', 0, 'revision', '', 0), (166, 2, '2012-07-12 00:02:53', '2012-07-11 22:02:53', '\r\n\r\nZnamy pełny program 5. edycji AVANT ART FESTIVAL, która odbędzie się we Wrocławiu w dniach 2-7 października 2012 r. pod hasłem „Niemcy”. Tegoroczną odsłonę festiwalu reprezentować będą wybitni artyści z Niemiec, m.in. DAF, Bonaparte, Peter Brotzmann & Defibrillator, Knuckleduster i Moritz Von Oswald Trio. Po raz pierwszy na festiwalu odbędą się showcase’y dwóch wytwórni: Raster-Noton (m.in. Kangding Ray) oraz Project: Mooncircle. Ruszy także pierwsza edycja cyklu AVANT ART FILM, w trakcie którego zobaczymy niemieckie filmy o muzyce. AVANT ART 2012 to także performance’y, koprodukcje, spotkania z literaturą, warsztaty i debaty oraz prezentacje festiwalu za granicą: w Kolonii i Berlinie.\r\n\r\nZapraszamy do zapoznania się z programem festiwalu!\r\nThe full programme of the 5th edition of AVANT ART FESTIVAL, which will take place in Wrocław between October 2nd-7th, 2012, under the banner of “Germany”, has been revealed. This year’s edition of the festival will be represented by outstanding artists from Germany, among others, DAF, Bonaparte, Peter Brotzmann & Defibrillator, Knuckleduster and Moritz Von Oswald Trio. Two showcases by the labels: Raster-Noton (Frank Bretschneider, Kangding Ray, Byetone) and Project: Mooncircle will take place during the festival for the first time, as well as the first edition of the AVANT ART FILM series, during which we will see German films about music. AVANT ART 2012 are also performances, co-productions, meetings with literature, workshops and debates; moreover, presentations of the festival abroad: in Koln and Berlin.
\r\nWe invite you to get acquainted with the programme of the festival.
\r\n', 'ZNAMY PEŁNY PROGRAM 5. EDYCJI AVANT ART FESTIVAL!THE FULL PROGRAMME OF THE 5TH EDITION OF AVANT ART HAS BEEN REVEALED!', '', 'publish', 'closed', 'closed', '', 'znamy-pelny-program-5-avant-art-niemcy', '', '', '2012-08-01 15:55:02', '2012-08-01 13:55:02', '', 0, 'http://avantart.pl/?p=166', 0, 'post', '', 0), (167, 2, '2012-07-12 00:02:44', '2012-07-11 22:02:44', 'ZNAMY PEŁNY PROGRAM 5. AVANT ART „NIEMCY”!\n\nZnamy pełny program 5. edycji AVANT ART FESTIVAL, która odbędzie się we Wrocławiu w dniach 2-7 października 2012 r. pod hasłem „Niemcy”. Tegoroczną odsłonę festiwalu reprezentować będą wybitni artyści z Niemiec, m.in. DAF, Bonaparte, Peter Brotzmann & Defibrillator, Knuckleduster i Moritz Von Oswald Trio. Po raz pierwszy na festiwalu odbędą się showcase’y dwóch wytwórni: Raster-Noton (m.in. Kangding Ray) oraz Project: Mooncircle. Ruszy także pierwsza edycja cyklu AVANT ART FILM, w trakcie którego zobaczymy niemieckie filmy o muzyce. AVANT ART 2012 to także performance’y, koprodukcje, spotkania z literaturą, warsztaty i debaty oraz prezentacje festiwalu za granicą: w Kolonii i Berlinie.\n\n \n\nZapraszamy do zapoznania się z programem festiwalu!', 'ZNAMY PEŁNY PROGRAM 5. AVANT ART „NIEMCY”!', '', 'inherit', 'closed', 'closed', '', '166-revision', '', '', '2012-07-12 00:02:44', '2012-07-11 22:02:44', '', 166, 'http://avantart.pl/166-revision/', 0, 'revision', '', 0), (168, 1, '2012-08-27 10:19:59', '2012-08-27 08:19:59', '\n\nZnamy pełny program 5. edycji AVANT ART FESTIVAL, która odbędzie się we Wrocławiu w dniach 2-7 października 2012 r. pod hasłem „Niemcy”. Tegoroczną odsłonę festiwalu reprezentować będą wybitni artyści z Niemiec, m.in. DAF, Bonaparte, Peter Brotzmann & Defibrillator, Knuckleduster i Moritz Von Oswald Trio. Po raz pierwszy na festiwalu odbędą się showcase’y dwóch wytwórni: Raster-Noton (m.in. Kangding Ray) oraz Project: Mooncircle. Ruszy także pierwsza edycja cyklu AVANT ART FILM, w trakcie którego zobaczymy niemieckie filmy o muzyce. AVANT ART 2012 to także performance’y, koprodukcje, spotkania z literaturą, warsztaty i debaty oraz prezentacje festiwalu za granicą: w Kolonii i Berlinie.\n\nZapraszamy do zapoznania się z programem festiwalu!\nThe full programme of the 5th edition of AVANT ART FESTIVAL, which will take place in Wrocław between October 2nd-7th, 2012, under the banner of “Germany”, has been revealed. This year’s edition of the festival will be represented by outstanding artists from Germany, among others, DAF, Bonaparte, Peter Brotzmann & Defibrillator, Knuckleduster and Moritz Von Oswald Trio. Two showcases by the labels: Raster-Noton (Frank Bretschneider, Kangding Ray, Byetone) and Project: Mooncircle will take place during the festival for the first time, as well as the first edition of the AVANT ART FILM series, during which we will see German films about music. AVANT ART 2012 are also performances, co-productions, meetings with literature, workshops and debates; moreover, presentations of the festival abroad: in Koln and Berlin.
\nWe invite you to get acquainted with the programme of the festival.
\n', 'ZNAMY PEŁNY PROGRAM 5. EDYCJI AVANT ART FESTIVAL!THE FULL PROGRAMME OF THE 5TH EDITION OF AVANT ART HAS BEEN REVEALED!', '', 'inherit', 'closed', 'closed', '', '166-autosave', '', '', '2012-08-27 10:19:59', '2012-08-27 08:19:59', '', 166, 'http://avantart.pl/166-autosave/', 0, 'revision', '', 0), (169, 2, '2012-07-12 00:02:53', '2012-07-11 22:02:53', 'ZNAMY PEŁNY PROGRAM 5. AVANT ART „NIEMCY”!\r\n\r\nZnamy pełny program 5. edycji AVANT ART FESTIVAL, która odbędzie się we Wrocławiu w dniach 2-7 października 2012 r. pod hasłem „Niemcy”. Tegoroczną odsłonę festiwalu reprezentować będą wybitni artyści z Niemiec, m.in. DAF, Bonaparte, Peter Brotzmann & Defibrillator, Knuckleduster i Moritz Von Oswald Trio. Po raz pierwszy na festiwalu odbędą się showcase’y dwóch wytwórni: Raster-Noton (m.in. Kangding Ray) oraz Project: Mooncircle. Ruszy także pierwsza edycja cyklu AVANT ART FILM, w trakcie którego zobaczymy niemieckie filmy o muzyce. AVANT ART 2012 to także performance’y, koprodukcje, spotkania z literaturą, warsztaty i debaty oraz prezentacje festiwalu za granicą: w Kolonii i Berlinie.\r\n\r\nZapraszamy do zapoznania się z programem festiwalu!', 'ZNAMY PEŁNY PROGRAM 5. AVANT ART „NIEMCY”!', '', 'inherit', 'closed', 'closed', '', '166-revision-2', '', '', '2012-07-12 00:02:53', '2012-07-11 22:02:53', '', 166, 'http://avantart.pl/166-revision-2/', 0, 'revision', '', 0), (170, 2, '2012-07-12 00:01:10', '2012-07-11 22:01:10', 'Z radością informujemy, że podczas 5. edycji AVANT ART (2-7 października) odbędzie się showcase artystów jednej z najbardziej prestiżowych wytwórni muzycznych w Europie. Pod szyldem Raster-Noton zagrają u nas: Kangding Ray, Byetone oraz Frank Bretschneider!', 'RASTER–NOTON na AVANT ART 2012!', '', 'inherit', 'closed', 'closed', '', '164-revision-2', '', '', '2012-07-12 00:01:10', '2012-07-11 22:01:10', '', 164, 'http://avantart.pl/164-revision-2/', 0, 'revision', '', 0), (171, 2, '2012-07-12 00:06:01', '2012-07-11 22:06:01', 'Z radością informujemy, że podczas 5. edycji AVANT ART (2-7 października) odbędzie się showcase artystów jednej z najbardziej prestiżowych wytwórni muzycznych w Europie. Pod szyldem Raster-Noton zagrają u nas: Kangding Ray, Byetone oraz Frank Bretschneider!', 'RASTER–NOTON na AVANT ART 2012!', '', 'inherit', 'closed', 'closed', '', '164-revision-3', '', '', '2012-07-12 00:06:01', '2012-07-11 22:06:01', '', 164, 'http://avantart.pl/164-revision-3/', 0, 'revision', '', 0), (172, 2, '2012-07-12 00:05:07', '2012-07-11 22:05:07', 'Znamy pełny program 5. edycji AVANT ART FESTIVAL, która odbędzie się we Wrocławiu w dniach 2-7 października 2012 r. pod hasłem „Niemcy”. Tegoroczną odsłonę festiwalu reprezentować będą wybitni artyści z Niemiec, m.in. DAF, Bonaparte, Peter Brotzmann & Defibrillator, Knuckleduster i Moritz Von Oswald Trio. Po raz pierwszy na festiwalu odbędą się showcase’y dwóch wytwórni: Raster-Noton (m.in. Kangding Ray) oraz Project: Mooncircle. Ruszy także pierwsza edycja cyklu AVANT ART FILM, w trakcie którego zobaczymy niemieckie filmy o muzyce. AVANT ART 2012 to także performance’y, koprodukcje, spotkania z literaturą, warsztaty i debaty oraz prezentacje festiwalu za granicą: w Kolonii i Berlinie.\r\n\r\nZapraszamy do zapoznania się z programem festiwalu!', 'ZNAMY PEŁNY PROGRAM 5. EDYCJI AVANT ART FESTIVAL!', '', 'inherit', 'closed', 'closed', '', '166-revision-3', '', '', '2012-07-12 00:05:07', '2012-07-11 22:05:07', '', 166, 'http://avantart.pl/166-revision-3/', 0, 'revision', '', 0), (173, 1, '2012-07-10 20:18:54', '2012-07-10 18:18:54', 'Mex Gerngesehen Avant Art Project to premierowa realizacja muzyczno-performatywna, będąca koprodukcją wrocławskiego festiwalu Avant Art, dortmundzkiej organizacji Mex – intermediale und experimentelle Musikprojekte i Gerngesehen z Kolonii. To kooperacja kompozytorów, performerów i muzyków skupionych wokół kolońskiej sceny sound artu, muzyki eksperymentalnej i teatru z polskim środowiskiem muzyków tworzących w szeroko rozumianym idiomie muzyki współczesnej oraz improwizowanej. Rozszerzone techniki wokalne i performatywne używane przez kompozytorkę i performerkę Betine Wenzel, język ruchu oraz współczesny performance duetu Duo Cri Du Coe prowadzonego przez Fine Kwiatkowski i Willehada Gratenhorsta, obiekty dźwiękowe i sound art Hansa W. Kocha, synteza modularna, circuit-bending i synth-design w MAX/MSP Jokera Niesa, instrumenty dęte, saksofony oraz generatory fal Gerarda Lebika, preparowany fortepian i trąbka Piotra Damasiewicza, symfoniczne instrumenty perkusyjne z grupy idiofonów stosowane przez Wojtka Romanowskiego – to wszystko to elementy składowe, źródła dźwięku i techniki użyte w intermedialnych poszukiwaniach nad nieprzewidywalnością we wszystkich płaszczyznach kompozycji powstającej w ramach pierwszej współpracy artystów na tegorocznym Avant Art Festival.', 'MEX GERNGESEHEN AVANT ART PROJECT', '', 'inherit', 'closed', 'closed', '', '69-revision-4', '', '', '2012-07-10 20:18:54', '2012-07-10 18:18:54', '', 69, 'http://avantart.pl/69-revision-4/', 0, 'revision', '', 0), (174, 1, '2012-07-11 09:10:39', '2012-07-11 07:10:39', 'We are happy to announce, that a showcase by artists of one of the most prestigious music labels in Europe will take place during the 5th edition of AVANT ART (October 2nd-7th). The following will appear at our event under the banner of Raster-Noton: Kangding Ray, Byetone and Frank Bretschneider!.
\n', 'RASTER–NOTON na AVANT ART 2012!RASTER-NOTON at AVANT ART 2012', '', 'inherit', 'closed', 'closed', '', '164-autosave', '', '', '2012-08-27 10:28:59', '2012-08-27 08:28:59', '', 164, 'http://avantart.pl/164-autosave/', 0, 'revision', '', 0), (189, 1, '2012-07-12 10:36:55', '2012-07-12 08:36:55', '\r\n\r\nZ radością informujemy, że podczas 5. edycji AVANT ART (2-7 października) odbędzie się showcase artystów jednej z najbardziej prestiżowych wytwórni muzycznych w Europie. Pod szyldem Raster-Noton zagrają u nas: Kangding Ray, Byetone oraz Frank Bretschneider!', 'RASTER–NOTON na AVANT ART 2012!', '', 'inherit', 'closed', 'closed', '', '164-revision-5', '', '', '2012-07-12 10:36:55', '2012-07-12 08:36:55', '', 164, 'http://avantart.pl/164-revision-5/', 0, 'revision', '', 0), (190, 1, '2012-07-12 10:46:30', '2012-07-12 08:46:30', ' \r\n\r\nZ radością informujemy, że podczas 5. edycji AVANT ART (2-7 października) odbędzie się showcase artystów jednej z najbardziej prestiżowych wytwórni muzycznych w Europie. Pod szyldem Raster-Noton zagrają u nas: Kangding Ray, Byetone oraz Frank Bretschneider!', 'RASTER–NOTON na AVANT ART 2012!', '', 'inherit', 'closed', 'closed', '', '164-revision-6', '', '', '2012-07-12 10:46:30', '2012-07-12 08:46:30', '', 164, 'http://avantart.pl/164-revision-6/', 0, 'revision', '', 0), (191, 1, '2012-07-12 11:54:35', '2012-07-12 09:54:35', '', 'cover', '', 'inherit', 'closed', 'closed', '', 'cover', '', '', '2012-07-12 11:54:35', '2012-07-12 09:54:35', '', 166, 'http://avantart.pl/wp-content/uploads/2012/07/cover.jpg', 0, 'attachment', 'image/jpeg', 0), (192, 1, '2012-07-12 00:06:46', '2012-07-11 22:06:46', 'Znamy pełny program 5. edycji AVANT ART FESTIVAL, która odbędzie się we Wrocławiu w dniach 2-7 października 2012 r. pod hasłem „Niemcy”. Tegoroczną odsłonę festiwalu reprezentować będą wybitni artyści z Niemiec, m.in. DAF, Bonaparte, Peter Brotzmann & Defibrillator, Knuckleduster i Moritz Von Oswald Trio. Po raz pierwszy na festiwalu odbędą się showcase’y dwóch wytwórni: Raster-Noton (m.in. Kangding Ray) oraz Project: Mooncircle. Ruszy także pierwsza edycja cyklu AVANT ART FILM, w trakcie którego zobaczymy niemieckie filmy o muzyce. AVANT ART 2012 to także performance’y, koprodukcje, spotkania z literaturą, warsztaty i debaty oraz prezentacje festiwalu za granicą: w Kolonii i Berlinie.\r\n\r\nZapraszamy do zapoznania się z programem festiwalu!', 'ZNAMY PEŁNY PROGRAM 5. EDYCJI AVANT ART FESTIVAL!', '', 'inherit', 'closed', 'closed', '', '166-revision-4', '', '', '2012-07-12 00:06:46', '2012-07-11 22:06:46', '', 166, 'http://avantart.pl/166-revision-4/', 0, 'revision', '', 0), (193, 2, '2012-07-12 20:20:38', '2012-07-12 18:20:38', '', 'r-n_logo_final', '', 'inherit', 'closed', 'closed', '', 'r-n_logo_final', '', '', '2012-07-12 20:20:38', '2012-07-12 18:20:38', '', 72, 'http://avantart.pl/wp-content/uploads/2012/07/r-n_logo_final-1.jpg', 0, 'attachment', 'image/jpeg', 0), (194, 2, '2012-07-12 20:25:40', '2012-07-12 18:25:40', '', 'r-n_logo_final', '', 'inherit', 'closed', 'closed', '', 'r-n_logo_final-2', '', '', '2012-07-12 20:25:40', '2012-07-12 18:25:40', '', 72, 'http://avantart.pl/wp-content/uploads/2012/07/r-n_logo_final-11.jpg', 0, 'attachment', 'image/jpeg', 0), (195, 2, '2012-07-11 01:34:05', '2012-07-10 23:34:05', 'Nazwa Raster-Noton już od kilkunastu lat działa elektryzująco na wszystkich fanów niebanalnej muzyki elektronicznej. Odkrywczy, oryginalni, świeży, o wysokiej jakości – takimi epitetami najczęściej bywają też określani artyści związani z tą wytwórnią, a sam fakt wydawania w niej jest oznaką wysokiego prestiżu. Powstała z inicjatywy trzech tuzów współczesnego dźwiękowego eksperymentu – Olafa Bendera, Carstena Nicolaia i Franka Bretschneidera – stała się z założenia platformą promującą wszystkie te zjawiska, które znajdują się na żyznym terenie nachodzących na siebie płaszczyzn popu, sztuki i nauki. Raster-Noton to nie tylko muzyka – to kombinat, który działa też na polu sztuki instalacji czy też wydawania książek i albumów z tym związanych, a wszystko to połączone wspólną podstawą – ma być amalgamatem dźwięku, sztuki i dizajnu. Na koncie tego labelu znajduje się już ponad sto pozycji artystów uznawanych za ścisłą światową czołówkę tej estetyki – nie sposób wymienić ich wszystkich, ale kilka nazwisk wystarczy, by podnieść ciśnienie nie tylko tym, którzy kładą nacisk na detale kompozycji, specyfikę wykorzystania instrumentarium czy jakość dźwięku, ale także wszystkim, którzy na tanecznym parkiecie poszukują czegoś więcej, niż tylko schematycznej popowej młócki. A zatem: Alva Noto, Frank Bretschneider, Ryoji Ikeda, Kangding Ray, Byetone, Senking, Mika Vainio, Robert Lippok, William Basinski czy Carl Michael Von Hausswolff – by zaprezentować tylko kilku z nich. Muzyka ze stajni Raster-Noton to radykalny minimalizm, glitchowe kliki i stuki, ale też styl, elegancja i specyficzna filozofia w podejściu do materii dźwięku. Niemiecka awangarda zawsze miała bardzo silną tradycję – a Raster-Noton jest jej chwalebną, dostosowaną do współczesnych czasów odsłoną.', 'RASTER-NOTON SHOWCASE', '', 'inherit', 'closed', 'closed', '', '72-revision-7', '', '', '2012-07-11 01:34:05', '2012-07-10 23:34:05', '', 72, 'http://avantart.pl/72-revision-7/', 0, 'revision', '', 0); INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (196, 2, '2012-07-12 20:26:21', '2012-07-12 18:26:21', '\r\n\r\nNazwa Raster-Noton już od kilkunastu lat działa elektryzująco na wszystkich fanów niebanalnej muzyki elektronicznej. Odkrywczy, oryginalni, świeży, o wysokiej jakości – takimi epitetami najczęściej bywają też określani artyści związani z tą wytwórnią, a sam fakt wydawania w niej jest oznaką wysokiego prestiżu. Powstała z inicjatywy trzech tuzów współczesnego dźwiękowego eksperymentu – Olafa Bendera, Carstena Nicolaia i Franka Bretschneidera – stała się z założenia platformą promującą wszystkie te zjawiska, które znajdują się na żyznym terenie nachodzących na siebie płaszczyzn popu, sztuki i nauki. Raster-Noton to nie tylko muzyka – to kombinat, który działa też na polu sztuki instalacji czy też wydawania książek i albumów z tym związanych, a wszystko to połączone wspólną podstawą – ma być amalgamatem dźwięku, sztuki i dizajnu. Na koncie tego labelu znajduje się już ponad sto pozycji artystów uznawanych za ścisłą światową czołówkę tej estetyki – nie sposób wymienić ich wszystkich, ale kilka nazwisk wystarczy, by podnieść ciśnienie nie tylko tym, którzy kładą nacisk na detale kompozycji, specyfikę wykorzystania instrumentarium czy jakość dźwięku, ale także wszystkim, którzy na tanecznym parkiecie poszukują czegoś więcej, niż tylko schematycznej popowej młócki. A zatem: Alva Noto, Frank Bretschneider, Ryoji Ikeda, Kangding Ray, Byetone, Senking, Mika Vainio, Robert Lippok, William Basinski czy Carl Michael Von Hausswolff – by zaprezentować tylko kilku z nich. Muzyka ze stajni Raster-Noton to radykalny minimalizm, glitchowe kliki i stuki, ale też styl, elegancja i specyficzna filozofia w podejściu do materii dźwięku. Niemiecka awangarda zawsze miała bardzo silną tradycję – a Raster-Noton jest jej chwalebną, dostosowaną do współczesnych czasów odsłoną.', 'RASTER-NOTON SHOWCASE', '', 'inherit', 'closed', 'closed', '', '72-revision-8', '', '', '2012-07-12 20:26:21', '2012-07-12 18:26:21', '', 72, 'http://avantart.pl/72-revision-8/', 0, 'revision', '', 0), (197, 2, '2012-07-12 20:31:59', '2012-07-12 18:31:59', '\r\n\r\nW ramach 5. AVANT ART FESTIVAL zagrają: KANGDING RAY, FRANK BRETSCHNEIDER oraz BYETONE.\r\n\r\nNazwa Raster-Noton już od kilkunastu lat działa elektryzująco na wszystkich fanów niebanalnej muzyki elektronicznej. Odkrywczy, oryginalni, świeży, o wysokiej jakości – takimi epitetami najczęściej bywają też określani artyści związani z tą wytwórnią, a sam fakt wydawania w niej jest oznaką wysokiego prestiżu. Powstała z inicjatywy trzech tuzów współczesnego dźwiękowego eksperymentu – Olafa Bendera, Carstena Nicolaia i Franka Bretschneidera – stała się z założenia platformą promującą wszystkie te zjawiska, które znajdują się na żyznym terenie nachodzących na siebie płaszczyzn popu, sztuki i nauki. Raster-Noton to nie tylko muzyka – to kombinat, który działa też na polu sztuki instalacji czy też wydawania książek i albumów z tym związanych, a wszystko to połączone wspólną podstawą – ma być amalgamatem dźwięku, sztuki i dizajnu. Na koncie tego labelu znajduje się już ponad sto pozycji artystów uznawanych za ścisłą światową czołówkę tej estetyki – nie sposób wymienić ich wszystkich, ale kilka nazwisk wystarczy, by podnieść ciśnienie nie tylko tym, którzy kładą nacisk na detale kompozycji, specyfikę wykorzystania instrumentarium czy jakość dźwięku, ale także wszystkim, którzy na tanecznym parkiecie poszukują czegoś więcej, niż tylko schematycznej popowej młócki. A zatem: Alva Noto, Frank Bretschneider, Ryoji Ikeda, Kangding Ray, Byetone, Senking, Mika Vainio, Robert Lippok, William Basinski czy Carl Michael Von Hausswolff – by zaprezentować tylko kilku z nich. Muzyka ze stajni Raster-Noton to radykalny minimalizm, glitchowe kliki i stuki, ale też styl, elegancja i specyficzna filozofia w podejściu do materii dźwięku. Niemiecka awangarda zawsze miała bardzo silną tradycję – a Raster-Noton jest jej chwalebną, dostosowaną do współczesnych czasów odsłoną.', 'RASTER-NOTON SHOWCASE', '', 'inherit', 'closed', 'closed', '', '72-revision-9', '', '', '2012-07-12 20:31:59', '2012-07-12 18:31:59', '', 72, 'http://avantart.pl/72-revision-9/', 0, 'revision', '', 0), (198, 2, '2012-07-12 10:35:00', '2012-07-12 08:35:00', '\r\n\r\nŻywiołowy taniec i zaduma nad artyzmem, wpadająca w ucho melodyjność i surowość wykorzystanych środków, najnowsza technologia i sentymentalna wycieczka w przeszłość muzyki – tak w skrócie można opisać muzykę Byetone, jednego z najważniejszych projektów ze stajni niemieckiej wytwórni Raster-Noton. To muzyka pełna nawracających fraz, wielowymiarowych warstw dźwięku, gęstości i energii zaprezentowanych z melodyjnością i wręcz inżynieryjną finezją. Utwory Olafa Bendera – bo tak nazywa się muzyk skrywający się pod pseudonimem Byetone – wręcz opalizują dzięki licznym zmianom i seriom kulminacji – tempo zmienia się w nich często, na przemian zwalniając i przyspieszając, a polirytmiczne frazy wirują wokół prostych bitów. Muzyka projektu pozornie kojarzyć się może z minimalnym techno z wczesnych lat dziewięćdziesiątych XX wieku, lecz jest od niego znacznie bogatsza. Naukowe zainteresowanie artysty procesami rządzącymi ludzką pamięcią odciska piętno na jego muzyce, która będąc na wskroś nowoczesną, jest jednocześnie gęsto nasycona cytatami z przeróżnych stylistyk rocka i popu, jednak zręcznie unika zbytniego osadzenia w przeszłości – dzięki temu żadnej z jego kompozycji nie da się opisać sztywną definicją jakiegokolwiek z gatunków. Byetone zabiera słuchaczy do alternatywnej dźwiękowej rzeczywistości, gdzie nie obowiązują zasady fizycznego świata i w której rządzi nieodparty impuls do tańca. To bity, które pompują do serca nie krew, ale chemikalia.', 'BYETONE', '', 'inherit', 'closed', 'closed', '', '56-revision-6', '', '', '2012-07-12 10:35:00', '2012-07-12 08:35:00', '', 56, 'http://avantart.pl/56-revision-6/', 0, 'revision', '', 0), (199, 2, '2012-07-12 20:35:19', '2012-07-12 18:35:19', '\r\n\r\nŻywiołowy taniec i zaduma nad artyzmem, wpadająca w ucho melodyjność i surowość wykorzystanych środków, najnowsza technologia i sentymentalna wycieczka w przeszłość muzyki – tak w skrócie można opisać muzykę Byetone, jednego z najważniejszych projektów ze stajni niemieckiej wytwórni Raster-Noton. To muzyka pełna nawracających fraz, wielowymiarowych warstw dźwięku, gęstości i energii zaprezentowanych z melodyjnością i wręcz inżynieryjną finezją. Utwory Olafa Bendera – bo tak nazywa się muzyk skrywający się pod pseudonimem Byetone – wręcz opalizują dzięki licznym zmianom i seriom kulminacji – tempo zmienia się w nich często, na przemian zwalniając i przyspieszając, a polirytmiczne frazy wirują wokół prostych bitów. Muzyka projektu pozornie kojarzyć się może z minimalnym techno z wczesnych lat dziewięćdziesiątych XX wieku, lecz jest od niego znacznie bogatsza. Naukowe zainteresowanie artysty procesami rządzącymi ludzką pamięcią odciska piętno na jego muzyce, która będąc na wskroś nowoczesną, jest jednocześnie gęsto nasycona cytatami z przeróżnych stylistyk rocka i popu, jednak zręcznie unika zbytniego osadzenia w przeszłości – dzięki temu żadnej z jego kompozycji nie da się opisać sztywną definicją jakiegokolwiek z gatunków. Byetone zabiera słuchaczy do alternatywnej dźwiękowej rzeczywistości, gdzie nie obowiązują zasady fizycznego świata i w której rządzi nieodparty impuls do tańca. To bity, które pompują do serca nie krew, ale chemikalia.\r\n\r\nwww.raster-noton.net', 'BYETONE', '', 'inherit', 'closed', 'closed', '', '56-revision-7', '', '', '2012-07-12 20:35:19', '2012-07-12 18:35:19', '', 56, 'http://avantart.pl/56-revision-7/', 0, 'revision', '', 0), (200, 2, '2012-07-12 20:36:09', '2012-07-12 18:36:09', '\r\n\r\nŻywiołowy taniec i zaduma nad artyzmem, wpadająca w ucho melodyjność i surowość wykorzystanych środków, najnowsza technologia i sentymentalna wycieczka w przeszłość muzyki – tak w skrócie można opisać muzykę Byetone, jednego z najważniejszych projektów ze stajni niemieckiej wytwórni Raster-Noton. To muzyka pełna nawracających fraz, wielowymiarowych warstw dźwięku, gęstości i energii zaprezentowanych z melodyjnością i wręcz inżynieryjną finezją. Utwory Olafa Bendera – bo tak nazywa się muzyk skrywający się pod pseudonimem Byetone – wręcz opalizują dzięki licznym zmianom i seriom kulminacji – tempo zmienia się w nich często, na przemian zwalniając i przyspieszając, a polirytmiczne frazy wirują wokół prostych bitów. Muzyka projektu pozornie kojarzyć się może z minimalnym techno z wczesnych lat dziewięćdziesiątych XX wieku, lecz jest od niego znacznie bogatsza. Naukowe zainteresowanie artysty procesami rządzącymi ludzką pamięcią odciska piętno na jego muzyce, która będąc na wskroś nowoczesną, jest jednocześnie gęsto nasycona cytatami z przeróżnych stylistyk rocka i popu, jednak zręcznie unika zbytniego osadzenia w przeszłości – dzięki temu żadnej z jego kompozycji nie da się opisać sztywną definicją jakiegokolwiek z gatunków. Byetone zabiera słuchaczy do alternatywnej dźwiękowej rzeczywistości, gdzie nie obowiązują zasady fizycznego świata i w której rządzi nieodparty impuls do tańca. To bity, które pompują do serca nie krew, ale chemikalia.\r\n\r\nwww.raster-noton.net', 'BYETONE', '', 'inherit', 'closed', 'closed', '', '56-revision-8', '', '', '2012-07-12 20:36:09', '2012-07-12 18:36:09', '', 56, 'http://avantart.pl/56-revision-8/', 0, 'revision', '', 0), (201, 2, '2012-07-12 20:37:07', '2012-07-12 18:37:07', '\r\n\r\nŻywiołowy taniec i zaduma nad artyzmem, wpadająca w ucho melodyjność i surowość wykorzystanych środków, najnowsza technologia i sentymentalna wycieczka w przeszłość muzyki – tak w skrócie można opisać muzykę Byetone, jednego z najważniejszych projektów ze stajni niemieckiej wytwórni Raster-Noton. To muzyka pełna nawracających fraz, wielowymiarowych warstw dźwięku, gęstości i energii zaprezentowanych z melodyjnością i wręcz inżynieryjną finezją. Utwory Olafa Bendera – bo tak nazywa się muzyk skrywający się pod pseudonimem Byetone – wręcz opalizują dzięki licznym zmianom i seriom kulminacji – tempo zmienia się w nich często, na przemian zwalniając i przyspieszając, a polirytmiczne frazy wirują wokół prostych bitów. Muzyka projektu pozornie kojarzyć się może z minimalnym techno z wczesnych lat dziewięćdziesiątych XX wieku, lecz jest od niego znacznie bogatsza. Naukowe zainteresowanie artysty procesami rządzącymi ludzką pamięcią odciska piętno na jego muzyce, która będąc na wskroś nowoczesną, jest jednocześnie gęsto nasycona cytatami z przeróżnych stylistyk rocka i popu, jednak zręcznie unika zbytniego osadzenia w przeszłości – dzięki temu żadnej z jego kompozycji nie da się opisać sztywną definicją jakiegokolwiek z gatunków. Byetone zabiera słuchaczy do alternatywnej dźwiękowej rzeczywistości, gdzie nie obowiązują zasady fizycznego świata i w której rządzi nieodparty impuls do tańca. To bity, które pompują do serca nie krew, ale chemikalia.\r\n\r\nwww.raster-noton.net', 'BYETONE', '', 'inherit', 'closed', 'closed', '', '56-revision-9', '', '', '2012-07-12 20:37:07', '2012-07-12 18:37:07', '', 56, 'http://avantart.pl/56-revision-9/', 0, 'revision', '', 0), (202, 2, '2012-07-12 20:33:16', '2012-07-12 18:33:16', '\r\n\r\nW ramach 5. AVANT ART FESTIVAL zagrają: KANGDING RAY, FRANK BRETSCHNEIDER oraz BYETONE.\r\n\r\nNazwa Raster-Noton już od kilkunastu lat działa elektryzująco na wszystkich fanów niebanalnej muzyki elektronicznej. Odkrywczy, oryginalni, świeży, o wysokiej jakości – takimi epitetami najczęściej bywają też określani artyści związani z tą wytwórnią, a sam fakt wydawania w niej jest oznaką wysokiego prestiżu. Powstała z inicjatywy trzech tuzów współczesnego dźwiękowego eksperymentu – Olafa Bendera, Carstena Nicolaia i Franka Bretschneidera – stała się z założenia platformą promującą wszystkie te zjawiska, które znajdują się na żyznym terenie nachodzących na siebie płaszczyzn popu, sztuki i nauki. Raster-Noton to nie tylko muzyka – to kombinat, który działa też na polu sztuki instalacji czy też wydawania książek i albumów z tym związanych, a wszystko to połączone wspólną podstawą – ma być amalgamatem dźwięku, sztuki i dizajnu. Na koncie tego labelu znajduje się już ponad sto pozycji artystów uznawanych za ścisłą światową czołówkę tej estetyki – nie sposób wymienić ich wszystkich, ale kilka nazwisk wystarczy, by podnieść ciśnienie nie tylko tym, którzy kładą nacisk na detale kompozycji, specyfikę wykorzystania instrumentarium czy jakość dźwięku, ale także wszystkim, którzy na tanecznym parkiecie poszukują czegoś więcej, niż tylko schematycznej popowej młócki. A zatem: Alva Noto, Frank Bretschneider, Ryoji Ikeda, Kangding Ray, Byetone, Senking, Mika Vainio, Robert Lippok, William Basinski czy Carl Michael Von Hausswolff – by zaprezentować tylko kilku z nich. Muzyka ze stajni Raster-Noton to radykalny minimalizm, glitchowe kliki i stuki, ale też styl, elegancja i specyficzna filozofia w podejściu do materii dźwięku. Niemiecka awangarda zawsze miała bardzo silną tradycję – a Raster-Noton jest jej chwalebną, dostosowaną do współczesnych czasów odsłoną.\r\n\r\nwww.raster-noton.net', 'RASTER-NOTON SHOWCASE', '', 'inherit', 'closed', 'closed', '', '72-revision-10', '', '', '2012-07-12 20:33:16', '2012-07-12 18:33:16', '', 72, 'http://avantart.pl/72-revision-10/', 0, 'revision', '', 0), (203, 2, '2012-10-02 10:55:06', '2012-10-02 08:55:06', ' Trudno przecenić wpływ postaci Caspara Brötzmanna na współczesną muzykę gitarową. Ten niesamowity instrumentalista swoim oryginalnym, określanym często mianem neoprymitywnego, stylem gry na gitarze od początków swojej kariery inspirował – i wciąż inspiruje – rzesze nowych muzyków odrzucających skostniały akademizm kompozycyjny i stawiających na wyzwoloną z wszelkich reguł ekspresję. Brötzmann jest porównywany do takich muzycznych osobowości jak Jimi Hendrix (zawdzięcza to podobnemu upodobaniu do ekstremalnej głośności i zręcznej manipulacji przesterami) czy Edgar Varèse, z którym łączy go przenikliwa świadomość znaczenia samej natury dźwięków. Po kilkunastu latach przerwy muzyk powrócił w chwale na sceny ze swoim flagowym projektem – Caspar Brötzmann Massaker – w którego najnowszej inkarnacji wspierają go Eduardo Delgado Lopez na basie i Danny Arnold Lommen na perkusji. Takiej muzyki nie słyszy się na co dzień – w jednym utworze formacji potrafią zdarzyć się minuty ogłuszających ataków dźwiękowych i minuty tak ciche, że usłyszeć można dotknięcia strun o gryf gitary. Psychodeliczne improwizacje łączą się tu z marszowym, masywnym rockiem a radykalny minimalizm z wręcz barokowymi i misternymi pasażami. Jest tu pierwotność i agresja, niespotykane dźwięki, niesamowite budowanie napięcia. To muzyka intuicyjna, naiwna w pozytywnym znaczeniu tego słowa – a przez to szczera i na swój sposób romantyczna. Twórczość Caspar Brötzmann Massaker brzmi jak herezja w świecie zdominowanym przez spokojne i wymuskane samplerowe brzmienia. To czysty, nieskrępowany i uwolniony żywioł. Nie bez powodu Caspar Brötzmann zyskał przydomek Demona Decybeli.\n\n\n\nwww.casparbroetzmannmassaker.comIt is difficult to overrate the influence of the figure that is Caspar Brötzmann on modern guitar-based music. This amazing instrumentalist with his unique style of playing guitar, frequently described by the name of neoprimitive, since the beginning of his career has inspired – and still inspires – throngs of new musicians, who reject the stiff compositional academism and chose expression liberated from all the rules. Brötzmann is compared to such musical personalities as Jimi Hendrix (which he owes to a similar fondness for extreme loudness and a skilful manipulations of the distortions) or Edgar Varèse, with whom he is united by a perceptive awareness of the sheer nature of sounds. After a couple of years, the musician has, in glory, returned to the stage with his leading project - Caspar Brötzmann Massaker – with Eduardo Delgado Lopez, on bass, and Danny Arnold Lommen, on drums, who support him in the projects newest incarnation. Such music cannot be heard on a daily basis – one track of the group can feature minutes of deafening sound attacks and minutes so quiet, that one can hear the strings touch the guitar neck. Psychedelic improvisations are combined with march-like, massive rock and radical minimalism with outright meticulous baroque passages. Here one is able to experience primitivism, aggression, unique sounds and extraordinary build-up of tension. This is intuitive music, naive in a positive sense – and thus, sincere and romantic in a way. Caspar Brötzmann Massaker’s output sounds like heresy in a world dominated by mellow and foppish sampler sounds. This is a pure, unrestrained and free element. Not without cause did Caspar Brötzmann receive the nickname of Demon of the Decibels.
\nwww.casparbroetzmannmassaker.com
\n', 'CASPAR BRÖTZMANN MASSAKER', '', 'inherit', 'closed', 'closed', '', '60-autosave', '', '', '2012-10-02 10:55:06', '2012-10-02 08:55:06', '', 60, 'http://avantart.pl/60-autosave/', 0, 'revision', '', 0), (204, 2, '2012-07-10 20:16:09', '2012-07-10 18:16:09', 'Trudno przecenić wpływ postaci Caspara Brötzmanna na współczesną muzykę gitarową. Ten niesamowity instrumentalista swoim oryginalnym, określanym często mianem neoprymitywnego, stylem gry na gitarze od początków swojej kariery inspirował – i wciąż inspiruje – rzesze nowych muzyków odrzucających skostniały akademizm kompozycyjny i stawiających na wyzwoloną z wszelkich reguł ekspresję. Brötzmann jest porównywany do takich muzycznych osobowości jak Jimi Hendrix (zawdzięcza to podobnemu upodobaniu do ekstremalnej głośności i zręcznej manipulacji przesterami) czy Edgar Varèse, z którym łączy go przenikliwa świadomość znaczenia samej natury dźwięków. Po kilkunastu latach przerwy muzyk powrócił w chwale na sceny ze swoim flagowym projektem – Caspar Brötzmann Massaker – w którego najnowszej inkarnacji wspierają go Eduardo Delgado Lopez na basie i Danny Arnold Lommen na perkusji. Takiej muzyki nie słyszy się na co dzień – w jednym utworze formacji potrafią zdarzyć się minuty ogłuszających ataków dźwiękowych i minuty tak ciche, że usłyszeć można dotknięcia strun o gryf gitary. Psychodeliczne improwizacje łączą się tu z marszowym, masywnym rockiem a radykalny minimalizm z wręcz barokowymi i misternymi pasażami. Jest tu pierwotność i agresja, niespotykane dźwięki, niesamowite budowanie napięcia. To muzyka intuicyjna, naiwna w pozytywnym znaczeniu tego słowa – a przez to szczera i na swój sposób romantyczna. Twórczość Caspar Brötzmann Massaker brzmi jak herezja w świecie zdominowanym przez spokojne i wymuskane samplerowe brzmienia. To czysty, nieskrępowany i uwolniony żywioł. Nie bez powodu Caspar Brötzmann zyskał przydomek Demona Decybeli.', 'CASPAR BRÖTZMANN MASSAKER', '', 'inherit', 'closed', 'closed', '', '60-revision-5', '', '', '2012-07-10 20:16:09', '2012-07-10 18:16:09', '', 60, 'http://avantart.pl/60-revision-5/', 0, 'revision', '', 0), (205, 2, '2012-08-01 22:31:29', '2012-08-01 20:31:29', 'Charlemagne Palestine to bez wątpienia jeden z najważniejszych kompozytorów naszych czasów i obok La Monte Younga, Terry''ego Rileya, Philipa Glassa, Steve''a Reicha i Tony''ego Conrada jest uznawany za jednego z ojców muzycznego minimalizmu. Ten instrumentalista, performer i artysta wizualny stworzył swój własny, pełen emocjonalności i rytualności styl, czerpiąc inspiracje z tradycyjnej muzyki etnicznej. Jego niezwykle rzadkie występy na żywo, podczas których otoczony wypchanymi zwierzętami Palestine pije koniak i pali namiętnie indonezyjskie goździkowe papierosy, są wydarzeniami oddziaływającymi na słuchacza nie tylko kreowanymi przez niego transowymi dźwiękami. W ostatnich latach odnalazł on idealnych współpracowników muzycznych – niemiecki elektroakustyczny ansambl Perlonex, którego unikalny sposób wykorzystania analogowych i cyfrowych instrumentów, pełen zapętleń i powoli rozwijających się motywów, stał się właściwym dopełnieniem tego, co od lat Charlemagne Palestine prezentuje w swojej twórczości.\n\nwww.zangimusic.de\n\nwww.myspace.com/ignazschick/music/songs/perlonex-charlemagne-palestineCharlemagne Palestine is without doubt one of the most important composers of our times and is said to be one of the fathers of musical minimalism side by side with La Monte Young, Terry Riley, Philip Glass, Steve Reich and Tony Conrad. This instrumentalist, performer and visual artist has created his own style, full of emotionality and rituality, drawing inspiration from the traditional ethnic music. His extremely rare live performances, during which Palestine drinks cognac and passionately smoke Indonesian cigarettes, while surrounded by stuffed animals, are events affecting the listener not only via the trance sounds created by him. In the recent years he found some perfect musical associates – the German electro-acoustic ensemble Perlonex, whose unique way of using analogue and digital instruments, full of loops and slowly developing motives, became the right fulfilment of that which Charlemagne Palestine presents in his output since years.
\nwww.zangimusic.de
\nwww.myspace.com/ignazschick/music/songs/perlonex-charlemagne-palestine
DAF – i.e. Deutsch-Amerikanische Freundschaft – are a living legend. There are not many so influential groups in the history of music like this particular one, brought to life in 1978 by Gabi Delgado Lopez and Robert Görl – two hotheads set on creating something entirely new, which will inevitably shake the foundations of future music. There would not be the New German Wave, in the form as we know it today, without DAF; the famous British promoter, John Peel, called them the grandfathers of techno; they are the real pioneers of electropunk and the main inspiration for an entire throng of synthpop composers. The all new genre, EBM, combining the characteristics of industrial music and punk, would not come to existence without them. DAF is a band, which forerun way into the future, is a direct link combining avant-garde punk and electronic music. DAF’s style just cannot be copied – pulsating synthesizer music, operating with an energy load resembling the one operated by the best punkrock bands, disturbing rhythmic and a characteristic dense sound combined with unique lyrics became the trademarks of the group and unrivalled example for numerous other artists. Without a doubt – DAF is one of the most important bands founded on the wave of the punk rebellion, which can surprise us with its fresh and powerful sound even in the new century.
\nwww.myspace.com/officialdaf
\nwww.deutschamerikanischefreundschaft.de
Sebastian Smolyn, playing on the electronic trombone and his brother, Artur, wielding electronics chose the direction of improvised music on their artistic path. Their personal experiences became a template for such music, which is governed by its own rules and uses all possible means in order to achieve its goal. There are no avant-garde stylistics they have not yet explored – their output is inspired by free jazz, nu jazz, noise or hardcore in many different forms. After a few years of searches, Olivier Steidle, a unique jazz drummer, has joined their sound voyages – thus the trio named Defibrillator came to be, a uniquely energetic group, sound of which is heavily rooted in the aesthetic of grindcore and noise. The next step in their career was inviting a musician, who was a major inspiration for them since many years, to a co-operation - Peter Brötzmann, one of the most important representatives of the world’s free jazz and improvised music. Youth and energy in comparison with a many year-long experience on the grounds of experimental sounds – that can be expected from the new project of the Smolyn brother.
\n\n\n\n\n', 'DEFIBRILLATOR & PETER BRÖTZMANN', '', 'inherit', 'closed', 'closed', '', '44-autosave', '', '', '2012-10-02 10:52:13', '2012-10-02 08:52:13', '', 44, 'http://avantart.pl/44-autosave/', 0, 'revision', '', 0); INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (219, 2, '2012-07-10 20:17:14', '2012-07-10 18:17:14', 'Grający na elektronicznej trąbce Sebastian Smolyn i posługujący się elektroniką jego brat Artur na swoje artystycznej ścieżce wybrali kierunek muzyki improwizowanej. Ich osobiste doświadczenia złożyły się na matrycę dla takiej muzyki, która rządzi się swoimi własnymi prawami i używa wszystkich możliwych środków, by osiągnąć swój cel. Nie ma dla nich stylistyk awangardy, których by nie eksplorowali – ich twórczość jest zainspirowana przez free jazz, nu jazz, noise czy hardcore w wielu różnych postaciach. Po kilku latach wspólnych poszukiwań do ich dźwiękowych wypraw dołączył wyjątkowy perkusista jazzowy Oliver Steidle – tak powstało trio o nazwie Defibrillator, niezwykle energetyczna formacja, której brzmienie silnie zakotwiczone jest w estetykach grindcore i noise. Kolejnym krokiem w ich karierze stało się zaproszenie do współpracy muzyka, który od lat stanowił dla nich ważną inspirację – Petera Brötzmanna, jednego z najważniejszych przedstawicieli światowego free jazzu i muzyki improwizowanej. Młodość i energia w zestawieniu z wieloletnim doświadczeniem na gruncie eksperymentalnych dźwięków – tego właśnie można spodziewać się po nowym projekcie braci Smolyn.', 'DEFIBRILLATOR & PETER BRÖTZMANN', '', 'inherit', 'closed', 'closed', '', '44-revision-4', '', '', '2012-07-10 20:17:14', '2012-07-10 18:17:14', '', 44, 'http://avantart.pl/44-revision-4/', 0, 'revision', '', 0), (220, 2, '2012-07-12 22:00:25', '2012-07-12 20:00:25', 'Grający na elektronicznej trąbce Sebastian Smolyn i posługujący się elektroniką jego brat Artur na swoje artystycznej ścieżce wybrali kierunek muzyki improwizowanej. Ich osobiste doświadczenia złożyły się na matrycę dla takiej muzyki, która rządzi się swoimi własnymi prawami i używa wszystkich możliwych środków, by osiągnąć swój cel. Nie ma dla nich stylistyk awangardy, których by nie eksplorowali – ich twórczość jest zainspirowana przez free jazz, nu jazz, noise czy hardcore w wielu różnych postaciach. Po kilku latach wspólnych poszukiwań do ich dźwiękowych wypraw dołączył wyjątkowy perkusista jazzowy Oliver Steidle – tak powstało trio o nazwie Defibrillator, niezwykle energetyczna formacja, której brzmienie silnie zakotwiczone jest w estetykach grindcore i noise. Kolejnym krokiem w ich karierze stało się zaproszenie do współpracy muzyka, który od lat stanowił dla nich ważną inspirację – Petera Brötzmanna, jednego z najważniejszych przedstawicieli światowego free jazzu i muzyki improwizowanej. Młodość i energia w zestawieniu z wieloletnim doświadczeniem na gruncie eksperymentalnych dźwięków – tego właśnie można spodziewać się po nowym projekcie braci Smolyn.\r\n\r\nwww.sebastiansmolyn.com\r\n\r\nsoundcloud.com/smolynmusic', 'DEFIBRILLATOR & PETER BRÖTZMANN', '', 'inherit', 'closed', 'closed', '', '44-revision-5', '', '', '2012-07-12 22:00:25', '2012-07-12 20:00:25', '', 44, 'http://avantart.pl/44-revision-5/', 0, 'revision', '', 0), (221, 2, '2012-07-12 22:07:56', '2012-07-12 20:07:56', ' \r\n\r\nGrający na elektronicznej trąbce Sebastian Smolyn i posługujący się elektroniką jego brat Artur na swoje artystycznej ścieżce wybrali kierunek muzyki improwizowanej. Ich osobiste doświadczenia złożyły się na matrycę dla takiej muzyki, która rządzi się swoimi własnymi prawami i używa wszystkich możliwych środków, by osiągnąć swój cel. Nie ma dla nich stylistyk awangardy, których by nie eksplorowali – ich twórczość jest zainspirowana przez free jazz, nu jazz, noise czy hardcore w wielu różnych postaciach. Po kilku latach wspólnych poszukiwań do ich dźwiękowych wypraw dołączył wyjątkowy perkusista jazzowy Oliver Steidle – tak powstało trio o nazwie Defibrillator, niezwykle energetyczna formacja, której brzmienie silnie zakotwiczone jest w estetykach grindcore i noise. Kolejnym krokiem w ich karierze stało się zaproszenie do współpracy muzyka, który od lat stanowił dla nich ważną inspirację – Petera Brötzmanna, jednego z najważniejszych przedstawicieli światowego free jazzu i muzyki improwizowanej. Młodość i energia w zestawieniu z wieloletnim doświadczeniem na gruncie eksperymentalnych dźwięków – tego właśnie można spodziewać się po nowym projekcie braci Smolyn.\r\n\r\nwww.sebastiansmolyn.com\r\n\r\nwww.myspace.com/artursmolyn\r\n\r\nwww.myspace.com/oliversteidle\r\n\r\nwww.peterbroetzmann.com\r\n\r\n ', 'DEFIBRILLATOR & PETER BRÖTZMANN', '', 'inherit', 'closed', 'closed', '', '44-revision-6', '', '', '2012-07-12 22:07:56', '2012-07-12 20:07:56', '', 44, 'http://avantart.pl/44-revision-6/', 0, 'revision', '', 0), (222, 2, '2012-07-12 21:58:34', '2012-07-12 19:58:34', '\r\n\r\nDAF – czyli Deutsch-Amerikanische Freundschaft – to żywa legenda. Niewiele jest równie wpływowych formacji w dziejach muzyki niż właśnie ta, powołana do życia w 1978 roku przez Gabiego Delgado Lopeza i Roberta Görla – dwóch zapaleńców zdecydowanych, by stworzyć coś zupełnie nowego, co nieuchronnie wstrząśnie posadami przyszłej muzyki. Bez DAF nie byłoby Nowej Niemieckiej Fali w formie, jaką dzisiaj znamy, słynny promotor John Peel nazwał ich dziadkami muzyki techno, są właściwymi pionierami electropunka i podstawową inspiracją dla całej rzeszy twórców synthpopowych. Bez ich wkładu nie powstałby zupełnie nowy gatunek, łączący w sobie cechy muzyki industrialnej i punka czyli EBM. DAF to zespół, który wybiegł daleko w przyszłość, będąc bezpośrednim ogniwem łączącym awangardowy punk i muzykę elektroniczną. Stylu DAF zwyczajnie nie da się podrobić – pulsująca syntezatorowa muzyka, operująca podobnym ładunkiem energii jak najlepsze zespoły punkrockowe, niepokojąca rytmiczność i specyficzne gęste brzmienie w połączeniu z oryginalnymi tekstami stały się znakiem rozpoznawczym grupy i niedoścignionym wzorem dla wielu innych muzyków. Bez dwóch zdań – DAF to jeden z najważniejszych zespołów powstałych na fali punkowej rebelii, który nawet w nowym stuleciu potrafi nas zaskoczyć swoim świeżym i mocnym brzmieniem.\r\n\r\nwww.damned-shop.de', 'DAF', '', 'inherit', 'closed', 'closed', '', '40-revision-7', '', '', '2012-07-12 21:58:34', '2012-07-12 19:58:34', '', 40, 'http://avantart.pl/40-revision-7/', 0, 'revision', '', 0), (223, 2, '2012-07-12 22:14:02', '2012-07-12 20:14:02', '', 'DYSE', '', 'inherit', 'closed', 'closed', '', 'dyse-2', '', '', '2012-07-12 22:14:02', '2012-07-12 20:14:02', '', 65, 'http://avantart.pl/wp-content/uploads/2012/07/DYSE.jpg', 0, 'attachment', 'image/jpeg', 0), (224, 2, '2012-07-10 20:17:34', '2012-07-10 18:17:34', 'Założona wiosną 2003 roku formacja Dÿse została nazwana na cześć motelu Dysecatmotel w Amsterdanie, w którym po raz pierwszy spotkali się jej muzycy. To, co początkowo miało być tylko pobocznym, powołanym do życia dla zabawy projektem dla grających już w innych składach gitarzysty i wokalisty Andre Dietricha i perkusisty Jari Rebeleina, wkrótce stało się pełnoprawnym zespołem, w którym jego założyciele mogli próbować wszystkiego co nowe, komponując utwory bez zwracania uwagi na jakiekolwiek ograniczenia czy oczekiwania od innych. Ich muzyka, z braku lepszego określenia, wrzucana jest do dość pojemnego worka opatrzonego etykietką noise rocka – jest to raczej prostolinijny rock''n''roll naładowany młodzieńczym gniewem, entuzjazmem i energią, dopełniony sporą dozą awangardowości i takich dźwięków, które najlepiej opisuje słowo bizarre. Ich twórczość jest głęboko zakorzeniona w latach 90-tych XX wieku, a jej ojcami chrzestnymi można nazwać takie zespoły jak Sonic Youth, Fugazi czy Refused. Tu brzęczące gitarowe riffy wspierane przez prostą rytmikę perkusji i wokal, który w jednej chwili potrafi przejść od szeptu do dzikiego krzyku, to nowa wersja metalu, który jednak potrafi wyjść poza swoje ramy gatunkowe i odważnie wkroczyć na terytoria jazzu i funku.', 'DŸSE', '', 'inherit', 'closed', 'closed', '', '65-revision-4', '', '', '2012-07-10 20:17:34', '2012-07-10 18:17:34', '', 65, 'http://avantart.pl/65-revision-4/', 0, 'revision', '', 0), (225, 2, '2012-07-12 22:15:22', '2012-07-12 20:15:22', '', 'FM-EINHEIT', '', 'inherit', 'closed', 'closed', '', 'fm-einheit-2', '', '', '2012-07-12 22:15:22', '2012-07-12 20:15:22', '', 67, 'http://avantart.pl/wp-content/uploads/2012/07/FM-EINHEIT.jpg', 0, 'attachment', 'image/jpeg', 0), (226, 2, '2012-09-25 23:40:38', '2012-09-25 21:40:38', ' Frank Martin Strauss, lepiej znany pod swoim artystycznym pseudonimem FM Einheit, to postać której znaczenia dla niemieckiej muzyki eksperymentalnej nie da się przecenić. Swoje pierwsze kroki muzyczne stawiał w legendarnej eksperymentalno-punkowej formacji Abwärts i w post-punkowym objawieniu kontynentalnej Europy Palais Schaumburg, by zaraz potem przyjąć posadę „głównego operatora maszynerii” – perkusisty jednego z najważniejszych i najbardziej wpływowych zespołów w dziejach muzyki, awangardzistów industrialu Einstürzende Neubauten. Te trzy zespoły były dopiero początkiem jego bogatej kariery muzycznej – w dalszych latach współpracował między innymi z takimi zespołami i artystami jak KMFDM, Goethes Erben, Mona Mur, Alfred 23 Harth czy Caspar Brötzmann Massaker i współtworzył projekty Stein i Gry. Stał się sławny dzięki swoistym, przygotowanym przez niego samego perkusyjnym instalacjom, złożonym z kawałków blachy, złomu i części rozmaitych urządzeń, na których grał podczas nagrań i występów na żywo. Cały czas udziela się solowo, komponując ścieżki dźwiękowe do filmów i spektakli teatralnych. Twórczość tego wizjonera perkusjonaliów to niezwykle unikalny dźwiękowy świat, w którym uderzenia metalu o metal, wiertarki i młoty współgrają z wysokiej jakości elektroniką. FM Einheit jest jedynym w swoim rodzaju, unikalnym artystą. www.fmeinheit.org\nFrank Martin Strauss, better known under the artistic pseudonym FM Einheit, is a figure whose significance for the German experimental scene cannot be overrated. He made his first musical steps in the legendary experimental-punk group Abwärts and in the post-punk revelation of continental Europe, Palais Schamburg, in order to accept the post of “the main machinery operator” – the drummer of one of the most important and most influential bands in the history of music, the industrial avant-gardist Einstürzende Neubauten. These three bands where just the beginning of his rich music career – in the following years he co-operated with, among others, such bands and artists like KMFDM, Goethes Erben, Mona Mur, Alfred 23 Harth or Caspar Brötzmann Massaker and co-created Stein and Gry. He became famous for his particular, self-prepared percussion installations, consisting of a piece of a metal plate, scrap metal and pieces of various equipment, on which he played during the recording sessions and live performances. He still creates solo, composes soundtracks to films and theatre spectacles. The output of this percussion visionary is an unusual sound world, in which the hits of metal on metal, screwdrivers and hammers harmonise with high-end electronics. FM Einheit is one of a kind, unique artist.
\n\n', 'FM EINHEIT', '', 'inherit', 'closed', 'closed', '', '67-autosave', '', '', '2012-09-25 23:40:38', '2012-09-25 21:40:38', '', 67, 'http://avantart.pl/67-autosave/', 0, 'revision', '', 0), (227, 2, '2012-07-10 20:17:53', '2012-07-10 18:17:53', 'Frank Martin Strauss, lepiej znany pod swoim artystycznym pseudonimem FM Einheit, to postać której znaczenia dla niemieckiej muzyki eksperymentalnej nie da się przecenić. Swoje pierwsze kroki muzyczne stawiał w legendarnej eksperymentalno-punkowej formacji Abwärts i w post-punkowym objawieniu kontynentalnej Europy Palais Schaumburg, by zaraz potem przyjąć posadę „głównego operatora maszynerii” – perkusisty jednego z najważniejszych i najbardziej wpływowych zespołów w dziejach muzyki, awangardzistów industrialu Einstürzende Neubauten. Te trzy zespoły były dopiero początkiem jego bogatej kariery muzycznej – w dalszych latach współpracował między innymi z takimi zespołami i artystami jak KMFDM, Goethes Erben, Mona Mur, Alfred 23 Harth czy Caspar Brötzmann Massaker i współtworzył projekty Stein i Gry. Stał się sławny dzięki swoistym, przygotowanym przez niego samego perkusyjnym instalacjom, złożonym z kawałków blachy, złomu i części rozmaitych urządzeń, na których grał podczas nagrań i występów na żywo. Cały czas udziela się solowo, komponując ścieżki dźwiękowe do filmów i spektakli teatralnych. Twórczość tego wizjonera perkusjonaliów to niezwykle unikalny dźwiękowy świat, w którym uderzenia metalu o metal, wiertarki i młoty współgrają z wysokiej jakości elektroniką. FM Einheit jest jedynym w swoim rodzaju, unikalnym artystą.', 'FM EINHEIT', '', 'inherit', 'closed', 'closed', '', '67-revision-4', '', '', '2012-07-10 20:17:53', '2012-07-10 18:17:53', '', 67, 'http://avantart.pl/67-revision-4/', 0, 'revision', '', 0), (228, 2, '2012-07-12 22:21:55', '2012-07-12 20:21:55', '', 'bretschneider', '', 'inherit', 'closed', 'closed', '', 'bretschneider', '', '', '2012-07-12 22:21:55', '2012-07-12 20:21:55', '', 46, 'http://avantart.pl/wp-content/uploads/2012/07/bretschneider.jpg', 0, 'attachment', 'image/jpeg', 0), (229, 2, '2012-07-10 20:20:41', '2012-07-10 18:20:41', 'Frank Bretschneider – obok Olafa Bendera i Carstena Nicolaia jeden z trzech ojców-założycieli wytwórni Raster-Noton – w przeciwieństwie do wielu zanurzonych w samouwielbieniu artystów nie sili się na dorabianie specjalnej filozofii do swojej twórczości. Nie ma dla niej osobnej definicji, a tworzone przez siebie dźwięki określa jako muzykę praktycznie w całości wykreowaną przy pomocy komputera, która w równej mierze jest zainspirowana muzycznym akademizmem i popkulturą, a także nauką i sztuką. Ta artystyczna skromność przekłada się na niezwykle wysoką jakość jego twórczości we wszystkich sferach, w których się udziela – zarówno jako muzyka, jak i kompozytora i artysty wizualnego. Jego utwory wyróżniają się bardzo precyzyjnym cyzelowaniem dźwięków, kompleksowymi, splatającymi się strukturami rytmicznymi i specyficznym, minimalistycznym podejściem do całego procesu tworzenia. Jego muzyka jest w różnoraki sposób opisywana – jako abstrakcyjny analogowy puentylizm, jako kompozycje przyszłości, które powinny wypełniać futurystyczne poczekalnie i hale portów kosmicznych czy też jako nowatorskie, pełne organiczności techno – i w każdym z tych określeń jest sporo prawdy. Jego twórczość można usytuować w królestwie awangardy, nie pozbawionej jednak pewnej formy popowej wrażliwości – i dlatego jego muzyka nadaje się zarówno do tańczenia w klubach, jak i do słuchania w słuchawkach w domowych warunkach na wysokiej klasy audiofilskim sprzęcie.', 'FRANK BRETSCHNEIDER', '', 'inherit', 'closed', 'closed', '', '46-revision-4', '', '', '2012-07-10 20:20:41', '2012-07-10 18:20:41', '', 46, 'http://avantart.pl/46-revision-4/', 0, 'revision', '', 0), (230, 2, '2012-07-12 22:22:40', '2012-07-12 20:22:40', '\r\n\r\nFrank Bretschneider – obok Olafa Bendera i Carstena Nicolaia jeden z trzech ojców-założycieli wytwórni Raster-Noton – w przeciwieństwie do wielu zanurzonych w samouwielbieniu artystów nie sili się na dorabianie specjalnej filozofii do swojej twórczości. Nie ma dla niej osobnej definicji, a tworzone przez siebie dźwięki określa jako muzykę praktycznie w całości wykreowaną przy pomocy komputera, która w równej mierze jest zainspirowana muzycznym akademizmem i popkulturą, a także nauką i sztuką. Ta artystyczna skromność przekłada się na niezwykle wysoką jakość jego twórczości we wszystkich sferach, w których się udziela – zarówno jako muzyka, jak i kompozytora i artysty wizualnego. Jego utwory wyróżniają się bardzo precyzyjnym cyzelowaniem dźwięków, kompleksowymi, splatającymi się strukturami rytmicznymi i specyficznym, minimalistycznym podejściem do całego procesu tworzenia. Jego muzyka jest w różnoraki sposób opisywana – jako abstrakcyjny analogowy puentylizm, jako kompozycje przyszłości, które powinny wypełniać futurystyczne poczekalnie i hale portów kosmicznych czy też jako nowatorskie, pełne organiczności techno – i w każdym z tych określeń jest sporo prawdy. Jego twórczość można usytuować w królestwie awangardy, nie pozbawionej jednak pewnej formy popowej wrażliwości – i dlatego jego muzyka nadaje się zarówno do tańczenia w klubach, jak i do słuchania w słuchawkach w domowych warunkach na wysokiej klasy audiofilskim sprzęcie.\r\n\r\nwww.frankbretschneider.com', 'FRANK BRETSCHNEIDER', '', 'inherit', 'closed', 'closed', '', '46-revision-5', '', '', '2012-07-12 22:22:40', '2012-07-12 20:22:40', '', 46, 'http://avantart.pl/46-revision-5/', 0, 'revision', '', 0), (231, 2, '2012-07-12 22:23:11', '2012-07-12 20:23:11', '', 'Kangding-Ray', '', 'inherit', 'closed', 'closed', '', 'kangding-ray-2', '', '', '2012-07-12 22:23:11', '2012-07-12 20:23:11', '', 48, 'http://avantart.pl/wp-content/uploads/2012/07/Kangding-Ray.jpg', 0, 'attachment', 'image/jpeg', 0), (232, 2, '2012-09-25 23:16:33', '2012-09-25 21:16:33', ' Wydawanie płyt w prestiżowej wytwórni Raster-Noton jest synonimem wysokiej jakości muzycznej – i to właśnie można powiedzieć o dźwiękach tworzonych przez Davida Letelliera, osiadłego w Berlinie francuskiego muzyka, znanego jednak całemu środowisku fanów niebanalnej elektroniki pod pseudonimem Kangding Ray. Artysta w umiejętny sposób potrafi połączyć brzmienie elektronicznych urządzeń z żywymi instrumentami i tak tworzyć subtelne i rytmiczne suity, w których współgrają ze sobą glitche, ściany przesterowanych dźwięków, masywne ścieżki basowe, ludzkie głosy i nagrania terenowe. Wynikiem jest mieszanka głębokich, tanecznych bitów i mrocznej atmosfery – a całość możemy opisać jako „abstrakcyjną muzykę basową”. To dźwięki pełne chłodnych prądów, melodii zakamuflowanych w rytmie i eleganckich bitów wycyzelowanych ze spartańskim rygorem. To rzadko spotykana eksplozja unikalnej wrażliwości nałożonej na totalnie zdyscyplinowaną, pełną ukrytych detali odmianę muzyki stworzonej przy pomocy komputera. Kangding Ray proponuje nam imprezę taneczną, na jakiej jeszcze nie dane nam było być. Jego muzykę możemy określić jako muzykę pogranicza – zręcznie balansuje ona z jednej strony na krawędzi eksperymentu i awangardy, z drugiej jest przystępna dla wszystkich zwolenników kultury klubowej. www.kangdingray.comReleasing albums in the prestigious Raster-Noton label is synonymous for a high musical quality – exactly that can be said about the sounds created by David Letellier, a French musician residing in Berlin, known to the entire circle of fans of non-trivial electronics under the moniker of Kangding Ray. The artist can skilfully combine the sound of electronic equipment with living instruments and thus create subtle and rhythmic suites, in which glitches harmonise with walls of distorted sounds, massive bass tracks, human voices and field recordings. The result is a mix of deep, dance beats and a dark atmosphere – and the whole can be described as “abstract bass music”. These are sounds full of cold currents, melodies camouflaged in rhythm and elegant beats crafted under a Spartan discipline. It is a rarely encountered explosion of unique sensibility applied on an entirely disciplined music, filled with hidden details, created with the help of a computer. Kangding Ray proposes a dance party we have never been to before. We can describe his music as the music of the borderland – it skilfully balances on, one hand, the border of experiment and avant-garde, and on the other – it is accessible to all the supporters of the club culture.
\n\n', 'KANGDING RAY', '', 'inherit', 'closed', 'closed', '', '48-autosave', '', '', '2012-09-25 23:16:33', '2012-09-25 21:16:33', '', 48, 'http://avantart.pl/48-autosave/', 0, 'revision', '', 0), (233, 2, '2012-07-10 20:21:15', '2012-07-10 18:21:15', 'Wydawanie płyt w prestiżowej wytwórni Raster-Noton jest synonimem wysokiej jakości muzycznej – i to właśnie można powiedzieć o dźwiękach tworzonych przez Davida Letelliera, osiadłego w Berlinie francuskiego muzyka, znanego jednak całemu środowisku fanów niebanalnej elektroniki pod pseudonimem Kangding Ray. Artysta w umiejętny sposób potrafi połączyć brzmienie elektronicznych urządzeń z żywymi instrumentami i tak tworzyć subtelne i rytmiczne suity, w których współgrają ze sobą glitche, ściany przesterowanych dźwięków, masywne ścieżki basowe, ludzkie głosy i nagrania terenowe. Wynikiem jest mieszanka głębokich, tanecznych bitów i mrocznej atmosfery – a całość możemy opisać jako „abstrakcyjną muzykę basową”. To dźwięki pełne chłodnych prądów, melodii zakamuflowanych w rytmie i eleganckich bitów wycyzelowanych ze spartańskim rygorem. To rzadko spotykana eksplozja unikalnej wrażliwości nałożonej na totalnie zdyscyplinowaną, pełną ukrytych detali odmianę muzyki stworzonej przy pomocy komputera. Kangding Ray proponuje nam imprezę taneczną, na jakiej jeszcze nie dane nam było być. Jego muzykę możemy określić jako muzykę pogranicza – zręcznie balansuje ona z jednej strony na krawędzi eksperymentu i awangardy, z drugiej jest przystępna dla wszystkich zwolenników kultury klubowej.', 'KANGDING RAY', '', 'inherit', 'closed', 'closed', '', '48-revision-5', '', '', '2012-07-10 20:21:15', '2012-07-10 18:21:15', '', 48, 'http://avantart.pl/48-revision-5/', 0, 'revision', '', 0), (234, 2, '2012-07-12 22:24:11', '2012-07-12 20:24:11', '\r\n\r\nWydawanie płyt w prestiżowej wytwórni Raster-Noton jest synonimem wysokiej jakości muzycznej – i to właśnie można powiedzieć o dźwiękach tworzonych przez Davida Letelliera, osiadłego w Berlinie francuskiego muzyka, znanego jednak całemu środowisku fanów niebanalnej elektroniki pod pseudonimem Kangding Ray. Artysta w umiejętny sposób potrafi połączyć brzmienie elektronicznych urządzeń z żywymi instrumentami i tak tworzyć subtelne i rytmiczne suity, w których współgrają ze sobą glitche, ściany przesterowanych dźwięków, masywne ścieżki basowe, ludzkie głosy i nagrania terenowe. Wynikiem jest mieszanka głębokich, tanecznych bitów i mrocznej atmosfery – a całość możemy opisać jako „abstrakcyjną muzykę basową”. To dźwięki pełne chłodnych prądów, melodii zakamuflowanych w rytmie i eleganckich bitów wycyzelowanych ze spartańskim rygorem. To rzadko spotykana eksplozja unikalnej wrażliwości nałożonej na totalnie zdyscyplinowaną, pełną ukrytych detali odmianę muzyki stworzonej przy pomocy komputera. Kangding Ray proponuje nam imprezę taneczną, na jakiej jeszcze nie dane nam było być. Jego muzykę możemy określić jako muzykę pogranicza – zręcznie balansuje ona z jednej strony na krawędzi eksperymentu i awangardy, z drugiej jest przystępna dla wszystkich zwolenników kultury klubowej.\r\n\r\nwww.kangdingray.com', 'KANGDING RAY', '', 'inherit', 'closed', 'closed', '', '48-revision-6', '', '', '2012-07-12 22:24:11', '2012-07-12 20:24:11', '', 48, 'http://avantart.pl/48-revision-6/', 0, 'revision', '', 0), (235, 2, '2012-07-12 22:24:44', '2012-07-12 20:24:44', '', 'KD_pressphoto3', '', 'inherit', 'closed', 'closed', '', 'kd_pressphoto3', '', '', '2012-07-12 22:24:44', '2012-07-12 20:24:44', '', 52, 'http://avantart.pl/wp-content/uploads/2012/07/KD_pressphoto3.jpg', 0, 'attachment', 'image/jpeg', 0), (236, 2, '2012-07-10 20:18:13', '2012-07-10 18:18:13', 'Knuckleduster, transatlantycka kolaboracja niemieckiego artysty dźwiękowego Roberta Lippoka i rezydującego w Kanadzie indyjskiego multimedialnego twórcy Debashisa Sinhy, rozpoczęła się od obustronnej fascynacji dźwiękiem i jego produkcją. Po dyskusjach prowadzonych podczas spotkań w Berlinie i Toronto oraz za pośrednictwem internetu, obaj muzycy stworzyli podstawy do kreowania wspólnych kompozycji. Lippok, jedna z najważniejszych postaci berlińskiej sceny elektronicznej i założyciel słynnej formacji To Rococo Rot, znany jest przede wszystkim jako osoba, która odnowiła stylistykę post-rocka poprzez włączenie do niego sztuki konceptualnej, instalacji i improwizacji. Sinha, znawca rytmicznych systemów z różnych kultur, w swojej twórczości łączy czysto etniczne dźwięki i tradycyjne techniki z elementami zachodniej improwizacji i elektroniki. Ze zderzenia doświadczeń dwóch tak różnych osobowości muzycznych powstała muzyka, w której nowoczesność spotyka się z archaicznością, tworząc multikulturowy konglomerat brzmieniowy, który potrafi porwać słuchacza w niezwykłą podróż w czasie i przestrzeni. Akustyczne instrumenty i wysoko zaawansowana technologia, ludzki głos i syntetyczne brzmienia, szamanizm i nauka – to wszystko można odnaleźć w kompozycjach i improwizacjach tego oryginalnego duetu.', 'KNUCKLEDUSTER', '', 'inherit', 'closed', 'closed', '', '52-revision-5', '', '', '2012-07-10 20:18:13', '2012-07-10 18:18:13', '', 52, 'http://avantart.pl/52-revision-5/', 0, 'revision', '', 0), (237, 2, '2012-07-12 22:34:18', '2012-07-12 20:34:18', '', 'MEX GERNGESEHEN AVANT ART PROJECT', '', 'inherit', 'closed', 'closed', '', 'mex-gerngesehen-avant-art-project-2', '', '', '2012-07-12 22:34:18', '2012-07-12 20:34:18', '', 69, 'http://avantart.pl/wp-content/uploads/2012/07/MEX-GERNGESEHEN-AVANT-ART-PROJECT.jpg', 0, 'attachment', 'image/jpeg', 0), (238, 2, '2012-07-12 10:13:20', '2012-07-12 08:13:20', 'Mex Gerngesehen Avant Art Project to premierowa realizacja muzyczno-performatywna, będąca koprodukcją wrocławskiego festiwalu Avant Art, dortmundzkiej organizacji Mex – intermediale und experimentelle Musikprojekte i Gerngesehen z Kolonii. To kooperacja kompozytorów, performerów i muzyków skupionych wokół kolońskiej sceny sound artu, muzyki eksperymentalnej i teatru z polskim środowiskiem muzyków tworzących w szeroko rozumianym idiomie muzyki współczesnej oraz improwizowanej. Rozszerzone techniki wokalne i performatywne używane przez kompozytorkę i performerkę Betine Wenzel, język ruchu oraz współczesny performance duetu Duo Cri Du Coe prowadzonego przez Fine Kwiatkowski i Willehada Gratenhorsta, obiekty dźwiękowe i sound art Hansa W. Kocha, synteza modularna, circuit-bending i synth-design w MAX/MSP Jokera Niesa, instrumenty dęte, saksofony oraz generatory fal Gerarda Lebika, preparowany fortepian i trąbka Piotra Damasiewicza, symfoniczne instrumenty perkusyjne z grupy idiofonów stosowane przez Wojtka Romanowskiego – to wszystko to elementy składowe, źródła dźwięku i techniki użyte w intermedialnych poszukiwaniach nad nieprzewidywalnością we wszystkich płaszczyznach kompozycji powstającej w ramach pierwszej współpracy artystów na tegorocznym Avant Art Festival.', 'MEX GERNGESEHEN AVANT ART PROJECT', '', 'inherit', 'closed', 'closed', '', '69-revision-5', '', '', '2012-07-12 10:13:20', '2012-07-12 08:13:20', '', 69, 'http://avantart.pl/69-revision-5/', 0, 'revision', '', 0), (239, 2, '2012-07-12 22:40:44', '2012-07-12 20:40:44', ' Moritz von Oswald Trio nie jest zwykłą formacją – w pełni zasługuje ona na miano supergrupy. Pod jej szyldem zebrali się najbardziej zasłużeni pionierzy berlińskiej muzyki elektronicznej wczesnych lat 90-tych XX wieku – Moritz von Oswald, Max Loderbauer i Vladislav Delay – by razem powołać do życia unikalny projekt stworzony specjalnie dla występów na żywo. Ta trójka luminarzy połączyła w jedno swoje osobiste, często odmienne podejścia do tworzenia muzyki, by teraz wspólnie ponownie odkryć możliwości kryjące się w muzycznej elektronice w jej dubowej odmianie. Ten zespół jest eksploracją możliwości tkwiących w kolektywnej koncertowej improwizacji, gdzie Moritz von Oswald zajął się opanowaniem instrumentów elektroakustycznych, Loderbauer korzysta z analogowych syntezatorów, a Vladislav Delay powraca do swoich początków i gra na perkusji. W sercu tej epickiej wyprawy tkwi marzenie o połączeniu w jedną współgrającą całość dorobku klasycznego berlińskiego techno z jazzem Milesa Davisa, krautrockowym szaleństwem geniuszy z Can i neoklasycyzmem Igora Strawińskiego. To przyswajalny lecz nie pozbawiony ambicji i oryginalności fusion jazz przefiltrowany przez historię dub techno. Trzech możnowładców niemieckiej elektroniki stworzyło nowe imperium, na którego tereny zdecydowanie warto się zapuścić.\r\n\r\nwww.vladislavdelay.com/site/?page_id=49\r\nMoritz von Oswald Trio is not your everyday group – it fully deserves the name of super group. The most deserved pioneers of the Berlin-based electronic music scene of the early 90s of the XX c., have gathered under its banner - Moritz von Oswald, Max Loderbauer i Vladislav Delay – this time in order to found a unique project created especially for live performances. The three luminaries have combined their personal, frequently diverse attitudes towards creating music, into one in order to now mutually rediscover the possibilities hidden in electronic music in its dub variety. This group is an exploration of possibilities lurking in a collective live improvisation, where Moritz von Oswald took over the rule of electro-acoustic instruments, Loderbauer uses analogue synthesizers and Vladislav Delay returns to his roots and plays the drums. In the heart of this epic journey lays the dream of combining the output of the classic Berlin techno with the jazz of Miles Davies, krautrock madness of the geniuses of Can and neo-classical Igor Strawiński, into one harmonising whole. This is accessible, but not lacking ambition and originality, fusion jazz filtrated through history of dub techno. Three magnates of the German electronics, have created a new empire, the territory of which is definitely worth venturing into.
\r\nwww.vladislavdelay.com/site/?page_id=49
\r\n', 'MORITZ VON OSWALD TRIO', '', 'publish', 'closed', 'closed', '', 'moritz-von-oswald-trio', '', '', '2012-10-02 10:56:35', '2012-10-02 08:56:35', '', 36, 'http://avantart.pl/?page_id=239', 0, 'page', '', 0), (240, 2, '2012-07-12 22:38:30', '2012-07-12 20:38:30', '', 'MORITZ-VON-OSWALD-TRIO', '', 'inherit', 'closed', 'closed', '', 'moritz-von-oswald-trio', '', '', '2012-07-12 22:38:30', '2012-07-12 20:38:30', '', 239, 'http://avantart.pl/wp-content/uploads/2012/07/MORITZ-VON-OSWALD-TRIO.jpg', 0, 'attachment', 'image/jpeg', 0), (241, 2, '2012-07-12 22:40:32', '2012-07-12 20:40:32', '\n\nMoritz von Oswald Trio nie jest zwykłą formacją – w pełni zasługuje ona na miano supergrupy. Pod jej szyldem zebrali się najbardziej zasłużeni pionierzy berlińskiej muzyki elektronicznej wczesnych lat 90-tych XX wieku – Moritz von Oswald, Max Loderbauer i Vladislav Delay – by razem powołać do życia unikalny projekt stworzony specjalnie dla występów na żywo. Ta trójka luminarzy połączyła w jedno swoje osobiste, często odmienne podejścia do tworzenia muzyki, by teraz wspólnie ponownie odkryć możliwości kryjące się w muzycznej elektronice w jej dubowej odmianie. Ten zespół jest eksploracją możliwości tkwiących w kolektywnej koncertowej improwizacji, gdzie Moritz von Oswald zajął się opanowaniem instrumentów elektroakustycznych, Loderbauer korzysta z analogowych syntezatorów, a Vladislav Delay powraca do swoich początków i gra na perkusji. W sercu tej epickiej wyprawy tkwi marzenie o połączeniu w jedną współgrającą całość dorobku klasycznego berlińskiego techno z jazzem Milesa Davisa, krautrockowym szaleństwem geniuszy z Can i neoklasycyzmem Igora Strawińskiego. To przyswajalny lecz nie pozbawiony ambicji i oryginalności fusion jazz przefiltrowany przez historię dub techno. Trzech możnowładców niemieckiej elektroniki stworzyło nowe imperium, na którego tereny zdecydowanie warto się zapuścić.\n\nwww.vladislavdelay.com/site/?page_id=49', 'MORITZ VON OSWALD TRIO', '', 'inherit', 'closed', 'closed', '', '239-revision', '', '', '2012-07-12 22:40:32', '2012-07-12 20:40:32', '', 239, 'http://avantart.pl/239-revision/', 0, 'revision', '', 0), (242, 2, '2012-07-12 22:40:44', '2012-07-12 20:40:44', '\r\n\r\nMoritz von Oswald Trio nie jest zwykłą formacją – w pełni zasługuje ona na miano supergrupy. Pod jej szyldem zebrali się najbardziej zasłużeni pionierzy berlińskiej muzyki elektronicznej wczesnych lat 90-tych XX wieku – Moritz von Oswald, Max Loderbauer i Vladislav Delay – by razem powołać do życia unikalny projekt stworzony specjalnie dla występów na żywo. Ta trójka luminarzy połączyła w jedno swoje osobiste, często odmienne podejścia do tworzenia muzyki, by teraz wspólnie ponownie odkryć możliwości kryjące się w muzycznej elektronice w jej dubowej odmianie. Ten zespół jest eksploracją możliwości tkwiących w kolektywnej koncertowej improwizacji, gdzie Moritz von Oswald zajął się opanowaniem instrumentów elektroakustycznych, Loderbauer korzysta z analogowych syntezatorów, a Vladislav Delay powraca do swoich początków i gra na perkusji. W sercu tej epickiej wyprawy tkwi marzenie o połączeniu w jedną współgrającą całość dorobku klasycznego berlińskiego techno z jazzem Milesa Davisa, krautrockowym szaleństwem geniuszy z Can i neoklasycyzmem Igora Strawińskiego. To przyswajalny lecz nie pozbawiony ambicji i oryginalności fusion jazz przefiltrowany przez historię dub techno. Trzech możnowładców niemieckiej elektroniki stworzyło nowe imperium, na którego tereny zdecydowanie warto się zapuścić.\r\n\r\nwww.vladislavdelay.com/site/?page_id=49', 'MORITZ VON OSWALD TRIO', '', 'inherit', 'closed', 'closed', '', '239-revision-2', '', '', '2012-07-12 22:40:44', '2012-07-12 20:40:44', '', 239, 'http://avantart.pl/239-revision-2/', 0, 'revision', '', 0), (243, 2, '2012-07-30 23:46:23', '2012-07-30 21:46:23', ' Moritz von Oswald Trio nie jest zwykłą formacją – w pełni zasługuje ona na miano supergrupy. Pod jej szyldem zebrali się najbardziej zasłużeni pionierzy berlińskiej muzyki elektronicznej wczesnych lat 90-tych XX wieku – Moritz von Oswald, Max Loderbauer i Vladislav Delay – by razem powołać do życia unikalny projekt stworzony specjalnie dla występów na żywo. Ta trójka luminarzy połączyła w jedno swoje osobiste, często odmienne podejścia do tworzenia muzyki, by teraz wspólnie ponownie odkryć możliwości kryjące się w muzycznej elektronice w jej dubowej odmianie. Ten zespół jest eksploracją możliwości tkwiących w kolektywnej koncertowej improwizacji, gdzie Moritz von Oswald zajął się opanowaniem instrumentów elektroakustycznych, Loderbauer korzysta z analogowych syntezatorów, a Vladislav Delay powraca do swoich początków i gra na perkusji. W sercu tej epickiej wyprawy tkwi marzenie o połączeniu w jedną współgrającą całość dorobku klasycznego berlińskiego techno z jazzem Milesa Davisa, krautrockowym szaleństwem geniuszy z Can i neoklasycyzmem Igora Strawińskiego. To przyswajalny lecz nie pozbawiony ambicji i oryginalności fusion jazz przefiltrowany przez historię dub techno. Trzech możnowładców niemieckiej elektroniki stworzyło nowe imperium, na którego tereny zdecydowanie warto się zapuścić. www.vladislavdelay.com/site/?page_id=49\nMoritz von Oswald Trio is not your everyday group – it fully deserves the name of super group. The most deserved pioneers of the Berlin-based electronic music scene of the early 90s of the XX c., have gathered under its banner - Moritz von Oswald, Max Loderbauer i Vladislav Delay – this time in order to found a unique project created especially for live performances. The three luminaries have combined their personal, frequently diverse attitudes towards creating music, into one in order to now mutually rediscover the possibilities hidden in electronic music in its dub variety. This group is an exploration of possibilities lurking in a collective live improvisation, where Moritz von Oswald took over the rule of electro-acoustic instruments, Loderbauer uses analogue synthesizers and Vladislav Delay returns to his roots and plays the drums. In the heart of this epic journey lays the dream of combining the output of the classic Berlin techno with the jazz of Miles Davies, krautrock madness of the geniuses of Can and neo-classical Igor Strawiński, into one harmonising whole. This is accessible, but not lacking ambition and originality, fusion jazz filtrated through history of dub techno. Three magnates of the German electronics, have created a new empire, the territory of which is definitely worth venturing into.
\nwww.vladislavdelay.com/site/?page_id=49
\n', 'MORITZ VON OSWALD TRIO', '', 'inherit', 'closed', 'closed', '', '239-autosave', '', '', '2012-07-30 23:46:23', '2012-07-30 21:46:23', '', 239, 'http://avantart.pl/239-autosave/', 0, 'revision', '', 0), (244, 2, '2012-07-12 22:40:44', '2012-07-12 20:40:44', '\r\n\r\nMoritz von Oswald Trio nie jest zwykłą formacją – w pełni zasługuje ona na miano supergrupy. Pod jej szyldem zebrali się najbardziej zasłużeni pionierzy berlińskiej muzyki elektronicznej wczesnych lat 90-tych XX wieku – Moritz von Oswald, Max Loderbauer i Vladislav Delay – by razem powołać do życia unikalny projekt stworzony specjalnie dla występów na żywo. Ta trójka luminarzy połączyła w jedno swoje osobiste, często odmienne podejścia do tworzenia muzyki, by teraz wspólnie ponownie odkryć możliwości kryjące się w muzycznej elektronice w jej dubowej odmianie. Ten zespół jest eksploracją możliwości tkwiących w kolektywnej koncertowej improwizacji, gdzie Moritz von Oswald zajął się opanowaniem instrumentów elektroakustycznych, Loderbauer korzysta z analogowych syntezatorów, a Vladislav Delay powraca do swoich początków i gra na perkusji. W sercu tej epickiej wyprawy tkwi marzenie o połączeniu w jedną współgrającą całość dorobku klasycznego berlińskiego techno z jazzem Milesa Davisa, krautrockowym szaleństwem geniuszy z Can i neoklasycyzmem Igora Strawińskiego. To przyswajalny lecz nie pozbawiony ambicji i oryginalności fusion jazz przefiltrowany przez historię dub techno. Trzech możnowładców niemieckiej elektroniki stworzyło nowe imperium, na którego tereny zdecydowanie warto się zapuścić.\r\n\r\nwww.vladislavdelay.com/site/?page_id=49', 'MORITZ VON OSWALD TRIO', '', 'inherit', 'closed', 'closed', '', '239-revision-3', '', '', '2012-07-12 22:40:44', '2012-07-12 20:40:44', '', 239, 'http://avantart.pl/239-revision-3/', 0, 'revision', '', 0), (245, 2, '2012-07-12 22:47:22', '2012-07-12 20:47:22', '\r\n Są zespoły, których twórczość z definicji jest niedefiniowalna – taką grupą z pewnością jest stacjonujący w Berlinie duet o nazwie Tannhäuser Sterben & das Tod. Po prostu nie da się jednoznacznie sklasyfikować wręcz monstrualnego eklektyzmu tej formacji, prowadzonej przez Thomasa Mahmouda, znanego z takich projektów jak Eine Oliver Twist Kooperation, A**ro Cologne, Ives#1 czy Von Spar oraz udzielającego się w Mediengruppe Telekommander Geralda Mandla. Ich wspólne eksperymenty dźwiękowe tworzone są za pomocą zapętlonych głosów, basu, syntezatorów, field recording, samplerów, manipulacji w czasie rzeczywistym całą gamą przeróżnych cyfrowych i analogowych efektów i brzmień wykreowanych przez programy komputerowe. Ich muzyczny język zainspirowany jest przede wszystkim stylistykami ambientu, post-rocka, dubu, krautrocka, elektroakustyki i minimalizmu. Nie ma dla nich żadnych granic, których nie można przekroczyć i żadnych barier, których nie da się złamać. To pełen pomysłowości soniczny kolaż, w ramach którego artyści potrafią dowolną muzyczną tkankę i jakikolwiek dźwiękowy pomysł pociąć, posklejać, wywrócić na nice i zbudować na nowo w zupełnie nowym kształcie. Tannhäuser Sterben & das Tod to eksplozja niczym nieskrępowanej twórczej wyobraźni, w której wszystko jest możliwe i gdzie słuchacza czeka wiele niespodzianek.\r\n\r\ntannhäuser sterben & das tod - urschleim from mrks.16 on Vimeo.
\r\n\r\n www.myspace.com/unddastod\r\n
There are groups which output is, out of definition, undefinable – the residing in Berlin duo carrying the name Tannhäuser Sterben & das Tod is certainly such a group. It is just impossible to simply classify the act’s basically monstrous eclecticism, led by Thomas Mahmoud, known from such projects as Eine Oliver Twist Kooperation, A**ro Cologne, Ives#1 or Von Spa and contributing to Gerald Mandl’s Mediengruppe Telekommander. Their collaborative sound experiments created with the help of looped voices, bass, synthesizers, field recordings, samplers, real-time manipulations of a wide range of various digital and analogue effects and sounds created by computer programmes. Their musical language is, foremost, inspired by the stylistics of ambient, post-rock, dub, krautrock, electro-acoustics and minimalism. There are no borders for them, no borders which cannot be crossed and no barriers, which cannot be broken. This is a sonic collage filled with innovation, and the musicians are able to cut, paste, turn inside out any musical tissue and idea, and build it anew into an entirely new shape as a part of the collage. Tannhäuser Sterben & das Tod is an explosion of unrestricted creative imagination, in which everything is possible and where the listener is awaited by a lot of surprises.
\r\n\r\n', 'TANNHÄUSER STERBEN UND DAS TOD', '', 'publish', 'closed', 'closed', '', 'tannhauser-sterben-und-das-tod', '', '', '2012-10-02 14:56:18', '2012-10-02 12:56:18', '', 36, 'http://avantart.pl/?page_id=245', 0, 'page', '', 0), (246, 2, '2012-07-12 22:46:54', '2012-07-12 20:46:54', '', 'TANNHÄUSER-STERBEN-&-DAS-TO', '', 'inherit', 'closed', 'closed', '', 'tannhauser-sterben-das-to', '', '', '2012-07-12 22:46:54', '2012-07-12 20:46:54', '', 245, 'http://avantart.pl/wp-content/uploads/2012/07/TANNHÄUSER-STERBEN-DAS-TO.jpg', 0, 'attachment', 'image/jpeg', 0); INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (247, 2, '2012-07-12 22:46:43', '2012-07-12 20:46:43', '\n\n\n \n\nSą zespoły, których twórczość z definicji jest niedefiniowalna – taką grupą z pewnością jest stacjonujący w Berlinie duet o nazwie Tannhäuser Sterben & das Tod. Po prostu nie da się jednoznacznie sklasyfikować wręcz monstrualnego eklektyzmu tej formacji, prowadzonej przez Thomasa Mahmouda, znanego z takich projektów jak Eine Oliver Twist Kooperation, A**ro Cologne, Ives#1 czy Von Spar oraz udzielającego się w Mediengruppe Telekommander Geralda Mandla. Ich wspólne eksperymenty dźwiękowe tworzone są za pomocą zapętlonych głosów, basu, syntezatorów, field recording, samplerów, manipulacji w czasie rzeczywistym całą gamą przeróżnych cyfrowych i analogowych efektów i brzmień wykreowanych przez programy komputerowe. Ich muzyczny język zainspirowany jest przede wszystkim stylistykami ambientu, post-rocka, dubu, krautrocka, elektroakustyki i minimalizmu. Nie ma dla nich żadnych granic, których nie można przekroczyć i żadnych barier, których nie da się złamać. To pełen pomysłowości soniczny kolaż, w ramach którego artyści potrafią dowolną muzyczną tkankę i jakikolwiek dźwiękowy pomysł pociąć, posklejać, wywrócić na nice i zbudować na nowo w zupełnie nowym kształcie. Tannhäuser Sterben & das Tod to eksplozja niczym nieskrępowanej twórczej wyobraźni, w której wszystko jest możliwe i gdzie słuchacza czeka wiele niespodzianek.\n\nhttp://www.myspace.com/unddastod', 'TANNHÄUSER STERBEN UND DAS TOD', '', 'inherit', 'closed', 'closed', '', '245-revision', '', '', '2012-07-12 22:46:43', '2012-07-12 20:46:43', '', 245, 'http://avantart.pl/245-revision/', 0, 'revision', '', 0), (248, 2, '2012-07-12 22:47:22', '2012-07-12 20:47:22', '\r\n\r\nSą zespoły, których twórczość z definicji jest niedefiniowalna – taką grupą z pewnością jest stacjonujący w Berlinie duet o nazwie Tannhäuser Sterben & das Tod. Po prostu nie da się jednoznacznie sklasyfikować wręcz monstrualnego eklektyzmu tej formacji, prowadzonej przez Thomasa Mahmouda, znanego z takich projektów jak Eine Oliver Twist Kooperation, A**ro Cologne, Ives#1 czy Von Spar oraz udzielającego się w Mediengruppe Telekommander Geralda Mandla. Ich wspólne eksperymenty dźwiękowe tworzone są za pomocą zapętlonych głosów, basu, syntezatorów, field recording, samplerów, manipulacji w czasie rzeczywistym całą gamą przeróżnych cyfrowych i analogowych efektów i brzmień wykreowanych przez programy komputerowe. Ich muzyczny język zainspirowany jest przede wszystkim stylistykami ambientu, post-rocka, dubu, krautrocka, elektroakustyki i minimalizmu. Nie ma dla nich żadnych granic, których nie można przekroczyć i żadnych barier, których nie da się złamać. To pełen pomysłowości soniczny kolaż, w ramach którego artyści potrafią dowolną muzyczną tkankę i jakikolwiek dźwiękowy pomysł pociąć, posklejać, wywrócić na nice i zbudować na nowo w zupełnie nowym kształcie. Tannhäuser Sterben & das Tod to eksplozja niczym nieskrępowanej twórczej wyobraźni, w której wszystko jest możliwe i gdzie słuchacza czeka wiele niespodzianek.\r\n\r\nwww.myspace.com/unddastod', 'TANNHÄUSER STERBEN UND DAS TOD', '', 'inherit', 'closed', 'closed', '', '245-revision-2', '', '', '2012-07-12 22:47:22', '2012-07-12 20:47:22', '', 245, 'http://avantart.pl/245-revision-2/', 0, 'revision', '', 0), (249, 2, '2012-09-25 23:19:51', '2012-09-25 21:19:51', '\n Są zespoły, których twórczość z definicji jest niedefiniowalna – taką grupą z pewnością jest stacjonujący w Berlinie duet o nazwie Tannhäuser Sterben & das Tod. Po prostu nie da się jednoznacznie sklasyfikować wręcz monstrualnego eklektyzmu tej formacji, prowadzonej przez Thomasa Mahmouda, znanego z takich projektów jak Eine Oliver Twist Kooperation, A**ro Cologne, Ives#1 czy Von Spar oraz udzielającego się w Mediengruppe Telekommander Geralda Mandla. Ich wspólne eksperymenty dźwiękowe tworzone są za pomocą zapętlonych głosów, basu, syntezatorów, field recording, samplerów, manipulacji w czasie rzeczywistym całą gamą przeróżnych cyfrowych i analogowych efektów i brzmień wykreowanych przez programy komputerowe. Ich muzyczny język zainspirowany jest przede wszystkim stylistykami ambientu, post-rocka, dubu, krautrocka, elektroakustyki i minimalizmu. Nie ma dla nich żadnych granic, których nie można przekroczyć i żadnych barier, których nie da się złamać. To pełen pomysłowości soniczny kolaż, w ramach którego artyści potrafią dowolną muzyczną tkankę i jakikolwiek dźwiękowy pomysł pociąć, posklejać, wywrócić na nice i zbudować na nowo w zupełnie nowym kształcie. Tannhäuser Sterben & das Tod to eksplozja niczym nieskrępowanej twórczej wyobraźni, w której wszystko jest możliwe i gdzie słuchacza czeka wiele niespodzianek. www.myspace.com/unddastod\n
There are groups which output is, out of definition, undefinable – the residing in Berlin duo carrying the name Tannhäuser Sterben & das Tod is certainly such a group. It is just impossible to simply classify the act’s basically monstrous eclecticism, led by Thomas Mahmoud, known from such projects as Eine Oliver Twist Kooperation, A**ro Cologne, Ives#1 or Von Spa and contributing to Gerald Mandl’s Mediengruppe Telekommander. Their collaborative sound experiments created with the help of looped voices, bass, synthesizers, field recordings, samplers, real-time manipulations of a wide range of various digital and analogue effects and sounds created by computer programmes. Their musical language is, foremost, inspired by the stylistics of ambient, post-rock, dub, krautrock, electro-acoustics and minimalism. There are no borders for them, no borders which cannot be crossed and no barriers, which cannot be broken. This is a sonic collage filled with innovation, and the musicians are able to cut, paste, turn inside out any musical tissue and idea, and build it anew into an entirely new shape as a part of the collage. Tannhäuser Sterben & das Tod is an explosion of unrestricted creative imagination, in which everything is possible and where the listener is awaited by a lot of surprises.
\n\n', 'TANNHÄUSER STERBEN UND DAS TOD', '', 'inherit', 'closed', 'closed', '', '245-autosave', '', '', '2012-09-25 23:19:51', '2012-09-25 21:19:51', '', 245, 'http://avantart.pl/245-autosave/', 0, 'revision', '', 0), (250, 2, '2012-07-12 23:21:15', '2012-07-12 21:21:15', ' Jeżeli kogoś w muzyce interesuje szara, wciąż słabo zbadana strefa pomiędzy wolną improwizacją a post-punkiem, to zespół Denseland powinien spełnić jego oczekiwania. Ich kompozycje, w dużej mierze oparte na tradycyjnych rockowych strukturach, są niezwykle intensywne, buzujące bliską niekontrolowanej erupcji energią, ale jednocześnie nie sposób odmówić im sporej dozy subtelnej selektywności. Niebywale ekspresyjny wokalista David Moss potrafi zredukować swój głos do szeptów, pomruków i zgrzytów, tym indywidualnym językiem komunikując się z kreującym hipnotyczne dźwiękowe panoramy Hannesem Stroblem, odpowiedzialnym w zespole za bas i elektronikę i z Hanno Leichtmannem, który swoim wykorzystaniem instrumentów perkusyjnych i rozmaitych cyfrowych efektów tworzy rytmiczną ramę do wspólnego eksperymentowania. Ich pełna rozmaitych napięć i współgrających przeciwieństw muzyka, wypełniona animalistycznymi i plemiennymi dźwiękami, nigdy nie staje się czymś konkretnym i zdefiniowanym, nigdy nie odnosi się do czegoś. To ciągła ewolucja i ruch. To lekcja improwizacji i oryginalności – kombinacja ciepłych, akustycznych tekstur z bardziej abstrakcyjnymi strukturami. \r\n\r\nhttp://www.denseland.de/\r\n
If someone is interested in the grey, still quite obscurely researched sphere between free improvisation and post-punk, the group Danseland should meet his or hers expectations. Their improvisations, to a great extent based on traditional rock structures, are unusually intensive, crackling with soon-to-erupt energy, but at the same time one cannot deny them possessing quite a dose of subtle selectivity. The uniquely expressive vocalist, David Moss, can reduce his voice to mere whispers, murmurs and rasps and with this individual language communicate with Hannese Stoble and Hanno Leichtmann. Stroble, responsible for bass and electronic duties in the band, who creates hypnotic soundscapes, and Liechtmann, who via the usage of percussion instruments and various digital effects, creates a rhythmic frame for the mutual experimentation. Their music, filled with diverse tensions and harmonising with oppositions, full of animalistic and tribal sounds, never becomes anything concrete and defined, never relates to anything. It is constant evolution and movement. It is a lesson in improvisation and originality – a combination of warm, acoustic textures with more abstract structures.
\r\n\r\n', 'DENSELAND', '', 'publish', 'closed', 'closed', '', 'denseland', '', '', '2012-10-02 10:57:34', '2012-10-02 08:57:34', '', 36, 'http://avantart.pl/?page_id=250', 0, 'page', '', 0), (251, 2, '2012-07-12 23:20:50', '2012-07-12 21:20:50', '', 'DENSELAND', '', 'inherit', 'closed', 'closed', '', 'denseland', '', '', '2012-07-12 23:20:50', '2012-07-12 21:20:50', '', 250, 'http://avantart.pl/wp-content/uploads/2012/07/DENSELAND.jpg', 0, 'attachment', 'image/jpeg', 0), (252, 2, '2012-07-12 23:20:59', '2012-07-12 21:20:59', '\n\nJeżeli kogoś w muzyce interesuje szara, wciąż słabo zbadana strefa pomiędzy wolną improwizacją a post-punkiem, to zespół Denseland powinien spełnić jego oczekiwania. Ich kompozycje, w dużej mierze oparte na tradycyjnych rockowych strukturach, są niezwykle intensywne, buzujące bliską niekontrolowanej erupcji energią, ale jednocześnie nie sposób odmówić im sporej dozy subtelnej selektywności. Niebywale ekspresyjny wokalista David Moss potrafi zredukować swój głos do szeptów, pomruków i zgrzytów, tym indywidualnym językiem komunikując się z kreującym hipnotyczne dźwiękowe panoramy Hannesem Stroblem, odpowiedzialnym w zespole za bas i elektronikę i z Hanno Leichtmannem, który swoim wykorzystaniem instrumentów perkusyjnych i rozmaitych cyfrowych efektów tworzy rytmiczną ramę do wspólnego eksperymentowania. Ich pełna rozmaitych napięć i współgrających przeciwieństw muzyka, wypełniona animalistycznymi i plemiennymi dźwiękami, nigdy nie staje się czymś konkretnym i zdefiniowanym, nigdy nie odnosi się do czegoś. To ciągła ewolucja i ruch. To lekcja improwizacji i oryginalności – kombinacja ciepłych, akustycznych tekstur z bardziej abstrakcyjnymi strukturami.\nhttp://www.denseland.de/', 'DENSELAND', '', 'inherit', 'closed', 'closed', '', '250-revision', '', '', '2012-07-12 23:20:59', '2012-07-12 21:20:59', '', 250, 'http://avantart.pl/250-revision/', 0, 'revision', '', 0), (253, 2, '2012-07-12 23:21:15', '2012-07-12 21:21:15', '\r\n\r\nJeżeli kogoś w muzyce interesuje szara, wciąż słabo zbadana strefa pomiędzy wolną improwizacją a post-punkiem, to zespół Denseland powinien spełnić jego oczekiwania. Ich kompozycje, w dużej mierze oparte na tradycyjnych rockowych strukturach, są niezwykle intensywne, buzujące bliską niekontrolowanej erupcji energią, ale jednocześnie nie sposób odmówić im sporej dozy subtelnej selektywności. Niebywale ekspresyjny wokalista David Moss potrafi zredukować swój głos do szeptów, pomruków i zgrzytów, tym indywidualnym językiem komunikując się z kreującym hipnotyczne dźwiękowe panoramy Hannesem Stroblem, odpowiedzialnym w zespole za bas i elektronikę i z Hanno Leichtmannem, który swoim wykorzystaniem instrumentów perkusyjnych i rozmaitych cyfrowych efektów tworzy rytmiczną ramę do wspólnego eksperymentowania. Ich pełna rozmaitych napięć i współgrających przeciwieństw muzyka, wypełniona animalistycznymi i plemiennymi dźwiękami, nigdy nie staje się czymś konkretnym i zdefiniowanym, nigdy nie odnosi się do czegoś. To ciągła ewolucja i ruch. To lekcja improwizacji i oryginalności – kombinacja ciepłych, akustycznych tekstur z bardziej abstrakcyjnymi strukturami.\r\n\r\nhttp://www.denseland.de/', 'DENSELAND', '', 'inherit', 'closed', 'closed', '', '250-revision-2', '', '', '2012-07-12 23:21:15', '2012-07-12 21:21:15', '', 250, 'http://avantart.pl/250-revision-2/', 0, 'revision', '', 0), (254, 2, '2012-07-12 23:21:15', '2012-07-12 21:21:15', '\r\n\r\nJeżeli kogoś w muzyce interesuje szara, wciąż słabo zbadana strefa pomiędzy wolną improwizacją a post-punkiem, to zespół Denseland powinien spełnić jego oczekiwania. Ich kompozycje, w dużej mierze oparte na tradycyjnych rockowych strukturach, są niezwykle intensywne, buzujące bliską niekontrolowanej erupcji energią, ale jednocześnie nie sposób odmówić im sporej dozy subtelnej selektywności. Niebywale ekspresyjny wokalista David Moss potrafi zredukować swój głos do szeptów, pomruków i zgrzytów, tym indywidualnym językiem komunikując się z kreującym hipnotyczne dźwiękowe panoramy Hannesem Stroblem, odpowiedzialnym w zespole za bas i elektronikę i z Hanno Leichtmannem, który swoim wykorzystaniem instrumentów perkusyjnych i rozmaitych cyfrowych efektów tworzy rytmiczną ramę do wspólnego eksperymentowania. Ich pełna rozmaitych napięć i współgrających przeciwieństw muzyka, wypełniona animalistycznymi i plemiennymi dźwiękami, nigdy nie staje się czymś konkretnym i zdefiniowanym, nigdy nie odnosi się do czegoś. To ciągła ewolucja i ruch. To lekcja improwizacji i oryginalności – kombinacja ciepłych, akustycznych tekstur z bardziej abstrakcyjnymi strukturami.\r\n\r\nhttp://www.denseland.de/', 'DENSELAND', '', 'inherit', 'closed', 'closed', '', '250-revision-3', '', '', '2012-07-12 23:21:15', '2012-07-12 21:21:15', '', 250, 'http://avantart.pl/250-revision-3/', 0, 'revision', '', 0), (255, 2, '2012-09-25 23:33:52', '2012-09-25 21:33:52', ' Jeżeli kogoś w muzyce interesuje szara, wciąż słabo zbadana strefa pomiędzy wolną improwizacją a post-punkiem, to zespół Denseland powinien spełnić jego oczekiwania. Ich kompozycje, w dużej mierze oparte na tradycyjnych rockowych strukturach, są niezwykle intensywne, buzujące bliską niekontrolowanej erupcji energią, ale jednocześnie nie sposób odmówić im sporej dozy subtelnej selektywności. Niebywale ekspresyjny wokalista David Moss potrafi zredukować swój głos do szeptów, pomruków i zgrzytów, tym indywidualnym językiem komunikując się z kreującym hipnotyczne dźwiękowe panoramy Hannesem Stroblem, odpowiedzialnym w zespole za bas i elektronikę i z Hanno Leichtmannem, który swoim wykorzystaniem instrumentów perkusyjnych i rozmaitych cyfrowych efektów tworzy rytmiczną ramę do wspólnego eksperymentowania. Ich pełna rozmaitych napięć i współgrających przeciwieństw muzyka, wypełniona animalistycznymi i plemiennymi dźwiękami, nigdy nie staje się czymś konkretnym i zdefiniowanym, nigdy nie odnosi się do czegoś. To ciągła ewolucja i ruch. To lekcja improwizacji i oryginalności – kombinacja ciepłych, akustycznych tekstur z bardziej abstrakcyjnymi strukturami. http://www.denseland.de/\n
If someone is interested in the grey, still quite obscurely researched sphere between free improvisation and post-punk, the group Danseland should meet his or hers expectations. Their improvisations, to a great extent based on traditional rock structures, are unusually intensive, crackling with soon-to-erupt energy, but at the same time one cannot deny them possessing quite a dose of subtle selectivity. The uniquely expressive vocalist, David Moss, can reduce his voice to mere whispers, murmurs and rasps and with this individual language communicate with Hannese Stoble and Hanno Leichtmann. Stroble, responsible for bass and electronic duties in the band, who creates hypnotic soundscapes, and Liechtmann, who via the usage of percussion instruments and various digital effects, creates a rhythmic frame for the mutual experimentation. Their music, filled with diverse tensions and harmonising with oppositions, full of animalistic and tribal sounds, never becomes anything concrete and defined, never relates to anything. It is constant evolution and movement. It is a lesson in improvisation and originality – a combination of warm, acoustic textures with more abstract structures.
\n\n', 'DENSELAND', '', 'inherit', 'closed', 'closed', '', '250-autosave', '', '', '2012-09-25 23:33:52', '2012-09-25 21:33:52', '', 250, 'http://avantart.pl/250-autosave/', 0, 'revision', '', 0), (256, 2, '2012-07-12 23:23:36', '2012-07-12 21:23:36', '', 'CASPAR-BRÖTZMANN-MASSAKER', '', 'inherit', 'closed', 'closed', '', 'caspar-brotzmann-massaker-2', '', '', '2012-07-12 23:23:36', '2012-07-12 21:23:36', '', 60, 'http://avantart.pl/wp-content/uploads/2012/07/CASPAR-BRÖTZMANN-MASSAKER.jpg', 0, 'attachment', 'image/jpeg', 0), (257, 2, '2012-07-12 20:43:04', '2012-07-12 18:43:04', 'Trudno przecenić wpływ postaci Caspara Brötzmanna na współczesną muzykę gitarową. Ten niesamowity instrumentalista swoim oryginalnym, określanym często mianem neoprymitywnego, stylem gry na gitarze od początków swojej kariery inspirował – i wciąż inspiruje – rzesze nowych muzyków odrzucających skostniały akademizm kompozycyjny i stawiających na wyzwoloną z wszelkich reguł ekspresję. Brötzmann jest porównywany do takich muzycznych osobowości jak Jimi Hendrix (zawdzięcza to podobnemu upodobaniu do ekstremalnej głośności i zręcznej manipulacji przesterami) czy Edgar Varèse, z którym łączy go przenikliwa świadomość znaczenia samej natury dźwięków. Po kilkunastu latach przerwy muzyk powrócił w chwale na sceny ze swoim flagowym projektem – Caspar Brötzmann Massaker – w którego najnowszej inkarnacji wspierają go Eduardo Delgado Lopez na basie i Danny Arnold Lommen na perkusji. Takiej muzyki nie słyszy się na co dzień – w jednym utworze formacji potrafią zdarzyć się minuty ogłuszających ataków dźwiękowych i minuty tak ciche, że usłyszeć można dotknięcia strun o gryf gitary. Psychodeliczne improwizacje łączą się tu z marszowym, masywnym rockiem a radykalny minimalizm z wręcz barokowymi i misternymi pasażami. Jest tu pierwotność i agresja, niespotykane dźwięki, niesamowite budowanie napięcia. To muzyka intuicyjna, naiwna w pozytywnym znaczeniu tego słowa – a przez to szczera i na swój sposób romantyczna. Twórczość Caspar Brötzmann Massaker brzmi jak herezja w świecie zdominowanym przez spokojne i wymuskane samplerowe brzmienia. To czysty, nieskrępowany i uwolniony żywioł. Nie bez powodu Caspar Brötzmann zyskał przydomek Demona Decybeli.\r\n\r\nwww.casparbroetzmannmassaker.com', 'CASPAR BRÖTZMANN MASSAKER', '', 'inherit', 'closed', 'closed', '', '60-revision-6', '', '', '2012-07-12 20:43:04', '2012-07-12 18:43:04', '', 60, 'http://avantart.pl/60-revision-6/', 0, 'revision', '', 0), (258, 2, '2012-07-12 23:27:04', '2012-07-12 21:27:04', '', 'STIKER-2', '', 'inherit', 'closed', 'closed', '', 'stiker-2', '', '', '2012-07-12 23:27:04', '2012-07-12 21:27:04', '', 166, 'http://avantart.pl/wp-content/uploads/2012/07/STIKER-2.jpg', 0, 'attachment', 'image/jpeg', 0), (259, 2, '2012-07-12 11:55:03', '2012-07-12 09:55:03', '\r\n\r\nZnamy pełny program 5. edycji AVANT ART FESTIVAL, która odbędzie się we Wrocławiu w dniach 2-7 października 2012 r. pod hasłem „Niemcy”. Tegoroczną odsłonę festiwalu reprezentować będą wybitni artyści z Niemiec, m.in. DAF, Bonaparte, Peter Brotzmann & Defibrillator, Knuckleduster i Moritz Von Oswald Trio. Po raz pierwszy na festiwalu odbędą się showcase’y dwóch wytwórni: Raster-Noton (m.in. Kangding Ray) oraz Project: Mooncircle. Ruszy także pierwsza edycja cyklu AVANT ART FILM, w trakcie którego zobaczymy niemieckie filmy o muzyce. AVANT ART 2012 to także performance’y, koprodukcje, spotkania z literaturą, warsztaty i debaty oraz prezentacje festiwalu za granicą: w Kolonii i Berlinie.\r\n\r\nZapraszamy do zapoznania się z programem festiwalu!', 'ZNAMY PEŁNY PROGRAM 5. EDYCJI AVANT ART FESTIVAL!', '', 'inherit', 'closed', 'closed', '', '166-revision-5', '', '', '2012-07-12 11:55:03', '2012-07-12 09:55:03', '', 166, 'http://avantart.pl/166-revision-5/', 0, 'revision', '', 0), (260, 2, '2012-07-12 23:29:17', '2012-07-12 21:29:17', '\r\n\r\nZnamy pełny program 5. edycji AVANT ART FESTIVAL, która odbędzie się we Wrocławiu w dniach 2-7 października 2012 r. pod hasłem „Niemcy”. Tegoroczną odsłonę festiwalu reprezentować będą wybitni artyści z Niemiec, m.in. DAF, Bonaparte, Peter Brotzmann & Defibrillator, Knuckleduster i Moritz Von Oswald Trio. Po raz pierwszy na festiwalu odbędą się showcase’y dwóch wytwórni: Raster-Noton (m.in. Kangding Ray) oraz Project: Mooncircle. Ruszy także pierwsza edycja cyklu AVANT ART FILM, w trakcie którego zobaczymy niemieckie filmy o muzyce. AVANT ART 2012 to także performance’y, koprodukcje, spotkania z literaturą, warsztaty i debaty oraz prezentacje festiwalu za granicą: w Kolonii i Berlinie.\r\n\r\nZapraszamy do zapoznania się z programem festiwalu!', 'ZNAMY PEŁNY PROGRAM 5. EDYCJI AVANT ART FESTIVAL!', '', 'inherit', 'closed', 'closed', '', '166-revision-6', '', '', '2012-07-12 23:29:17', '2012-07-12 21:29:17', '', 166, 'http://avantart.pl/166-revision-6/', 0, 'revision', '', 0), (261, 2, '2012-07-12 11:02:07', '2012-07-12 09:02:07', '\r\n\r\nZ radością informujemy, że podczas 5. edycji AVANT ART (2-7 października) odbędzie się showcase artystów jednej z najbardziej prestiżowych wytwórni muzycznych w Europie. Pod szyldem Raster-Noton zagrają u nas: Kangding Ray, Byetone oraz Frank Bretschneider!', 'RASTER–NOTON na AVANT ART 2012!', '', 'inherit', 'closed', 'closed', '', '164-revision-7', '', '', '2012-07-12 11:02:07', '2012-07-12 09:02:07', '', 164, 'http://avantart.pl/164-revision-7/', 0, 'revision', '', 0), (262, 2, '2012-07-12 23:50:11', '2012-07-12 21:50:11', '\r\n\r\nZ radością informujemy, że podczas 5. edycji AVANT ART (2-7 października) odbędzie się showcase artystów jednej z najbardziej prestiżowych wytwórni muzycznych w Europie. Pod szyldem Raster-Noton zagrają u nas: Kangding Ray, Byetone oraz Frank Bretschneider!', 'RASTER–NOTON na AVANT ART 2012!', '', 'inherit', 'closed', 'closed', '', '164-revision-8', '', '', '2012-07-12 23:50:11', '2012-07-12 21:50:11', '', 164, 'http://avantart.pl/164-revision-8/', 0, 'revision', '', 0), (263, 1, '2012-07-12 10:22:54', '2012-07-12 08:22:54', 'Avant Art Festival is not only music – it touches on all the planes of art, in which music plays an important role. That is why – for the first time in the festival’s history – a new programme block will appear during its fifth edition – the presentations of documentaries and films. During this year’s film series, taking place in the space of the Helios cinema, the audience will have a chance to see seven pictures. Out of assumption, the presented film will thematically correspond to the events on the music stage of the festival, at the same time broadening its context to include the cultural and historical dimension. This year’s films, just like the main part of AAF, focus on bringing the rich German art closer to the audience. We will present films illustrating the most interesting artist figures and events, which took place in the experimental music of the country over the last decades. Already classic motion pictures, which the Polish recipients will have a chance to see for the first time on the big screen, will appear among them, as well as new productions. The starting point of the selection of the films was not only their substantial worth, but aesthetic qualities, which will make the presented pictures a musical feast for the enthusiasts of unusual Avant sounds.
\r\nThe wide range of themes of the presented films is aimed at presenting the uniquely diverse German scene as fully as possible. We will see the birth of krautrock, visit the times of the punk rebellion, we will follow the development of electronic trends, stumble upon the Berlin underground and get acquainted with a wide variety of music and its contemporary creators. Additionally, special events accompanying the films as a part of Avant Film, such as meetings and discussions with experts and specialists of particular spheres, as well as the creators of the presented films, will be enriched by lectures about their wider context. A separate event in the programme, accompanying the screening of the film presenting the phenomenon of punk rock in East Germany, will be an exhibition of artefacts from that time period in the Galeria U [U Gallery]
\r\nCooperation:
\r\n', 'AVANT ART FILM', '', 'publish', 'closed', 'closed', '', 'avant-art-film', '', '', '2012-09-25 23:08:47', '2012-09-25 21:08:47', '', 36, 'http://avantart.pl/?page_id=284', 0, 'page', '', 0), (285, 2, '2012-07-16 20:51:12', '2012-07-16 18:51:12', '', 'PLANSZA-AAF_', '', 'inherit', 'closed', 'closed', '', 'plansza-aaf_', '', '', '2012-07-16 20:51:12', '2012-07-16 18:51:12', '', 284, 'http://avantart.pl/wp-content/uploads/2012/07/PLANSZA-AAF_.jpg', 0, 'attachment', 'image/jpeg', 0), (286, 2, '2012-07-16 20:53:17', '2012-07-16 18:53:17', '', 'helios-logotyp', '', 'inherit', 'closed', 'closed', '', 'helios-logotyp', '', '', '2012-07-16 20:53:17', '2012-07-16 18:53:17', '', 284, 'http://avantart.pl/wp-content/uploads/2012/07/helios-logotyp.jpg', 0, 'attachment', 'image/jpeg', 0), (287, 2, '2012-07-16 20:54:25', '2012-07-16 18:54:25', '', 'helios-logotyp', '', 'inherit', 'closed', 'closed', '', 'helios-logotyp-2', '', '', '2012-07-16 20:54:25', '2012-07-16 18:54:25', '', 284, 'http://avantart.pl/wp-content/uploads/2012/07/helios-logotyp1.jpg', 0, 'attachment', 'image/jpeg', 0), (288, 2, '2012-07-16 20:53:35', '2012-07-16 18:53:35', '\n\nAvant Art Festival to nie tylko sama muzyka – to wszystkie sfery sztuki, w których muzyka odgrywa ważną rolę. I dlatego też – po raz pierwszy w historii festiwalu – w czasie jego piątej edycji pojawi się nowy blok programowy – prezentacje filmów dokumentalnych i fabularnych. Podczas tegorocznego cyklu filmowego, odbywającego się w przestrzeniach kina Helios Nowe Horyzonty, publiczność będzie miała okazję obejrzeć siedem obrazów. Z założenia prezentowane filmy swoją tematyką korespondują z wydarzeniami na muzycznej scenie festiwalu, jednocześnie poszerzając jej kontekst o wymiar kulturowy i historyczny. Tegoroczne filmy, podobnie jak główny nurt AAF, skupiają się na przybliżeniu publiczności bogatej sztuki niemieckiej. Pokażemy filmy ilustrujące najciekawsze sylwetki artystów i zjawiska, jakie zachodziły w eksperymentalnej muzyce tego kraju na przestrzeni ostatnich dekad. Wśród nich znajdą się klasyczne już obrazy, które polscy odbiorcy po raz pierwszy będą mieli okazję zobaczyć na dużym ekranie, a także zupełnie nowe produkcje.\nPunktem wyjścia w selekcji filmów była nie tylko ich wartość merytoryczna, ale także walory estetyczne, które sprawiają, że prezentowane obrazy będą ucztą muzyczną dla entuzjastów nietypowych Avantowych dźwięków.\n\nSzeroka rozpiętość tematyczna prezentowanych filmów ma na celu jak najpełniejsze przedstawienie niezwykle różnorodnej sceny niemieckiej. Sięgniemy do narodzin krautrocka, odwiedzimy czasy punkowej rebelii, będziemy śledzić rozwój elektronicznych nurtów, zahaczymy o berliński underground i poznamy szeroką gamę muzyki jej współczesnych twórców. Dodatkowo towarzyszące filmom wydarzenia specjalne w ramach Avant Film, takie jak spotkania i dyskusje ze znawcami i specjalistami z poszczególnych dziedzin, a także i twórcami pokazywanych filmów, wzbogacą projekcje o szerszy kontekst. Osobnym punktem programu, towarzyszącym filmowi przedstawiającemu fenomen punk rocka w Niemczech Wschodnich, będzie wystawa w Galerii U, prezentująca artefakty z tamtego okresu.\n\nWe współpracy z ', 'AVANT ART FILM', '', 'inherit', 'closed', 'closed', '', '284-revision', '', '', '2012-07-16 20:53:35', '2012-07-16 18:53:35', '', 284, 'http://avantart.pl/284-revision/', 0, 'revision', '', 0), (289, 2, '2012-07-16 20:54:57', '2012-07-16 18:54:57', '\r\n\r\nAvant Art Festival to nie tylko sama muzyka – to wszystkie sfery sztuki, w których muzyka odgrywa ważną rolę. I dlatego też – po raz pierwszy w historii festiwalu – w czasie jego piątej edycji pojawi się nowy blok programowy – prezentacje filmów dokumentalnych i fabularnych. Podczas tegorocznego cyklu filmowego, odbywającego się w przestrzeniach kina Helios Nowe Horyzonty, publiczność będzie miała okazję obejrzeć siedem obrazów. Z założenia prezentowane filmy swoją tematyką korespondują z wydarzeniami na muzycznej scenie festiwalu, jednocześnie poszerzając jej kontekst o wymiar kulturowy i historyczny. Tegoroczne filmy, podobnie jak główny nurt AAF, skupiają się na przybliżeniu publiczności bogatej sztuki niemieckiej. Pokażemy filmy ilustrujące najciekawsze sylwetki artystów i zjawiska, jakie zachodziły w eksperymentalnej muzyce tego kraju na przestrzeni ostatnich dekad. Wśród nich znajdą się klasyczne już obrazy, które polscy odbiorcy po raz pierwszy będą mieli okazję zobaczyć na dużym ekranie, a także zupełnie nowe produkcje.\r\nPunktem wyjścia w selekcji filmów była nie tylko ich wartość merytoryczna, ale także walory estetyczne, które sprawiają, że prezentowane obrazy będą ucztą muzyczną dla entuzjastów nietypowych Avantowych dźwięków.\r\n\r\nSzeroka rozpiętość tematyczna prezentowanych filmów ma na celu jak najpełniejsze przedstawienie niezwykle różnorodnej sceny niemieckiej. Sięgniemy do narodzin krautrocka, odwiedzimy czasy punkowej rebelii, będziemy śledzić rozwój elektronicznych nurtów, zahaczymy o berliński underground i poznamy szeroką gamę muzyki jej współczesnych twórców. Dodatkowo towarzyszące filmom wydarzenia specjalne w ramach Avant Film, takie jak spotkania i dyskusje ze znawcami i specjalistami z poszczególnych dziedzin, a także i twórcami pokazywanych filmów, wzbogacą projekcje o szerszy kontekst. Osobnym punktem programu, towarzyszącym filmowi przedstawiającemu fenomen punk rocka w Niemczech Wschodnich, będzie wystawa w Galerii U, prezentująca artefakty z tamtego okresu.\r\n\r\nWe współpracy z ', 'AVANT ART FILM', '', 'inherit', 'closed', 'closed', '', '284-revision-2', '', '', '2012-07-16 20:54:57', '2012-07-16 18:54:57', '', 284, 'http://avantart.pl/284-revision-2/', 0, 'revision', '', 0), (290, 2, '2012-09-17 23:12:02', '2012-09-17 21:12:02', '\n\nWe współpracy z: \nAvant Art Festival is not only music – it touches on all the planes of art, in which music plays an important role. That is why – for the first time in the festival’s history – a new programme block will appear during its fifth edition – the presentations of documentaries and films. During this year’s film series, taking place in the space of the Helios cinema, the audience will have a chance to see seven pictures. Out of assumption, the presented film will thematically correspond to the events on the music stage of the festival, at the same time broadening its context to include the cultural and historical dimension. This year’s films, just like the main part of AAF, focus on bringing the rich German art closer to the audience. We will present films illustrating the most interesting artist figures and events, which took place in the experimental music of the country over the last decades. Already classic motion pictures, which the Polish recipients will have a chance to see for the first time on the big screen, will appear among them, as well as new productions. The starting point of the selection of the films was not only their substantial worth, but aesthetic qualities, which will make the presented pictures a musical feast for the enthusiasts of unusual Avant sounds.
\nThe wide range of themes of the presented films is aimed at presenting the uniquely diverse German scene as fully as possible. We will see the birth of krautrock, visit the times of the punk rebellion, we will follow the development of electronic trends, stumble upon the Berlin underground and get acquainted with a wide variety of music and its contemporary creators. Additionally, special events accompanying the films as a part of Avant Film, such as meetings and discussions with experts and specialists of particular spheres, as well as the creators of the presented films, will be enriched by lectures about their wider context. A separate event in the programme, accompanying the screening of the film presenting the phenomenon of punk rock in East Germany, will be an exhibition of artefacts from that time period in the Galeria U [U Gallery]
\nCooperation:
\n', 'AVANT ART FILM', '', 'inherit', 'closed', 'closed', '', '284-autosave', '', '', '2012-09-17 23:12:02', '2012-09-17 21:12:02', '', 284, 'http://avantart.pl/284-autosave/', 0, 'revision', '', 0), (291, 2, '2012-07-16 20:55:29', '2012-07-16 18:55:29', ' Avant Art Festival to nie tylko sama muzyka – to wszystkie sfery sztuki, w których muzyka odgrywa ważną rolę. I dlatego też – po raz pierwszy w historii festiwalu – w czasie jego piątej edycji pojawi się nowy blok programowy – prezentacje filmów dokumentalnych i fabularnych. Podczas tegorocznego cyklu filmowego, odbywającego się w przestrzeniach kina Helios Nowe Horyzonty, publiczność będzie miała okazję obejrzeć siedem obrazów. Z założenia prezentowane filmy swoją tematyką korespondują z wydarzeniami na muzycznej scenie festiwalu, jednocześnie poszerzając jej kontekst o wymiar kulturowy i historyczny. Tegoroczne filmy, podobnie jak główny nurt AAF, skupiają się na przybliżeniu publiczności bogatej sztuki niemieckiej. Pokażemy filmy ilustrujące najciekawsze sylwetki artystów i zjawiska, jakie zachodziły w eksperymentalnej muzyce tego kraju na przestrzeni ostatnich dekad. Wśród nich znajdą się klasyczne już obrazy, które polscy odbiorcy po raz pierwszy będą mieli okazję zobaczyć na dużym ekranie, a także zupełnie nowe produkcje. Punktem wyjścia w selekcji filmów była nie tylko ich wartość merytoryczna, ale także walory estetyczne, które sprawiają, że prezentowane obrazy będą ucztą muzyczną dla entuzjastów nietypowych Avantowych dźwięków. Szeroka rozpiętość tematyczna prezentowanych filmów ma na celu jak najpełniejsze przedstawienie niezwykle różnorodnej sceny niemieckiej. Sięgniemy do narodzin krautrocka, odwiedzimy czasy punkowej rebelii, będziemy śledzić rozwój elektronicznych nurtów, zahaczymy o berliński underground i poznamy szeroką gamę muzyki jej współczesnych twórców. Dodatkowo towarzyszące filmom wydarzenia specjalne w ramach Avant Film, takie jak spotkania i dyskusje ze znawcami i specjalistami z poszczególnych dziedzin, a także i twórcami pokazywanych filmów, wzbogacą projekcje o szerszy kontekst. Osobnym punktem programu, towarzyszącym filmowi przedstawiającemu fenomen punk rocka w Niemczech Wschodnich, będzie wystawa w Galerii U, prezentująca artefakty z tamtego okresu.\r\n\r\nWe współpracy z ', 'AVANT ART FILM', '', 'inherit', 'closed', 'closed', '', '284-revision-3', '', '', '2012-07-16 20:55:29', '2012-07-16 18:55:29', '', 284, 'http://avantart.pl/284-revision-3/', 0, 'revision', '', 0), (292, 2, '2012-07-16 20:56:40', '2012-07-16 18:56:40', ' Avant Art Festival to nie tylko sama muzyka – to wszystkie sfery sztuki, w których muzyka odgrywa ważną rolę. I dlatego też – po raz pierwszy w historii festiwalu – w czasie jego piątej edycji pojawi się nowy blok programowy – prezentacje filmów dokumentalnych i fabularnych. Podczas tegorocznego cyklu filmowego, odbywającego się w przestrzeniach kina Helios Nowe Horyzonty, publiczność będzie miała okazję obejrzeć siedem obrazów. Z założenia prezentowane filmy swoją tematyką korespondują z wydarzeniami na muzycznej scenie festiwalu, jednocześnie poszerzając jej kontekst o wymiar kulturowy i historyczny. Tegoroczne filmy, podobnie jak główny nurt AAF, skupiają się na przybliżeniu publiczności bogatej sztuki niemieckiej. Pokażemy filmy ilustrujące najciekawsze sylwetki artystów i zjawiska, jakie zachodziły w eksperymentalnej muzyce tego kraju na przestrzeni ostatnich dekad. Wśród nich znajdą się klasyczne już obrazy, które polscy odbiorcy po raz pierwszy będą mieli okazję zobaczyć na dużym ekranie, a także zupełnie nowe produkcje. Punktem wyjścia w selekcji filmów była nie tylko ich wartość merytoryczna, ale także walory estetyczne, które sprawiają, że prezentowane obrazy będą ucztą muzyczną dla entuzjastów nietypowych Avantowych dźwięków. Szeroka rozpiętość tematyczna prezentowanych filmów ma na celu jak najpełniejsze przedstawienie niezwykle różnorodnej sceny niemieckiej. Sięgniemy do narodzin krautrocka, odwiedzimy czasy punkowej rebelii, będziemy śledzić rozwój elektronicznych nurtów, zahaczymy o berliński underground i poznamy szeroką gamę muzyki jej współczesnych twórców. Dodatkowo towarzyszące filmom wydarzenia specjalne w ramach Avant Film, takie jak spotkania i dyskusje ze znawcami i specjalistami z poszczególnych dziedzin, a także i twórcami pokazywanych filmów, wzbogacą projekcje o szerszy kontekst. Osobnym punktem programu, towarzyszącym filmowi przedstawiającemu fenomen punk rocka w Niemczech Wschodnich, będzie wystawa w Galerii U, prezentująca artefakty z tamtego okresu.\r\n\r\nWe współpracy z ', 'AVANT ART FILM', '', 'inherit', 'closed', 'closed', '', '284-revision-4', '', '', '2012-07-16 20:56:40', '2012-07-16 18:56:40', '', 284, 'http://avantart.pl/284-revision-4/', 0, 'revision', '', 0), (293, 2, '2012-07-16 20:59:23', '2012-07-16 18:59:23', '', 'helios-logotyp', '', 'inherit', 'closed', 'closed', '', 'helios-logotyp-3', '', '', '2012-07-16 20:59:23', '2012-07-16 18:59:23', '', 284, 'http://avantart.pl/wp-content/uploads/2012/07/helios-logotyp2.jpg', 0, 'attachment', 'image/jpeg', 0); INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (294, 2, '2012-07-16 20:57:27', '2012-07-16 18:57:27', ' Avant Art Festival to nie tylko sama muzyka – to wszystkie sfery sztuki, w których muzyka odgrywa ważną rolę. I dlatego też – po raz pierwszy w historii festiwalu – w czasie jego piątej edycji pojawi się nowy blok programowy – prezentacje filmów dokumentalnych i fabularnych. Podczas tegorocznego cyklu filmowego, odbywającego się w przestrzeniach kina Helios Nowe Horyzonty, publiczność będzie miała okazję obejrzeć siedem obrazów. Z założenia prezentowane filmy swoją tematyką korespondują z wydarzeniami na muzycznej scenie festiwalu, jednocześnie poszerzając jej kontekst o wymiar kulturowy i historyczny. Tegoroczne filmy, podobnie jak główny nurt AAF, skupiają się na przybliżeniu publiczności bogatej sztuki niemieckiej. Pokażemy filmy ilustrujące najciekawsze sylwetki artystów i zjawiska, jakie zachodziły w eksperymentalnej muzyce tego kraju na przestrzeni ostatnich dekad. Wśród nich znajdą się klasyczne już obrazy, które polscy odbiorcy po raz pierwszy będą mieli okazję zobaczyć na dużym ekranie, a także zupełnie nowe produkcje. Punktem wyjścia w selekcji filmów była nie tylko ich wartość merytoryczna, ale także walory estetyczne, które sprawiają, że prezentowane obrazy będą ucztą muzyczną dla entuzjastów nietypowych Avantowych dźwięków. Szeroka rozpiętość tematyczna prezentowanych filmów ma na celu jak najpełniejsze przedstawienie niezwykle różnorodnej sceny niemieckiej. Sięgniemy do narodzin krautrocka, odwiedzimy czasy punkowej rebelii, będziemy śledzić rozwój elektronicznych nurtów, zahaczymy o berliński underground i poznamy szeroką gamę muzyki jej współczesnych twórców. Dodatkowo towarzyszące filmom wydarzenia specjalne w ramach Avant Film, takie jak spotkania i dyskusje ze znawcami i specjalistami z poszczególnych dziedzin, a także i twórcami pokazywanych filmów, wzbogacą projekcje o szerszy kontekst. Osobnym punktem programu, towarzyszącym filmowi przedstawiającemu fenomen punk rocka w Niemczech Wschodnich, będzie wystawa w Galerii U, prezentująca artefakty z tamtego okresu.We współpracy z: ', 'AVANT ART FILM', '', 'inherit', 'closed', 'closed', '', '284-revision-5', '', '', '2012-07-16 20:57:27', '2012-07-16 18:57:27', '', 284, 'http://avantart.pl/284-revision-5/', 0, 'revision', '', 0), (295, 2, '2012-07-16 20:59:34', '2012-07-16 18:59:34', 'Avant Art Festival to nie tylko sama muzyka – to wszystkie sfery sztuki, w których muzyka odgrywa ważną rolę. I dlatego też – po raz pierwszy w historii festiwalu – w czasie jego piątej edycji pojawi się nowy blok programowy – prezentacje filmów dokumentalnych i fabularnych. Podczas tegorocznego cyklu filmowego, odbywającego się w przestrzeniach kina Helios Nowe Horyzonty, publiczność będzie miała okazję obejrzeć siedem obrazów. Z założenia prezentowane filmy swoją tematyką korespondują z wydarzeniami na muzycznej scenie festiwalu, jednocześnie poszerzając jej kontekst o wymiar kulturowy i historyczny. Tegoroczne filmy, podobnie jak główny nurt AAF, skupiają się na przybliżeniu publiczności bogatej sztuki niemieckiej. Pokażemy filmy ilustrujące najciekawsze sylwetki artystów i zjawiska, jakie zachodziły w eksperymentalnej muzyce tego kraju na przestrzeni ostatnich dekad. Wśród nich znajdą się klasyczne już obrazy, które polscy odbiorcy po raz pierwszy będą mieli okazję zobaczyć na dużym ekranie, a także zupełnie nowe produkcje. Punktem wyjścia w selekcji filmów była nie tylko ich wartość merytoryczna, ale także walory estetyczne, które sprawiają, że prezentowane obrazy będą ucztą muzyczną dla entuzjastów nietypowych Avantowych dźwięków. Szeroka rozpiętość tematyczna prezentowanych filmów ma na celu jak najpełniejsze przedstawienie niezwykle różnorodnej sceny niemieckiej. Sięgniemy do narodzin krautrocka, odwiedzimy czasy punkowej rebelii, będziemy śledzić rozwój elektronicznych nurtów, zahaczymy o berliński underground i poznamy szeroką gamę muzyki jej współczesnych twórców. Dodatkowo towarzyszące filmom wydarzenia specjalne w ramach Avant Film, takie jak spotkania i dyskusje ze znawcami i specjalistami z poszczególnych dziedzin, a także i twórcami pokazywanych filmów, wzbogacą projekcje o szerszy kontekst. Osobnym punktem programu, towarzyszącym filmowi przedstawiającemu fenomen punk rocka w Niemczech Wschodnich, będzie wystawa w Galerii U, prezentująca artefakty z tamtego okresu.\r\n\r\nWe współpracy z: ', 'AVANT ART FILM', '', 'inherit', 'closed', 'closed', '', '284-revision-6', '', '', '2012-07-16 20:59:34', '2012-07-16 18:59:34', '', 284, 'http://avantart.pl/284-revision-6/', 0, 'revision', '', 0), (296, 2, '2012-07-16 20:59:55', '2012-07-16 18:59:55', '\r\n\r\nAvant Art Festival to nie tylko sama muzyka – to wszystkie sfery sztuki, w których muzyka odgrywa ważną rolę. I dlatego też – po raz pierwszy w historii festiwalu – w czasie jego piątej edycji pojawi się nowy blok programowy – prezentacje filmów dokumentalnych i fabularnych. Podczas tegorocznego cyklu filmowego, odbywającego się w przestrzeniach kina Helios Nowe Horyzonty, publiczność będzie miała okazję obejrzeć siedem obrazów. Z założenia prezentowane filmy swoją tematyką korespondują z wydarzeniami na muzycznej scenie festiwalu, jednocześnie poszerzając jej kontekst o wymiar kulturowy i historyczny. Tegoroczne filmy, podobnie jak główny nurt AAF, skupiają się na przybliżeniu publiczności bogatej sztuki niemieckiej. Pokażemy filmy ilustrujące najciekawsze sylwetki artystów i zjawiska, jakie zachodziły w eksperymentalnej muzyce tego kraju na przestrzeni ostatnich dekad. Wśród nich znajdą się klasyczne już obrazy, które polscy odbiorcy po raz pierwszy będą mieli okazję zobaczyć na dużym ekranie, a także zupełnie nowe produkcje. Punktem wyjścia w selekcji filmów była nie tylko ich wartość merytoryczna, ale także walory estetyczne, które sprawiają, że prezentowane obrazy będą ucztą muzyczną dla entuzjastów nietypowych Avantowych dźwięków. Szeroka rozpiętość tematyczna prezentowanych filmów ma na celu jak najpełniejsze przedstawienie niezwykle różnorodnej sceny niemieckiej. Sięgniemy do narodzin krautrocka, odwiedzimy czasy punkowej rebelii, będziemy śledzić rozwój elektronicznych nurtów, zahaczymy o berliński underground i poznamy szeroką gamę muzyki jej współczesnych twórców. Dodatkowo towarzyszące filmom wydarzenia specjalne w ramach Avant Film, takie jak spotkania i dyskusje ze znawcami i specjalistami z poszczególnych dziedzin, a także i twórcami pokazywanych filmów, wzbogacą projekcje o szerszy kontekst. Osobnym punktem programu, towarzyszącym filmowi przedstawiającemu fenomen punk rocka w Niemczech Wschodnich, będzie wystawa w Galerii U, prezentująca artefakty z tamtego okresu. We współpracy z: ', 'AVANT ART FILM', '', 'inherit', 'closed', 'closed', '', '284-revision-7', '', '', '2012-07-16 20:59:55', '2012-07-16 18:59:55', '', 284, 'http://avantart.pl/284-revision-7/', 0, 'revision', '', 0), (297, 2, '2012-07-16 21:00:18', '2012-07-16 19:00:18', ' Avant Art Festival to nie tylko sama muzyka – to wszystkie sfery sztuki, w których muzyka odgrywa ważną rolę. I dlatego też – po raz pierwszy w historii festiwalu – w czasie jego piątej edycji pojawi się nowy blok programowy – prezentacje filmów dokumentalnych i fabularnych. Podczas tegorocznego cyklu filmowego, odbywającego się w przestrzeniach kina Helios Nowe Horyzonty, publiczność będzie miała okazję obejrzeć siedem obrazów. Z założenia prezentowane filmy swoją tematyką korespondują z wydarzeniami na muzycznej scenie festiwalu, jednocześnie poszerzając jej kontekst o wymiar kulturowy i historyczny. Tegoroczne filmy, podobnie jak główny nurt AAF, skupiają się na przybliżeniu publiczności bogatej sztuki niemieckiej. Pokażemy filmy ilustrujące najciekawsze sylwetki artystów i zjawiska, jakie zachodziły w eksperymentalnej muzyce tego kraju na przestrzeni ostatnich dekad. Wśród nich znajdą się klasyczne już obrazy, które polscy odbiorcy po raz pierwszy będą mieli okazję zobaczyć na dużym ekranie, a także zupełnie nowe produkcje. Punktem wyjścia w selekcji filmów była nie tylko ich wartość merytoryczna, ale także walory estetyczne, które sprawiają, że prezentowane obrazy będą ucztą muzyczną dla entuzjastów nietypowych Avantowych dźwięków. Szeroka rozpiętość tematyczna prezentowanych filmów ma na celu jak najpełniejsze przedstawienie niezwykle różnorodnej sceny niemieckiej. Sięgniemy do narodzin krautrocka, odwiedzimy czasy punkowej rebelii, będziemy śledzić rozwój elektronicznych nurtów, zahaczymy o berliński underground i poznamy szeroką gamę muzyki jej współczesnych twórców. Dodatkowo towarzyszące filmom wydarzenia specjalne w ramach Avant Film, takie jak spotkania i dyskusje ze znawcami i specjalistami z poszczególnych dziedzin, a także i twórcami pokazywanych filmów, wzbogacą projekcje o szerszy kontekst. Osobnym punktem programu, towarzyszącym filmowi przedstawiającemu fenomen punk rocka w Niemczech Wschodnich, będzie wystawa w Galerii U, prezentująca artefakty z tamtego okresu.\r\n\r\nWe współpracy z: ', 'AVANT ART FILM', '', 'inherit', 'closed', 'closed', '', '284-revision-8', '', '', '2012-07-16 21:00:18', '2012-07-16 19:00:18', '', 284, 'http://avantart.pl/284-revision-8/', 0, 'revision', '', 0), (298, 2, '2012-07-16 21:00:59', '2012-07-16 19:00:59', ' Avant Art Festival to nie tylko sama muzyka – to wszystkie sfery sztuki, w których muzyka odgrywa ważną rolę. I dlatego też – po raz pierwszy w historii festiwalu – w czasie jego piątej edycji pojawi się nowy blok programowy – prezentacje filmów dokumentalnych i fabularnych. Podczas tegorocznego cyklu filmowego, odbywającego się w przestrzeniach kina Helios Nowe Horyzonty, publiczność będzie miała okazję obejrzeć siedem obrazów. Z założenia prezentowane filmy swoją tematyką korespondują z wydarzeniami na muzycznej scenie festiwalu, jednocześnie poszerzając jej kontekst o wymiar kulturowy i historyczny. Tegoroczne filmy, podobnie jak główny nurt AAF, skupiają się na przybliżeniu publiczności bogatej sztuki niemieckiej. Pokażemy filmy ilustrujące najciekawsze sylwetki artystów i zjawiska, jakie zachodziły w eksperymentalnej muzyce tego kraju na przestrzeni ostatnich dekad. Wśród nich znajdą się klasyczne już obrazy, które polscy odbiorcy po raz pierwszy będą mieli okazję zobaczyć na dużym ekranie, a także zupełnie nowe produkcje. Punktem wyjścia w selekcji filmów była nie tylko ich wartość merytoryczna, ale także walory estetyczne, które sprawiają, że prezentowane obrazy będą ucztą muzyczną dla entuzjastów nietypowych Avantowych dźwięków. Szeroka rozpiętość tematyczna prezentowanych filmów ma na celu jak najpełniejsze przedstawienie niezwykle różnorodnej sceny niemieckiej. Sięgniemy do narodzin krautrocka, odwiedzimy czasy punkowej rebelii, będziemy śledzić rozwój elektronicznych nurtów, zahaczymy o berliński underground i poznamy szeroką gamę muzyki jej współczesnych twórców. Dodatkowo towarzyszące filmom wydarzenia specjalne w ramach Avant Film, takie jak spotkania i dyskusje ze znawcami i specjalistami z poszczególnych dziedzin, a także i twórcami pokazywanych filmów, wzbogacą projekcje o szerszy kontekst. Osobnym punktem programu, towarzyszącym filmowi przedstawiającemu fenomen punk rocka w Niemczech Wschodnich, będzie wystawa w Galerii U, prezentująca artefakty z tamtego okresu.\r\n br>\r\nWe współpracy z: ', 'AVANT ART FILM', '', 'inherit', 'closed', 'closed', '', '284-revision-9', '', '', '2012-07-16 21:00:59', '2012-07-16 19:00:59', '', 284, 'http://avantart.pl/284-revision-9/', 0, 'revision', '', 0), (299, 2, '2012-07-16 21:01:08', '2012-07-16 19:01:08', ' Avant Art Festival to nie tylko sama muzyka – to wszystkie sfery sztuki, w których muzyka odgrywa ważną rolę. I dlatego też – po raz pierwszy w historii festiwalu – w czasie jego piątej edycji pojawi się nowy blok programowy – prezentacje filmów dokumentalnych i fabularnych. Podczas tegorocznego cyklu filmowego, odbywającego się w przestrzeniach kina Helios Nowe Horyzonty, publiczność będzie miała okazję obejrzeć siedem obrazów. Z założenia prezentowane filmy swoją tematyką korespondują z wydarzeniami na muzycznej scenie festiwalu, jednocześnie poszerzając jej kontekst o wymiar kulturowy i historyczny. Tegoroczne filmy, podobnie jak główny nurt AAF, skupiają się na przybliżeniu publiczności bogatej sztuki niemieckiej. Pokażemy filmy ilustrujące najciekawsze sylwetki artystów i zjawiska, jakie zachodziły w eksperymentalnej muzyce tego kraju na przestrzeni ostatnich dekad. Wśród nich znajdą się klasyczne już obrazy, które polscy odbiorcy po raz pierwszy będą mieli okazję zobaczyć na dużym ekranie, a także zupełnie nowe produkcje. Punktem wyjścia w selekcji filmów była nie tylko ich wartość merytoryczna, ale także walory estetyczne, które sprawiają, że prezentowane obrazy będą ucztą muzyczną dla entuzjastów nietypowych Avantowych dźwięków. Szeroka rozpiętość tematyczna prezentowanych filmów ma na celu jak najpełniejsze przedstawienie niezwykle różnorodnej sceny niemieckiej. Sięgniemy do narodzin krautrocka, odwiedzimy czasy punkowej rebelii, będziemy śledzić rozwój elektronicznych nurtów, zahaczymy o berliński underground i poznamy szeroką gamę muzyki jej współczesnych twórców. Dodatkowo towarzyszące filmom wydarzenia specjalne w ramach Avant Film, takie jak spotkania i dyskusje ze znawcami i specjalistami z poszczególnych dziedzin, a także i twórcami pokazywanych filmów, wzbogacą projekcje o szerszy kontekst. Osobnym punktem programu, towarzyszącym filmowi przedstawiającemu fenomen punk rocka w Niemczech Wschodnich, będzie wystawa w Galerii U, prezentująca artefakty z tamtego okresu.\r\n\r\nWe współpracy z: ', 'AVANT ART FILM', '', 'inherit', 'closed', 'closed', '', '284-revision-10', '', '', '2012-07-16 21:01:08', '2012-07-16 19:01:08', '', 284, 'http://avantart.pl/284-revision-10/', 0, 'revision', '', 0), (300, 2, '2012-07-16 21:01:37', '2012-07-16 19:01:37', ' Avant Art Festival to nie tylko sama muzyka – to wszystkie sfery sztuki, w których muzyka odgrywa ważną rolę. I dlatego też – po raz pierwszy w historii festiwalu – w czasie jego piątej edycji pojawi się nowy blok programowy – prezentacje filmów dokumentalnych i fabularnych. Podczas tegorocznego cyklu filmowego, odbywającego się w przestrzeniach kina Helios Nowe Horyzonty, publiczność będzie miała okazję obejrzeć siedem obrazów. Z założenia prezentowane filmy swoją tematyką korespondują z wydarzeniami na muzycznej scenie festiwalu, jednocześnie poszerzając jej kontekst o wymiar kulturowy i historyczny. Tegoroczne filmy, podobnie jak główny nurt AAF, skupiają się na przybliżeniu publiczności bogatej sztuki niemieckiej. Pokażemy filmy ilustrujące najciekawsze sylwetki artystów i zjawiska, jakie zachodziły w eksperymentalnej muzyce tego kraju na przestrzeni ostatnich dekad. Wśród nich znajdą się klasyczne już obrazy, które polscy odbiorcy po raz pierwszy będą mieli okazję zobaczyć na dużym ekranie, a także zupełnie nowe produkcje. Punktem wyjścia w selekcji filmów była nie tylko ich wartość merytoryczna, ale także walory estetyczne, które sprawiają, że prezentowane obrazy będą ucztą muzyczną dla entuzjastów nietypowych Avantowych dźwięków. Szeroka rozpiętość tematyczna prezentowanych filmów ma na celu jak najpełniejsze przedstawienie niezwykle różnorodnej sceny niemieckiej. Sięgniemy do narodzin krautrocka, odwiedzimy czasy punkowej rebelii, będziemy śledzić rozwój elektronicznych nurtów, zahaczymy o berliński underground i poznamy szeroką gamę muzyki jej współczesnych twórców. Dodatkowo towarzyszące filmom wydarzenia specjalne w ramach Avant Film, takie jak spotkania i dyskusje ze znawcami i specjalistami z poszczególnych dziedzin, a także i twórcami pokazywanych filmów, wzbogacą projekcje o szerszy kontekst. Osobnym punktem programu, towarzyszącym filmowi przedstawiającemu fenomen punk rocka w Niemczech Wschodnich, będzie wystawa w Galerii U, prezentująca artefakty z tamtego okresu. We współpracy z: ', 'AVANT ART FILM', '', 'inherit', 'closed', 'closed', '', '284-revision-11', '', '', '2012-07-16 21:01:37', '2012-07-16 19:01:37', '', 284, 'http://avantart.pl/284-revision-11/', 0, 'revision', '', 0), (301, 2, '2012-07-16 21:01:56', '2012-07-16 19:01:56', ' Avant Art Festival to nie tylko sama muzyka – to wszystkie sfery sztuki, w których muzyka odgrywa ważną rolę. I dlatego też – po raz pierwszy w historii festiwalu – w czasie jego piątej edycji pojawi się nowy blok programowy – prezentacje filmów dokumentalnych i fabularnych. Podczas tegorocznego cyklu filmowego, odbywającego się w przestrzeniach kina Helios Nowe Horyzonty, publiczność będzie miała okazję obejrzeć siedem obrazów. Z założenia prezentowane filmy swoją tematyką korespondują z wydarzeniami na muzycznej scenie festiwalu, jednocześnie poszerzając jej kontekst o wymiar kulturowy i historyczny. Tegoroczne filmy, podobnie jak główny nurt AAF, skupiają się na przybliżeniu publiczności bogatej sztuki niemieckiej. Pokażemy filmy ilustrujące najciekawsze sylwetki artystów i zjawiska, jakie zachodziły w eksperymentalnej muzyce tego kraju na przestrzeni ostatnich dekad. Wśród nich znajdą się klasyczne już obrazy, które polscy odbiorcy po raz pierwszy będą mieli okazję zobaczyć na dużym ekranie, a także zupełnie nowe produkcje. Punktem wyjścia w selekcji filmów była nie tylko ich wartość merytoryczna, ale także walory estetyczne, które sprawiają, że prezentowane obrazy będą ucztą muzyczną dla entuzjastów nietypowych Avantowych dźwięków. Szeroka rozpiętość tematyczna prezentowanych filmów ma na celu jak najpełniejsze przedstawienie niezwykle różnorodnej sceny niemieckiej. Sięgniemy do narodzin krautrocka, odwiedzimy czasy punkowej rebelii, będziemy śledzić rozwój elektronicznych nurtów, zahaczymy o berliński underground i poznamy szeroką gamę muzyki jej współczesnych twórców. Dodatkowo towarzyszące filmom wydarzenia specjalne w ramach Avant Film, takie jak spotkania i dyskusje ze znawcami i specjalistami z poszczególnych dziedzin, a także i twórcami pokazywanych filmów, wzbogacą projekcje o szerszy kontekst. Osobnym punktem programu, towarzyszącym filmowi przedstawiającemu fenomen punk rocka w Niemczech Wschodnich, będzie wystawa w Galerii U, prezentująca artefakty z tamtego okresu. < /br> We współpracy z: ', 'AVANT ART FILM', '', 'inherit', 'closed', 'closed', '', '284-revision-12', '', '', '2012-07-16 21:01:56', '2012-07-16 19:01:56', '', 284, 'http://avantart.pl/284-revision-12/', 0, 'revision', '', 0), (302, 2, '2012-07-16 21:02:10', '2012-07-16 19:02:10', ' Avant Art Festival to nie tylko sama muzyka – to wszystkie sfery sztuki, w których muzyka odgrywa ważną rolę. I dlatego też – po raz pierwszy w historii festiwalu – w czasie jego piątej edycji pojawi się nowy blok programowy – prezentacje filmów dokumentalnych i fabularnych. Podczas tegorocznego cyklu filmowego, odbywającego się w przestrzeniach kina Helios Nowe Horyzonty, publiczność będzie miała okazję obejrzeć siedem obrazów. Z założenia prezentowane filmy swoją tematyką korespondują z wydarzeniami na muzycznej scenie festiwalu, jednocześnie poszerzając jej kontekst o wymiar kulturowy i historyczny. Tegoroczne filmy, podobnie jak główny nurt AAF, skupiają się na przybliżeniu publiczności bogatej sztuki niemieckiej. Pokażemy filmy ilustrujące najciekawsze sylwetki artystów i zjawiska, jakie zachodziły w eksperymentalnej muzyce tego kraju na przestrzeni ostatnich dekad. Wśród nich znajdą się klasyczne już obrazy, które polscy odbiorcy po raz pierwszy będą mieli okazję zobaczyć na dużym ekranie, a także zupełnie nowe produkcje. Punktem wyjścia w selekcji filmów była nie tylko ich wartość merytoryczna, ale także walory estetyczne, które sprawiają, że prezentowane obrazy będą ucztą muzyczną dla entuzjastów nietypowych Avantowych dźwięków. Szeroka rozpiętość tematyczna prezentowanych filmów ma na celu jak najpełniejsze przedstawienie niezwykle różnorodnej sceny niemieckiej. Sięgniemy do narodzin krautrocka, odwiedzimy czasy punkowej rebelii, będziemy śledzić rozwój elektronicznych nurtów, zahaczymy o berliński underground i poznamy szeroką gamę muzyki jej współczesnych twórców. Dodatkowo towarzyszące filmom wydarzenia specjalne w ramach Avant Film, takie jak spotkania i dyskusje ze znawcami i specjalistami z poszczególnych dziedzin, a także i twórcami pokazywanych filmów, wzbogacą projekcje o szerszy kontekst. Osobnym punktem programu, towarzyszącym filmowi przedstawiającemu fenomen punk rocka w Niemczech Wschodnich, będzie wystawa w Galerii U, prezentująca artefakty z tamtego okresu. We współpracy z: ', 'AVANT ART FILM', '', 'inherit', 'closed', 'closed', '', '284-revision-13', '', '', '2012-07-16 21:02:10', '2012-07-16 19:02:10', '', 284, 'http://avantart.pl/284-revision-13/', 0, 'revision', '', 0), (303, 2, '2012-07-16 21:02:27', '2012-07-16 19:02:27', ' Avant Art Festival to nie tylko sama muzyka – to wszystkie sfery sztuki, w których muzyka odgrywa ważną rolę. I dlatego też – po raz pierwszy w historii festiwalu – w czasie jego piątej edycji pojawi się nowy blok programowy – prezentacje filmów dokumentalnych i fabularnych. Podczas tegorocznego cyklu filmowego, odbywającego się w przestrzeniach kina Helios Nowe Horyzonty, publiczność będzie miała okazję obejrzeć siedem obrazów. Z założenia prezentowane filmy swoją tematyką korespondują z wydarzeniami na muzycznej scenie festiwalu, jednocześnie poszerzając jej kontekst o wymiar kulturowy i historyczny. Tegoroczne filmy, podobnie jak główny nurt AAF, skupiają się na przybliżeniu publiczności bogatej sztuki niemieckiej. Pokażemy filmy ilustrujące najciekawsze sylwetki artystów i zjawiska, jakie zachodziły w eksperymentalnej muzyce tego kraju na przestrzeni ostatnich dekad. Wśród nich znajdą się klasyczne już obrazy, które polscy odbiorcy po raz pierwszy będą mieli okazję zobaczyć na dużym ekranie, a także zupełnie nowe produkcje. Punktem wyjścia w selekcji filmów była nie tylko ich wartość merytoryczna, ale także walory estetyczne, które sprawiają, że prezentowane obrazy będą ucztą muzyczną dla entuzjastów nietypowych Avantowych dźwięków. Szeroka rozpiętość tematyczna prezentowanych filmów ma na celu jak najpełniejsze przedstawienie niezwykle różnorodnej sceny niemieckiej. Sięgniemy do narodzin krautrocka, odwiedzimy czasy punkowej rebelii, będziemy śledzić rozwój elektronicznych nurtów, zahaczymy o berliński underground i poznamy szeroką gamę muzyki jej współczesnych twórców. Dodatkowo towarzyszące filmom wydarzenia specjalne w ramach Avant Film, takie jak spotkania i dyskusje ze znawcami i specjalistami z poszczególnych dziedzin, a także i twórcami pokazywanych filmów, wzbogacą projekcje o szerszy kontekst. Osobnym punktem programu, towarzyszącym filmowi przedstawiającemu fenomen punk rocka w Niemczech Wschodnich, będzie wystawa w Galerii U, prezentująca artefakty z tamtego okresu. We współpracy z: ', 'AVANT ART FILM', '', 'inherit', 'closed', 'closed', '', '284-revision-14', '', '', '2012-07-16 21:02:27', '2012-07-16 19:02:27', '', 284, 'http://avantart.pl/284-revision-14/', 0, 'revision', '', 0), (305, 1, '2012-07-16 21:03:04', '2012-07-16 19:03:04', ' Avant Art Festival to nie tylko sama muzyka – to wszystkie sfery sztuki, w których muzyka odgrywa ważną rolę. I dlatego też – po raz pierwszy w historii festiwalu – w czasie jego piątej edycji pojawi się nowy blok programowy – prezentacje filmów dokumentalnych i fabularnych. Podczas tegorocznego cyklu filmowego, odbywającego się w przestrzeniach kina Helios Nowe Horyzonty, publiczność będzie miała okazję obejrzeć siedem obrazów. Z założenia prezentowane filmy swoją tematyką korespondują z wydarzeniami na muzycznej scenie festiwalu, jednocześnie poszerzając jej kontekst o wymiar kulturowy i historyczny. Tegoroczne filmy, podobnie jak główny nurt AAF, skupiają się na przybliżeniu publiczności bogatej sztuki niemieckiej. Pokażemy filmy ilustrujące najciekawsze sylwetki artystów i zjawiska, jakie zachodziły w eksperymentalnej muzyce tego kraju na przestrzeni ostatnich dekad. Wśród nich znajdą się klasyczne już obrazy, które polscy odbiorcy po raz pierwszy będą mieli okazję zobaczyć na dużym ekranie, a także zupełnie nowe produkcje. Punktem wyjścia w selekcji filmów była nie tylko ich wartość merytoryczna, ale także walory estetyczne, które sprawiają, że prezentowane obrazy będą ucztą muzyczną dla entuzjastów nietypowych Avantowych dźwięków. Szeroka rozpiętość tematyczna prezentowanych filmów ma na celu jak najpełniejsze przedstawienie niezwykle różnorodnej sceny niemieckiej. Sięgniemy do narodzin krautrocka, odwiedzimy czasy punkowej rebelii, będziemy śledzić rozwój elektronicznych nurtów, zahaczymy o berliński underground i poznamy szeroką gamę muzyki jej współczesnych twórców. Dodatkowo towarzyszące filmom wydarzenia specjalne w ramach Avant Film, takie jak spotkania i dyskusje ze znawcami i specjalistami z poszczególnych dziedzin, a także i twórcami pokazywanych filmów, wzbogacą projekcje o szerszy kontekst. Osobnym punktem programu, towarzyszącym filmowi przedstawiającemu fenomen punk rocka w Niemczech Wschodnich, będzie wystawa w Galerii U, prezentująca artefakty z tamtego okresu. We współpracy z: ', 'AVANT ART FILM', '', 'inherit', 'closed', 'closed', '', '284-revision-15', '', '', '2012-07-16 21:03:04', '2012-07-16 19:03:04', '', 284, 'http://avantart.pl/284-revision-15/', 0, 'revision', '', 0), (306, 1, '2012-07-12 10:19:35', '2012-07-12 08:19:35', '
Releasing albums in the prestigious Raster-Noton label is synonymous for a high musical quality – exactly that can be said about the sounds created by David Letellier, a French musician residing in Berlin, known to the entire circle of fans of non-trivial electronics under the moniker of Kangding Ray. The artist can skilfully combine the sound of electronic equipment with living instruments and thus create subtle and rhythmic suites, in which glitches harmonise with walls of distorted sounds, massive bass tracks, human voices and field recordings. The result is a mix of deep, dance beats and a dark atmosphere – and the whole can be described as “abstract bass music”. These are sounds full of cold currents, melodies camouflaged in rhythm and elegant beats crafted under a Spartan discipline. It is a rarely encountered explosion of unique sensibility applied on an entirely disciplined music, filled with hidden details, created with the help of a computer. Kangding Ray proposes a dance party we have never been to before. We can describe his music as the music of the borderland – it skilfully balances on, one hand, the border of experiment and avant-garde, and on the other – it is accessible to all the supporters of the club culture.
\r\n\r\n', 'KANGDING RAY', '', 'inherit', 'closed', 'closed', '', '48-revision-10', '', '', '2012-07-30 22:15:11', '2012-07-30 20:15:11', '', 48, 'http://avantart.pl/48-revision-10/', 0, 'revision', '', 0), (370, 2, '2012-07-30 22:13:47', '2012-07-30 20:13:47', ' Knuckleduster, transatlantycka kolaboracja niemieckiego artysty dźwiękowego Roberta Lippoka i rezydującego w Kanadzie indyjskiego multimedialnego twórcy Debashisa Sinhy, rozpoczęła się od obustronnej fascynacji dźwiękiem i jego produkcją. Po dyskusjach prowadzonych podczas spotkań w Berlinie i Toronto oraz za pośrednictwem internetu, obaj muzycy stworzyli podstawy do kreowania wspólnych kompozycji. Lippok, jedna z najważniejszych postaci berlińskiej sceny elektronicznej i założyciel słynnej formacji To Rococo Rot, znany jest przede wszystkim jako osoba, która odnowiła stylistykę post-rocka poprzez włączenie do niego sztuki konceptualnej, instalacji i improwizacji. Sinha, znawca rytmicznych systemów z różnych kultur, w swojej twórczości łączy czysto etniczne dźwięki i tradycyjne techniki z elementami zachodniej improwizacji i elektroniki. Ze zderzenia doświadczeń dwóch tak różnych osobowości muzycznych powstała muzyka, w której nowoczesność spotyka się z archaicznością, tworząc multikulturowy konglomerat brzmieniowy, który potrafi porwać słuchacza w niezwykłą podróż w czasie i przestrzeni. Akustyczne instrumenty i wysoko zaawansowana technologia, ludzki głos i syntetyczne brzmienia, szamanizm i nauka – to wszystko można odnaleźć w kompozycjach i improwizacjach tego oryginalnego duetu. kdmusic.org Knuckleduster, a transatlantic collaboration of the German sound artist, Robert Lippok, and Debashis Sinhy, a Hindu multimedia creator residing in Canada, began from a mutual fascination with sound and its production. After the discussions conducted during their meetings in Berlin and Toronto, and via the Internet, both musicians created the basis for creating collaborative compositions. Lippok is one of the most important figures of the Berlin electronic scene and founder of the famous To Rococo Rot, renown foremost as a person, who renew the post-rock stylistics by including the conceptual art, installations and improvisation into it. Sinha, an expert of rhythmic systems of different cultures, in his creations combines purely ethnic sounds and traditional techniques with elements of Western improvisation and electronics. Music, in which modernity meets archaism, creating a multicultural sound conglomerate, which can take the listener on a unique journey through time and space, came to be out of the collision of experiences of two such different personalities. Acoustic instruments and highly sophisticated technology, the human voice and synthetic sounds, shamanism and science – it all can be found in the compositions and improvisations of this original duo.\r\n\r\n kdmusic.org', 'KNUCKLEDUSTER', '', 'inherit', 'closed', 'closed', '', '52-revision-8', '', '', '2012-07-30 22:13:47', '2012-07-30 20:13:47', '', 52, 'http://avantart.pl/52-revision-8/', 0, 'revision', '', 0), (371, 2, '2012-07-30 23:44:31', '2012-07-30 21:44:31', ' Knuckleduster, transatlantycka kolaboracja niemieckiego artysty dźwiękowego Roberta Lippoka i rezydującego w Kanadzie indyjskiego multimedialnego twórcy Debashisa Sinhy, rozpoczęła się od obustronnej fascynacji dźwiękiem i jego produkcją. Po dyskusjach prowadzonych podczas spotkań w Berlinie i Toronto oraz za pośrednictwem internetu, obaj muzycy stworzyli podstawy do kreowania wspólnych kompozycji. Lippok, jedna z najważniejszych postaci berlińskiej sceny elektronicznej i założyciel słynnej formacji To Rococo Rot, znany jest przede wszystkim jako osoba, która odnowiła stylistykę post-rocka poprzez włączenie do niego sztuki konceptualnej, instalacji i improwizacji. Sinha, znawca rytmicznych systemów z różnych kultur, w swojej twórczości łączy czysto etniczne dźwięki i tradycyjne techniki z elementami zachodniej improwizacji i elektroniki. Ze zderzenia doświadczeń dwóch tak różnych osobowości muzycznych powstała muzyka, w której nowoczesność spotyka się z archaicznością, tworząc multikulturowy konglomerat brzmieniowy, który potrafi porwać słuchacza w niezwykłą podróż w czasie i przestrzeni. Akustyczne instrumenty i wysoko zaawansowana technologia, ludzki głos i syntetyczne brzmienia, szamanizm i nauka – to wszystko można odnaleźć w kompozycjach i improwizacjach tego oryginalnego duetu. kdmusic.org Knuckleduster, a transatlantic collaboration of the German sound artist, Robert Lippok, and Debashis Sinhy, a Hindu multimedia creator residing in Canada, began from a mutual fascination with sound and its production. After the discussions conducted during their meetings in Berlin and Toronto, and via the Internet, both musicians created the basis for creating collaborative compositions. Lippok is one of the most important figures of the Berlin electronic scene and founder of the famous To Rococo Rot, renown foremost as a person, who renew the post-rock stylistics by including the conceptual art, installations and improvisation into it. Sinha, an expert of rhythmic systems of different cultures, in his creations combines purely ethnic sounds and traditional techniques with elements of Western improvisation and electronics. Music, in which modernity meets archaism, creating a multicultural sound conglomerate, which can take the listener on a unique journey through time and space, came to be out of the collision of experiences of two such different personalities. Acoustic instruments and highly sophisticated technology, the human voice and synthetic sounds, shamanism and science – it all can be found in the compositions and improvisations of this original duo.\r\n\r\n kdmusic.org', 'KNUCKLEDUSTER', '', 'inherit', 'closed', 'closed', '', '52-revision-9', '', '', '2012-07-30 23:44:31', '2012-07-30 21:44:31', '', 52, 'http://avantart.pl/52-revision-9/', 0, 'revision', '', 0); INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (372, 2, '2012-07-30 22:12:20', '2012-07-30 20:12:20', ' Moritz von Oswald Trio nie jest zwykłą formacją – w pełni zasługuje ona na miano supergrupy. Pod jej szyldem zebrali się najbardziej zasłużeni pionierzy berlińskiej muzyki elektronicznej wczesnych lat 90-tych XX wieku – Moritz von Oswald, Max Loderbauer i Vladislav Delay – by razem powołać do życia unikalny projekt stworzony specjalnie dla występów na żywo. Ta trójka luminarzy połączyła w jedno swoje osobiste, często odmienne podejścia do tworzenia muzyki, by teraz wspólnie ponownie odkryć możliwości kryjące się w muzycznej elektronice w jej dubowej odmianie. Ten zespół jest eksploracją możliwości tkwiących w kolektywnej koncertowej improwizacji, gdzie Moritz von Oswald zajął się opanowaniem instrumentów elektroakustycznych, Loderbauer korzysta z analogowych syntezatorów, a Vladislav Delay powraca do swoich początków i gra na perkusji. W sercu tej epickiej wyprawy tkwi marzenie o połączeniu w jedną współgrającą całość dorobku klasycznego berlińskiego techno z jazzem Milesa Davisa, krautrockowym szaleństwem geniuszy z Can i neoklasycyzmem Igora Strawińskiego. To przyswajalny lecz nie pozbawiony ambicji i oryginalności fusion jazz przefiltrowany przez historię dub techno. Trzech możnowładców niemieckiej elektroniki stworzyło nowe imperium, na którego tereny zdecydowanie warto się zapuścić. www.vladislavdelay.com/site/?page_id=49\r\nMoritz von Oswald Trio is not your everyday group – it fully deserves the name of super group. The most deserved pioneers of the Berlin-based electronic music scene of the early 90s of the XX c., have gathered under its banner - Moritz von Oswald, Max Loderbauer i Vladislav Delay – this time in order to found a unique project created especially for live performances. The three luminaries have combined their personal, frequently diverse attitudes towards creating music, into one in order to now mutually rediscover the possibilities hidden in electronic music in its dub variety. This group is an exploration of possibilities lurking in a collective live improvisation, where Moritz von Oswald took over the rule of electro-acoustic instruments, Loderbauer uses analogue synthesizers and Vladislav Delay returns to his roots and plays the drums. In the heart of this epic journey lays the dream of combining the output of the classic Berlin techno with the jazz of Miles Davies, krautrock madness of the geniuses of Can and neo-classical Igor Strawiński, into one harmonising whole. This is accessible, but not lacking ambition and originality, fusion jazz filtrated through history of dub techno. Three magnates of the German electronics, have created a new empire, the territory of which is definitely worth venturing into.
\r\nwww.vladislavdelay.com/site/?page_id=49
\r\n', 'MORITZ VON OSWALD TRIO', '', 'inherit', 'closed', 'closed', '', '239-revision-8', '', '', '2012-07-30 22:12:20', '2012-07-30 20:12:20', '', 239, 'http://avantart.pl/239-revision-8/', 0, 'revision', '', 0), (373, 2, '2012-07-30 23:45:22', '2012-07-30 21:45:22', ' Moritz von Oswald Trio nie jest zwykłą formacją – w pełni zasługuje ona na miano supergrupy. Pod jej szyldem zebrali się najbardziej zasłużeni pionierzy berlińskiej muzyki elektronicznej wczesnych lat 90-tych XX wieku – Moritz von Oswald, Max Loderbauer i Vladislav Delay – by razem powołać do życia unikalny projekt stworzony specjalnie dla występów na żywo. Ta trójka luminarzy połączyła w jedno swoje osobiste, często odmienne podejścia do tworzenia muzyki, by teraz wspólnie ponownie odkryć możliwości kryjące się w muzycznej elektronice w jej dubowej odmianie. Ten zespół jest eksploracją możliwości tkwiących w kolektywnej koncertowej improwizacji, gdzie Moritz von Oswald zajął się opanowaniem instrumentów elektroakustycznych, Loderbauer korzysta z analogowych syntezatorów, a Vladislav Delay powraca do swoich początków i gra na perkusji. W sercu tej epickiej wyprawy tkwi marzenie o połączeniu w jedną współgrającą całość dorobku klasycznego berlińskiego techno z jazzem Milesa Davisa, krautrockowym szaleństwem geniuszy z Can i neoklasycyzmem Igora Strawińskiego. To przyswajalny lecz nie pozbawiony ambicji i oryginalności fusion jazz przefiltrowany przez historię dub techno. Trzech możnowładców niemieckiej elektroniki stworzyło nowe imperium, na którego tereny zdecydowanie warto się zapuścić. www.vladislavdelay.com/site/?page_id=49\r\n\r\nMoritz von Oswald Trio is not your everyday group – it fully deserves the name of super group. The most deserved pioneers of the Berlin-based electronic music scene of the early 90s of the XX c., have gathered under its banner - Moritz von Oswald, Max Loderbauer i Vladislav Delay – this time in order to found a unique project created especially for live performances. The three luminaries have combined their personal, frequently diverse attitudes towards creating music, into one in order to now mutually rediscover the possibilities hidden in electronic music in its dub variety. This group is an exploration of possibilities lurking in a collective live improvisation, where Moritz von Oswald took over the rule of electro-acoustic instruments, Loderbauer uses analogue synthesizers and Vladislav Delay returns to his roots and plays the drums. In the heart of this epic journey lays the dream of combining the output of the classic Berlin techno with the jazz of Miles Davies, krautrock madness of the geniuses of Can and neo-classical Igor Strawiński, into one harmonising whole. This is accessible, but not lacking ambition and originality, fusion jazz filtrated through history of dub techno. Three magnates of the German electronics, have created a new empire, the territory of which is definitely worth venturing into.\r\n\r\nwww.vladislavdelay.com/site/?page_id=49', 'MORITZ VON OSWALD TRIO', '', 'inherit', 'closed', 'closed', '', '239-revision-9', '', '', '2012-07-30 23:45:22', '2012-07-30 21:45:22', '', 239, 'http://avantart.pl/239-revision-9/', 0, 'revision', '', 0), (375, 2, '2012-07-11 23:59:49', '2012-07-11 21:59:49', 'AVANT ART FESTIVAL, zgodnie z myślą przewodnią 5. edycji, stworzy we Wrocławiu prawdziwą „przestrzeń dla kultury”, tym razem niemieckiej. Jak co roku głównym bohaterem festiwalu będzie muzyka we wszystkich stanach skupienia, formach i kontekstach, niemniej równie ważne będą pozostałe działania: po raz pierwszy ruszy cykl AVANT ART FILM, odbędą się spotkania z literaturą, performance’y oraz warsztaty i debaty. Więcej szczegółów wkrótce!', 'AVANT ART 2012 stworzy przestrzeń dla kultury', '', 'inherit', 'closed', 'closed', '', '1-revision-6', '', '', '2012-07-11 23:59:49', '2012-07-11 21:59:49', '', 1, 'http://avantart.pl/1-revision-6/', 0, 'revision', '', 0), (376, 2, '2012-07-12 23:59:39', '2012-07-12 21:59:39', '\r\n\r\nZ radością informujemy, że podczas 5. edycji AVANT ART (2-7 października) odbędzie się showcase artystów jednej z najbardziej prestiżowych wytwórni muzycznych w Europie. Pod szyldem Raster-Noton zagrają u nas: Kangding Ray, Byetone oraz Frank Bretschneider!', 'RASTER–NOTON na AVANT ART 2012!', '', 'inherit', 'closed', 'closed', '', '164-revision-9', '', '', '2012-07-12 23:59:39', '2012-07-12 21:59:39', '', 164, 'http://avantart.pl/164-revision-9/', 0, 'revision', '', 0), (377, 2, '2012-07-13 11:03:30', '2012-07-13 09:03:30', '\r\n\r\nZnamy pełny program 5. edycji AVANT ART FESTIVAL, która odbędzie się we Wrocławiu w dniach 2-7 października 2012 r. pod hasłem „Niemcy”. Tegoroczną odsłonę festiwalu reprezentować będą wybitni artyści z Niemiec, m.in. DAF, Bonaparte, Peter Brotzmann & Defibrillator, Knuckleduster i Moritz Von Oswald Trio. Po raz pierwszy na festiwalu odbędą się showcase’y dwóch wytwórni: Raster-Noton (m.in. Kangding Ray) oraz Project: Mooncircle. Ruszy także pierwsza edycja cyklu AVANT ART FILM, w trakcie którego zobaczymy niemieckie filmy o muzyce. AVANT ART 2012 to także performance’y, koprodukcje, spotkania z literaturą, warsztaty i debaty oraz prezentacje festiwalu za granicą: w Kolonii i Berlinie.\r\n\r\nZapraszamy do zapoznania się z programem festiwalu!', 'ZNAMY PEŁNY PROGRAM 5. EDYCJI AVANT ART FESTIVAL!', '', 'inherit', 'closed', 'closed', '', '166-revision-8', '', '', '2012-07-13 11:03:30', '2012-07-13 09:03:30', '', 166, 'http://avantart.pl/166-revision-8/', 0, 'revision', '', 0), (378, 2, '2012-08-01 15:54:24', '2012-08-01 13:54:24', '\r\n\r\nZnamy pełny program 5. edycji AVANT ART FESTIVAL, która odbędzie się we Wrocławiu w dniach 2-7 października 2012 r. pod hasłem „Niemcy”. Tegoroczną odsłonę festiwalu reprezentować będą wybitni artyści z Niemiec, m.in. DAF, Bonaparte, Peter Brotzmann & Defibrillator, Knuckleduster i Moritz Von Oswald Trio. Po raz pierwszy na festiwalu odbędą się showcase’y dwóch wytwórni: Raster-Noton (m.in. Kangding Ray) oraz Project: Mooncircle. Ruszy także pierwsza edycja cyklu AVANT ART FILM, w trakcie którego zobaczymy niemieckie filmy o muzyce. AVANT ART 2012 to także performance’y, koprodukcje, spotkania z literaturą, warsztaty i debaty oraz prezentacje festiwalu za granicą: w Kolonii i Berlinie.\r\n\r\nZapraszamy do zapoznania się z programem festiwalu!\r\n\r\nThe full programme of the 5th edition of AVANT ART FESTIVAL, which will take place in Wrocław between October 2nd-7th, 2012, under the banner of “Germany”, has been revealed. This year’s edition of the festival will be represented by outstanding artists from Germany, among others, DAF, Bonaparte, Peter Brotzmann & Defibrillator, Knuckleduster and Moritz Von Oswald Trio. Two showcases by the labels: Raster-Noton (Frank Bretschneider, Kangding Ray, Byetone) and Project: Mooncircle will take place during the festival for the first time, as well as the first edition of the AVANT ART FILM series, during which we will see German films about music. AVANT ART 2012 are also performances, co-productions, meetings with literature, workshops and debates; moreover, presentations of the festival abroad: in Koln and Berlin.\r\n\r\nWe invite you to get acquainted with the programme of the festival.', 'ZNAMY PEŁNY PROGRAM 5. EDYCJI AVANT ART FESTIVAL!THE FULL PROGRAMME OF THE 5TH EDITION OF AVANT ART HAS BEEN REVEALED!', '', 'inherit', 'closed', 'closed', '', '166-revision-9', '', '', '2012-08-01 15:54:24', '2012-08-01 13:54:24', '', 166, 'http://avantart.pl/166-revision-9/', 0, 'revision', '', 0), (379, 2, '2012-07-17 09:56:48', '2012-07-17 07:56:48', '\r\n\r\nAvant Art Festival to nie tylko sama muzyka – to wszystkie sfery sztuki, w których muzyka odgrywa ważną rolę. I dlatego też – po raz pierwszy w historii festiwalu – w czasie jego piątej edycji pojawi się nowy blok programowy – prezentacje filmów dokumentalnych i fabularnych. Podczas tegorocznego cyklu filmowego, odbywającego się w przestrzeniach kina Helios Nowe Horyzonty, publiczność będzie miała okazję obejrzeć siedem obrazów. Z założenia prezentowane filmy swoją tematyką korespondują z wydarzeniami na muzycznej scenie festiwalu, jednocześnie poszerzając jej kontekst o wymiar kulturowy i historyczny. Tegoroczne filmy, podobnie jak główny nurt AAF, skupiają się na przybliżeniu publiczności bogatej sztuki niemieckiej. Pokażemy filmy ilustrujące najciekawsze sylwetki artystów i zjawiska, jakie zachodziły w eksperymentalnej muzyce tego kraju na przestrzeni ostatnich dekad. Wśród nich znajdą się klasyczne już obrazy, które polscy odbiorcy po raz pierwszy będą mieli okazję zobaczyć na dużym ekranie, a także zupełnie nowe produkcje. Punktem wyjścia w selekcji filmów była nie tylko ich wartość merytoryczna, ale także walory estetyczne, które sprawiają, że prezentowane obrazy będą ucztą muzyczną dla entuzjastów nietypowych Avantowych dźwięków. Szeroka rozpiętość tematyczna prezentowanych filmów ma na celu jak najpełniejsze przedstawienie niezwykle różnorodnej sceny niemieckiej. Sięgniemy do narodzin krautrocka, odwiedzimy czasy punkowej rebelii, będziemy śledzić rozwój elektronicznych nurtów, zahaczymy o berliński underground i poznamy szeroką gamę muzyki jej współczesnych twórców. Dodatkowo towarzyszące filmom wydarzenia specjalne w ramach Avant Film, takie jak spotkania i dyskusje ze znawcami i specjalistami z poszczególnych dziedzin, a także i twórcami pokazywanych filmów, wzbogacą projekcje o szerszy kontekst. Osobnym punktem programu, towarzyszącym filmowi przedstawiającemu fenomen punk rocka w Niemczech Wschodnich, będzie wystawa w Galerii U, prezentująca artefakty z tamtego okresu.\r\n\r\nWe współpracy z: ', 'AVANT ART FILM', '', 'inherit', 'closed', 'closed', '', '284-revision-17', '', '', '2012-07-17 09:56:48', '2012-07-17 07:56:48', '', 284, 'http://avantart.pl/284-revision-17/', 0, 'revision', '', 0), (380, 2, '2012-08-01 15:56:10', '2012-08-01 13:56:10', '\r\n\r\nAvant Art Festival to nie tylko sama muzyka – to wszystkie sfery sztuki, w których muzyka odgrywa ważną rolę. I dlatego też – po raz pierwszy w historii festiwalu – w czasie jego piątej edycji pojawi się nowy blok programowy – prezentacje filmów dokumentalnych i fabularnych. Podczas tegorocznego cyklu filmowego, odbywającego się w przestrzeniach kina Helios Nowe Horyzonty, publiczność będzie miała okazję obejrzeć siedem obrazów. Z założenia prezentowane filmy swoją tematyką korespondują z wydarzeniami na muzycznej scenie festiwalu, jednocześnie poszerzając jej kontekst o wymiar kulturowy i historyczny. Tegoroczne filmy, podobnie jak główny nurt AAF, skupiają się na przybliżeniu publiczności bogatej sztuki niemieckiej. Pokażemy filmy ilustrujące najciekawsze sylwetki artystów i zjawiska, jakie zachodziły w eksperymentalnej muzyce tego kraju na przestrzeni ostatnich dekad. Wśród nich znajdą się klasyczne już obrazy, które polscy odbiorcy po raz pierwszy będą mieli okazję zobaczyć na dużym ekranie, a także zupełnie nowe produkcje. Punktem wyjścia w selekcji filmów była nie tylko ich wartość merytoryczna, ale także walory estetyczne, które sprawiają, że prezentowane obrazy będą ucztą muzyczną dla entuzjastów nietypowych Avantowych dźwięków. Szeroka rozpiętość tematyczna prezentowanych filmów ma na celu jak najpełniejsze przedstawienie niezwykle różnorodnej sceny niemieckiej. Sięgniemy do narodzin krautrocka, odwiedzimy czasy punkowej rebelii, będziemy śledzić rozwój elektronicznych nurtów, zahaczymy o berliński underground i poznamy szeroką gamę muzyki jej współczesnych twórców. Dodatkowo towarzyszące filmom wydarzenia specjalne w ramach Avant Film, takie jak spotkania i dyskusje ze znawcami i specjalistami z poszczególnych dziedzin, a także i twórcami pokazywanych filmów, wzbogacą projekcje o szerszy kontekst. Osobnym punktem programu, towarzyszącym filmowi przedstawiającemu fenomen punk rocka w Niemczech Wschodnich, będzie wystawa w Galerii U, prezentująca artefakty z tamtego okresu.\r\n\r\nWe współpracy z: \r\n\r\nAvant Art Festival is not only music – it touches on all the planes of art, in which music plays an important role. That is why – for the first time in the festival’s history – a new programme block will appear during its fifth edition – the presentations of documentaries and films. During this year’s film series, taking place in the space of the Helios cinema, the audience will have a chance to see seven pictures. Out of assumption, the presented film will thematically correspond to the events on the music stage of the festival, at the same time broadening its context to include the cultural and historical dimension. This year’s films, just like the main part of AAF, focus on bringing the rich German art closer to the audience. We will present films illustrating the most interesting artist figures and events, which took place in the experimental music of the country over the last decades. Already classic motion pictures, which the Polish recipients will have a chance to see for the first time on the big screen, will appear among them, as well as new productions. The starting point of the selection of the films was not only their substantial worth, but aesthetic qualities, which will make the presented pictures a musical feast for the enthusiasts of unusual Avant sounds.\r\n\r\nThe wide range of themes of the presented films is aimed at presenting the uniquely diverse German scene as fully as possible. We will see the birth of krautrock, visit the times of the punk rebellion, we will follow the development of electronic trends, stumble upon the Berlin underground and get acquainted with a wide variety of music and its contemporary creators. Additionally, special events accompanying the films as a part of Avant Film, such as meetings and discussions with experts and specialists of particular spheres, as well as the creators of the presented films, will be enriched by lectures about their wider context. A separate event in the programme, accompanying the screening of the film presenting the phenomenon of punk rock in East Germany, will be an exhibition of artefacts from that time period in the Galeria U [U Gallery]\r\n\r\nCooperation: ', 'AVANT ART FILM', '', 'inherit', 'closed', 'closed', '', '284-revision-18', '', '', '2012-08-01 15:56:10', '2012-08-01 13:56:10', '', 284, 'http://avantart.pl/284-revision-18/', 0, 'revision', '', 0), (381, 2, '2012-07-20 10:58:16', '2012-07-20 08:58:16', 'Jak co roku głównym bohaterem Avant Art Festival jest muzyka – muzyka we wszystkich stanach skupienia, we wszystkich swoich formach i kontekstach. Muzyka samodzielna oraz łącząca przeróżne dziedziny sztuki. Przez sześć dni (od 2 do 7 października 2012 r.) na festiwalowej scenie zobaczymy i usłyszymy wykonawców nietuzinkowych, poszukujących, przecierających nowe szlaki i jak co roku królować będą eklektyzm, oryginalność i nowatorstwo.\r\n\r\nTegoroczna edycja Avant Art Festival upłynie pod znakiem Niemiec – kraju niezwykle bogatego w ciekawych artystów. Już od wielu lat niemieccy muzycy przodują w tworzeniu nowych nurtów i estetyk, które podbijają światowe sceny swoją świeżością i pomysłowością. W czasie festiwalu wystąpią zarówno twórcy uznani – pionierzy gatunków, które od lat cieszą się popularnością na całym świecie, a także artyści młodzi – reformatorzy, napędzający muzykę swoją świeżą krwią i talentem. We Wrocławiu pojawi się DAF – jedna z najważniejszych formacji lat 80. XX wieku, która swoją twórczością położyła podwaliny pod takie gatunki jak electro czy EBM. Obok niej usłyszymy Caspar Brötzmann Massaker – rzecz dla zwolenników brudnych gitarowych brzmień, pełnych czystej i nieskrępowanej ekspresji, improwizacji i uwolnionej pasji twórczej. Połączenie najnowocześniejszej technologii z nowymi technikami kreowania dźwięków zaprezentują muzycy ze słynnej wytwórni Raster-Noton – Frank Bretschneider, Byetone i Kangding Ray. Moritz Von Oswald Trio przedstawi swoją wizję stapiania w jedno tak odmiennych od siebie stylistyk, jak techno, jazz i dub. FM Einheit, niegdyś członek wpływowej industrialnej grupy Einstürzende Neubeuten, udowodni jak z pozornie niemuzycznego instrumentarium stworzyć wielowarstwową i bogatą muzykę. Berlińscy szaleńcy z Bonaparte udowodnią, że koncert może być nie tylko samą prezentacją dźwięków, ale także niezwykłym, ekspresyjnym spektaklem. Niestrudzeni eksperymentatorzy z formacji Perlonex połączą swoje siły z jednym z najwybitniejszych przedstawicieli muzycznego minimalizmu, Charlemagne Palestine. Młodość zagra w jednej drużynie z wieloletnim doświadczeniem w postaci wspólnego projektu młodych polskich muzyków z ansamblu Defibrillator razem z tytanem free jazzu Peterem Brötzmannem. Artyści z Denseland w umiejętny sposób połączą na scenie post-punk z wolną improwizacją, a formacja Dÿse przedstawi swoją własną, bogatą w różnorodne nawiązania wersję noise rocka. Międzykontynentalny, kanadyjsko-niemiecki projekt Knuckleduster zbuduje pomost między world music, post rockiem i elektroniką, a Tannhäuser Sterben & das Tod wywróci na nice wszystkie znane dotąd muzyczne stylistyki. Taneczną stroną eksperymentowania z dźwiękiem ujawnią publiczności projekty ze stajni prestiżowej berlińskiej wytwórni Project: Mooncircle, a podczas koncertu Time Art Ensemble będzie można zanurzyć się w świecie wykreowanym z awangardowych dźwięków i wizualizacji. Mex Gerngesehen Avant Art Project, specjalnie powołana do życia na tę edycję festiwalu kolaboracja niemieckich i polskich muzyków, pokaże to, co najważniejsze w najnowszych eksperymentalnych trendach. Avant Art Festival wychodzi też w tym roku z sal koncertowych na ulice w postaci projektu Social Up Spacing – wspólnej inicjatywy polskich i niemieckich muzyków i plastyków, którzy zaprezentują swoje recyklingowe instalacje w otwartej przestrzeni miejskiej. Ważnym uzupełnieniem programu będą odbywające się w kinie Helios pokazy filmów dokumentalnych i fabularnych na temat niemieckiej sceny muzycznej, wizualnie dopełniające scenę muzyczną festiwalu, osadzając ją w społecznym i historycznym kontekście. Odbędą się też liczne warsztaty, dyskusje panelowe i spotkania z literaturą. Piąty Avant Art Festival po raz pierwszy wyjdzie poza Wrocław – poszczególne koncerty i prezentacje odbywać się też będą w Berlinie i Kolonii.\r\n\r\nPoszukiwania czegoś nowego na terenie sztuki nie ustają nigdy. Warto przyglądać się nowym artystom, świeżym trendom i rodzącym się zagadnieniom. I po raz kolejny kryterium doboru zaproszonych na festiwal wykonawców nie jest ograniczone danym gatunkiem, nurtem czy estetyką – ważna jest ich oryginalność, wynikająca z łamania ustalonych barier w sztuce, umiejętność łączenia w spójną całość odmiennych form, eksperymentalne czy wręcz awangardowe podejście do materii dźwięku, ruchu i obrazu. Avant Art Festival jest z założenia świętem artystycznego eklektyzmu, który jest widoczny na wielu płaszczyznach. Po Avant Art Festival można spodziewać się wszystkiego – chcemy zaskakiwać i dziwić, stawiać widza w opozycji do utartych schematów i klasycznego podejścia do sztuki. Tu tradycją jest odrzucenie tradycji, kanonem jest łamanie kanonów, konwencją jest niekonwencjonalność. Stawiamy na różnorodność i wielogatunkowość. Jesteśmy otwarci na wszystko, co oryginalne.', 'O festiwalu', '', 'inherit', 'closed', 'closed', '', '12-revision-7', '', '', '2012-07-20 10:58:16', '2012-07-20 08:58:16', '', 12, 'http://avantart.pl/12-revision-7/', 0, 'revision', '', 0), (382, 2, '2012-07-11 19:22:45', '2012-07-11 17:22:45', 'Avant Art\r\nul. Bolesławiecka 1/24a\r\n52-614 Wrocław, Polska\r\ninfo@avantart.pl\r\n\r\nDyrektor festiwalu:\r\nKostas Georgakopulos\r\nkostas@avantart.pl, tel. 513103826\r\n\r\nProducent:\r\nGrazyna Górka-Dudek\r\ngrazyna@avantart.pl, tel. 665727271\r\n\r\nKontakt dla mediów:\r\nMagda Kotowska\r\nmagda.kotowska@highlite.pl, tel. 792 234 779\r\n\r\nWolontariat:\r\nwolontariat@avantart.pl', 'Kontakt', '', 'inherit', 'closed', 'closed', '', '5-revision-4', '', '', '2012-07-11 19:22:45', '2012-07-11 17:22:45', '', 5, 'http://avantart.pl/5-revision-4/', 0, 'revision', '', 0), (383, 2, '2012-08-01 16:05:13', '2012-08-01 14:05:13', 'Avant Art\r\nul. Bolesławiecka 1/24a\r\n52-614 Wrocław, Polska\r\ninfo@avantart.pl\r\n\r\nDyrektor festiwalu:\r\nKostas Georgakopulos\r\nkostas@avantart.pl, tel. 513103826\r\n\r\nProducent:\r\nGrazyna Górka-Dudek\r\ngrazyna@avantart.pl, tel. 665727271\r\n\r\nKontakt dla mediów:\r\nMagda Kotowska\r\nmagda.kotowska@highlite.pl, tel. 792 234 779\r\n\r\nWolontariat:\r\nwolontariat@avantart.plAvant Art\r\n\r\nul. Bolesławiecka 1/24a\r\n52-614 Wrocław, Polska\r\ninfo@avantart.pl\r\n\r\nFestival director:\r\nKostas Georgakopulos\r\nkostas@avantart.pl, tel. 513103826\r\n\r\nProducer:\r\nGrazyna Górka-Dudek\r\ngrazyna@avantart.pl, tel. 665727271\r\n\r\nMedia:\r\n\r\nMagda Kotowska\r\nmagda.kotowska@highlite.pl, tel. 792 234 779\r\n\r\nVolunteers:\r\nwolontariat@avantart.pl', 'Kontakt', '', 'inherit', 'closed', 'closed', '', '5-revision-5', '', '', '2012-08-01 16:05:13', '2012-08-01 14:05:13', '', 5, 'http://avantart.pl/5-revision-5/', 0, 'revision', '', 0), (384, 1, '2012-07-11 22:35:00', '2012-07-11 20:35:00', '', 'Miejsca', '', 'inherit', 'closed', 'closed', '', '30-revision-3', '', '', '2012-07-11 22:35:00', '2012-07-11 20:35:00', '', 30, 'http://avantart.pl/30-revision-3/', 0, 'revision', '', 0), (385, 1, '2012-08-03 09:24:55', '2012-08-03 07:24:55', '\r\n1) BIURO FESTIWALOWE IMPART 2016\r\nul. Mazowiecka 17\r\n\r\n2) BWA Wrocław | Galeria Design\r\nul.Świdnicka 2\r\n\r\n3) Eter Club\r\nul. Kazimierza Wielkiego 19\r\n\r\n4) Helios Nowe Horyzonty\r\nul. Kazimierza Wielkiego 19a-21\r\n\r\n5) Kościół św. Marii Magdaleny\r\nul. Szewska 10Avant Art
\r\nul. Bolesławiecka 1/24a
\r\n52-614 Wrocław, Polska
\r\ninfo@avantart.pl
Festival director:
\r\nKostas Georgakopulos
\r\nkostas@avantart.pl, tel. 513103826
Producer:
\r\nGrazyna Górka-Dudek
\r\ngrazyna@avantart.pl, tel. 665727271
Media:
\r\nMagda Kotowska
\r\nmagda.kotowska@highlite.pl, tel. 792 234 779
Volunteers:
\r\nwolontariat@avantart.pl
Kontakt dla mediów:
\nMagda Kotowska
\nmagda.kotowska@highlite.pl, tel. 792 234 779
\n', 'Press Room', '', 'inherit', 'closed', 'closed', '', '26-autosave', '', '', '2012-11-21 12:23:11', '2012-11-21 11:23:11', '', 26, 'http://avantart.pl/26-autosave/', 0, 'revision', '', 0), (408, 2, '2012-07-11 22:34:45', '2012-07-11 20:34:45', 'Kontakt dla mediów:\r\nMagda Kotowska\r\nmagda.kotowska@highlite.pl, tel. 792 234 779', 'Press Room', '', 'inherit', 'closed', 'closed', '', '26-revision-4', '', '', '2012-07-11 22:34:45', '2012-07-11 20:34:45', '', 26, 'http://avantart.pl/26-revision-4/', 0, 'revision', '', 0), (409, 2, '2012-08-09 20:05:47', '2012-08-09 18:05:47', 'Kontakt dla mediów:\r\nMagda Kotowska | magda.kotowska@highlite.pl, tel. 792 234 779\r\n\r\nKontakt dla mediów:
\r\nMagda Kotowska
\r\nmagda.kotowska@highlite.pl, tel. 792 234 779
Kontakt dla mediów:
\r\nMagda Kotowska
\r\nmagda.kotowska@highlite.pl, tel. 792 234 779
Kontakt dla mediów:
\r\nMagda Kotowska
\r\nmagda.kotowska@highlite.pl, tel. 792 234 779
\r\n', 'Press Room', '', 'inherit', 'closed', 'closed', '', '26-revision-7', '', '', '2012-08-09 20:08:17', '2012-08-09 18:08:17', '', 26, 'http://avantart.pl/26-revision-7/', 0, 'revision', '', 0), (418, 2, '2012-08-09 23:14:13', '2012-08-09 21:14:13', 'Kontakt dla mediów:\r\nMagda Kotowska | magda.kotowska@highlite.pl, tel. 792 234 779\r\n\r\nAAF 2012 FOTO LQ \r\n\r\nAAF 2012 FOTO HQ\r\n\r\nAAF 2012 LOGO\r\n\r\nAAF 2012 ZAPOWIEDZI\r\n\r\n\r\nAVANT ART FILM PLAKAT \r\n\r\nAVANT ART FILM ZAPOWIEDŹKontakt dla mediów:
\r\nMagda Kotowska
\r\nmagda.kotowska@highlite.pl, tel. 792 234 779
\r\n', 'Press Room', '', 'inherit', 'closed', 'closed', '', '26-revision-8', '', '', '2012-08-09 23:14:13', '2012-08-09 21:14:13', '', 26, 'http://avantart.pl/26-revision-8/', 0, 'revision', '', 0), (419, 2, '2012-08-09 23:18:51', '2012-08-09 21:18:51', 'Kontakt dla mediów:\r\nMagda Kotowska | magda.kotowska@highlite.pl, tel. 792 234 779\r\n\r\nAAF 2012 FOTO LQ \r\n\r\nAAF 2012 FOTO HQ\r\n\r\nAAF 2012 LOGO\r\n\r\nAAF 2012 ZAPOWIEDZI\r\n\r\n\r\nAVANT ART FILM PLAKAT \r\n\r\nAVANT ART FILM ZAPOWIEDŹKontakt dla mediów:
\r\nMagda Kotowska
\r\nmagda.kotowska@highlite.pl, tel. 792 234 779
\r\n', 'Press Room', '', 'inherit', 'closed', 'closed', '', '26-revision-9', '', '', '2012-08-09 23:18:51', '2012-08-09 21:18:51', '', 26, 'http://avantart.pl/26-revision-9/', 0, 'revision', '', 0), (420, 2, '2012-07-30 22:13:00', '2012-07-30 20:13:00', ' Mex Gerngesehen Avant Art Project to premierowa realizacja muzyczno-performatywna, będąca koprodukcją wrocławskiego festiwalu Avant Art, dortmundzkiej organizacji Mex – intermediale und experimentelle Musikprojekte i Gerngesehen z Kolonii. To kooperacja kompozytorów, performerów i muzyków skupionych wokół kolońskiej sceny sound artu, muzyki eksperymentalnej i teatru z polskim środowiskiem muzyków tworzących w szeroko rozumianym idiomie muzyki współczesnej oraz improwizowanej. Rozszerzone techniki wokalne i performatywne używane przez kompozytorkę i performerkę Betine Wenzel, język ruchu oraz współczesny performance duetu Duo Cri Du Coe prowadzonego przez Fine Kwiatkowski i Willehada Gratenhorsta, obiekty dźwiękowe i sound art Hansa W. Kocha, synteza modularna, circuit-bending i synth-design w MAX/MSP Jokera Niesa, instrumenty dęte, saksofony oraz generatory fal Gerarda Lebika, preparowany fortepian i trąbka Piotra Damasiewicza, symfoniczne instrumenty perkusyjne z grupy idiofonów stosowane przez Wojtka Romanowskiego – to wszystko to elementy składowe, źródła dźwięku i techniki użyte w intermedialnych poszukiwaniach nad nieprzewidywalnością we wszystkich płaszczyznach kompozycji powstającej w ramach pierwszej współpracy artystów na tegorocznym Avant Art Festival.\r\n\r\ngerardlebik.com/Mex_Gerngesehen_Avant_Art_Project_.html\r\n\r\nMex Gerngesehen Avant Art Project is a premiere music-performative project, a co-production of the Wrocław festival Avant Art and the Dortmund organisation Mex – intermediale und experimentelle Musikprojekte i Gerngesehen from Koln. This is a co-operation of composers, performers and musicians focused around the Koln-based scene of sound art, experimental music and theatre with the Polish circle of musicians creating in the broadly understood idiom of contemporary and improvised music. The expanded vocal and performative techniques used by the composer and performer Betina Wenzel, the language of movement and modern performance of the Duo Cri Du Coe duo, led by Fina Kwiatkowski and Willehad Gratenhorst, sound objects and art of Hans W. Koch, modular synthesis, circuit-bending and synth-design in MAX/MSP of Joker Nies, wind instruments, saxophone and wave generators of Gerard Lebik, self-prepared piano and trumpet of Piotr Damasiewicz, symphonic percussion instruments from the idiophone group used by Wojtek Romanowski – it all are components, sound sources and techniques used in the intermedial searches of the unpredictability on all planes of a composition, being created as a part of the first co-operation of artists on this year’s Avant Art Festival.\r\n\r\ngerardlebik.com/Mex_Gerngesehen_Avant_Art_Project_.html\r\n\r\n ', 'MEX GERNGESEHEN AVANT ART PROJECT', '', 'inherit', 'closed', 'closed', '', '69-revision-9', '', '', '2012-07-30 22:13:00', '2012-07-30 20:13:00', '', 69, 'http://avantart.pl/69-revision-9/', 0, 'revision', '', 0), (421, 2, '2012-08-12 21:51:28', '2012-08-12 19:51:28', '', 'PARTNERZY-1', '', 'inherit', 'closed', 'closed', '', 'partnerzy-1', '', '', '2012-08-12 21:51:28', '2012-08-12 19:51:28', '', 28, 'http://avantart.pl/wp-content/uploads/2012/07/PARTNERZY-1.jpg', 0, 'attachment', 'image/jpeg', 0), (422, 2, '2012-08-07 10:23:38', '2012-08-07 08:23:38', '', 'PartnerzyPartners', '', 'inherit', 'closed', 'closed', '', '28-revision-4', '', '', '2012-08-07 10:23:38', '2012-08-07 08:23:38', '', 28, 'http://avantart.pl/28-revision-4/', 0, 'revision', '', 0), (423, 2, '2012-10-09 22:33:30', '2012-10-09 20:33:30', 'MECENAT\n\nPATRONAGE
\n\n
STRATEGIC PARTNER
\nMAIN PARTNERS
\nPARTNERS
\nCOPRODUCTION PARTNERS
\nCOOPERATION
\nMEDIA PATRONS
\nAvant Art
\r\nul. Bolesławiecka 1/24a
\r\n52-614 Wrocław, Polska
\r\ninfo@avantart.pl
Festival director:
\r\nKostas Georgakopulos
\r\nkostas@avantart.pl, tel. 513103826
Producer:
\r\nGrazyna Górka-Dudek
\r\ngrazyna@avantart.pl, tel. 665727271
Media:
\r\nMagda Kotowska
\r\nmagda.kotowska@highlite.pl, tel. 792 234 779
Volunteers:
\r\nwolontariat@avantart.pl
1) BIURO FESTIWALOWE IMPART 2016
\r\nul. Mazowiecka 17
2) BWA Wrocław | Galeria Design
\r\nul.Świdnicka 2
3) Eter Club
\r\nul. Kazimierza Wielkiego 19
4) Helios Nowe Horyzonty
\r\nul. Kazimierza Wielkiego 19a-21
5) Kościół św. Marii Magdaleny
\r\nul. Szewska 10
PATRONAGE
\r\nSTRATEGIC PARTNER
\r\n\r\nMAIN PARTNERS
\r\n\r\nCOOPERATION
\r\n\r\n', 'PartnerzyPartners', '', 'inherit', 'closed', 'closed', '', '28-revision-23', '', '', '2012-08-16 23:34:23', '2012-08-16 21:34:23', '', 28, 'http://avantart.pl/28-revision-23/', 0, 'revision', '', 0), (459, 2, '2012-08-16 23:35:14', '2012-08-16 21:35:14', 'PATRONAGE
\r\nSTRATEGIC PARTNER
\r\n\r\nMAIN PARTNERS
\r\n\r\nCOOPERATION
\r\n\r\n', 'PartnerzyPartners', '', 'inherit', 'closed', 'closed', '', '28-revision-24', '', '', '2012-08-16 23:35:14', '2012-08-16 21:35:14', '', 28, 'http://avantart.pl/28-revision-24/', 0, 'revision', '', 0), (460, 2, '2012-08-16 23:38:25', '2012-08-16 21:38:25', 'PATRONAGE
\r\nSTRATEGIC PARTNER
\r\n\r\nMAIN PARTNERS
\r\n\r\nCOOPERATION
\r\n\r\n', 'PartnerzyPartners', '', 'inherit', 'closed', 'closed', '', '28-revision-25', '', '', '2012-08-16 23:38:25', '2012-08-16 21:38:25', '', 28, 'http://avantart.pl/28-revision-25/', 0, 'revision', '', 0), (462, 2, '2012-08-20 09:19:22', '2012-08-20 07:19:22', 'Serdecznie zapraszamy wolontariuszy do pomocy przy współorganizacji 5. Avant Art. Festival 2012. Wszystkich chętnych prosimy o wysłanie maila na adres wolontariat@avantart.pl. Zainteresowanym prześlemy formularz zgłoszeniowy i dokładniejsze informacje dotyczące działań wolontariackich na festiwalu. Zapraszamy!We sincerely invite volunteers to help with the co-organization of the 5th edition of Avant Art Festival 2012. We ask all interested individuals to send an email to wolontariat@avantart.pl. All interested ones will receive an application form and more detailed information regarding the volunteer activities during the festival. Feel free to apply!
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\n', 'ACHTUNG: SZUKAMY WOLONTARIUSZY! ACHTUNG: WE ARE LOOKING FOR VOLUNTEERS!', '', 'inherit', 'closed', 'closed', '', '462-autosave', '', '', '2012-08-25 21:44:51', '2012-08-25 19:44:51', '', 462, 'http://avantart.pl/462-autosave/', 0, 'revision', '', 0), (472, 2, '2012-08-20 11:56:04', '2012-08-20 09:56:04', '', 'Brötzmann&Defibrillator PICTURES', '', 'inherit', 'closed', 'closed', '', 'brotzmanndefibrillator-pictures', '', '', '2012-08-20 11:56:04', '2012-08-20 09:56:04', '', 44, 'http://avantart.pl/wp-content/uploads/2012/07/BrötzmannDefibrillator-PICTURES.jpg', 0, 'attachment', 'image/jpeg', 0), (473, 2, '2012-07-30 22:27:00', '2012-07-30 20:27:00', '\r\n\r\nFot. Piotr Bialoglowicz\r\n\r\nGrający na elektronicznym puzonie Sebastian Smolyn i posługujący się elektroniką jego brat Artur na swoje artystycznej ścieżce wybrali kierunek muzyki improwizowanej. Ich osobiste doświadczenia złożyły się na matrycę dla takiej muzyki, która rządzi się swoimi własnymi prawami i używa wszystkich możliwych środków, by osiągnąć swój cel. Nie ma dla nich stylistyk awangardy, których by nie eksplorowali – ich twórczość jest zainspirowana przez free jazz, nu jazz, noise czy hardcore w wielu różnych postaciach. Po kilku latach wspólnych poszukiwań do ich dźwiękowych wypraw dołączył wyjątkowy perkusista jazzowy Oliver Steidle – tak powstało trio o nazwie Defibrillator, niezwykle energetyczna formacja, której brzmienie silnie zakotwiczone jest w estetykach grindcore i noise. Kolejnym krokiem w ich karierze stało się zaproszenie do współpracy muzyka, który od lat stanowił dla nich ważną inspirację – Petera Brötzmanna, jednego z najważniejszych przedstawicieli światowego free jazzu i muzyki improwizowanej. Młodość i energia w zestawieniu z wieloletnim doświadczeniem na gruncie eksperymentalnych dźwięków – tego właśnie można spodziewać się po nowym projekcie braci Smolyn.\r\n\r\nwww.sebastiansmolyn.com\r\nwww.artursmolyn.com\r\nwww.myspace.com/oliversteidle\r\nwww.peterbroetzmann.com\r\n\r\nPhot. Piotr Bialoglowicz\r\n\r\nSebastian Smolyn, playing on the electronic trombone and his brother, Artur, wielding electronics chose the direction of improvised music on their artistic path. Their personal experiences became a template for such music, which is governed by its own rules and uses all possible means in order to achieve its goal. There are no avant-garde stylistics they have not yet explored – their output is inspired by free jazz, nu jazz, noise or hardcore in many different forms. After a few years of searches, Olivier Steidle, a unique jazz drummer, has joined their sound voyages – thus the trio named Defibrillator came to be, a uniquely energetic group, sound of which is heavily rooted in the aesthetic of grindcore and noise. The next step in their career was inviting a musician, who was a major inspiration for them since many years, to a co-operation - Peter Brötzmann, one of the most important representatives of the world’s free jazz and improvised music. Youth and energy in comparison with a many year-long experience on the grounds of experimental sounds – that can be expected from the new project of the Smolyn brother.\r\n\r\nwww.sebastiansmolyn.com\r\n\r\n www.artursmolyn.com\r\n\r\nwww.myspace.com/oliversteidle\r\n\r\nwww.peterbroetzmann.com', 'DEFIBRILLATOR & PETER BRÖTZMANN', '', 'inherit', 'closed', 'closed', '', '44-revision-21', '', '', '2012-07-30 22:27:00', '2012-07-30 20:27:00', '', 44, 'http://avantart.pl/44-revision-21/', 0, 'revision', '', 0), (474, 2, '2012-08-20 11:56:12', '2012-08-20 09:56:12', '\r\n\r\nGrający na elektronicznym puzonie Sebastian Smolyn i posługujący się elektroniką jego brat Artur na swoje artystycznej ścieżce wybrali kierunek muzyki improwizowanej. Ich osobiste doświadczenia złożyły się na matrycę dla takiej muzyki, która rządzi się swoimi własnymi prawami i używa wszystkich możliwych środków, by osiągnąć swój cel. Nie ma dla nich stylistyk awangardy, których by nie eksplorowali – ich twórczość jest zainspirowana przez free jazz, nu jazz, noise czy hardcore w wielu różnych postaciach. Po kilku latach wspólnych poszukiwań do ich dźwiękowych wypraw dołączył wyjątkowy perkusista jazzowy Oliver Steidle – tak powstało trio o nazwie Defibrillator, niezwykle energetyczna formacja, której brzmienie silnie zakotwiczone jest w estetykach grindcore i noise. Kolejnym krokiem w ich karierze stało się zaproszenie do współpracy muzyka, który od lat stanowił dla nich ważną inspirację – Petera Brötzmanna, jednego z najważniejszych przedstawicieli światowego free jazzu i muzyki improwizowanej. Młodość i energia w zestawieniu z wieloletnim doświadczeniem na gruncie eksperymentalnych dźwięków – tego właśnie można spodziewać się po nowym projekcie braci Smolyn.\r\n\r\nwww.sebastiansmolyn.com\r\nwww.artursmolyn.com\r\nwww.myspace.com/oliversteidle\r\nwww.peterbroetzmann.com\r\nPhot. Piotr Bialoglowicz
\r\nSebastian Smolyn, playing on the electronic trombone and his brother, Artur, wielding electronics chose the direction of improvised music on their artistic path. Their personal experiences became a template for such music, which is governed by its own rules and uses all possible means in order to achieve its goal. There are no avant-garde stylistics they have not yet explored – their output is inspired by free jazz, nu jazz, noise or hardcore in many different forms. After a few years of searches, Olivier Steidle, a unique jazz drummer, has joined their sound voyages – thus the trio named Defibrillator came to be, a uniquely energetic group, sound of which is heavily rooted in the aesthetic of grindcore and noise. The next step in their career was inviting a musician, who was a major inspiration for them since many years, to a co-operation - Peter Brötzmann, one of the most important representatives of the world’s free jazz and improvised music. Youth and energy in comparison with a many year-long experience on the grounds of experimental sounds – that can be expected from the new project of the Smolyn brother.
\r\n\r\n\r\n\r\n\r\n', 'DEFIBRILLATOR & PETER BRÖTZMANN', '', 'inherit', 'closed', 'closed', '', '44-revision-22', '', '', '2012-08-20 11:56:12', '2012-08-20 09:56:12', '', 44, 'http://avantart.pl/44-revision-22/', 0, 'revision', '', 0), (475, 2, '2012-08-20 12:46:12', '2012-08-20 10:46:12', '\r\n\r\nGrający na elektronicznym puzonie Sebastian Smolyn i posługujący się elektroniką jego brat Artur na swoje artystycznej ścieżce wybrali kierunek muzyki improwizowanej. Ich osobiste doświadczenia złożyły się na matrycę dla takiej muzyki, która rządzi się swoimi własnymi prawami i używa wszystkich możliwych środków, by osiągnąć swój cel. Nie ma dla nich stylistyk awangardy, których by nie eksplorowali – ich twórczość jest zainspirowana przez free jazz, nu jazz, noise czy hardcore w wielu różnych postaciach. Po kilku latach wspólnych poszukiwań do ich dźwiękowych wypraw dołączył wyjątkowy perkusista jazzowy Oliver Steidle – tak powstało trio o nazwie Defibrillator, niezwykle energetyczna formacja, której brzmienie silnie zakotwiczone jest w estetykach grindcore i noise. Kolejnym krokiem w ich karierze stało się zaproszenie do współpracy muzyka, który od lat stanowił dla nich ważną inspirację – Petera Brötzmanna, jednego z najważniejszych przedstawicieli światowego free jazzu i muzyki improwizowanej. Młodość i energia w zestawieniu z wieloletnim doświadczeniem na gruncie eksperymentalnych dźwięków – tego właśnie można spodziewać się po nowym projekcie braci Smolyn.\r\n\r\nwww.sebastiansmolyn.com\r\nwww.artursmolyn.com\r\nwww.myspace.com/oliversteidle\r\nwww.peterbroetzmann.com\r\n\r\nSebastian Smolyn, playing on the electronic trombone and his brother, Artur, wielding electronics chose the direction of improvised music on their artistic path. Their personal experiences became a template for such music, which is governed by its own rules and uses all possible means in order to achieve its goal. There are no avant-garde stylistics they have not yet explored – their output is inspired by free jazz, nu jazz, noise or hardcore in many different forms. After a few years of searches, Olivier Steidle, a unique jazz drummer, has joined their sound voyages – thus the trio named Defibrillator came to be, a uniquely energetic group, sound of which is heavily rooted in the aesthetic of grindcore and noise. The next step in their career was inviting a musician, who was a major inspiration for them since many years, to a co-operation - Peter Brötzmann, one of the most important representatives of the world’s free jazz and improvised music. Youth and energy in comparison with a many year-long experience on the grounds of experimental sounds – that can be expected from the new project of the Smolyn brother.\r\n\r\nwww.sebastiansmolyn.com\r\n\r\nwww.artursmolyn.com\r\n\r\nwww.myspace.com/oliversteidle\r\n\r\nwww.peterbroetzmann.com', 'DEFIBRILLATOR & PETER BRÖTZMANN', '', 'inherit', 'closed', 'closed', '', '44-revision-23', '', '', '2012-08-20 12:46:12', '2012-08-20 10:46:12', '', 44, 'http://avantart.pl/44-revision-23/', 0, 'revision', '', 0), (476, 2, '2012-08-20 13:04:59', '2012-08-20 11:04:59', '\r\n\r\nGrający na elektronicznym puzonie Sebastian Smolyn i posługujący się elektroniką jego brat Artur na swoje artystycznej ścieżce wybrali kierunek muzyki improwizowanej. Ich osobiste doświadczenia złożyły się na matrycę dla takiej muzyki, która rządzi się swoimi własnymi prawami i używa wszystkich możliwych środków, by osiągnąć swój cel. Nie ma dla nich stylistyk awangardy, których by nie eksplorowali – ich twórczość jest zainspirowana przez free jazz, nu jazz, noise czy hardcore w wielu różnych postaciach. Po kilku latach wspólnych poszukiwań do ich dźwiękowych wypraw dołączył wyjątkowy perkusista jazzowy Oliver Steidle – tak powstało trio o nazwie Defibrillator, niezwykle energetyczna formacja, której brzmienie silnie zakotwiczone jest w estetykach grindcore i noise. Kolejnym krokiem w ich karierze stało się zaproszenie do współpracy muzyka, który od lat stanowił dla nich ważną inspirację – Petera Brötzmanna, jednego z najważniejszych przedstawicieli światowego free jazzu i muzyki improwizowanej. Młodość i energia w zestawieniu z wieloletnim doświadczeniem na gruncie eksperymentalnych dźwięków – tego właśnie można spodziewać się po nowym projekcie braci Smolyn.\r\n\r\nwww.sebastiansmolyn.com\r\nwww.artursmolyn.com\r\nwww.myspace.com/oliversteidle\r\nwww.peterbroetzmann.com\r\nSebastian Smolyn, playing on the electronic trombone and his brother, Artur, wielding electronics chose the direction of improvised music on their artistic path. Their personal experiences became a template for such music, which is governed by its own rules and uses all possible means in order to achieve its goal. There are no avant-garde stylistics they have not yet explored – their output is inspired by free jazz, nu jazz, noise or hardcore in many different forms. After a few years of searches, Olivier Steidle, a unique jazz drummer, has joined their sound voyages – thus the trio named Defibrillator came to be, a uniquely energetic group, sound of which is heavily rooted in the aesthetic of grindcore and noise. The next step in their career was inviting a musician, who was a major inspiration for them since many years, to a co-operation - Peter Brötzmann, one of the most important representatives of the world’s free jazz and improvised music. Youth and energy in comparison with a many year-long experience on the grounds of experimental sounds – that can be expected from the new project of the Smolyn brother.
\r\n\r\n\r\n\r\n\r\n', 'DEFIBRILLATOR & PETER BRÖTZMANN', '', 'inherit', 'closed', 'closed', '', '44-revision-24', '', '', '2012-08-20 13:04:59', '2012-08-20 11:04:59', '', 44, 'http://avantart.pl/44-revision-24/', 0, 'revision', '', 0), (477, 2, '2012-08-09 23:55:29', '2012-08-09 21:55:29', '\r\n\r\npiksel tony-Pixel Klänge is a premiere hybrid arts co-production of the Wrocław festival Avant Art and the Dortmund organisation Mex – intermediale und experimentelle Musikprojekte and Gerngesehen from Koln. This is a co-operation ( of composers, performers and musicians focused around the Koln-based scene of sound art, experimental music and theatre with the Polish circle of musicians creating in the broadly understood idiom of contemporary and improvised music. The expanded vocal and performative techniques used by the performer Betina Wenzel, the language of movement and modern performance of the duo „cri du coeur“, led by Fina Kwiatkowski and Willehad Grafenhorst, sound objects and art of hans w koch, modular synthesis, circuit-bending and synth-design in MAX/MSP of Joker Nies, wind instruments, saxophone and wave generators of Gerard Lebik, self-prepared piano and trumpet of Piotr Damasiewicz, symphonic percussion instruments from the idiophone group used by Wojtek\r\nRomanowski – it all are components, sound sources and techniques used in the intermedial searches of the unpredictability on all planes of a composition, being created as part of the first encounter of artists at this year’s Avant Art Festival.\r\n\r\ngerardlebik.com/Mex_Gerngesehen_Avant_Art_Project_.html\r\nMex Gerngesehen Avant Art Project is a premiere music-performative project, a co-production of the Wrocław festival Avant Art and the Dortmund organisation Mex – intermediale und experimentelle Musikprojekte i Gerngesehen from Koln. This is a co-operation of composers, performers and musicians focused around the Koln-based scene of sound art, experimental music and theatre with the Polish circle of musicians creating in the broadly understood idiom of contemporary and improvised music. The expanded vocal and performative techniques used by the composer and performer Betina Wenzel, the language of movement and modern performance of the Duo Cri Du Coe duo, led by Fina Kwiatkowski and Willehad Gratenhorst, sound objects and art of Hans W. Koch, modular synthesis, circuit-bending and synth-design in MAX/MSP of Joker Nies, wind instruments, saxophone and wave generators of Gerard Lebik, self-prepared piano and trumpet of Piotr Damasiewicz, symphonic percussion instruments from the idiophone group used by Wojtek Romanowski – it all are components, sound sources and techniques used in the intermedial searches of the unpredictability on all planes of a composition, being created as a part of the first co-operation of artists on this year’s Avant Art Festival.
\r\ngerardlebik.com/Mex_Gerngesehen_Avant_Art_Project_.html
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This is a co-operation ( of composers, performers and musicians focused around the Koln-based scene of sound art, experimental music and theatre with the Polish circle of musicians creating in the broadly understood idiom of contemporary and improvised music. 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This is a co-operation ( of composers, performers and musicians focused around the Koln-based scene of sound art, experimental music and theatre with the Polish circle of musicians creating in the broadly understood idiom of contemporary and improvised music. The expanded vocal and performative techniques used by the performer Betina Wenzel, the language of movement and modern performance of the duo „cri du coeur“, led by Fina Kwiatkowski and Willehad Grafenhorst, sound objects and art of hans w koch, modular synthesis, circuit-bending and synth-design in MAX/MSP of Joker Nies, wind instruments, saxophone and wave generators of Gerard Lebik, self-prepared piano and trumpet of Piotr Damasiewicz, symphonic percussion instruments from the idiophone group used by Wojtek\r\nRomanowski – it all are components, sound sources and techniques used in the intermedial searches of the unpredictability on all planes of a composition, being created as part of the first encounter of artists at this year’s Avant Art Festival.\r\n\r\ngerardlebik.com/Mex_Gerngesehen_Avant_Art_Project_.html\r\n\r\n ', 'PIXEL KLÄNGEPIXEL KLÄNGE', '', 'inherit', 'closed', 'closed', '', '69-revision-11', '', '', '2012-08-20 17:25:48', '2012-08-20 15:25:48', '', 69, 'http://avantart.pl/69-revision-11/', 0, 'revision', '', 0), (479, 2, '2012-08-20 17:26:11', '2012-08-20 15:26:11', '\r\n\r\nPixel Klänge is a premiere hybrid arts co-production of the Wrocław festival Avant Art and the Dortmund organisation Mex – intermediale und experimentelle Musikprojekte and Gerngesehen from Koln. This is a co-operation ( of composers, performers and musicians focused around the Koln-based scene of sound art, experimental music and theatre with the Polish circle of musicians creating in the broadly understood idiom of contemporary and improvised music. The expanded vocal and performative techniques used by the performer Betina Wenzel, the language of movement and modern performance of the duo „cri du coeur“, led by Fina Kwiatkowski and Willehad Grafenhorst, sound objects and art of hans w koch, modular synthesis, circuit-bending and synth-design in MAX/MSP of Joker Nies, wind instruments, saxophone and wave generators of Gerard Lebik, self-prepared piano and trumpet of Piotr Damasiewicz, symphonic percussion instruments from the idiophone group used by Wojtek Romanowski – it all are components, sound sources and techniques used in the intermedial searches of the unpredictability on all planes of a composition, being created as part of the first encounter of artists at this year’s Avant Art Festival.\r\n\r\ngerardlebik.com/Mex_Gerngesehen_Avant_Art_Project_.html\r\nPixel Klänge is a premiere hybrid arts co-production of the Wrocław festival Avant Art and the Dortmund organisation Mex – intermediale und experimentelle Musikprojekte and Gerngesehen from Koln. This is a co-operation ( of composers, performers and musicians focused around the Koln-based scene of sound art, experimental music and theatre with the Polish circle of musicians creating in the broadly understood idiom of contemporary and improvised music. The expanded vocal and performative techniques used by the performer Betina Wenzel, the language of movement and modern performance of the duo „cri du coeur“, led by Fina Kwiatkowski and Willehad Grafenhorst, sound objects and art of hans w koch, modular synthesis, circuit-bending and synth-design in MAX/MSP of Joker Nies, wind instruments, saxophone and wave generators of Gerard Lebik, self-prepared piano and trumpet of Piotr Damasiewicz, symphonic percussion instruments from the idiophone group used by Wojtek
\r\nRomanowski – it all are components, sound sources and techniques used in the intermedial searches of the unpredictability on all planes of a composition, being created as part of the first encounter of artists at this year’s Avant Art Festival.
gerardlebik.com/Mex_Gerngesehen_Avant_Art_Project_.html
\r\n', 'PIXEL KLÄNGEPIXEL KLÄNGE', '', 'inherit', 'closed', 'closed', '', '69-revision-12', '', '', '2012-08-20 17:26:11', '2012-08-20 15:26:11', '', 69, 'http://avantart.pl/69-revision-12/', 0, 'revision', '', 0), (480, 2, '2012-08-20 17:26:32', '2012-08-20 15:26:32', '\r\n\r\nPixel Klänge is a premiere hybrid arts co-production of the Wrocław festival Avant Art and the Dortmund organisation Mex – intermediale und experimentelle Musikprojekte and Gerngesehen from Koln. This is a co-operation ( of composers, performers and musicians focused around the Koln-based scene of sound art, experimental music and theatre with the Polish circle of musicians creating in the broadly understood idiom of contemporary and improvised music. The expanded vocal and performative techniques used by the performer Betina Wenzel, the language of movement and modern performance of the duo „cri du coeur“, led by Fina Kwiatkowski and Willehad Grafenhorst, sound objects and art of hans w koch, modular synthesis, circuit-bending and synth-design in MAX/MSP of Joker Nies, wind instruments, saxophone and wave generators of Gerard Lebik, self-prepared piano and trumpet of Piotr Damasiewicz, symphonic percussion instruments from the idiophone group used by Wojtek Romanowski – it all are components, sound sources and techniques used in the intermedial searches of the unpredictability on all planes of a composition, being created as part of the first encounter of artists at this year’s Avant Art Festival.\r\n\r\ngerardlebik.com/Mex_Gerngesehen_Avant_Art_Project_.html\r\n\r\nPixel Klänge is a premiere hybrid arts co-production of the Wrocław festival Avant Art and the Dortmund organisation Mex – intermediale und experimentelle Musikprojekte and Gerngesehen from Koln. This is a co-operation ( of composers, performers and musicians focused around the Koln-based scene of sound art, experimental music and theatre with the Polish circle of musicians creating in the broadly understood idiom of contemporary and improvised music. The expanded vocal and performative techniques used by the performer Betina Wenzel, the language of movement and modern performance of the duo „cri du coeur“, led by Fina Kwiatkowski and Willehad Grafenhorst, sound objects and art of hans w koch, modular synthesis, circuit-bending and synth-design in MAX/MSP of Joker Nies, wind instruments, saxophone and wave generators of Gerard Lebik, self-prepared piano and trumpet of Piotr Damasiewicz, symphonic percussion instruments from the idiophone group used by Wojtek Romanowski – it all are components, sound sources and techniques used in the intermedial searches of the unpredictability on all planes of a composition, being created as part of the first encounter of artists at this year’s Avant Art Festival.\r\n\r\ngerardlebik.com/Mex_Gerngesehen_Avant_Art_Project_.html', 'PIXEL KLÄNGEPIXEL KLÄNGE', '', 'inherit', 'closed', 'closed', '', '69-revision-13', '', '', '2012-08-20 17:26:32', '2012-08-20 15:26:32', '', 69, 'http://avantart.pl/69-revision-13/', 0, 'revision', '', 0), (481, 2, '2012-08-20 17:28:01', '2012-08-20 15:28:01', '\r\n\r\nKoprodukcja Avant Art Festival & TIMEART\r\n\r\nEksperymentalna formacja muzyczna Nanoschlaf z Kolonii spotka się z polskimi tancerzami Dawidem Lorencem, Filipem Szatarskim i Radkiem Heweltem. To interdyscyplinarne spotkanie improwizowanej muzyki i improwizowanego tańca jest jednym z premierowych koprodukcyjnych projektów w ramach piątej edycji festiwalu, prezentującej w szerokim wymiarze niemiecką sztukę. Nanoschlaf specjalizuje się w zarówno dźwiękowym, jak i strukturalnym stapianiu ze sobą muzyki akustycznej i elektronicznej. Wszystkich członków formacji poruszających się gdzieś między nową muzyką, elektroniczną awangardą i muzyką improwizowaną, charakteryzuje ogromna pasja i radość eksperymentowania z nieznanymi dźwiękami, strukturami czy przestrzeniami. Także niestrudzenie poszukujący nowych wyzwań tancerze Lorenc/Szatarski/Hewelt już od dłuższego czasu przekraczają interdyscyplinarnie ramy swej profesji. Centrum ich uwagi skupia się zarówno na zgłębianiu muzykalności ciała, transformacji muzycznego połączenia ciała i umysłu, prowadzącej ku lepszej jakości ruchu, jak i badania dynamiki w przestrzeni. Tancerze, posługując się ciałem jako czujnikiem, który w trakcie performansu odbiera i wysyła informacje, pozwolą zaistnieć organicznym i kompozycyjnym strukturom. Powstające między artystami struktury i korelacje będą się utwierdzać, ulegną transformacji, aby się rozpaść, a wszystko po to, by za chwilę zdemaskować ukryte napięcie poprzez skumulowaną energię dźwięku i ciała.\r\n\r\nArtyści:\r\nMatthias Muche - puzon\r\nPhilip Zoubek - fortepian\r\nSven Hahne - laptop, elektronika\r\nAchim Tang - kontrabas\r\nChristian Thomé - perkusja, laptop\r\nDawid Lorenc – tancerz, choreograf\r\nRadek Hewelt - tancerz, choreograf\r\nFilip Szatarski - tancerz, choreograf\r\nAnna Moser – kurator projektu\r\n\r\nKurator: Anna Moser /Avant Art Festival\r\n\r\nKoprodukcja wspierana przez: SK Stiftung Kultur, ON Netzwerk Neue Musik Köln, Ministerium für Familie, Kinder, Jugend, Kultur und Sport des Landes Nordrhein-Westfalen, NRW KULTURsekretariat, Kunststiftung NRW, Polnisches Institut Berlin & Düsseldorf, Stiftung für deutsch-polnische Zusammenarbeit, Wrocław / Europejska Stolica Kultury 2016, Urząd Marszałkowski Dolnego śląska, Ministerstwo Kultury i Dziedzictwa Narodowego/Warszawa, Auswärtiges Amt der Bundesrepublik Deutschland, Goethe Institut\r\n\r\nwww.zeitkunst.eu\r\nA Co-production of Avant Art Festival & TIMEART
\r\nThe experimental music group Nanoschlaf from Cologne meets the Polish dancers, David Lorenc, Filip Szatarski and Radek Hewelt. This inter-disciplinary meeting of improvised music and improvised dance is one of the premiere co-production projects of the fifth edition of the festival, presenting German art in a wider scope. Nanoschlaf specialize in merging acoustic and electronic music together, both, sound-wise and structural-wise. All the members of the group, who move somewhere between new music, electronic avant-garde and improvised music, are characterized by great passion and joy of experimenting with unknown sounds, structures or spaces. Also the dancers Lorenc/Szatarski/Hewelt tirelessly seek out new challenges, since quite a long time surpass the borders of their profession. The centre of their attention is focused on, both, fathoming the musicality of the body, the transformation of the musical merging of the body and mind, leading to a better quality of the movement, as well as investigating the dynamics in space. The dancers, using the body as a sensor, which receives and sends out information during the performance, will allow the organic and compositional structures to come to be. The structures and co-relations created between the artists will be consolidated, will undergo transformation, in order to fall apart, and all that in order to unravel the hidden tension via the accumulated energy of sound and body in a few moments.
\r\nArtists:
\r\nMatthias Muche – trombone
\r\nPhilip Zoubek – piano
\r\nSven Hahne – laptop, electronics
\r\nAchim Tang – double bass
\r\nChristian Thomé – drums, laptop
\r\nDawid Lorenc – dancer, choreographer
\r\nRadek Hewelt – dancer, choreographer
\r\nFilip Szatarski – dancer, choreographer
\r\nAnna Moser – project curator
\r\nCurator: Anna Moser /Avant Art Festival
\r\nCo-production supported by: SK Stiftung Kultur, ON Netzwerk Neue Musik Köln, Ministerium für Familie, Kinder, Jugend, Kultur und Sport des Landes Nordrhein-Westfalen, NRW KULTURsekretariat, Kunststiftung NRW, Polnisches Institut Berlin & Düsseldorf, Stiftung für deutsch-polnische Zusammenarbeit, Wrocław / European Culture Capital 2016, Lower Silesian Marshall Office, the Ministry of Culture and National Heritage / Warsaw, Auswärtiges Amt der Bundesrepublik Deutschland, Goethe Institut
\r\n\r\n', ' Nanoschlaf meets Lorenc/Szatarski/ Hewelt Nanoschlaf meets Lorenc/Szatarski/ Hewelt', '', 'publish', 'closed', 'closed', '', 'nanoschlaf-meets-lorencszatarskihewelt', '', '', '2012-10-10 13:22:43', '2012-10-10 11:22:43', '', 36, 'http://avantart.pl/?page_id=481', 0, 'page', '', 0), (482, 2, '2012-08-20 17:27:25', '2012-08-20 15:27:25', '', 'Auto Draft', '', 'inherit', 'closed', 'closed', '', '481-revision', '', '', '2012-08-20 17:27:25', '2012-08-20 15:27:25', '', 481, 'http://avantart.pl/481-revision/', 0, 'revision', '', 0), (483, 2, '2012-10-10 13:23:47', '2012-10-10 11:23:47', '\n\nKoprodukcja Avant Art Festival & TIMEART\n\nEksperymentalna formacja muzyczna Nanoschlaf z Kolonii spotka się z polskimi tancerzami Dawidem Lorencem, Filipem Szatarskim i Radkiem Heweltem. To interdyscyplinarne spotkanie improwizowanej muzyki i improwizowanego tańca jest jednym z premierowych koprodukcyjnych projektów w ramach piątej edycji festiwalu, prezentującej w szerokim wymiarze niemiecką sztukę. Nanoschlaf specjalizuje się w zarówno dźwiękowym, jak i strukturalnym stapianiu ze sobą muzyki akustycznej i elektronicznej. Wszystkich członków formacji poruszających się gdzieś między nową muzyką, elektroniczną awangardą i muzyką improwizowaną, charakteryzuje ogromna pasja i radość eksperymentowania z nieznanymi dźwiękami, strukturami czy przestrzeniami. Także niestrudzenie poszukujący nowych wyzwań tancerze Lorenc/Szatarski/Hewelt już od dłuższego czasu przekraczają interdyscyplinarnie ramy swej profesji. Centrum ich uwagi skupia się zarówno na zgłębianiu muzykalności ciała, transformacji muzycznego połączenia ciała i umysłu, prowadzącej ku lepszej jakości ruchu, jak i badania dynamiki w przestrzeni. Tancerze, posługując się ciałem jako czujnikiem, który w trakcie performansu odbiera i wysyła informacje, pozwolą zaistnieć organicznym i kompozycyjnym strukturom. Powstające między artystami struktury i korelacje będą się utwierdzać, ulegną transformacji, aby się rozpaść, a wszystko po to, by za chwilę zdemaskować ukryte napięcie poprzez skumulowaną energię dźwięku i ciała.\n\nArtyści:\nMatthias Muche - puzon\nPhilip Zoubek - fortepian\nSven Hahne - laptop, elektronika\nAchim Tang - kontrabas\nChristian Thomé - perkusja, laptop\nDawid Lorenc – tancerz, choreograf\nRadek Hewelt - tancerz, choreograf\nFilip Szatarski - tancerz, choreograf\nAnna Moser – kurator projektu\n\nKurator: Anna Moser /Avant Art Festival\n\nKoprodukcja wspierana przez: SK Stiftung Kultur, ON Netzwerk Neue Musik Köln, Ministerium für Familie, Kinder, Jugend, Kultur und Sport des Landes Nordrhein-Westfalen, NRW KULTURsekretariat, Kunststiftung NRW, Polnisches Institut Berlin & Düsseldorf, Stiftung für deutsch-polnische Zusammenarbeit, Wrocław / Europejska Stolica Kultury 2016, Urząd Marszałkowski Dolnego śląska, Ministerstwo Kultury i Dziedzictwa Narodowego/Warszawa, Auswärtiges Amt der Bundesrepublik Deutschland, Goethe Institut\n\nwww.zeitkunst.eu\nA Co-production of Avant Art Festival & TIMEART
\nThe experimental music group Nanoschlaf from Cologne meets the Polish dancers, David Lorenc, Filip Szatarski and Radek Hewelt. This inter-disciplinary meeting of improvised music and improvised dance is one of the premiere co-production projects of the fifth edition of the festival, presenting German art in a wider scope. Nanoschlaf specialize in merging acoustic and electronic music together, both, sound-wise and structural-wise. All the members of the group, who move somewhere between new music, electronic avant-garde and improvised music, are characterized by great passion and joy of experimenting with unknown sounds, structures or spaces. Also the dancers Lorenc/Szatarski/Hewelt tirelessly seek out new challenges, since quite a long time surpass the borders of their profession. The centre of their attention is focused on, both, fathoming the musicality of the body, the transformation of the musical merging of the body and mind, leading to a better quality of the movement, as well as investigating the dynamics in space. The dancers, using the body as a sensor, which receives and sends out information during the performance, will allow the organic and compositional structures to come to be. The structures and co-relations created between the artists will be consolidated, will undergo transformation, in order to fall apart, and all that in order to unravel the hidden tension via the accumulated energy of sound and body in a few moments.
\nArtists:
\nMatthias Muche – trombone
\nPhilip Zoubek – piano
\nSven Hahne – laptop, electronics
\nAchim Tang – double bass
\nChristian Thomé – drums, laptop
\nDawid Lorenc – dancer, choreographer
\nRadek Hewelt – dancer, choreographer
\nFilip Szatarski – dancer, choreographer
\nAnna Moser – project curator
\nCurator: Anna Moser /Avant Art Festival
\nCo-production supported by: SK Stiftung Kultur, ON Netzwerk Neue Musik Köln, Ministerium für Familie, Kinder, Jugend, Kultur und Sport des Landes Nordrhein-Westfalen, NRW KULTURsekretariat, Kunststiftung NRW, Polnisches Institut Berlin & Düsseldorf, Stiftung für deutsch-polnische Zusammenarbeit, Wrocław / European Culture Capital 2016, Lower Silesian Marshall Office, the Ministry of Culture and National Heritage / Warsaw, Auswärtiges Amt der Bundesrepublik Deutschland, Goethe Institut
\n\n', ' Nanoschlaf meets Lorenc/Szatarski/ Hewelt Nanoschlaf meets Lorenc/Szatarski/ Hewelt', '', 'inherit', 'closed', 'closed', '', '481-autosave', '', '', '2012-10-10 13:23:47', '2012-10-10 11:23:47', '', 481, 'http://avantart.pl/481-autosave/', 0, 'revision', '', 0), (484, 2, '2012-08-20 17:28:01', '2012-08-20 15:28:01', 'Eksperymentalna formacja muzyczna Nanoschlaf z Kolonii spotka się z polskimi tancerzami Dawidem Lorencem, Filipem Szatarskim i Radkiem Heweltem. To interdyscyplinarne spotkanie improwizowanej muzyki i improwizowanego tańca jest jednym z premierowych koprodukcyjnych projektów w ramach piątej edycji festiwalu, prezentującej w szerokim wymiarze niemiecką sztukę. Nanoschlaf specjalizuje się w zarówno dźwiękowym, jak i strukturalnym stapianiu ze sobą muzyki akustycznej i elektronicznej. Wszystkich członków formacji poruszających się gdzieś między nową muzyką, elektroniczną awangardą i muzyką improwizowaną, charakteryzuje ogromna pasja i radość eksperymentowania z nieznanymi dźwiękami, strukturami czy przestrzeniami. Także niestrudzenie poszukujący nowych wyzwań tancerze Lorenc/Szatarski/Hewelt już od dłuższego czasu przekraczają interdyscyplinarnie ramy swej profesji. Centrum ich uwagi skupia się zarówno na zgłębianiu muzykalności ciała, transformacji muzycznego połączenia ciała i umysłu, prowadzącej ku lepszej jakości ruchu, jak i badania dynamiki w przestrzeni. Tancerze, posługując się ciałem jako czujnikiem, który w trakcie performansu odbiera i wysyła informacje, pozwolą zaistnieć organicznym i kompozycyjnym strukturom. Powstające między artystami struktury i korelacje będą się utwierdzać, ulegną transformacji, aby się rozpaść, a wszystko po to, by za chwilę zdemaskować ukryte napięcie poprzez skumulowaną energię dźwięku i ciała.\r\n\r\n \r\n\r\nPixel Klänge is a premiere hybrid arts co-production of the Wrocław festival Avant Art and the Dortmund organisation Mex – intermediale und experimentelle Musikprojekte and Gerngesehen from Koln. This is a co-operation ( of composers, performers and musicians focused around the Koln-based scene of sound art, experimental music and theatre with the Polish circle of musicians creating in the broadly understood idiom of contemporary and improvised music. The expanded vocal and performative techniques used by the performer Betina Wenzel, the language of movement and modern performance of the duo „cri du coeur“, led by Fina Kwiatkowski and Willehad Grafenhorst, sound objects and art of hans w koch, modular synthesis, circuit-bending and synth-design in MAX/MSP of Joker Nies, wind instruments, saxophone and wave generators of Gerard Lebik, self-prepared piano and trumpet of Piotr Damasiewicz, symphonic percussion instruments from the idiophone group used by Wojtek Romanowski – it all are components, sound sources and techniques used in the intermedial searches of the unpredictability on all planes of a composition, being created as part of the first encounter of artists at this year’s Avant Art Festival.
\r\ngerardlebik.com/Mex_Gerngesehen_Avant_Art_Project_.html
\r\n', 'PIXEL KLÄNGEPIXEL KLÄNGE', '', 'inherit', 'closed', 'closed', '', '69-revision-14', '', '', '2012-08-20 17:27:21', '2012-08-20 15:27:21', '', 69, 'http://avantart.pl/69-revision-14/', 0, 'revision', '', 0), (490, 2, '2012-08-20 17:43:21', '2012-08-20 15:43:21', '\r\n\r\n Koprodukcja AVANT ART FESTVAL, MEX i GERNGESEHEN \r\n\r\nMex Gerngesehen Avant Art Project to premierowa realizacja muzyczno-performatywna, będąca koprodukcją wrocławskiego festiwalu Avant Art, dortmundzkiej organizacji Mex – intermediale und experimentelle Musikprojekte i Gerngesehen z Kolonii. To kooperacja kompozytorów, performerów i muzyków skupionych wokół kolońskiej sceny sound artu, muzyki eksperymentalnej i teatru z polskim środowiskiem muzyków tworzących w szeroko rozumianym idiomie muzyki współczesnej oraz improwizowanej. Rozszerzone techniki wokalne i performatywne używane przez kompozytorkę i performerkę Betine Wenzel, język ruchu oraz współczesny performance duetu „cri du coeur“ prowadzonego przez Fine Kwiatkowski i Willehada Gratenhorsta, obiekty dźwiękowe i sound art hansa w. kocha, synteza modularna, circuit-bending i synth-design w MAX/MSP Jokera Niesa, instrumenty dęte, saksofony oraz generatory fal Gerarda Lebika, preparowany fortepian i trąbka Piotra Damasiewicza, symfoniczne instrumenty perkusyjne z grupy idiofonów stosowane przez Wojtka Romanowskiego – to wszystko to elementy składowe, źródła dźwięku i techniki użyte w intermedialnych poszukiwaniach nad nieprzewidywalnością we wszystkich płaszczyznach kompozycji powstającej w ramach pierwszej współpracy artystów na tegorocznym Avant Art Festival.\r\n\r\n\r\ngerardlebik.com/Mex_Gerngesehen_Avant_Art_Project_.html\r\n\r\nPixel Klänge is a premiere hybrid arts co-production of the Wrocław festival Avant Art and the Dortmund organisation Mex – intermediale und experimentelle Musikprojekte and Gerngesehen from Koln. This is a co-operation ( of composers, performers and musicians focused around the Koln-based scene of sound art, experimental music and theatre with the Polish circle of musicians creating in the broadly understood idiom of contemporary and improvised music. The expanded vocal and performative techniques used by the performer Betina Wenzel, the language of movement and modern performance of the duo „cri du coeur“, led by Fina Kwiatkowski and Willehad Grafenhorst, sound objects and art of hans w koch, modular synthesis, circuit-bending and synth-design in MAX/MSP of Joker Nies, wind instruments, saxophone and wave generators of Gerard Lebik, self-prepared piano and trumpet of Piotr Damasiewicz, symphonic percussion instruments from the idiophone group used by Wojtek Romanowski – it all are components, sound sources and techniques used in the intermedial searches of the unpredictability on all planes of a composition, being created as part of the first encounter of artists at this year’s Avant Art Festival.\r\n\r\ngerardlebik.com/Mex_Gerngesehen_Avant_Art_Project_.html', 'PIXEL KLÄNGEPIXEL KLÄNGE', '', 'inherit', 'closed', 'closed', '', '69-revision-15', '', '', '2012-08-20 17:43:21', '2012-08-20 15:43:21', '', 69, 'http://avantart.pl/69-revision-15/', 0, 'revision', '', 0), (491, 2, '2012-08-20 17:40:12', '2012-08-20 15:40:12', '\r\n\r\nKooprodukcja Avant Art Festival & TIMEART\r\n\r\nEksperymentalna formacja muzyczna Nanoschlaf z Kolonii spotka się z polskimi tancerzami Dawidem Lorencem, Filipem Szatarskim i Radkiem Heweltem. To interdyscyplinarne spotkanie improwizowanej muzyki i improwizowanego tańca jest jednym z premierowych koprodukcyjnych projektów w ramach piątej edycji festiwalu, prezentującej w szerokim wymiarze niemiecką sztukę. Nanoschlaf specjalizuje się w zarówno dźwiękowym, jak i strukturalnym stapianiu ze sobą muzyki akustycznej i elektronicznej. Wszystkich członków formacji poruszających się gdzieś między nową muzyką, elektroniczną awangardą i muzyką improwizowaną, charakteryzuje ogromna pasja i radość eksperymentowania z nieznanymi dźwiękami, strukturami czy przestrzeniami. Także niestrudzenie poszukujący nowych wyzwań tancerze Lorenc/Szatarski/Hewelt już od dłuższego czasu przekraczają interdyscyplinarnie ramy swej profesji. Centrum ich uwagi skupia się zarówno na zgłębianiu muzykalności ciała, transformacji muzycznego połączenia ciała i umysłu, prowadzącej ku lepszej jakości ruchu, jak i badania dynamiki w przestrzeni. Tancerze, posługując się ciałem jako czujnikiem, który w trakcie performansu odbiera i wysyła informacje, pozwolą zaistnieć organicznym i kompozycyjnym strukturom. Powstające między artystami struktury i korelacje będą się utwierdzać, ulegną transformacji, aby się rozpaść, a wszystko po to, by za chwilę zdemaskować ukryte napięcie poprzez skumulowaną energię dźwięku i ciała.\r\n\r\nTimeart Ensemble:\r\nMatthias Muche - puzon\r\nPhilip Zoubek - fortepian\r\nSven Hahne - laptop, elektronika\r\nAchim Tang - kontrabas\r\nChristian Thomé - perkusja, laptop\r\nDawid Lorenc – tancerz, choreograf\r\nRadek Hewelt - tancerz, choreograf\r\nFilip Szatarski - tancerz, choreograf\r\nAnna Moser – kurator projektu\r\n\r\nKoprodukcja wspierana przez: SK Stiftung Kultur, ON Netzwerk Neue Musik Köln, Ministerium für Familie, Kinder, Jugend, Kultur und Sport des Landes Nordrhein-Westfalen, NRW KULTURsekretariat, Kunststiftung NRW, Goethe Institut, Auswärtiges Amt der Bundesrepublik Deutschland, Polnisches Institut Berlin & Düsseldorf, Stiftung für deutsch-polnische Zusammenarbeit, Wrocław / Europejska Stolica Kultury 2016, Urząd Marszałkowski Dolnego śląska, Ministerstwo Kultury i Dziedzictwa Narodowego/Warszawa\r\n\r\nwww.zeitkunst.eu', ' Nanoschlaf meets Lorenc/Szatarski/Hewelt', '', 'inherit', 'closed', 'closed', '', '481-revision-6', '', '', '2012-08-20 17:40:12', '2012-08-20 15:40:12', '', 481, 'http://avantart.pl/481-revision-6/', 0, 'revision', '', 0), (493, 2, '2012-08-22 12:34:48', '2012-08-22 10:34:48', '\r\n\r\nProdukcja Rita Baum\r\n\r\n„Czytanie w ciemnościach” to projekt polegający na kreowaniu słuchowisk, intermedialnych spektakli odbywających się przed publicznością w mroku lub całkowitych ciemnościach, a więc działających głównie na inne zmysły poza zmysłem wzroku. Ideą przewodnią jest zaprezentowanie literatury w „ciemny”, odmienny sposób. Słowom towarzyszy muzyka, czasami z mroku wyłaniają się obrazy wideo. Ciemność, w której odbywają się spektakle, pozwala „wyrwać” klasyczne czasami teksty ze schematów. Działanie to pozwala na poszerzony odbiór różnych tekstów kultury – uwrażliwia odbiorców na foniczno- wizualne aspekty literatury. Ciemność, w jakiej odbywają się spektakle, jest także istotna ze względu na otwarcie przedsięwzięcia dla osób niewidomych i niedowidzących. Każdy spektakl aranżujemy, by mógł być w pełni odebrany bez udziału wzroku.\r\n\r\nW ciemności buduje się wspólnota pomiędzy tymi, którzy widzą, i tymi, którzy są niewidomi; nic nas wszystkich wtedy nie odróżnia.\r\n\r\nAKT I. SERCE SERCĄTKA\r\nAdaptacja wybranych wątków powieści Herty Müller pt. „Sercątko” w tłumaczeniu Alicji Buras\r\n\r\nCzas trwania: 30 minut\r\nAdaptacja tekstu i reżyseria czytania: Marcin Czerwiński\r\nGłosy: Ołena Cikuj, Michał Szwed, Paulina Walendowska, Martyna Witowska.\r\nDźwięki na żywo: Mateusz Stuczyński\r\n\r\n„Sercątko” otworzą przed wami trzy kobiety. Jest tam Herta (tak ją nazwaliśmy umownie), jest tam Teresa i Krawcowa. W tym ciężkim, rumuńskim czasie socjalizmu wszystkie trzy zmagają się z opresją dyktatury, bo sięga ona najprostszego, „najmniejszego” człowieka na najdalszej prowincji, ale też robią na co dzień to, co wszystkie kobiety świata. Przesłuchania mieszają się tu z szyciem sukienek, wróżeniem z kart i pracą w fabryce. Jest też mężczyzna, który im towarzyszy i który nie ma lżej od nich. To jego słowami rozpoczyna się „Sercątko”: „Kiedy milczymy, stajemy się nieprzyjemni, kiedy mówimy – śmieszni”. Dlatego w ciemnościach będzie nieprzyjemnie i śmiesznie.\r\n\r\nAKT II. TYKANIE ZABORCZEJ NORMALNOŚCI\r\nCzytanie w ciemności fragmentów eseistycznej książki Herty Müller „Głód i Jedwab” w tłumaczeniu Katarzyny Leszczyńskiej.\r\n\r\nCzas trwania: 25 minut\r\nKoncepcja i reżyseria czytania: Andrzej Ficowski\r\nAktorzy: Klaudia Waszak, Arkadiusz Cyran\r\nIngerencja dźwiękowa: Jacek Zachodny\r\nDźwięki na żywo: Arkadiusz Cyran, Andrzej Ficowski\r\n\r\nEseistyczny kolaż „Tykanie zaborczej normy” nawiązuje do stęchłej i podszytej niepokojem atmosfery książki „Głód i Jedwab”. Strach Herty Müller wpisuje się w realia dzisiejszej Polski i z pewnością nie jest strachem przed utratą pracy czy niskimi zarobkami. Czego się boimy? Straty dobrego samopoczucia, jaki oferuje nam kapitalistyczny sen, po którym ciężko się przebudzić? A może jest to złowieszczy strach przed powrotem języka PRL-u, który w dzisiejszej Polsce nadal jest przedłużeniem nietolerancji i ksenofobii wielu rodzimych środowisk?\r\n\r\nRedakcja czasopisma „Rita Baum” dziękuje Wydawnictwu „Czarne” za okazaną pomoc w realizacji projektu.\r\n“Reading in the Dark” is a project focused on creating radio plays, inter-media spectacles taking place in front of the audience in the dark or total darkness, thus affecting mainly other senses apart from the sense of sight. The main idea is the presentation of literature in a “dark”, different way. Words are accompanied by music, sometimes video images emerge from the darkness. The mentioned darkness, in which the spectacles take place, allows to “pull” the, at times, classic texts out from the patterns. This activity enables a broader reception of various culture texts – makes the recipients more sensible to the audio-visual aspects of literature.
\r\nIn total darkness we reading excerpts of „Herztier” and „Niederungen”. There is something what connects these both books. In the darkness we will hear voices from lowlands and voice of protagonists gifted by herztier. „Niederungen” really begins in the moment of finishing. It means, we can notice only in the end of the book there is no „heart” without „lowlands”. Without humiliating work in Romanian factory, the writer''s essentional description of the world wouldn''t exist. It is born from pain, abasement and lack of perspectives for better life. It''s just a paradox this nuisance can conjure up this life another time. In the darkness we want first crack at such diagnosis, we want to be faithful to the author and we want to become engrossed in the bueutiful and dark past.
\r\n', 'CZYTANIE W CIEMNOŚCIACH. HERTA MÜLLERREADING IN THE DARK. HERTA MÜLLER', '', 'publish', 'closed', 'closed', '', 'czytanie-w-ciemnosciach-herta-muller-produkcja-rita-baum', '', '', '2012-09-26 14:16:49', '2012-09-26 12:16:49', '', 36, 'http://avantart.pl/?page_id=493', 0, 'page', '', 0), (494, 2, '2012-08-22 12:31:12', '2012-08-22 10:31:12', '', 'czytanie w ciemnosci59_mm', '', 'inherit', 'closed', 'closed', '', 'czytanie-w-ciemnosci59_mm', '', '', '2012-08-22 12:31:12', '2012-08-22 10:31:12', '', 493, 'http://avantart.pl/wp-content/uploads/2012/08/czytanie-w-ciemnosci59_mm.jpg', 0, 'attachment', 'image/jpeg', 0); INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (495, 2, '2012-08-22 12:34:38', '2012-08-22 10:34:38', '\n\nProdukcja Rita Baum\n\n„Czytanie w ciemnościach” to projekt polegający na kreowaniu słuchowisk, intermedialnych spektakli odbywających się przed publicznością w mroku lub całkowitych ciemnościach, a więc działających głównie na inne zmysły poza zmysłem wzroku. Ideą przewodnią jest zaprezentowanie literatury w „ciemny”, odmienny sposób. Słowom towarzyszy muzyka, czasami z mroku wyłaniają się obrazy wideo. Ciemność, w której odbywają się spektakle, pozwala „wyrwać” klasyczne czasami teksty ze schematów. Działanie to pozwala na poszerzony odbiór różnych tekstów kultury – uwrażliwia odbiorców na foniczno- wizualne aspekty literatury. Ciemność, w jakiej odbywają się spektakle, jest także istotna ze względu na otwarcie przedsięwzięcia dla osób niewidomych i niedowidzących. Każdy spektakl aranżujemy, by mógł być w pełni odebrany bez udziału wzroku.\n\nW ciemności buduje się wspólnota pomiędzy tymi, którzy widzą, i tymi, którzy są niewidomi; nic nas wszystkich wtedy nie odróżnia.\n\nW zupełnych ciemnościach odbywa się czytanie fragmentów „Nizin” i „Sercątka” Herty Mueller. Coś łączy te dwie książki. W ciemnościach usłyszymy głosy z nizin i bohaterki obdarzone sercątkiem. „Niziny” u Mueller tak naprawdę zaczynają się w momencie zakończenia. To znaczy, dopiero na końcu książki zauważamy, że bez „nizin” nie ma „sercątka”. Bez upodlającej pracy w komunistycznej fabryce, nie byłoby tego esencjonalnego opisu świata, jaki nam proponuje pisarka. Zrodzonego z bólu, upokorzenia, braku perspektywy na lepsze. I paradoksalnie ta niedogodność życia, na nowo to życie wyczarowuje. W ciemności chcemy się zmierzyć z taką diagnozą, być wierni autorce, i zatopić się w przeszłości mrocznej, i pięknej. Dlatego Niziny to również opowieść o dochodzeniu do czytania w ciemności, to opowieść o procesie pisania, którą słuchającym przedstawi narrator – w naszym wypadku bezrobotny aktor szukający zatrudnienia w teatrze…\n\n„Sercątko” otworzą przed wami trzy kobiety. Jest tam Herta (tak ją nazwaliśmy umownie), jest tam Teresa i Krawcowa. W tym ciężkim, rumuńskim czasie socjalizmu wszystkie trzy zmagają się z opresją dyktatury, bo sięga ona najprostszego, „najmniejszego” człowieka na najdalszej prowincji, ale też robią na co dzień to, co wszystkie kobiety świata. Przesłuchania mieszają się tu z szyciem sukienek, wróżeniem z kart i pracą w fabryce. Jest też mężczyzna, który im towarzyszy i który nie ma lżej od nich. To jego słowami rozpoczyna się „Sercątko”: „ Kiedy milczymy, stajemy się nieprzyjemni, kiedy mówimy – śmieszni”. Dlatego w ciemnościach będzie nieprzyjemnie i śmiesznie.\n\nReżyseria I części Andrzej Ficowski, reżyseria II części Marcin Czerwiński.\n\n\n„Czytanie w ciemnościach” to projekt polegający na kreowaniu słuchowisk, intermedialnych spektakli odbywających się przed publicznością w mroku lub całkowitych ciemnościach, a więc działających głównie na inne zmysły poza zmysłem wzroku. Ideą przewodnią jest zaprezentowanie literatury w „ciemny”, odmienny sposób. Słowom towarzyszy muzyka, czasami z mroku wyłaniają się obrazy wideo. Ciemność, w której odbywają się spektakle, pozwala „wyrwać” klasyczne czasami teksty ze schematów. Działanie to pozwala na poszerzony odbiór różnych tekstów kultury – uwrażliwia odbiorców na foniczno- wizualne aspekty literatury. Ciemność, w jakiej odbywają się spektakle, jest także istotna ze względu na otwarcie przedsięwzięcia dla osób niewidomych i niedowidzących. Każdy spektakl aranżujemy, by mógł być w pełni odebrany bez udziału wzroku.
\nW ciemności buduje się wspólnota pomiędzy tymi, którzy widzą, i tymi, którzy są niewidomi; nic nas wszystkich wtedy nie odróżnia.
\nW zupełnych ciemnościach odbywa się czytanie fragmentów „Nizin” i „Sercątka” Herty Mueller. Coś łączy te dwie książki. W ciemnościach usłyszymy głosy z nizin i bohaterki obdarzone sercątkiem. „Niziny” u Mueller tak naprawdę zaczynają się w momencie zakończenia. To znaczy, dopiero na końcu książki zauważamy, że bez „nizin” nie ma „sercątka”. Bez upodlającej pracy w komunistycznej fabryce, nie byłoby tego esencjonalnego opisu świata, jaki nam proponuje pisarka. Zrodzonego z bólu, upokorzenia, braku perspektywy na lepsze. I paradoksalnie ta niedogodność życia, na nowo to życie wyczarowuje. W ciemności chcemy się zmierzyć z taką diagnozą, być wierni autorce, i zatopić się w przeszłości mrocznej, i pięknej. Dlatego Niziny to również opowieść o dochodzeniu do czytania w ciemności, to opowieść o procesie pisania, którą słuchającym przedstawi narrator – w naszym wypadku bezrobotny aktor szukający zatrudnienia w teatrze…\n\n
„Sercątko” otworzą przed wami trzy kobiety. Jest tam Herta (tak ją nazwaliśmy umownie), jest tam Teresa i Krawcowa. W tym ciężkim, rumuńskim czasie socjalizmu wszystkie trzy zmagają się z opresją dyktatury, bo sięga ona najprostszego, „najmniejszego” człowieka na najdalszej prowincji, ale też robią na co dzień to, co wszystkie kobiety świata. Przesłuchania mieszają się tu z szyciem sukienek, wróżeniem z kart i pracą w fabryce. Jest też mężczyzna, który im towarzyszy i który nie ma lżej od nich. To jego słowami rozpoczyna się „Sercątko”: „ Kiedy milczymy, stajemy się nieprzyjemni, kiedy mówimy – śmieszni”. Dlatego w ciemnościach będzie nieprzyjemnie i śmiesznie.
\n \n\n \n\nIn total darkness we reading excerpts of „Herztier” and „Niederungen”. There is something what connects these both books. In the darkness we will hear voices from lowlands and voice of protagonists gifted by herztier. „Niederungen” really begins in the moment of finishing. It means, we can notice only in the end of the book there is no „heart” without „lowlands”. Without humiliating work in Romanian factory, the writer''s essentional description of the world wouldn''t exist. It is born from pain, abasement and lack of perspectives for better life. It''s just a paradox this nuisance can conjure up this life another time. In the darkness we want first crack at such diagnosis, we want to be faithful to the author and we want to become engrossed in the bueutiful and dark past.', 'Czytanie w ciemnościach. Herta Müller / produkcja Rita Baum', '', 'inherit', 'closed', 'closed', '', '493-revision', '', '', '2012-08-22 12:34:38', '2012-08-22 10:34:38', '', 493, 'http://avantart.pl/493-revision/', 0, 'revision', '', 0), (496, 2, '2012-09-26 14:17:52', '2012-09-26 12:17:52', '\n\nProdukcja Rita Baum\n\n„Czytanie w ciemnościach” to projekt polegający na kreowaniu słuchowisk, intermedialnych spektakli odbywających się przed publicznością w mroku lub całkowitych ciemnościach, a więc działających głównie na inne zmysły poza zmysłem wzroku. Ideą przewodnią jest zaprezentowanie literatury w „ciemny”, odmienny sposób. Słowom towarzyszy muzyka, czasami z mroku wyłaniają się obrazy wideo. Ciemność, w której odbywają się spektakle, pozwala „wyrwać” klasyczne czasami teksty ze schematów. Działanie to pozwala na poszerzony odbiór różnych tekstów kultury – uwrażliwia odbiorców na foniczno- wizualne aspekty literatury. Ciemność, w jakiej odbywają się spektakle, jest także istotna ze względu na otwarcie przedsięwzięcia dla osób niewidomych i niedowidzących. Każdy spektakl aranżujemy, by mógł być w pełni odebrany bez udziału wzroku.\n\nW ciemności buduje się wspólnota pomiędzy tymi, którzy widzą, i tymi, którzy są niewidomi; nic nas wszystkich wtedy nie odróżnia.\n\nAKT I. SERCE SERCĄTKA\nAdaptacja wybranych wątków powieści Herty Müller pt. „Sercątko” w tłumaczeniu Alicji Buras\n\nCzas trwania: 30 minut\nAdaptacja tekstu i reżyseria czytania: Marcin Czerwiński\nGłosy: Ołena Cikuj, Michał Szwed, Paulina Walendowska, Martyna Witowska.\nDźwięki na żywo: Mateusz Stuczyński\n\n„Sercątko” otworzą przed wami trzy kobiety. Jest tam Herta (tak ją nazwaliśmy umownie), jest tam Teresa i Krawcowa. W tym ciężkim, rumuńskim czasie socjalizmu wszystkie trzy zmagają się z opresją dyktatury, bo sięga ona najprostszego, „najmniejszego” człowieka na najdalszej prowincji, ale też robią na co dzień to, co wszystkie kobiety świata. Przesłuchania mieszają się tu z szyciem sukienek, wróżeniem z kart i pracą w fabryce. Jest też mężczyzna, który im towarzyszy i który nie ma lżej od nich. To jego słowami rozpoczyna się „Sercątko”: „Kiedy milczymy, stajemy się nieprzyjemni, kiedy mówimy – śmieszni”. Dlatego w ciemnościach będzie nieprzyjemnie i śmiesznie.\n\nAKT II. TYKANIE ZABORCZEJ NORMALNOŚCI\nCzytanie w ciemności fragmentów eseistycznej książki Herty Müller „Głód i Jedwab” w tłumaczeniu Katarzyny Leszczyńskiej.\n\nCzas trwania: 25 minut\nKoncepcja i reżyseria czytania: Andrzej Ficowski\nAktorzy: Klaudia Waszak, Arkadiusz Cyran\nIngerencja dźwiękowa: Jacek Zachodny\nDźwięki na żywo: Arkadiusz Cyran, Andrzej Ficowski\n\nEseistyczny kolaż „Tykanie zaborczej normy” nawiązuje do stęchłej i podszytej niepokojem atmosfery książki „Głód i Jedwab”. Strach Herty Müller wpisuje się w realia dzisiejszej Polski i z pewnością nie jest strachem przed utratą pracy czy niskimi zarobkami. Czego się boimy? Straty dobrego samopoczucia, jaki oferuje nam kapitalistyczny sen, po którym ciężko się przebudzić? A może jest to złowieszczy strach przed powrotem języka PRL-u, który w dzisiejszej Polsce nadal jest przedłużeniem nietolerancji i ksenofobii wielu rodzimych środowisk?\n\nRedakcja czasopisma „Rita Baum” dziękuje Wydawnictwu „Czarne” za okazaną pomoc w realizacji projektu.\n“Reading in the Dark” is a project focused on creating radio plays, inter-media spectacles taking place in front of the audience in the dark or total darkness, thus affecting mainly other senses apart from the sense of sight. The main idea is the presentation of literature in a “dark”, different way. Words are accompanied by music, sometimes video images emerge from the darkness. The mentioned darkness, in which the spectacles take place, allows to “pull” the, at times, classic texts out from the patterns. This activity enables a broader reception of various culture texts – makes the recipients more sensible to the audio-visual aspects of literature.
\nIn total darkness we reading excerpts of „Herztier” and „Niederungen”. There is something what connects these both books. In the darkness we will hear voices from lowlands and voice of protagonists gifted by herztier. „Niederungen” really begins in the moment of finishing. It means, we can notice only in the end of the book there is no „heart” without „lowlands”. Without humiliating work in Romanian factory, the writer''s essentional description of the world wouldn''t exist. It is born from pain, abasement and lack of perspectives for better life. It''s just a paradox this nuisance can conjure up this life another time. In the darkness we want first crack at such diagnosis, we want to be faithful to the author and we want to become engrossed in the bueutiful and dark past.
\n', 'CZYTANIE W CIEMNOŚCIACH. HERTA MÜLLERREADING IN THE DARK. HERTA MÜLLER', '', 'inherit', 'closed', 'closed', '', '493-autosave', '', '', '2012-09-26 14:17:52', '2012-09-26 12:17:52', '', 493, 'http://avantart.pl/493-autosave/', 0, 'revision', '', 0); INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (497, 2, '2012-08-22 12:34:48', '2012-08-22 10:34:48', '\r\n\r\nProdukcja Rita Baum\r\n\r\n„Czytanie w ciemnościach” to projekt polegający na kreowaniu słuchowisk, intermedialnych spektakli odbywających się przed publicznością w mroku lub całkowitych ciemnościach, a więc działających głównie na inne zmysły poza zmysłem wzroku. Ideą przewodnią jest zaprezentowanie literatury w „ciemny”, odmienny sposób. Słowom towarzyszy muzyka, czasami z mroku wyłaniają się obrazy wideo. Ciemność, w której odbywają się spektakle, pozwala „wyrwać” klasyczne czasami teksty ze schematów. Działanie to pozwala na poszerzony odbiór różnych tekstów kultury – uwrażliwia odbiorców na foniczno- wizualne aspekty literatury. Ciemność, w jakiej odbywają się spektakle, jest także istotna ze względu na otwarcie przedsięwzięcia dla osób niewidomych i niedowidzących. Każdy spektakl aranżujemy, by mógł być w pełni odebrany bez udziału wzroku.\r\n\r\nW ciemności buduje się wspólnota pomiędzy tymi, którzy widzą, i tymi, którzy są niewidomi; nic nas wszystkich wtedy nie odróżnia.\r\n\r\nW zupełnych ciemnościach odbywa się czytanie fragmentów „Nizin” i „Sercątka” Herty Mueller. Coś łączy te dwie książki. W ciemnościach usłyszymy głosy z nizin i bohaterki obdarzone sercątkiem. „Niziny” u Mueller tak naprawdę zaczynają się w momencie zakończenia. To znaczy, dopiero na końcu książki zauważamy, że bez „nizin” nie ma „sercątka”. Bez upodlającej pracy w komunistycznej fabryce, nie byłoby tego esencjonalnego opisu świata, jaki nam proponuje pisarka. Zrodzonego z bólu, upokorzenia, braku perspektywy na lepsze. I paradoksalnie ta niedogodność życia, na nowo to życie wyczarowuje. W ciemności chcemy się zmierzyć z taką diagnozą, być wierni autorce, i zatopić się w przeszłości mrocznej, i pięknej. Dlatego Niziny to również opowieść o dochodzeniu do czytania w ciemności, to opowieść o procesie pisania, którą słuchającym przedstawi narrator – w naszym wypadku bezrobotny aktor szukający zatrudnienia w teatrze…\r\n\r\n„Sercątko” otworzą przed wami trzy kobiety. Jest tam Herta (tak ją nazwaliśmy umownie), jest tam Teresa i Krawcowa. W tym ciężkim, rumuńskim czasie socjalizmu wszystkie trzy zmagają się z opresją dyktatury, bo sięga ona najprostszego, „najmniejszego” człowieka na najdalszej prowincji, ale też robią na co dzień to, co wszystkie kobiety świata. Przesłuchania mieszają się tu z szyciem sukienek, wróżeniem z kart i pracą w fabryce. Jest też mężczyzna, który im towarzyszy i który nie ma lżej od nich. To jego słowami rozpoczyna się „Sercątko”: „ Kiedy milczymy, stajemy się nieprzyjemni, kiedy mówimy – śmieszni”. Dlatego w ciemnościach będzie nieprzyjemnie i śmiesznie.\r\n\r\nReżyseria I części Andrzej Ficowski, reżyseria II części Marcin Czerwiński.\r\n\r\n\r\n„Czytanie w ciemnościach” to projekt polegający na kreowaniu słuchowisk, intermedialnych spektakli odbywających się przed publicznością w mroku lub całkowitych ciemnościach, a więc działających głównie na inne zmysły poza zmysłem wzroku. Ideą przewodnią jest zaprezentowanie literatury w „ciemny”, odmienny sposób. Słowom towarzyszy muzyka, czasami z mroku wyłaniają się obrazy wideo. Ciemność, w której odbywają się spektakle, pozwala „wyrwać” klasyczne czasami teksty ze schematów. Działanie to pozwala na poszerzony odbiór różnych tekstów kultury – uwrażliwia odbiorców na foniczno- wizualne aspekty literatury. Ciemność, w jakiej odbywają się spektakle, jest także istotna ze względu na otwarcie przedsięwzięcia dla osób niewidomych i niedowidzących. Każdy spektakl aranżujemy, by mógł być w pełni odebrany bez udziału wzroku.
\r\nW ciemności buduje się wspólnota pomiędzy tymi, którzy widzą, i tymi, którzy są niewidomi; nic nas wszystkich wtedy nie odróżnia.
\r\nW zupełnych ciemnościach odbywa się czytanie fragmentów „Nizin” i „Sercątka” Herty Mueller. Coś łączy te dwie książki. W ciemnościach usłyszymy głosy z nizin i bohaterki obdarzone sercątkiem. „Niziny” u Mueller tak naprawdę zaczynają się w momencie zakończenia. To znaczy, dopiero na końcu książki zauważamy, że bez „nizin” nie ma „sercątka”. Bez upodlającej pracy w komunistycznej fabryce, nie byłoby tego esencjonalnego opisu świata, jaki nam proponuje pisarka. Zrodzonego z bólu, upokorzenia, braku perspektywy na lepsze. I paradoksalnie ta niedogodność życia, na nowo to życie wyczarowuje. W ciemności chcemy się zmierzyć z taką diagnozą, być wierni autorce, i zatopić się w przeszłości mrocznej, i pięknej. Dlatego Niziny to również opowieść o dochodzeniu do czytania w ciemności, to opowieść o procesie pisania, którą słuchającym przedstawi narrator – w naszym wypadku bezrobotny aktor szukający zatrudnienia w teatrze…\r\n\r\n
„Sercątko” otworzą przed wami trzy kobiety. Jest tam Herta (tak ją nazwaliśmy umownie), jest tam Teresa i Krawcowa. W tym ciężkim, rumuńskim czasie socjalizmu wszystkie trzy zmagają się z opresją dyktatury, bo sięga ona najprostszego, „najmniejszego” człowieka na najdalszej prowincji, ale też robią na co dzień to, co wszystkie kobiety świata. Przesłuchania mieszają się tu z szyciem sukienek, wróżeniem z kart i pracą w fabryce. Jest też mężczyzna, który im towarzyszy i który nie ma lżej od nich. To jego słowami rozpoczyna się „Sercątko”: „ Kiedy milczymy, stajemy się nieprzyjemni, kiedy mówimy – śmieszni”. Dlatego w ciemnościach będzie nieprzyjemnie i śmiesznie.
\r\n\r\n\r\nIn total darkness we reading excerpts of „Herztier” and „Niederungen”. There is something what connects these both books. In the darkness we will hear voices from lowlands and voice of protagonists gifted by herztier. „Niederungen” really begins in the moment of finishing. It means, we can notice only in the end of the book there is no „heart” without „lowlands”. Without humiliating work in Romanian factory, the writer''s essentional description of the world wouldn''t exist. It is born from pain, abasement and lack of perspectives for better life. It''s just a paradox this nuisance can conjure up this life another time. In the darkness we want first crack at such diagnosis, we want to be faithful to the author and we want to become engrossed in the bueutiful and dark past.', 'Czytanie w ciemnościach. Herta Müller / produkcja Rita Baum', '', 'inherit', 'closed', 'closed', '', '493-revision-2', '', '', '2012-08-22 12:34:48', '2012-08-22 10:34:48', '', 493, 'http://avantart.pl/493-revision-2/', 0, 'revision', '', 0), (498, 1, '2012-08-07 11:16:15', '2012-08-07 09:16:15', '„Czytanie w ciemnościach” to projekt polegający na kreowaniu słuchowisk, intermedialnych spektakli odbywających się przed publicznością w mroku lub całkowitych ciemnościach, a więc działających głównie na inne zmysły poza zmysłem wzroku. Ideą przewodnią jest zaprezentowanie literatury w „ciemny”, odmienny sposób. Słowom towarzyszy muzyka, czasami z mroku wyłaniają się obrazy wideo. Ciemność, w której odbywają się spektakle, pozwala „wyrwać” klasyczne czasami teksty ze schematów. Działanie to pozwala na poszerzony odbiór różnych tekstów kultury – uwrażliwia odbiorców na foniczno- wizualne aspekty literatury. Ciemność, w jakiej odbywają się spektakle, jest także istotna ze względu na otwarcie przedsięwzięcia dla osób niewidomych i niedowidzących. Każdy spektakl aranżujemy, by mógł być w pełni odebrany bez udziału wzroku.
\r\nW ciemności buduje się wspólnota pomiędzy tymi, którzy widzą, i tymi, którzy są niewidomi; nic nas wszystkich wtedy nie odróżnia.
\r\nW zupełnych ciemnościach odbywa się czytanie fragmentów „Nizin” i „Sercątka” Herty Mueller. Coś łączy te dwie książki. W ciemnościach usłyszymy głosy z nizin i bohaterki obdarzone sercątkiem. „Niziny” u Mueller tak naprawdę zaczynają się w momencie zakończenia. To znaczy, dopiero na końcu książki zauważamy, że bez „nizin” nie ma „sercątka”. Bez upodlającej pracy w komunistycznej fabryce, nie byłoby tego esencjonalnego opisu świata, jaki nam proponuje pisarka. Zrodzonego z bólu, upokorzenia, braku perspektywy na lepsze. I paradoksalnie ta niedogodność życia, na nowo to życie wyczarowuje. W ciemności chcemy się zmierzyć z taką diagnozą, być wierni autorce, i zatopić się w przeszłości mrocznej, i pięknej. Dlatego Niziny to również opowieść o dochodzeniu do czytania w ciemności, to opowieść o procesie pisania, którą słuchającym przedstawi narrator – w naszym wypadku bezrobotny aktor szukający zatrudnienia w teatrze…\r\n\r\n
„Sercątko” otworzą przed wami trzy kobiety. Jest tam Herta (tak ją nazwaliśmy umownie), jest tam Teresa i Krawcowa. W tym ciężkim, rumuńskim czasie socjalizmu wszystkie trzy zmagają się z opresją dyktatury, bo sięga ona najprostszego, „najmniejszego” człowieka na najdalszej prowincji, ale też robią na co dzień to, co wszystkie kobiety świata. Przesłuchania mieszają się tu z szyciem sukienek, wróżeniem z kart i pracą w fabryce. Jest też mężczyzna, który im towarzyszy i który nie ma lżej od nich. To jego słowami rozpoczyna się „Sercątko”: „ Kiedy milczymy, stajemy się nieprzyjemni, kiedy mówimy – śmieszni”. Dlatego w ciemnościach będzie nieprzyjemnie i śmiesznie.
\r\n\r\n\r\nIn total darkness we reading excerpts of „Herztier” and „Niederungen”. There is something what connects these both books. In the darkness we will hear voices from lowlands and voice of protagonists gifted by herztier. „Niederungen” really begins in the moment of finishing. It means, we can notice only in the end of the book there is no „heart” without „lowlands”. Without humiliating work in Romanian factory, the writer''s essentional description of the world wouldn''t exist. It is born from pain, abasement and lack of perspectives for better life. It''s just a paradox this nuisance can conjure up this life another time. In the darkness we want first crack at such diagnosis, we want to be faithful to the author and we want to become engrossed in the bueutiful and dark past.', 'Czytanie w ciemnościach. Herta Müller / produkcja Rita BaumCzytanie w ciemnościach. Herta Müller / produkcja Rita Baum', '', 'inherit', 'closed', 'closed', '', '493-revision-3', '', '', '2012-08-22 12:36:40', '2012-08-22 10:36:40', '', 493, 'http://avantart.pl/493-revision-3/', 0, 'revision', '', 0), (501, 1, '2012-08-20 17:54:15', '2012-08-20 15:54:15', '\r\n\r\nKoprodukcja Avant Art Festival & TIMEART\r\n\r\nEksperymentalna formacja muzyczna Nanoschlaf z Kolonii spotka się z polskimi tancerzami Dawidem Lorencem, Filipem Szatarskim i Radkiem Heweltem. To interdyscyplinarne spotkanie improwizowanej muzyki i improwizowanego tańca jest jednym z premierowych koprodukcyjnych projektów w ramach piątej edycji festiwalu, prezentującej w szerokim wymiarze niemiecką sztukę. Nanoschlaf specjalizuje się w zarówno dźwiękowym, jak i strukturalnym stapianiu ze sobą muzyki akustycznej i elektronicznej. Wszystkich członków formacji poruszających się gdzieś między nową muzyką, elektroniczną awangardą i muzyką improwizowaną, charakteryzuje ogromna pasja i radość eksperymentowania z nieznanymi dźwiękami, strukturami czy przestrzeniami. Także niestrudzenie poszukujący nowych wyzwań tancerze Lorenc/Szatarski/Hewelt już od dłuższego czasu przekraczają interdyscyplinarnie ramy swej profesji. Centrum ich uwagi skupia się zarówno na zgłębianiu muzykalności ciała, transformacji muzycznego połączenia ciała i umysłu, prowadzącej ku lepszej jakości ruchu, jak i badania dynamiki w przestrzeni. Tancerze, posługując się ciałem jako czujnikiem, który w trakcie performansu odbiera i wysyła informacje, pozwolą zaistnieć organicznym i kompozycyjnym strukturom. Powstające między artystami struktury i korelacje będą się utwierdzać, ulegną transformacji, aby się rozpaść, a wszystko po to, by za chwilę zdemaskować ukryte napięcie poprzez skumulowaną energię dźwięku i ciała.\r\n\r\nArtyści:\r\nMatthias Muche - puzon\r\nPhilip Zoubek - fortepian\r\nSven Hahne - laptop, elektronika\r\nAchim Tang - kontrabas\r\nChristian Thomé - perkusja, laptop\r\nDawid Lorenc – tancerz, choreograf\r\nRadek Hewelt - tancerz, choreograf\r\nFilip Szatarski - tancerz, choreograf\r\nAnna Moser – kurator projektu\r\n\r\nKurator: Anna Moser /Avant Art Festival\r\n\r\nKoprodukcja wspierana przez: SK Stiftung Kultur, ON Netzwerk Neue Musik Köln, Ministerium für Familie, Kinder, Jugend, Kultur und Sport des Landes Nordrhein-Westfalen, NRW KULTURsekretariat, Kunststiftung NRW, Goethe Institut, Auswärtiges Amt der Bundesrepublik Deutschland, Polnisches Institut Berlin & Düsseldorf, Stiftung für deutsch-polnische Zusammenarbeit, Wrocław / Europejska Stolica Kultury 2016, Urząd Marszałkowski Dolnego śląska, Ministerstwo Kultury i Dziedzictwa Narodowego/Warszawa\r\n\r\nwww.zeitkunst.euPop Up 203 – przestrzeń dla kultury AVANT ART FESTIVAL! Zapraszamy na otwarcie i warsztaty.
\nZapraszamy na otwarcie galerii Pop Up 203 – przestrzeni dla kultury AVANT ART FESTIVAL – 24 sierpnia, godz. 19:03. W ramach inauguracji nowego miejsca we Wrocławiu swoją instalację muzyczną Anti Elevator Music Riot. Odbędzie się także plenerowy pokaz Kina Wakacyjnego organizowanego przez Stowarzyszenie BDS. Z kolei 25 sierpnia odbędą się m.in. warsztaty recyklingowe, maraton szycia koszulek festiwalowych Avant Art z Łucznikiem, a także recyklingowe kolaże-plakaty AAF 3d.
\nPop Up 203 to interdyscyplinarna platformą sztuki, wzornictwa (dizajnu), idei DIY (zrób to sam), współpracy twórczej oraz edukacji, która przez kilka miesięcy gościć będzie w surowej betonowej, przeszklonej przestrzeni w Centrum Biznesu i Hali Kupców Grafit. Stanowić będzie także przestrzeń dla kultury AVANT ART FESTIVAL , w ramach której planowane są spotkania, warsztaty i debaty, a od 2 do 7 października – podczas 5 edycji festiwalu Pop Up 203 działać będzie jako tymczasowa siedziba Fundacji Avant Art, której działalność od lat skupiona jest na tworzeniu unikatowych inicjatyw kulturalnych.
\nOtwarcie galerii odbędzie się w najbliższy piątek, 24 sierpnia, o godz. 19:03. Z tej okazji Gerard Lebik zaprezentuje swoją instalację muzyczną Anti Elevator Music Riot. Odbędzie się także plenerowy pokaz Kina Wakacyjnego organizowanego przez Stowarzyszenie BDS.
\n\nW sobotę, 25 sierpnia, natomiast odbędą się m.in. warsztaty recyklingowe, maraton szycia koszulek festiwalowych Avant Art z Łucznikiem, a także recyklingowe kolaże-plakaty AAF 3d.
\n5. edycja AVANT ART FESTIVAL odbędzie się we Wrocławiu w dniach 2-7 października 2012 r. pod hasłem „Niemcy”. Tegoroczną odsłonę festiwalu reprezentować będą wybitni artyści z Niemiec, m.in. DAF, Bonaparte, Peter Brotzmann & Defibrillator, Knuckleduster i Moritz Von Oswald Trio. Po raz pierwszy na festiwalu odbędą się showcase’y dwóch wytwórni: Raster-Noton (m.in. Kangding Ray) oraz Project: Mooncircle. Ruszy także pierwsza edycja cyklu AVANT ART FILM, w trakcie którego zobaczymy niemieckie filmy o muzyce. AVANT ART 2012 to także performance’y, koprodukcje, spotkania z literaturą, warsztaty i debaty oraz prezentacje festiwalu za granicą: w Kolonii i Berlinie.
\nInfo: www.avantart.pl oraz www.facebook.com/AvantArtFestival
\nWięcej informacji o galerii oraz program sobotnich warsztatów dostępny na www.facebook.com/popup203
\n\n
We would like to invite you to the opening of the Pop Up 203 gallery - A Space for Culture AVANT ART FESTIVAL - which will take place on August 24th, 19:00. As a part of the new places inauguration, Gerard Lebik will present his Anti Elevator Music Riot music installation. Also an open air Holiday Cinema showcase, organized by the BDS Association, will take place. Furthermore on August 25th, among others, the following will be held: recycling workshops, an Avant Art festival shirt sewing marathon, as well as recycling collages- AAF 3D posters.
\r\n', 'Pop Up 203 – przestrzeń dla kultury AVANT ART FESTIVAL! Zapraszamy na otwarcie i warsztaty.Pop Up 203 gallery - A Space for Culture AVANT ART FESTIVAL!', '', 'publish', 'closed', 'closed', '', 'pop-up-203-przestrzen-dla-kultury-avant-art-festival-zapraszamy-na-otwarcie-i-warsztaty', '', '', '2012-08-27 10:30:23', '2012-08-27 08:30:23', '', 0, 'http://avantart.pl/?p=509', 0, 'post', '', 0), (510, 2, '2012-08-24 12:20:40', '2012-08-24 10:20:40', '', 'logo-pop-up-203-oficial1', '', 'inherit', 'closed', 'closed', '', 'logo-pop-up-203-oficial1', '', '', '2012-08-24 12:20:40', '2012-08-24 10:20:40', '', 509, 'http://avantart.pl/wp-content/uploads/2012/08/logo-pop-up-203-oficial1.jpg', 0, 'attachment', 'image/jpeg', 0), (511, 2, '2012-08-24 12:21:07', '2012-08-24 10:21:07', '\n\nZapraszamy na otwarcie galerii Pop Up 203 – przestrzeni dla kultury AVANT ART FESTIVAL – 24 sierpnia, godz. 19:03. W ramach inauguracji nowego miejsca we Wrocławiu swoją instalację muzyczną Anti Elevator Music Riot. Odbędzie się także plenerowy pokaz Kina Wakacyjnego organizowanego przez Stowarzyszenie BDS. Z kolei 25 sierpnia odbędą się m.in. warsztaty recyklingowe, maraton szycia koszulek festiwalowych Avant Art z Łucznikiem, a także recyklingowe kolaże-plakaty AAF 3d.\n\nWięcej informacjiPop Up 203 – przestrzeń dla kultury AVANT ART FESTIVAL! Zapraszamy na otwarcie i warsztaty.
\r\nZapraszamy na otwarcie galerii Pop Up 203 – przestrzeni dla kultury AVANT ART FESTIVAL – 24 sierpnia, godz. 19:03. W ramach inauguracji nowego miejsca we Wrocławiu swoją instalację muzyczną Anti Elevator Music Riot. Odbędzie się także plenerowy pokaz Kina Wakacyjnego organizowanego przez Stowarzyszenie BDS. Z kolei 25 sierpnia odbędą się m.in. warsztaty recyklingowe, maraton szycia koszulek festiwalowych Avant Art z Łucznikiem, a także recyklingowe kolaże-plakaty AAF 3d.
\r\nPop Up 203 to interdyscyplinarna platformą sztuki, wzornictwa (dizajnu), idei DIY (zrób to sam), współpracy twórczej oraz edukacji, która przez kilka miesięcy gościć będzie w surowej betonowej, przeszklonej przestrzeni w Centrum Biznesu i Hali Kupców Grafit. Stanowić będzie także przestrzeń dla kultury AVANT ART FESTIVAL , w ramach której planowane są spotkania, warsztaty i debaty, a od 2 do 7 października – podczas 5 edycji festiwalu Pop Up 203 działać będzie jako tymczasowa siedziba Fundacji Avant Art, której działalność od lat skupiona jest na tworzeniu unikatowych inicjatyw kulturalnych.
\r\nOtwarcie galerii odbędzie się w najbliższy piątek, 24 sierpnia, o godz. 19:03. Z tej okazji Gerard Lebik zaprezentuje swoją instalację muzyczną Anti Elevator Music Riot. Odbędzie się także plenerowy pokaz Kina Wakacyjnego organizowanego przez Stowarzyszenie BDS.
\r\n\r\nW sobotę, 25 sierpnia, natomiast odbędą się m.in. warsztaty recyklingowe, maraton szycia koszulek festiwalowych Avant Art z Łucznikiem, a także recyklingowe kolaże-plakaty AAF 3d.
\r\n5. edycja AVANT ART FESTIVAL odbędzie się we Wrocławiu w dniach 2-7 października 2012 r. pod hasłem „Niemcy”. Tegoroczną odsłonę festiwalu reprezentować będą wybitni artyści z Niemiec, m.in. DAF, Bonaparte, Peter Brotzmann & Defibrillator, Knuckleduster i Moritz Von Oswald Trio. Po raz pierwszy na festiwalu odbędą się showcase’y dwóch wytwórni: Raster-Noton (m.in. Kangding Ray) oraz Project: Mooncircle. Ruszy także pierwsza edycja cyklu AVANT ART FILM, w trakcie którego zobaczymy niemieckie filmy o muzyce. AVANT ART 2012 to także performance’y, koprodukcje, spotkania z literaturą, warsztaty i debaty oraz prezentacje festiwalu za granicą: w Kolonii i Berlinie.
\r\nInfo: www.avantart.pl oraz www.facebook.com/AvantArtFestival
\r\nWięcej informacji o galerii oraz program sobotnich warsztatów dostępny na www.facebook.com/popup203
\r\n\r\n
We would like to invite you to the opening of the Pop Up 203 gallery - A Space for Culture AVANT ART FESTIVAL - which will take place on August 24th, 19:00. As a part of the new places inauguration, Gerard Lebik will present his Anti Elevator Music Riot music installation. Also an open air Holiday Cinema showcase, organized by the BDS Association, will take place. Furthermore on August 25th, among others, the following will be held: recycling workshops, an Avant Art festival shirt sewing marathon, as well as recycling collages- AAF 3D posters.
\n', 'Pop Up 203 – przestrzeń dla kultury AVANT ART FESTIVAL! Zapraszamy na otwarcie i warsztaty.Pop Up 203 gallery - A Space for Culture AVANT ART FESTIVAL!', '', 'inherit', 'closed', 'closed', '', '509-autosave', '', '', '2012-08-27 10:30:04', '2012-08-27 08:30:04', '', 509, 'http://avantart.pl/509-autosave/', 0, 'revision', '', 0), (517, 2, '2012-08-24 12:25:45', '2012-08-24 10:25:45', '\r\n\r\nZapraszamy na otwarcie galerii Pop Up 203 – przestrzeni dla kultury AVANT ART FESTIVAL – 24 sierpnia, godz. 19:03. W ramach inauguracji nowego miejsca we Wrocławiu swoją instalację muzyczną Anti Elevator Music Riot. Odbędzie się także plenerowy pokaz Kina Wakacyjnego organizowanego przez Stowarzyszenie BDS. Z kolei 25 sierpnia odbędą się m.in. warsztaty recyklingowe, maraton szycia koszulek festiwalowych Avant Art z Łucznikiem, a także recyklingowe kolaże-plakaty AAF 3d.\r\n\r\nWięcej informacji\r\n', 'Pop Up 203 – przestrzeń dla kultury AVANT ART FESTIVAL! Zapraszamy na otwarcie i warsztaty.', '', 'inherit', 'closed', 'closed', '', '509-revision-3', '', '', '2012-08-24 12:25:45', '2012-08-24 10:25:45', '', 509, 'http://avantart.pl/509-revision-3/', 0, 'revision', '', 0), (518, 2, '2012-08-24 12:25:25', '2012-08-24 10:25:25', '\r\n\r\nZapraszamy na otwarcie galerii Pop Up 203 – przestrzeni dla kultury AVANT ART FESTIVAL – 24 sierpnia, godz. 19:03. W ramach inauguracji nowego miejsca we Wrocławiu swoją instalację muzyczną Anti Elevator Music Riot. Odbędzie się także plenerowy pokaz Kina Wakacyjnego organizowanego przez Stowarzyszenie BDS. Z kolei 25 sierpnia odbędą się m.in. warsztaty recyklingowe, maraton szycia koszulek festiwalowych Avant Art z Łucznikiem, a także recyklingowe kolaże-plakaty AAF 3d. \r\n\r\nPop Up 203 to interdyscyplinarna platformą sztuki, wzornictwa (dizajnu), idei DIY (zrób to sam), współpracy twórczej oraz edukacji, która przez kilka miesięcy gościć będzie w surowej betonowej, przeszklonej przestrzeni w Centrum Biznesu i Hali Kupców Grafit. Stanowić będzie także przestrzeń dla kultury AVANT ART FESTIVAL , w ramach której planowane są spotkania, warsztaty i debaty, a od 2 do 7 października – podczas 5 edycji festiwalu Pop Up 203 działać będzie jako tymczasowa siedziba Fundacji Avant Art, której działalność od lat skupiona jest na tworzeniu unikatowych inicjatyw kulturalnych.\r\n\r\nOtwarcie galerii odbędzie się w najbliższy piątek, 24 sierpnia, o godz. 19:03. Z tej okazji Gerard Lebik zaprezentuje swoją instalację muzyczną Anti Elevator Music Riot. Odbędzie się także plenerowy pokaz Kina Wakacyjnego organizowanego przez Stowarzyszenie BDS.\r\n\r\nW sobotę, 25 sierpnia, natomiast odbędą się m.in. warsztaty recyklingowe, maraton szycia koszulek festiwalowych Avant Art z Łucznikiem, a także recyklingowe kolaże-plakaty AAF 3d.\r\n\r\nWięcej informacji o galerii oraz program sobotnich warsztatów dostępny na www.facebook.com/popup203 \r\n', 'Pop Up 203 – przestrzeń dla kultury AVANT ART FESTIVAL! Zapraszamy na otwarcie i warsztaty.', '', 'inherit', 'closed', 'closed', '', '507-revision-4', '', '', '2012-08-24 12:25:25', '2012-08-24 10:25:25', '', 507, 'http://avantart.pl/507-revision-4/', 0, 'revision', '', 0), (519, 2, '2012-08-24 12:41:09', '2012-08-24 10:41:09', '\r\n\r\nZapraszamy na otwarcie galerii Pop Up 203 – przestrzeni dla kultury AVANT ART FESTIVAL – 24 sierpnia, godz. 19:03. W ramach inauguracji nowego miejsca we Wrocławiu swoją instalację muzyczną Anti Elevator Music Riot zaprezentuje Gerard Lebik. Odbędzie się także plenerowy pokaz Kina Wakacyjnego organizowanego przez Stowarzyszenie BDS. Z kolei 25 sierpnia odbędą się m.in. warsztaty recyklingowe, maraton szycia koszulek festiwalowych Avant Art z Łucznikiem, a także recyklingowe kolaże-plakaty AAF 3d. \r\n\r\nPop Up 203 to interdyscyplinarna platformą sztuki, wzornictwa (dizajnu), idei DIY (zrób to sam), współpracy twórczej oraz edukacji, która przez kilka miesięcy gościć będzie w surowej betonowej, przeszklonej przestrzeni w Centrum Biznesu i Hali Kupców Grafit. Stanowić będzie także przestrzeń dla kultury AVANT ART FESTIVAL , w ramach której planowane są spotkania, warsztaty i debaty, a od 2 do 7 października – podczas 5 edycji festiwalu Pop Up 203 działać będzie jako tymczasowa siedziba Fundacji Avant Art, której działalność od lat skupiona jest na tworzeniu unikatowych inicjatyw kulturalnych.\r\n\r\nOtwarcie galerii odbędzie się w najbliższy piątek, 24 sierpnia, o godz. 19:03. Z tej okazji Gerard Lebik zaprezentuje swoją instalację muzyczną Anti Elevator Music Riot. Odbędzie się także plenerowy pokaz Kina Wakacyjnego organizowanego przez Stowarzyszenie BDS.\r\n\r\nW sobotę, 25 sierpnia, natomiast odbędą się m.in. warsztaty recyklingowe, maraton szycia koszulek festiwalowych Avant Art z Łucznikiem, a także recyklingowe kolaże-plakaty AAF 3d.\r\n\r\nWięcej informacji o galerii oraz program sobotnich warsztatów dostępny na www.facebook.com/popup203 \r\n', 'Pop Up 203 – przestrzeń dla kultury AVANT ART FESTIVAL! Zapraszamy na otwarcie i warsztaty.', '', 'inherit', 'closed', 'closed', '', '507-revision-5', '', '', '2012-08-24 12:41:09', '2012-08-24 10:41:09', '', 507, 'http://avantart.pl/507-revision-5/', 0, 'revision', '', 0), (520, 1, '2012-08-24 12:40:13', '2012-08-24 10:40:13', '\r\n\r\nZapraszamy na otwarcie galerii Pop Up 203 – przestrzeni dla kultury AVANT ART FESTIVAL – 24 sierpnia, godz. 19:03. W ramach inauguracji nowego miejsca we Wrocławiu swoją instalację muzyczną Anti Elevator Music Riot zaprezentuje Gerard Lebik. Odbędzie się także plenerowy pokaz Kina Wakacyjnego organizowanego przez Stowarzyszenie BDS. Z kolei 25 sierpnia odbędą się m.in. warsztaty recyklingowe, maraton szycia koszulek festiwalowych Avant Art z Łucznikiem, a także recyklingowe kolaże-plakaty AAF 3d.\r\n\r\nWięcej informacji\r\n', 'Pop Up 203 – przestrzeń dla kultury AVANT ART FESTIVAL! Zapraszamy na otwarcie i warsztaty.', '', 'inherit', 'closed', 'closed', '', '509-revision-4', '', '', '2012-08-24 12:40:13', '2012-08-24 10:40:13', '', 509, 'http://avantart.pl/509-revision-4/', 0, 'revision', '', 0), (521, 1, '2012-08-20 09:20:05', '2012-08-20 07:20:05', 'Serdecznie zapraszamy wolontariuszy do pomocy przy współorganizacji 5. Avant Art. Festival 2012. Wszystkich chętnych prosimy o wysłanie maila na adres wolontariat@avantart.pl. Zainteresowanym prześlemy formularz zgłoszeniowy i dokładniejsze informacje dotyczące działań wolontariackich na festiwalu. Zapraszamy!Avant Art Festival is not only music – it touches on all the planes of art, in which music plays an important role. That is why – for the first time in the festival’s history – a new programme block will appear during its fifth edition – the presentations of documentaries and films. During this year’s film series, taking place in the space of the Helios cinema, the audience will have a chance to see seven pictures. Out of assumption, the presented film will thematically correspond to the events on the music stage of the festival, at the same time broadening its context to include the cultural and historical dimension. This year’s films, just like the main part of AAF, focus on bringing the rich German art closer to the audience. We will present films illustrating the most interesting artist figures and events, which took place in the experimental music of the country over the last decades. Already classic motion pictures, which the Polish recipients will have a chance to see for the first time on the big screen, will appear among them, as well as new productions. The starting point of the selection of the films was not only their substantial worth, but aesthetic qualities, which will make the presented pictures a musical feast for the enthusiasts of unusual Avant sounds.
\r\nThe wide range of themes of the presented films is aimed at presenting the uniquely diverse German scene as fully as possible. We will see the birth of krautrock, visit the times of the punk rebellion, we will follow the development of electronic trends, stumble upon the Berlin underground and get acquainted with a wide variety of music and its contemporary creators. Additionally, special events accompanying the films as a part of Avant Film, such as meetings and discussions with experts and specialists of particular spheres, as well as the creators of the presented films, will be enriched by lectures about their wider context. A separate event in the programme, accompanying the screening of the film presenting the phenomenon of punk rock in East Germany, will be an exhibition of artefacts from that time period in the Galeria U [U Gallery]
\r\nCooperation:
\r\n', 'AVANT ART FILM', '', 'inherit', 'closed', 'closed', '', '284-revision-19', '', '', '2012-08-01 15:58:39', '2012-08-01 13:58:39', '', 284, 'http://avantart.pl/284-revision-19/', 0, 'revision', '', 0), (534, 1, '2012-08-16 23:31:02', '2012-08-16 21:31:02', '1) BIURO FESTIWALOWE IMPART 2016\r\nul. Mazowiecka 17\r\n\r\n2) Eter Club\r\nul. Kazimierza Wielkiego 19\r\n\r\n3) Helios Nowe Horyzonty\r\nul. Kazimierza Wielkiego 19a-211) BIURO FESTIWALOWE IMPART 2016
\r\nul. Mazowiecka 17
2) BWA Wrocław | Galeria Design
\r\nul.Świdnicka 2
3) Eter Club
\r\nul. Kazimierza Wielkiego 19
4) Helios Nowe Horyzonty
\r\nul. Kazimierza Wielkiego 19a-21
5) Kościół św. Marii Magdaleny
\r\nul. Szewska 10
„Czytanie w ciemnościach” to projekt polegający na kreowaniu słuchowisk, intermedialnych spektakli odbywających się przed publicznością w mroku lub całkowitych ciemnościach, a więc działających głównie na inne zmysły poza zmysłem wzroku. Ideą przewodnią jest zaprezentowanie literatury w „ciemny”, odmienny sposób. Słowom towarzyszy muzyka, czasami z mroku wyłaniają się obrazy wideo. Ciemność, w której odbywają się spektakle, pozwala „wyrwać” klasyczne czasami teksty ze schematów. Działanie to pozwala na poszerzony odbiór różnych tekstów kultury – uwrażliwia odbiorców na foniczno- wizualne aspekty literatury. Ciemność, w jakiej odbywają się spektakle, jest także istotna ze względu na otwarcie przedsięwzięcia dla osób niewidomych i niedowidzących. Każdy spektakl aranżujemy, by mógł być w pełni odebrany bez udziału wzroku.
\r\nW ciemności buduje się wspólnota pomiędzy tymi, którzy widzą, i tymi, którzy są niewidomi; nic nas wszystkich wtedy nie odróżnia.
\r\nW zupełnych ciemnościach odbywa się czytanie fragmentów „Nizin” i „Sercątka” Herty Mueller. Coś łączy te dwie książki. W ciemnościach usłyszymy głosy z nizin i bohaterki obdarzone sercątkiem. „Niziny” u Mueller tak naprawdę zaczynają się w momencie zakończenia. To znaczy, dopiero na końcu książki zauważamy, że bez „nizin” nie ma „sercątka”. Bez upodlającej pracy w komunistycznej fabryce, nie byłoby tego esencjonalnego opisu świata, jaki nam proponuje pisarka. Zrodzonego z bólu, upokorzenia, braku perspektywy na lepsze. I paradoksalnie ta niedogodność życia, na nowo to życie wyczarowuje. W ciemności chcemy się zmierzyć z taką diagnozą, być wierni autorce, i zatopić się w przeszłości mrocznej, i pięknej. Dlatego Niziny to również opowieść o dochodzeniu do czytania w ciemności, to opowieść o procesie pisania, którą słuchającym przedstawi narrator – w naszym wypadku bezrobotny aktor szukający zatrudnienia w teatrze…\r\n\r\n
„Sercątko” otworzą przed wami trzy kobiety. Jest tam Herta (tak ją nazwaliśmy umownie), jest tam Teresa i Krawcowa. W tym ciężkim, rumuńskim czasie socjalizmu wszystkie trzy zmagają się z opresją dyktatury, bo sięga ona najprostszego, „najmniejszego” człowieka na najdalszej prowincji, ale też robią na co dzień to, co wszystkie kobiety świata. Przesłuchania mieszają się tu z szyciem sukienek, wróżeniem z kart i pracą w fabryce. Jest też mężczyzna, który im towarzyszy i który nie ma lżej od nich. To jego słowami rozpoczyna się „Sercątko”: „ Kiedy milczymy, stajemy się nieprzyjemni, kiedy mówimy – śmieszni”. Dlatego w ciemnościach będzie nieprzyjemnie i śmiesznie.
\r\n\r\n\r\nIn total darkness we reading excerpts of „Herztier” and „Niederungen”. There is something what connects these both books. In the darkness we will hear voices from lowlands and voice of protagonists gifted by herztier. „Niederungen” really begins in the moment of finishing. It means, we can notice only in the end of the book there is no „heart” without „lowlands”. Without humiliating work in Romanian factory, the writer''s essentional description of the world wouldn''t exist. It is born from pain, abasement and lack of perspectives for better life. It''s just a paradox this nuisance can conjure up this life another time. In the darkness we want first crack at such diagnosis, we want to be faithful to the author and we want to become engrossed in the bueutiful and dark past.', 'Czytanie w ciemnościach. Herta Müller / produkcja Rita BaumCzytanie w ciemnościach. Herta Müller / produkcja Rita Baum', '', 'inherit', 'closed', 'closed', '', '493-revision-4', '', '', '2012-08-22 16:33:36', '2012-08-22 14:33:36', '', 493, 'http://avantart.pl/493-revision-4/', 0, 'revision', '', 0), (539, 2, '2012-08-25 21:49:04', '2012-08-25 19:49:04', '\r\n\r\nProdukcja Rita Baum\r\n\r\n„Czytanie w ciemnościach” to projekt polegający na kreowaniu słuchowisk, intermedialnych spektakli odbywających się przed publicznością w mroku lub całkowitych ciemnościach, a więc działających głównie na inne zmysły poza zmysłem wzroku. Ideą przewodnią jest zaprezentowanie literatury w „ciemny”, odmienny sposób. Słowom towarzyszy muzyka, czasami z mroku wyłaniają się obrazy wideo. Ciemność, w której odbywają się spektakle, pozwala „wyrwać” klasyczne czasami teksty ze schematów. Działanie to pozwala na poszerzony odbiór różnych tekstów kultury – uwrażliwia odbiorców na foniczno- wizualne aspekty literatury. Ciemność, w jakiej odbywają się spektakle, jest także istotna ze względu na otwarcie przedsięwzięcia dla osób niewidomych i niedowidzących. Każdy spektakl aranżujemy, by mógł być w pełni odebrany bez udziału wzroku.\r\n\r\nW ciemności buduje się wspólnota pomiędzy tymi, którzy widzą, i tymi, którzy są niewidomi; nic nas wszystkich wtedy nie odróżnia.\r\n\r\nW zupełnych ciemnościach odbywa się czytanie fragmentów „Nizin” i „Sercątka” Herty Mueller. Coś łączy te dwie książki. W ciemnościach usłyszymy głosy z nizin i bohaterki obdarzone sercątkiem. „Niziny” u Mueller tak naprawdę zaczynają się w momencie zakończenia. To znaczy, dopiero na końcu książki zauważamy, że bez „nizin” nie ma „sercątka”. Bez upodlającej pracy w komunistycznej fabryce, nie byłoby tego esencjonalnego opisu świata, jaki nam proponuje pisarka. Zrodzonego z bólu, upokorzenia, braku perspektywy na lepsze. I paradoksalnie ta niedogodność życia, na nowo to życie wyczarowuje. W ciemności chcemy się zmierzyć z taką diagnozą, być wierni autorce, i zatopić się w przeszłości mrocznej, i pięknej. Dlatego Niziny to również opowieść o dochodzeniu do czytania w ciemności, to opowieść o procesie pisania, którą słuchającym przedstawi narrator – w naszym wypadku bezrobotny aktor szukający zatrudnienia w teatrze…\r\n\r\n„Sercątko” otworzą przed wami trzy kobiety. Jest tam Herta (tak ją nazwaliśmy umownie), jest tam Teresa i Krawcowa. W tym ciężkim, rumuńskim czasie socjalizmu wszystkie trzy zmagają się z opresją dyktatury, bo sięga ona najprostszego, „najmniejszego” człowieka na najdalszej prowincji, ale też robią na co dzień to, co wszystkie kobiety świata. Przesłuchania mieszają się tu z szyciem sukienek, wróżeniem z kart i pracą w fabryce. Jest też mężczyzna, który im towarzyszy i który nie ma lżej od nich. To jego słowami rozpoczyna się „Sercątko”: „ Kiedy milczymy, stajemy się nieprzyjemni, kiedy mówimy – śmieszni”. Dlatego w ciemnościach będzie nieprzyjemnie i śmiesznie.\r\n\r\nReżyseria I części Andrzej Ficowski, reżyseria II części Marcin Czerwiński.\r\nIn total darkness we reading excerpts of „Herztier” and „Niederungen”. There is something what connects these both books. In the darkness we will hear voices from lowlands and voice of protagonists gifted by herztier. „Niederungen” really begins in the moment of finishing. It means, we can notice only in the end of the book there is no „heart” without „lowlands”. Without humiliating work in Romanian factory, the writer''s essentional description of the world wouldn''t exist. It is born from pain, abasement and lack of perspectives for better life. It''s just a paradox this nuisance can conjure up this life another time. In the darkness we want first crack at such diagnosis, we want to be faithful to the author and we want to become engrossed in the bueutiful and dark past.
\r\n', 'Czytanie w ciemnościach. Herta Müller / produkcja Rita BaumCZYTANIE W CIEMNOŚCIACH. HERTA MÜLLER', '', 'inherit', 'closed', 'closed', '', '493-revision-5', '', '', '2012-08-25 21:49:04', '2012-08-25 19:49:04', '', 493, 'http://avantart.pl/493-revision-5/', 0, 'revision', '', 0), (540, 2, '2012-08-25 21:49:14', '2012-08-25 19:49:14', '\r\n\r\nProdukcja Rita Baum\r\n\r\n„Czytanie w ciemnościach” to projekt polegający na kreowaniu słuchowisk, intermedialnych spektakli odbywających się przed publicznością w mroku lub całkowitych ciemnościach, a więc działających głównie na inne zmysły poza zmysłem wzroku. Ideą przewodnią jest zaprezentowanie literatury w „ciemny”, odmienny sposób. Słowom towarzyszy muzyka, czasami z mroku wyłaniają się obrazy wideo. Ciemność, w której odbywają się spektakle, pozwala „wyrwać” klasyczne czasami teksty ze schematów. Działanie to pozwala na poszerzony odbiór różnych tekstów kultury – uwrażliwia odbiorców na foniczno- wizualne aspekty literatury. Ciemność, w jakiej odbywają się spektakle, jest także istotna ze względu na otwarcie przedsięwzięcia dla osób niewidomych i niedowidzących. Każdy spektakl aranżujemy, by mógł być w pełni odebrany bez udziału wzroku.\r\n\r\nW ciemności buduje się wspólnota pomiędzy tymi, którzy widzą, i tymi, którzy są niewidomi; nic nas wszystkich wtedy nie odróżnia.\r\n\r\nW zupełnych ciemnościach odbywa się czytanie fragmentów „Nizin” i „Sercątka” Herty Mueller. Coś łączy te dwie książki. W ciemnościach usłyszymy głosy z nizin i bohaterki obdarzone sercątkiem. „Niziny” u Mueller tak naprawdę zaczynają się w momencie zakończenia. To znaczy, dopiero na końcu książki zauważamy, że bez „nizin” nie ma „sercątka”. Bez upodlającej pracy w komunistycznej fabryce, nie byłoby tego esencjonalnego opisu świata, jaki nam proponuje pisarka. Zrodzonego z bólu, upokorzenia, braku perspektywy na lepsze. I paradoksalnie ta niedogodność życia, na nowo to życie wyczarowuje. W ciemności chcemy się zmierzyć z taką diagnozą, być wierni autorce, i zatopić się w przeszłości mrocznej, i pięknej. Dlatego Niziny to również opowieść o dochodzeniu do czytania w ciemności, to opowieść o procesie pisania, którą słuchającym przedstawi narrator – w naszym wypadku bezrobotny aktor szukający zatrudnienia w teatrze…\r\n\r\n„Sercątko” otworzą przed wami trzy kobiety. Jest tam Herta (tak ją nazwaliśmy umownie), jest tam Teresa i Krawcowa. W tym ciężkim, rumuńskim czasie socjalizmu wszystkie trzy zmagają się z opresją dyktatury, bo sięga ona najprostszego, „najmniejszego” człowieka na najdalszej prowincji, ale też robią na co dzień to, co wszystkie kobiety świata. Przesłuchania mieszają się tu z szyciem sukienek, wróżeniem z kart i pracą w fabryce. Jest też mężczyzna, który im towarzyszy i który nie ma lżej od nich. To jego słowami rozpoczyna się „Sercątko”: „ Kiedy milczymy, stajemy się nieprzyjemni, kiedy mówimy – śmieszni”. Dlatego w ciemnościach będzie nieprzyjemnie i śmiesznie.\r\n\r\nReżyseria I części Andrzej Ficowski, reżyseria II części Marcin Czerwiński.\r\nIn total darkness we reading excerpts of „Herztier” and „Niederungen”. There is something what connects these both books. In the darkness we will hear voices from lowlands and voice of protagonists gifted by herztier. „Niederungen” really begins in the moment of finishing. It means, we can notice only in the end of the book there is no „heart” without „lowlands”. Without humiliating work in Romanian factory, the writer''s essentional description of the world wouldn''t exist. It is born from pain, abasement and lack of perspectives for better life. It''s just a paradox this nuisance can conjure up this life another time. In the darkness we want first crack at such diagnosis, we want to be faithful to the author and we want to become engrossed in the bueutiful and dark past.
\r\n', 'Czytanie w ciemnościach. Herta Müller / produkcja Rita BaumCZYTANIE W CIEMNOŚCIACH. HERTA MÜLLER', '', 'inherit', 'closed', 'closed', '', '493-revision-6', '', '', '2012-08-25 21:49:14', '2012-08-25 19:49:14', '', 493, 'http://avantart.pl/493-revision-6/', 0, 'revision', '', 0), (541, 2, '2012-08-25 21:49:30', '2012-08-25 19:49:30', '\r\n\r\nProdukcja Rita Baum\r\n\r\n„Czytanie w ciemnościach” to projekt polegający na kreowaniu słuchowisk, intermedialnych spektakli odbywających się przed publicznością w mroku lub całkowitych ciemnościach, a więc działających głównie na inne zmysły poza zmysłem wzroku. Ideą przewodnią jest zaprezentowanie literatury w „ciemny”, odmienny sposób. Słowom towarzyszy muzyka, czasami z mroku wyłaniają się obrazy wideo. Ciemność, w której odbywają się spektakle, pozwala „wyrwać” klasyczne czasami teksty ze schematów. Działanie to pozwala na poszerzony odbiór różnych tekstów kultury – uwrażliwia odbiorców na foniczno- wizualne aspekty literatury. Ciemność, w jakiej odbywają się spektakle, jest także istotna ze względu na otwarcie przedsięwzięcia dla osób niewidomych i niedowidzących. Każdy spektakl aranżujemy, by mógł być w pełni odebrany bez udziału wzroku.\r\n\r\nW ciemności buduje się wspólnota pomiędzy tymi, którzy widzą, i tymi, którzy są niewidomi; nic nas wszystkich wtedy nie odróżnia.\r\n\r\nW zupełnych ciemnościach odbywa się czytanie fragmentów „Nizin” i „Sercątka” Herty Mueller. Coś łączy te dwie książki. W ciemnościach usłyszymy głosy z nizin i bohaterki obdarzone sercątkiem. „Niziny” u Mueller tak naprawdę zaczynają się w momencie zakończenia. To znaczy, dopiero na końcu książki zauważamy, że bez „nizin” nie ma „sercątka”. Bez upodlającej pracy w komunistycznej fabryce, nie byłoby tego esencjonalnego opisu świata, jaki nam proponuje pisarka. Zrodzonego z bólu, upokorzenia, braku perspektywy na lepsze. I paradoksalnie ta niedogodność życia, na nowo to życie wyczarowuje. W ciemności chcemy się zmierzyć z taką diagnozą, być wierni autorce, i zatopić się w przeszłości mrocznej, i pięknej. Dlatego Niziny to również opowieść o dochodzeniu do czytania w ciemności, to opowieść o procesie pisania, którą słuchającym przedstawi narrator – w naszym wypadku bezrobotny aktor szukający zatrudnienia w teatrze…\r\n\r\n„Sercątko” otworzą przed wami trzy kobiety. Jest tam Herta (tak ją nazwaliśmy umownie), jest tam Teresa i Krawcowa. W tym ciężkim, rumuńskim czasie socjalizmu wszystkie trzy zmagają się z opresją dyktatury, bo sięga ona najprostszego, „najmniejszego” człowieka na najdalszej prowincji, ale też robią na co dzień to, co wszystkie kobiety świata. Przesłuchania mieszają się tu z szyciem sukienek, wróżeniem z kart i pracą w fabryce. Jest też mężczyzna, który im towarzyszy i który nie ma lżej od nich. To jego słowami rozpoczyna się „Sercątko”: „ Kiedy milczymy, stajemy się nieprzyjemni, kiedy mówimy – śmieszni”. Dlatego w ciemnościach będzie nieprzyjemnie i śmiesznie.\r\n\r\nReżyseria I części Andrzej Ficowski, reżyseria II części Marcin Czerwiński.\r\nIn total darkness we reading excerpts of „Herztier” and „Niederungen”. There is something what connects these both books. In the darkness we will hear voices from lowlands and voice of protagonists gifted by herztier. „Niederungen” really begins in the moment of finishing. It means, we can notice only in the end of the book there is no „heart” without „lowlands”. Without humiliating work in Romanian factory, the writer''s essentional description of the world wouldn''t exist. It is born from pain, abasement and lack of perspectives for better life. It''s just a paradox this nuisance can conjure up this life another time. In the darkness we want first crack at such diagnosis, we want to be faithful to the author and we want to become engrossed in the bueutiful and dark past.
\r\n', 'CZYTANIE W CIEMNOŚCIACH. HERTA MÜLLERCZYTANIE W CIEMNOŚCIACH. HERTA MÜLLER', '', 'inherit', 'closed', 'closed', '', '493-revision-7', '', '', '2012-08-25 21:49:30', '2012-08-25 19:49:30', '', 493, 'http://avantart.pl/493-revision-7/', 0, 'revision', '', 0), (542, 2, '2012-08-25 21:53:30', '2012-08-25 19:53:30', '\r\n\r\nProdukcja Rita Baum\r\n\r\n„Czytanie w ciemnościach” to projekt polegający na kreowaniu słuchowisk, intermedialnych spektakli odbywających się przed publicznością w mroku lub całkowitych ciemnościach, a więc działających głównie na inne zmysły poza zmysłem wzroku. Ideą przewodnią jest zaprezentowanie literatury w „ciemny”, odmienny sposób. Słowom towarzyszy muzyka, czasami z mroku wyłaniają się obrazy wideo. Ciemność, w której odbywają się spektakle, pozwala „wyrwać” klasyczne czasami teksty ze schematów. Działanie to pozwala na poszerzony odbiór różnych tekstów kultury – uwrażliwia odbiorców na foniczno- wizualne aspekty literatury. Ciemność, w jakiej odbywają się spektakle, jest także istotna ze względu na otwarcie przedsięwzięcia dla osób niewidomych i niedowidzących. Każdy spektakl aranżujemy, by mógł być w pełni odebrany bez udziału wzroku.\r\n\r\nW ciemności buduje się wspólnota pomiędzy tymi, którzy widzą, i tymi, którzy są niewidomi; nic nas wszystkich wtedy nie odróżnia.\r\n\r\nW zupełnych ciemnościach odbywa się czytanie fragmentów „Nizin” i „Sercątka” Herty Mueller. Coś łączy te dwie książki. W ciemnościach usłyszymy głosy z nizin i bohaterki obdarzone sercątkiem. „Niziny” u Mueller tak naprawdę zaczynają się w momencie zakończenia. To znaczy, dopiero na końcu książki zauważamy, że bez „nizin” nie ma „sercątka”. Bez upodlającej pracy w komunistycznej fabryce, nie byłoby tego esencjonalnego opisu świata, jaki nam proponuje pisarka. Zrodzonego z bólu, upokorzenia, braku perspektywy na lepsze. I paradoksalnie ta niedogodność życia, na nowo to życie wyczarowuje. W ciemności chcemy się zmierzyć z taką diagnozą, być wierni autorce, i zatopić się w przeszłości mrocznej, i pięknej. Dlatego Niziny to również opowieść o dochodzeniu do czytania w ciemności, to opowieść o procesie pisania, którą słuchającym przedstawi narrator – w naszym wypadku bezrobotny aktor szukający zatrudnienia w teatrze…\r\n\r\n„Sercątko” otworzą przed wami trzy kobiety. Jest tam Herta (tak ją nazwaliśmy umownie), jest tam Teresa i Krawcowa. W tym ciężkim, rumuńskim czasie socjalizmu wszystkie trzy zmagają się z opresją dyktatury, bo sięga ona najprostszego, „najmniejszego” człowieka na najdalszej prowincji, ale też robią na co dzień to, co wszystkie kobiety świata. Przesłuchania mieszają się tu z szyciem sukienek, wróżeniem z kart i pracą w fabryce. Jest też mężczyzna, który im towarzyszy i który nie ma lżej od nich. To jego słowami rozpoczyna się „Sercątko”: „ Kiedy milczymy, stajemy się nieprzyjemni, kiedy mówimy – śmieszni”. Dlatego w ciemnościach będzie nieprzyjemnie i śmiesznie.\r\n\r\nReżyseria I części Andrzej Ficowski, reżyseria II części Marcin Czerwiński.\r\n\r\n“Reading in the Dark” is a project focused on creating radio plays, inter-media spectacles taking place in front of the audience in the dark or total darkness, thus affecting mainly other senses apart from the sense of sight. The main idea is the presentation of literature in a “dark”, different way. Words are accompanied by music, sometimes video images emerge from the darkness. The mentioned darkness, in which the spectacles take place, allows to “pull” the, at times, classic texts out from the patterns. This activity enables a broader reception of various culture texts – makes the recipients more sensible to the audio-visual aspects of literature.\r\n\r\nIn total darkness we reading excerpts of „Herztier” and „Niederungen”. There is something what connects these both books. In the darkness we will hear voices from lowlands and voice of protagonists gifted by herztier. „Niederungen” really begins in the moment of finishing. It means, we can notice only in the end of the book there is no „heart” without „lowlands”. Without humiliating work in Romanian factory, the writer''s essentional description of the world wouldn''t exist. It is born from pain, abasement and lack of perspectives for better life. It''s just a paradox this nuisance can conjure up this life another time. In the darkness we want first crack at such diagnosis, we want to be faithful to the author and we want to become engrossed in the bueutiful and dark past.', 'CZYTANIE W CIEMNOŚCIACH. HERTA MÜLLERREADING IN THE DARK. HERTA MÜLLER', '', 'inherit', 'closed', 'closed', '', '493-revision-8', '', '', '2012-08-25 21:53:30', '2012-08-25 19:53:30', '', 493, 'http://avantart.pl/493-revision-8/', 0, 'revision', '', 0), (543, 2, '2012-08-24 20:24:21', '2012-08-24 18:24:21', '\r\n\r\nZapraszamy na otwarcie galerii Pop Up 203 – przestrzeni dla kultury AVANT ART FESTIVAL – 24 sierpnia, godz. 19:03. W ramach inauguracji nowego miejsca we Wrocławiu swoją instalację muzyczną Anti Elevator Music Riot zaprezentuje Gerard Lebik. Odbędzie się także plenerowy pokaz Kina Wakacyjnego organizowanego przez Stowarzyszenie BDS. Z kolei 25 sierpnia odbędą się m.in. warsztaty recyklingowe, maraton szycia koszulek festiwalowych Avant Art z Łucznikiem, a także recyklingowe kolaże-plakaty AAF 3d.\r\n\r\nWięcej informacji\r\n', 'Pop Up 203 – przestrzeń dla kultury AVANT ART FESTIVAL! Zapraszamy na otwarcie i warsztaty.', '', 'inherit', 'closed', 'closed', '', '509-revision-5', '', '', '2012-08-24 20:24:21', '2012-08-24 18:24:21', '', 509, 'http://avantart.pl/509-revision-5/', 0, 'revision', '', 0), (544, 2, '2012-08-09 23:19:07', '2012-08-09 21:19:07', 'Kontakt dla mediów:\r\nMagda Kotowska | magda.kotowska@highlite.pl, tel. 792 234 779\r\n\r\nAAF 2012 FOTO LQ \r\n\r\nAAF 2012 FOTO HQ\r\n\r\nAAF 2012 LOGO\r\n\r\nAAF 2012 ZAPOWIEDZI\r\n\r\n\r\nAVANT ART FILM PLAKAT \r\n\r\nAVANT ART FILM ZAPOWIEDŹKontakt dla mediów:
\r\nMagda Kotowska
\r\nmagda.kotowska@highlite.pl, tel. 792 234 779
\r\n', 'Press Room', '', 'inherit', 'closed', 'closed', '', '26-revision-10', '', '', '2012-08-09 23:19:07', '2012-08-09 21:19:07', '', 26, 'http://avantart.pl/26-revision-10/', 0, 'revision', '', 0), (545, 2, '2012-08-26 18:09:42', '2012-08-26 16:09:42', 'Kontakt dla mediów:\r\nMagda Kotowska | magda.kotowska@highlite.pl, tel. 792 234 779\r\n\r\nKontakt dla mediów:
\r\nMagda Kotowska
\r\nmagda.kotowska@highlite.pl, tel. 792 234 779
\r\n', 'Press Room', '', 'inherit', 'closed', 'closed', '', '26-revision-11', '', '', '2012-08-26 18:09:42', '2012-08-26 16:09:42', '', 26, 'http://avantart.pl/26-revision-11/', 0, 'revision', '', 0); INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (546, 2, '2012-08-16 23:38:50', '2012-08-16 21:38:50', 'PATRONAGE
\r\nSTRATEGIC PARTNER
\r\n\r\nMAIN PARTNERS
\r\n\r\nCOOPERATION
\r\n\r\n', 'PartnerzyPartners', '', 'inherit', 'closed', 'closed', '', '28-revision-26', '', '', '2012-08-16 23:38:50', '2012-08-16 21:38:50', '', 28, 'http://avantart.pl/28-revision-26/', 0, 'revision', '', 0), (547, 2, '2012-08-26 18:11:27', '2012-08-26 16:11:27', 'MECENAT\r\n\r\nPATRONAGE
\r\nSTRATEGIC PARTNER
\r\n\r\nMAIN PARTNERS
\r\n\r\nCOOPERATION
\r\n\r\n', 'PartnerzyPartners', '', 'inherit', 'closed', 'closed', '', '28-revision-27', '', '', '2012-08-26 18:11:27', '2012-08-26 16:11:27', '', 28, 'http://avantart.pl/28-revision-27/', 0, 'revision', '', 0), (548, 2, '2012-08-07 10:21:33', '2012-08-07 08:21:33', 'Jak co roku głównym bohaterem Avant Art Festival jest muzyka – muzyka we wszystkich stanach skupienia, we wszystkich swoich formach i kontekstach. Muzyka samodzielna oraz łącząca przeróżne dziedziny sztuki. Przez sześć dni (od 2 do 7 października 2012 r.) na festiwalowej scenie zobaczymy i usłyszymy wykonawców nietuzinkowych, poszukujących, przecierających nowe szlaki i jak co roku królować będą eklektyzm, oryginalność i nowatorstwo.\r\n\r\nTegoroczna edycja Avant Art Festival upłynie pod znakiem Niemiec – kraju niezwykle bogatego w ciekawych artystów. Już od wielu lat niemieccy muzycy przodują w tworzeniu nowych nurtów i estetyk, które podbijają światowe sceny swoją świeżością i pomysłowością. W czasie festiwalu wystąpią zarówno twórcy uznani – pionierzy gatunków, które od lat cieszą się popularnością na całym świecie, a także artyści młodzi – reformatorzy, napędzający muzykę swoją świeżą krwią i talentem. We Wrocławiu pojawi się DAF – jedna z najważniejszych formacji lat 80. XX wieku, która swoją twórczością położyła podwaliny pod takie gatunki jak electro czy EBM. Obok niej usłyszymy Caspar Brötzmann Massaker – rzecz dla zwolenników brudnych gitarowych brzmień, pełnych czystej i nieskrępowanej ekspresji, improwizacji i uwolnionej pasji twórczej. Połączenie najnowocześniejszej technologii z nowymi technikami kreowania dźwięków zaprezentują muzycy ze słynnej wytwórni Raster-Noton – Frank Bretschneider, Byetone i Kangding Ray. Moritz Von Oswald Trio przedstawi swoją wizję stapiania w jedno tak odmiennych od siebie stylistyk, jak techno, jazz i dub. FM Einheit, niegdyś członek wpływowej industrialnej grupy Einstürzende Neubeuten, udowodni jak z pozornie niemuzycznego instrumentarium stworzyć wielowarstwową i bogatą muzykę. Berlińscy szaleńcy z Bonaparte udowodnią, że koncert może być nie tylko samą prezentacją dźwięków, ale także niezwykłym, ekspresyjnym spektaklem. Niestrudzeni eksperymentatorzy z formacji Perlonex połączą swoje siły z jednym z najwybitniejszych przedstawicieli muzycznego minimalizmu, Charlemagne Palestine. Młodość zagra w jednej drużynie z wieloletnim doświadczeniem w postaci wspólnego projektu młodych polskich muzyków z ansamblu Defibrillator razem z tytanem free jazzu Peterem Brötzmannem. Artyści z Denseland w umiejętny sposób połączą na scenie post-punk z wolną improwizacją, a formacja Dÿse przedstawi swoją własną, bogatą w różnorodne nawiązania wersję noise rocka. Międzykontynentalny, kanadyjsko-niemiecki projekt Knuckleduster zbuduje pomost między world music, post rockiem i elektroniką, a Tannhäuser Sterben & das Tod wywróci na nice wszystkie znane dotąd muzyczne stylistyki. Taneczną stroną eksperymentowania z dźwiękiem ujawnią publiczności projekty ze stajni prestiżowej berlińskiej wytwórni Project: Mooncircle, a podczas koncertu Time Art Ensemble będzie można zanurzyć się w świecie wykreowanym z awangardowych dźwięków i wizualizacji. Mex Gerngesehen Avant Art Project, specjalnie powołana do życia na tę edycję festiwalu kolaboracja niemieckich i polskich muzyków, pokaże to, co najważniejsze w najnowszych eksperymentalnych trendach. Avant Art Festival wychodzi też w tym roku z sal koncertowych na ulice w postaci projektu Social Up Spacing – wspólnej inicjatywy polskich i niemieckich muzyków i plastyków, którzy zaprezentują swoje recyklingowe instalacje w otwartej przestrzeni miejskiej. Ważnym uzupełnieniem programu będą odbywające się w kinie Helios pokazy filmów dokumentalnych i fabularnych na temat niemieckiej sceny muzycznej, wizualnie dopełniające scenę muzyczną festiwalu, osadzając ją w społecznym i historycznym kontekście. Odbędą się też liczne warsztaty, dyskusje panelowe i spotkania z literaturą. Piąty Avant Art Festival po raz pierwszy wyjdzie poza Wrocław – poszczególne koncerty i prezentacje odbywać się też będą w Berlinie i Kolonii.\r\n\r\nPoszukiwania czegoś nowego na terenie sztuki nie ustają nigdy. Warto przyglądać się nowym artystom, świeżym trendom i rodzącym się zagadnieniom. I po raz kolejny kryterium doboru zaproszonych na festiwal wykonawców nie jest ograniczone danym gatunkiem, nurtem czy estetyką – ważna jest ich oryginalność, wynikająca z łamania ustalonych barier w sztuce, umiejętność łączenia w spójną całość odmiennych form, eksperymentalne czy wręcz awangardowe podejście do materii dźwięku, ruchu i obrazu. Avant Art Festival jest z założenia świętem artystycznego eklektyzmu, który jest widoczny na wielu płaszczyznach. Po Avant Art Festival można spodziewać się wszystkiego – chcemy zaskakiwać i dziwić, stawiać widza w opozycji do utartych schematów i klasycznego podejścia do sztuki. Tu tradycją jest odrzucenie tradycji, kanonem jest łamanie kanonów, konwencją jest niekonwencjonalność. Stawiamy na różnorodność i wielogatunkowość. Jesteśmy otwarci na wszystko, co oryginalne.Like each year, the main character of the Avant Art Festival is music – music in all density variations, all forms and contexts. Standalone music and music combining diverse branches of art. One will have a chance to see unique artists during six days (from October 2nd to October 7th, 2012) on the festival stages; artists who search, blaze new trails and, like each year, eclecticism, originality and innovation will rule.\r\n\r\nThis year’s edition will take place under the sign of Germany – a country uniquely rich with interesting artists. German artists lead in creating new trends and aesthetics, which conquer the stages of the world with their freshness and inventiveness, since many years. Both renown creators – pioneers of genres, who enjoy popularity throughout the whole world since years, and young artists – reformers, who are a driving force of the music with their fresh blood and talent, will perform during the festival. DAF – one of the most important groups of the 80s of the XXc., who laid down the basis for such genres as electro or EBM with their output, will appear in Wrocław. Apart from them one will have a chance to hear Caspar Brötzmann Massaker – something for the enthusiasts of brutal and dirty guitar-based sounds, based on pure and unrestrained expression, improvisation and a free-to-roam creative passion. The combination of the most up-to-date technologies with new techniques of creating sounds will be presented by the musicians of the famous label Raster-Noton - Frank Bretschneider, Byetone and Kangding Ray. Moritz Von Oswald Trio will present their own vision of melting such remote stylistics like techno, jazz and dub into a single entity. FM Einheit, once a member of the influential industrial group Einstürzende Neubeuten, will prove how to create multi-layered and rich music with, at first glance, non-musical instrumentarium. The Berlin nutcases of Bonaparte will prove, that a concert can be not only a mere presentation of sounds, but a unique and expressive spectacle as well. The tireless experimenters of Perlonex will combine their forces with one of the most outstanding representatives of musical minimalism, Charlemagne Palestine. Youth will play with year-long experience in a single team in the form of a collaborative project of the young Polish musicians from the Defibrillator ensemble together with the titan of free jazz Peter Brötzmann. Artists of Danseland will skilfully combine post-punk with free improvisation on the stage, and the formation Dÿse will present their own, rich with various references, version of noise rock. The intercontinental, Canadian-German project Knuckleduster will build a bridge between world music, post-rock and electronics, and Tannhäuser Sterben & das Tod will turn all music stylistics known so far inside out. The dance-side of experimentation with sound will be revealed to the audience by projects from the prestigious Berlin-based label Project: Mooncircle, and during the show by the Time Art Ensemble one will have a chance to engulf oneself in the worlds created from avant-garde sounds and visualisations. Mex Gerngesehen Avant Art Project, a collaboration of German and Polish musicians especially founded for this edition of the festival, will showcase that, what is most important in the modern experimental trends.\r\n\r\nThis year, Avant Art leaves the concert halls and goes out into the streets in the form of the Social Up Spacing project – a common initiative of Polish and German musicians and artists, who will present their recycling installations in the open municipal space. A very important fulfilment of the programme will be screenings of documentaries and films regarding the German music scene in the Helios cinema; these will complete the music stage of the festival in a visual manner, and putting it in a social and historical context. Numerous workshops, discussion panels and meetings with literature will take place as well. The fifth Avant Art Festival will leave Wrocław for the first time – particular shows and presentations will take place in Berlin and Koln as well.\r\n\r\nSearches for something new in the field of art never stop. It is worth taking a look at new artists, fresh trends and newly originated notions. And once again, the criterion of selecting the artists invited to the festival is not limited by any particular genre, trend or aesthetic – their originality, resulting from breaking the fixed barriers in art, the skill of combining diverse forms into a coherent whole, experimental or even avant-garde attitude to the matter of sound, movement and image. Avant Art Festival is, out of assumption, a holiday of artistic eclecticism, which is visible on numerous planes. One can expect everything from Avant Art Festival – we wish to surprise and to amaze, put the spectator in a position opposite to the established schematics and a classical attitude towards art. Here rejection of traditions is the tradition, breaking canons is the canon, non-conventionality is the convention. We aim at diversity, multitude of genres and are open towards anything that is original.', 'O festiwaluAbout the festival', '', 'inherit', 'closed', 'closed', '', '12-revision-9', '', '', '2012-08-07 10:21:33', '2012-08-07 08:21:33', '', 12, 'http://avantart.pl/12-revision-9/', 0, 'revision', '', 0), (549, 1, '2012-08-26 12:45:42', '2012-08-26 10:45:42', '\r\n\r\nZapraszamy na otwarcie galerii Pop Up 203 – przestrzeni dla kultury AVANT ART FESTIVAL – 24 sierpnia, godz. 19:03. W ramach inauguracji nowego miejsca we Wrocławiu swoją instalację muzyczną Anti Elevator Music Riot zaprezentuje Gerard Lebik. Odbędzie się także plenerowy pokaz Kina Wakacyjnego organizowanego przez Stowarzyszenie BDS. Z kolei 25 sierpnia odbędą się m.in. warsztaty recyklingowe, maraton szycia koszulek festiwalowych Avant Art z Łucznikiem, a także recyklingowe kolaże-plakaty AAF 3d.\r\n\r\nWięcej informacjiWe would like to invite you to the opening of the Pop Up 203 gallery - A Space for Culture AVANT ART FESTIVAL - which will take place on August 24th, 19:00. As a part of the new places inauguration, Gerard Lebik will present his Anti Elevator Music Riot music installation. Also an open air Holiday Cinema showcase, organized by the BDS Association, will take place. Furthermore on August 25th, among others, the following will be held: recycling workshops, an Avant Art festival shirt sewing marathon, as well as recycling collages- AAF 3D posters.', 'Pop Up 203 – przestrzeń dla kultury AVANT ART FESTIVAL! Zapraszamy na otwarcie i warsztaty.Pop Up 203 gallery - A Space for Culture AVANT ART FESTIVAL!', '', 'inherit', 'closed', 'closed', '', '509-revision-6', '', '', '2012-08-26 12:45:42', '2012-08-26 10:45:42', '', 509, 'http://avantart.pl/509-revision-6/', 0, 'revision', '', 0), (550, 1, '2012-07-30 23:44:49', '2012-07-30 21:44:49', ' Knuckleduster, transatlantycka kolaboracja niemieckiego artysty dźwiękowego Roberta Lippoka i rezydującego w Kanadzie indyjskiego multimedialnego twórcy Debashisa Sinhy, rozpoczęła się od obustronnej fascynacji dźwiękiem i jego produkcją. Po dyskusjach prowadzonych podczas spotkań w Berlinie i Toronto oraz za pośrednictwem internetu, obaj muzycy stworzyli podstawy do kreowania wspólnych kompozycji. Lippok, jedna z najważniejszych postaci berlińskiej sceny elektronicznej i założyciel słynnej formacji To Rococo Rot, znany jest przede wszystkim jako osoba, która odnowiła stylistykę post-rocka poprzez włączenie do niego sztuki konceptualnej, instalacji i improwizacji. Sinha, znawca rytmicznych systemów z różnych kultur, w swojej twórczości łączy czysto etniczne dźwięki i tradycyjne techniki z elementami zachodniej improwizacji i elektroniki. Ze zderzenia doświadczeń dwóch tak różnych osobowości muzycznych powstała muzyka, w której nowoczesność spotyka się z archaicznością, tworząc multikulturowy konglomerat brzmieniowy, który potrafi porwać słuchacza w niezwykłą podróż w czasie i przestrzeni. Akustyczne instrumenty i wysoko zaawansowana technologia, ludzki głos i syntetyczne brzmienia, szamanizm i nauka – to wszystko można odnaleźć w kompozycjach i improwizacjach tego oryginalnego duetu. kdmusic.orgKnuckleduster, a transatlantic collaboration of the German sound artist, Robert Lippok, and Debashis Sinhy, a Hindu multimedia creator residing in Canada, began from a mutual fascination with sound and its production. After the discussions conducted during their meetings in Berlin and Toronto, and via the Internet, both musicians created the basis for creating collaborative compositions. Lippok is one of the most important figures of the Berlin electronic scene and founder of the famous To Rococo Rot, renown foremost as a person, who renew the post-rock stylistics by including the conceptual art, installations and improvisation into it. Sinha, an expert of rhythmic systems of different cultures, in his creations combines purely ethnic sounds and traditional techniques with elements of Western improvisation and electronics. Music, in which modernity meets archaism, creating a multicultural sound conglomerate, which can take the listener on a unique journey through time and space, came to be out of the collision of experiences of two such different personalities. Acoustic instruments and highly sophisticated technology, the human voice and synthetic sounds, shamanism and science – it all can be found in the compositions and improvisations of this original duo.
\r\n\r\n', 'KNUCKLEDUSTER', '', 'inherit', 'closed', 'closed', '', '52-revision-10', '', '', '2012-07-30 23:44:49', '2012-07-30 21:44:49', '', 52, 'http://avantart.pl/52-revision-10/', 0, 'revision', '', 0), (551, 1, '2012-08-28 13:19:53', '2012-08-28 11:19:53', ' Knuckleduster, transatlantycka kolaboracja niemieckiego artysty dźwiękowego Roberta Lippoka i rezydującego w Kanadzie indyjskiego multimedialnego twórcy Debashisa Sinhy, rozpoczęła się od obustronnej fascynacji dźwiękiem i jego produkcją. Po dyskusjach prowadzonych podczas spotkań w Berlinie i Toronto oraz za pośrednictwem internetu, obaj muzycy stworzyli podstawy do kreowania wspólnych kompozycji. Lippok, jedna z najważniejszych postaci berlińskiej sceny elektronicznej i założyciel słynnej formacji To Rococo Rot, znany jest przede wszystkim jako osoba, która odnowiła stylistykę post-rocka poprzez włączenie do niego sztuki konceptualnej, instalacji i improwizacji. Sinha, znawca rytmicznych systemów z różnych kultur, w swojej twórczości łączy czysto etniczne dźwięki i tradycyjne techniki z elementami zachodniej improwizacji i elektroniki. Ze zderzenia doświadczeń dwóch tak różnych osobowości muzycznych powstała muzyka, w której nowoczesność spotyka się z archaicznością, tworząc multikulturowy konglomerat brzmieniowy, który potrafi porwać słuchacza w niezwykłą podróż w czasie i przestrzeni. Akustyczne instrumenty i wysoko zaawansowana technologia, ludzki głos i syntetyczne brzmienia, szamanizm i nauka – to wszystko można odnaleźć w kompozycjach i improwizacjach tego oryginalnego duetu. kdmusic.orgKnuckleduster, a transatlantic collaboration of the German sound artist, Robert Lippok, and Debashis Sinhy, a Hindu multimedia creator residing in Canada, began from a mutual fascination with sound and its production. After the discussions conducted during their meetings in Berlin and Toronto, and via the Internet, both musicians created the basis for creating collaborative compositions. Lippok is one of the most important figures of the Berlin electronic scene and founder of the famous To Rococo Rot, renown foremost as a person, who renew the post-rock stylistics by including the conceptual art, installations and improvisation into it. Sinha, an expert of rhythmic systems of different cultures, in his creations combines purely ethnic sounds and traditional techniques with elements of Western improvisation and electronics. Music, in which modernity meets archaism, creating a multicultural sound conglomerate, which can take the listener on a unique journey through time and space, came to be out of the collision of experiences of two such different personalities. Acoustic instruments and highly sophisticated technology, the human voice and synthetic sounds, shamanism and science – it all can be found in the compositions and improvisations of this original duo.
\r\n\r\n', 'KNUCKLEDUSTER', '', 'inherit', 'closed', 'closed', '', '52-revision-11', '', '', '2012-08-28 13:19:53', '2012-08-28 11:19:53', '', 52, 'http://avantart.pl/52-revision-11/', 0, 'revision', '', 0), (553, 2, '2012-08-25 09:28:44', '2012-08-25 07:28:44', ' \r\n\r\n1) BIURO FESTIWALOWE IMPART 2016\r\nul. Mazowiecka 17\r\n\r\n2) Eter Club\r\nul. Kazimierza Wielkiego 19\r\n\r\n3) Helios Nowe Horyzonty\r\nul. Kazimierza Wielkiego 19a-21\r\n\r\n4) BWA Wrocław, Galeria Avangarda\r\nul. Wita Stwosza 32 \r\n\r\n1) BIURO FESTIWALOWE IMPART 2016\r\n\r\nul. Mazowiecka 17\r\n\r\n2) BWA Wrocław | Galeria Design\r\n\r\nul.Świdnicka 2\r\n\r\n3) Eter Club\r\n\r\nul. Kazimierza Wielkiego 19\r\n\r\n4) BWA Wrocław, Galeria Avangarda\r\n\r\nul. Wita Stwosza 32', 'MiejscaLocations', '', 'inherit', 'closed', 'closed', '', '30-revision-10', '', '', '2012-08-25 09:28:44', '2012-08-25 07:28:44', '', 30, 'http://avantart.pl/30-revision-10/', 0, 'revision', '', 0), (555, 1, '2012-08-25 09:19:48', '2012-08-25 07:19:48', 'Already on September 6th, 2012, during the prestigious Berlin Music Week, Avant Art Festival (2-7.10, Wrocław) will present one of its co-production entitled "2g In / Between". It will be a foretaste of this year''s edition of the festival, as well as the first of three showcases of Avant Art in Germany. The remaining will take place in October in Berlin (16.10) and Cologne (18.10). The presentations of the festival abroad are a part of the "Avant Art Festival Polen – Niemcy” project, which is aimed at promoting the Polish-German co-productions created especially against the order of Avant Art.
\nMore: www.berlin-music-week.de, www.ctm-festival.de/icas-suite and facebook.com
\n', 'Avant Art Festival na Berlin Music Week! Avant Art Festival on the Berlin Music Week!', '', 'inherit', 'closed', 'closed', '', '556-autosave', '', '', '2012-09-04 13:59:47', '2012-09-04 11:59:47', '', 556, 'http://avantart.pl/556-autosave/', 0, 'revision', '', 0), (561, 2, '2012-09-04 11:52:15', '2012-09-04 09:52:15', '\r\n\r\nJuż 6 września 2012 r. podczas prestiżowego Berlin Music Week Avant Art Festival zaprezentuje jedną ze swoich koprodukcji pt. 2g "In / Between”. Będzie to zapowiedź tegorocznej edycji festiwalu, a także pierwszy z trzech showcase’ów Avant Art w Niemczech. Pozostałe odbędą się w październiku w Berlinie (16.10) oraz w Kolonii (18.10). Prezentacje festiwalu za granicą to część projektu „Avant Art Festival Polen – Niemcy”, który ma celu promocję polsko – niemieckich koprodukcji powstałych specjalnie na zamówienie fundacji Avant Art.Informacje o biletach wkrótce
\r\n', 'BiletyTickets', '', 'inherit', 'closed', 'closed', '', '23-revision-6', '', '', '2012-09-05 00:19:10', '2012-09-04 22:19:10', '', 23, 'http://avantart.pl/23-revision-6/', 0, 'revision', '', 0), (571, 2, '2012-09-05 00:21:35', '2012-09-04 22:21:35', 'Sprzedaż biletów pod linkiem BILETY ONLINE, a także za pośrednictwem www.billetin.pl i w Biurze Festiwalowym Impart 2016 (Mazowiecka 17, Wrocław, w dni powszednie od 12:00 do 18:00).\r\n\r\nWkrótce ruszy sprzedaż przez www.ticketpro.pl.\r\nBilety dostępne będą także w dniu koncertu na godzinę przed rozpoczęciem wydarzenia.\r\n\r\n \r\n\r\nInformacje o biletach wkrótce
\r\n', 'BiletyTickets', '', 'inherit', 'closed', 'closed', '', '23-revision-7', '', '', '2012-09-05 00:21:35', '2012-09-04 22:21:35', '', 23, 'http://avantart.pl/23-revision-7/', 0, 'revision', '', 0), (572, 2, '2012-09-05 00:26:46', '2012-09-04 22:26:46', 'Sprzedaż biletów i karnetów pod linkiem BILETY ONLINE, a także za pośrednictwem www.billetin.pl i w Biurze Festiwalowym Impart 2016 (Mazowiecka 17, Wrocław, w dni powszednie od 12:00 do 18:00).\r\n\r\nWkrótce ruszy sprzedaż przez www.ticketpro.pl.\r\nBilety dostępne będą także w dniu koncertu na godzinę przed rozpoczęciem wydarzenia.\r\n\r\nKarnet na wszystkie wydarzenia festiwalu: 90 zł\r\n\r\nKontakt: bilety@avantart.plInformacje o biletach wkrótce
\r\n', 'BiletyTickets', '', 'inherit', 'closed', 'closed', '', '23-revision-8', '', '', '2012-09-05 00:26:46', '2012-09-04 22:26:46', '', 23, 'http://avantart.pl/23-revision-8/', 0, 'revision', '', 0), (573, 2, '2012-09-05 00:41:15', '2012-09-04 22:41:15', 'Sprzedaż biletów i karnetów możliwa jest pod linkiem BILETY ONLINE, a także za pośrednictwem www.biletin.pl i w Imparcie (ul. Mazowiecka 17, Wrocław, w dni powszednie od 12:00 do 18:00). Wkrótce ruszy sprzedaż przez www.ticketpro.pl. Bilety dostępne będą także w dniu koncertu na godzinę przed rozpoczęciem wydarzenia.\r\n\r\nCeny biletów są bardzo przystępne – wahają się od 10 do 40 zł w przedsprzedaży. Karnet kupić można za 90 zł. The purchase of tickets and whole-festival tickets is possible under the link TICKETS ONLINE, as well as via www.biletin.pl and at Impart box office (Mazowiecka 17, Wrocław, open during the week days from 12:00 to 18:00). Soon the sale via www.ticketpro.pl will begin as well. The tickets will also be available on the day of the performance, an hour before the beginning of the event.\r\n\r\nThe ticket prices are very reasonable - and range from 10 to 40 PLN pre-sale. The whole-festival ticket can be purchased for 90 PLN', 'Ruszyła sprzedaż biletów i karnetów na AVANT ART FESTIVAL!The sale of AVANT ART FESTIVAL tickets and whole-festival tickets has commenced!', '', 'publish', 'closed', 'closed', '', 'ruszyla-sprzedaz-biletow-i-karnetow-na-avant-art-festival', '', '', '2012-09-10 13:10:48', '2012-09-10 11:10:48', '', 0, 'http://avantart.pl/?p=573', 0, 'post', '', 0), (574, 2, '2012-09-05 00:40:31', '2012-09-04 22:40:31', 'Sprzedaż biletów i karnetów pod linkiem BILETY ONLINE, a także za pośrednictwem www.billetin.pl i w Biurze Festiwalowym Impart 2016 (Mazowiecka 17, Wrocław, w dni powszednie od 12:00 do 18:00). Wkrótce ruszy sprzedaż przez www.ticketpro.pl. Bilety dostępne będą także w dniu koncertu na godzinę przed rozpoczęciem wydarzenia.\n\nCeny biletów są bardzo przystępne – wahają się od 10 do 40 zł w przedsprzedaży. Karnet, obejmujący wszytkie wydarzenia festiwalu, za 90 zł.Informacje o biletach wkrótce
\r\n', 'BiletyTickets', '', 'inherit', 'closed', 'closed', '', '23-revision-9', '', '', '2012-09-05 00:36:23', '2012-09-04 22:36:23', '', 23, 'http://avantart.pl/23-revision-9/', 0, 'revision', '', 0), (586, 2, '2012-09-06 12:53:07', '2012-09-06 10:53:07', '1) IMPART\r\nul. Mazowiecka 17\r\n\r\n2) Eter Club\r\nul. Kazimierza Wielkiego 19\r\n\r\n3) Helios Nowe Horyzonty\r\nul. Kazimierza Wielkiego 19a-21\r\n\r\n4) BWA Wrocław, Galeria Avangarda\r\nul. Wita Stwosza 32\r\n\r\n5) pop up 203\r\ngaleria/ dizajnbutik / coworking* / przestrzeń dla kultury Avant Art Festival\r\nul. Namysłowska 8, Wrocław\r\n1) BIURO FESTIWALOWE IMPART 2016
\r\nul. Mazowiecka 17
\r\n2) BWA Wrocław | Galeria Design
\r\nul.Świdnicka 2
\r\n3) Eter Club
\r\nul. Kazimierza Wielkiego 19
\r\n4) BWA Wrocław, Galeria Avangarda
\r\nul. Wita Stwosza 32
\r\n', 'MiejscaLocations', '', 'inherit', 'closed', 'closed', '', '30-revision-12', '', '', '2012-09-06 12:53:07', '2012-09-06 10:53:07', '', 30, 'http://avantart.pl/30-revision-12/', 0, 'revision', '', 0), (587, 2, '2012-09-16 12:39:36', '2012-09-16 10:39:36', 'Organizatorem festiwalu jest fundacja Avant Art.\n\nFundacja Avant Art\n PRZESTRZEŃ - KULTURA\n\nFundacja w swoim założeniu stworzona i wymyślona została do prowadzenia projektu Avant Art Festival, obecnie jednak w kontekście dynamiki i rozwoju wspiera nie tylko festiwal, ale kreuje też inne działania interdyscyplinarne związane ze sztuką performatywną. Cały czas obowiązuje nas artystyczna postawa „in between”.\nPodstawowym celem strategii fundacji Avant Art w ciągu najbliższych kilku lat jest kontynuacja zmiany charakteru i formy działań realizowanych w jej obrębie. Tak więc obecnie projekt fundacji i nasza strategia myślenia o Kulturze obejmuje stworzenie i kreacje przestrzeni przeznaczonej na całoroczną aktywność artystyczną, kuratorską, edukacyjną oraz społeczną związaną z prowadzeniem warsztatów i szkoleń w ramach projektów cyklicznych oraz samych projektów cyklicznych. Bardzo istotne w strategii fundacji jest także prowadzenie oraz realizacja działań koprodukcyjnych.\n\nTe dynamiczne zmiany i przekształcenia w myśleniu o fundacji mają służyć także realizacji wielu wydarzeń artystycznych we współpracy z różnymi artystami czy organizacjami. Przykładem są tegoroczne (2012r.) realizacje Avant Art:\nRePLAY – Rozbudowa Instalacji Recyklingowej ReFUN, projekt zrealizowany w Warszawie czy przestrzeń galeryjno - warsztatową Pop Up 203, prowadzona we Wrocławiu przez Gabukow/Gabrielę Kowalską i Alicje Wacowską. Według naszej koncepcji fundacja Avant Art ma stać się wyzwolicielem kontaktów oraz interdyscyplinarnych działań, a przez to także bazą nowatorskich przedsięwzięć artystycznych. Artyści zaproszeni są i będą, by w jej ramach prezentować swoje dotychczasowe projekty, ale bardzo istotne są też nowe kreacje rozumiane jako „kontynuacje” i „łączenia”, czyli aktywności związane z pracą artystów, których będziemy prezentować w ramach różnych programów. Ponadto ważną intencją fundacji Avant Art jest coraz częściej rola inicjująca działania edukacyjne i społeczne, takie jak edukacja kulturalna oraz aktywizacja społeczności lokalnych, co możliwe będzie nie tylko w ramach festiwalu Avant Art, ale przede wszystkim we współpracy z artystami, kuratorami oraz innymi instytucjami czy organizacjami związanymi z Kulturą.\n\nDzięki swoim działaniom fundacja Avant Art ma się stać się „artystycznym żywym organizmem”. Program aktywności fundacji ma być wynikiem stałych kontaktów partnerskich między artystami, managerami i kuratorami z całej Europy, a także rezultatem całorocznej pracy nad projektami realizowanymi w ramach funkcjonowania fundacji. Ma się stać „miejscem” łączenia w ramach koprodukcji działań o zasięgu nie tylko lokalnym czy krajowym, ale przede wszystkim międzynarodowym. Planowane realizacje, system budżetowania oraz strategia promocji umożliwiać będzie funkcjonowanie fundacji jako nowoczesnej instytucji kultury, zachowującej w pełni autonomię i niezależność.\n\n\n\nThe Festival is organized by Avant Art Foundation
\nAvant Art Foundation
\nSPACE – CULTURE
In its assumption, the foundation was devised and created to carry out the Avant Art Festival project, however currently in the context of dynamics and the development it supports not only the festival, but also creates other multi-disciplinary activities connected with performative art. We are still obliged by the artistic attitude “in between”.
\nThe main aim of the Avant Art Foundation’s strategy in the next few years is the continuation of changes in character and form of the activities carried out within its limits. Thus, currently the project of the foundation and our strategy concerning thinking about Culture includes creating and shaping a space intended for an all-year-long artistic, curator, educational and social activity, connected with running workshops and trainings as a part of cyclical projects and the projects themselves. Carrying out co-production activities is also very important in the strategy of the foundation.
These dynamic changes and transformations in the thinking about the foundation, are also supposed to serve the production of numerous artistic events in co-operation with diverse artists or organisations. This year’s (2012) Avant Art’s productions are an example: RePLAY. An expansion of the ReFUN Recycling Installation, a project carried out in Warsaw or the Pop Up 231 gallery-workshop space in Wrocław by Gabukow/Gabriela Kowalska and Alicja Wacowska. According to out conception, the Avant Art Foundation is supposed to become a liberator of contacts and inter-disciplinary activities, thus becoming a base for innovative artistic endeavours. Artists are and will be invited, in order to present their previous projects, but new creations understood as “continuations” and “combinations” are as important; i.e. activities concerned with the work of artists, who will be presented as a part of different programmes. Furthermore, a very important intention of the Avant Art Foundation is more and more frequently the role of initiating educational and social activities, such as cultural education and the acquisition of local societies, which will be possible not only as a part of the Avant Art Festival, but above all in co-operation with the artists, curators and other institutions or organizations related to Culture.
\nThanks to its activities, the Avant Art Foundation is intended to become “a living artistic organism”. The programme of the foundation’s activities is supposed to be a result of constant partnership contacts between artists, managers and curators from all around Europe, as well as a result of a year-long work on the projects carried out as a part of the foundations actions. It is aimed at becoming a “place” combining, within the limits of co-productions, activities of not only local or nation reach, but first of all of international reach. The planned productions, budgeting system and promotion strategy will allow the functioning of the foundation as a modern culture institution, retaining full autonomy and independence.
\n', 'OrganizatorOrganizer', '', 'inherit', 'closed', 'closed', '', '14-autosave', '', '', '2012-09-16 12:39:36', '2012-09-16 10:39:36', '', 14, 'http://avantart.pl/14-autosave/', 0, 'revision', '', 0); INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (588, 2, '2012-09-06 19:47:52', '2012-09-06 17:47:52', '19.09 – 27.10. 2008 / Wrocław\r\n\r\nArtyści:\r\n\r\nMarc Ribot Trio\r\n\r\nMatthew Shipp \r\n\r\nThe Thing feat. Ken Vandermark\r\n\r\nPhil Minton Quartet\r\n\r\nPierre Bastien \r\n\r\nZu \r\n\r\nBlack Engine \r\n\r\nEraldo Bernocchi\r\n\r\nMoHa!\r\n\r\nTrio KUH Kochan-Uchihashi-Hautzinger \r\n\r\nPain Jerk, Zbigniew Karkowski \r\n\r\nAudrey Chen \r\n\r\nLucas Niggli Drum Quartet \r\n\r\nPiernik Zabrodzki Projekt \r\n\r\nMałe Instrumenty\r\n\r\nMikrokolektyw \r\n\r\nPhonos ek Mechanes \r\n\r\nDawid Szczęsny\r\n\r\nGastrula\r\n\r\nKostas New Progrram19.09 – 27.10. 2008 / Wrocław\r\n\r\nArtists:\r\n\r\nMarc Ribot Trio\r\n\r\nMatthew Shipp \r\n\r\nThe Thing feat. Ken Vandermark\r\n\r\nPhil Minton Quartet\r\n\r\nPierre Bastien \r\n\r\nZu \r\n\r\nBlack Engine \r\n\r\nEraldo Bernocchi\r\n\r\nMoHa!\r\n\r\nTrio KUH Kochan-Uchihashi-Hautzinger \r\n\r\nPain Jerk, Zbigniew Karkowski \r\n\r\nAudrey Chen \r\n\r\nLucas Niggli Drum Quartet \r\n\r\nPiernik Zabrodzki Projekt \r\n\r\nMałe Instrumenty\r\n\r\nMikrokolektyw \r\n\r\nPhonos ek Mechanes \r\n\r\nDawid Szczęsny\r\n\r\nGastrula\r\n\r\nKostas New Progrram', 'Avant Music Festival 2008Avant Music Festival 2008', '', 'publish', 'closed', 'closed', '', 'avant-music-festival-2008', '', '', '2012-09-06 21:38:31', '2012-09-06 19:38:31', '', 0, 'http://avantart.pl/?page_id=588', 0, 'page', '', 0), (589, 2, '2012-09-06 19:46:34', '2012-09-06 17:46:34', '19.09 – 27.10. 2008, Wrocław\n\nArtyści:\n\nMarc Ribot Trio\n\nMatthew Shipp \n\nThe Thing feat. Ken Vandermark\n\nPhil Minton Quartet\n\nPierre Bastien \n\nZu \n\nBlack Engine \n\nEraldo Bernocchi\n\nMoHa!\n\nTrio KUH Kochan-Uchihashi-Hautzinger \n\nPain Jerk, Zbigniew Karkowski \n\nAudrey Chen \n\nLucas Niggli Drum Quartet \n\nPiernik Zabrodzki Projekt \n\nMałe Instrumenty\n\nMikrokolektyw \n\nPhonos ek Mechanes \n\nDawid Szczęsny\n\nGastrula\n\nKostas New Progrram19.09 – 27.10. 2008, Wrocław\n\nArtists:\n\nMarc Ribot Trio\n\nMatthew Shipp \n\nThe Thing feat. Ken Vandermark\n\nPhil Minton Quartet\n\nPierre Bastien \n\nZu \n\nBlack Engine \n\nEraldo Bernocchi\n\nMoHa!\n\nTrio KUH Kochan-Uchihashi-Hautzinger \n\nPain Jerk, Zbigniew Karkowski \n\nAudrey Chen \n\nLucas Niggli Drum Quartet \n\nPiernik Zabrodzki Projekt \n\nMałe Instrumenty\n\nMikrokolektyw \n\nPhonos ek Mechanes \n\nDawid Szczęsny\n\nGastrula\n\nKostas New Progrram', 'Avant Music Festival 2008Avant Music Festival 2008', '', 'inherit', 'closed', 'closed', '', '588-revision', '', '', '2012-09-06 19:46:34', '2012-09-06 17:46:34', '', 588, 'http://avantart.pl/588-revision/', 0, 'revision', '', 0), (593, 2, '2012-09-06 19:51:06', '2012-09-06 17:51:06', '26.09 – 18.10.2009, Wrocław
\nArtists:
\nPulsarus feat. Wojciech Waglewski
\n\n\n', 'Avant Art Festival 2009Avant Art Festival 2009', '', 'inherit', 'closed', 'closed', '', '593-autosave', '', '', '2012-09-06 19:52:44', '2012-09-06 17:52:44', '', 593, 'http://avantart.pl/593-autosave/', 0, 'revision', '', 0), (597, 2, '2012-09-06 19:51:42', '2012-09-06 17:51:42', '26.09 – 18.10.2009, Wrocław
\r\nArtists:
\r\nPulsarus feat. Wojciech Waglewski
\r\n\r\n\r\n', 'Avant Art Festival 2009Avant Art Festival 2009', '', 'inherit', 'closed', 'closed', '', '593-revision-3', '', '', '2012-09-06 19:51:42', '2012-09-06 17:51:42', '', 593, 'http://avantart.pl/593-revision-3/', 0, 'revision', '', 0), (598, 2, '2012-09-06 20:25:43', '2012-09-06 18:25:43', '24.09 – 04.10.2010 / Wrocław\r\n\r\nArtyści:\r\n\r\n\r\nMaja Ratkje \r\n\r\nArve Henriksen & Jan Bang \r\n\r\nRadian \r\n\r\nAlva Noto \r\n\r\nThe Thing & Otomo Yoshihide \r\n\r\nMaisonDahlBonnema & Needcompany Ricky and Ronny and Hundred Stars - a Sado Country Opera\r\n\r\nFreaky Bitches (Mira Calix & Andrea Parker) \r\n\r\nVerdensteatret And All the Questionmarks Started to Sing (NOR)\r\n\r\nPuma \r\n\r\nStian Westerhus & Terje Isungset \r\n\r\n[Minus 20] collective The Fork\r\n\r\nOffonoff\r\n\r\nRegenorchester - Franz Hautzinger, Martin Siewert\r\n\r\nJono El Grande \r\n\r\nPhall Fatale \r\n\r\nLucien Dubuis Trio \r\n\r\nMinimetal \r\n\r\n2g\r\n\r\nOrganoleptic Trio \r\n\r\noraz\r\nPlatforma Edukacji Kulturalnej: warsztaty dla kuratorów i producentów sztuk performatywnych oraz panel dyskusyjny24.09 – 04.10.2010 / Wrocław
\r\nArtists:
\r\n\r\n\r\n\r\n\r\n\r\n\r\nMaisonDahlBonnema & Needcompany Ricky and Ronny and Hundred Stars - a Sado Country Opera
\r\nFreaky Bitches (Mira Calix & Andrea Parker)
\r\nVerdensteatret And All the Questionmarks Started to Sing (NOR)
\r\n\r\nStian Westerhus & Terje Isungset
\r\n[Minus 20] collective The Fork
\r\n\r\nRegenorchester - Franz Hautzinger, Martin Siewert
\r\n\r\n\r\n\r\n\r\n\r\n\r\n', 'Avant Art Festival 2010Avant Art Festival 2010', '', 'publish', 'closed', 'closed', '', 'avant-art-festival-2010', '', '', '2012-09-06 21:32:39', '2012-09-06 19:32:39', '', 0, 'http://avantart.pl/?page_id=598', 0, 'page', '', 0), (599, 2, '2012-09-06 20:25:30', '2012-09-06 18:25:30', '24.09 – 04.10.2010 / Wrocław\n\nArtyści:\n\n\nMaja Ratkje \n\nArve Henriksen & Jan Bang \n\nRadian \n\nAlva Noto \n\nThe Thing & Otomo Yoshihide \n\nMaisonDahlBonnema & Needcompany Ricky and Ronny and Hundred Stars - a Sado Country Opera\n\nFreaky Bitches (Mira Calix & Andrea Parker) \n\nVerdensteatret And All the Questionmarks Started to Sing (NOR)\n\nPuma \n\nStian Westerhus & Terje Isungset \n\n[Minus 20] collective The Fork\n\nOffonoff\n\nRegenorchester - Franz Hautzinger, Martin Siewert\n\nJono El Grande \n\nPhall Fatale \n\nLucien Dubuis Trio \n\nMinimetal \n\n2g\n\nOrganoleptic Trio \n\noraz\nPlatforma Edukacji Kulturalnej: warsztaty dla kuratorów i producentów sztuk performatywnych oraz panel dyskusyjny24.09 – 04.10.2010 / Wrocław
\nArtists:
\n
MaisonDahlBonnema & Needcompany Ricky and Ronny and Hundred Stars - a Sado Country Opera
\nFreaky Bitches (Mira Calix & Andrea Parker)
\nVerdensteatret And All the Questionmarks Started to Sing (NOR)
\n\nStian Westerhus & Terje Isungset
\n[Minus 20] collective The Fork
\n\nRegenorchester - Franz Hautzinger, Martin Siewert
\n\n\n\n\n\n\n', 'Avant Art Festival 2010Avant Art Festival 2010', '', 'inherit', 'closed', 'closed', '', '598-autosave', '', '', '2012-09-06 20:28:04', '2012-09-06 18:28:04', '', 598, 'http://avantart.pl/598-autosave/', 0, 'revision', '', 0), (601, 2, '2012-09-06 20:25:43', '2012-09-06 18:25:43', '24.09 – 04.10.2010 / Wrocław\r\n\r\nArtyści:\r\n\r\n\r\nMaja Ratkje \r\n\r\nArve Henriksen & Jan Bang \r\n\r\nRadian \r\n\r\nAlva Noto \r\n\r\nThe Thing & Otomo Yoshihide \r\n\r\nMaisonDahlBonnema & Needcompany Ricky and Ronny and Hundred Stars - a Sado Country Opera\r\n\r\nFreaky Bitches (Mira Calix & Andrea Parker) \r\n\r\nVerdensteatret And All the Questionmarks Started to Sing (NOR)\r\n\r\nPuma \r\n\r\nStian Westerhus & Terje Isungset \r\n\r\n[Minus 20] collective The Fork\r\n\r\nOffonoff\r\n\r\nRegenorchester - Franz Hautzinger, Martin Siewert\r\n\r\nJono El Grande \r\n\r\nPhall Fatale \r\n\r\nLucien Dubuis Trio \r\n\r\nMinimetal \r\n\r\n2g\r\n\r\nOrganoleptic Trio \r\n\r\noraz\r\nPlatforma Edukacji Kulturalnej: warsztaty dla kuratorów i producentów sztuk performatywnych oraz panel dyskusyjny26.09 – 18.10.2009, Wrocław
\r\nArtists:
\r\nPulsarus feat. Wojciech Waglewski
\r\n\r\n\r\n', 'Avant Art Festival 2009Avant Art Festival 2009', '', 'inherit', 'closed', 'closed', '', '593-revision-4', '', '', '2012-09-06 19:57:26', '2012-09-06 17:57:26', '', 593, 'http://avantart.pl/593-revision-4/', 0, 'revision', '', 0), (604, 2, '2012-09-06 19:47:52', '2012-09-06 17:47:52', '19.09 – 27.10. 2008, Wrocław\r\n\r\nArtyści:\r\n\r\nMarc Ribot Trio\r\n\r\nMatthew Shipp \r\n\r\nThe Thing feat. Ken Vandermark\r\n\r\nPhil Minton Quartet\r\n\r\nPierre Bastien \r\n\r\nZu \r\n\r\nBlack Engine \r\n\r\nEraldo Bernocchi\r\n\r\nMoHa!\r\n\r\nTrio KUH Kochan-Uchihashi-Hautzinger \r\n\r\nPain Jerk, Zbigniew Karkowski \r\n\r\nAudrey Chen \r\n\r\nLucas Niggli Drum Quartet \r\n\r\nPiernik Zabrodzki Projekt \r\n\r\nMałe Instrumenty\r\n\r\nMikrokolektyw \r\n\r\nPhonos ek Mechanes \r\n\r\nDawid Szczęsny\r\n\r\nGastrula\r\n\r\nKostas New Progrram19.09 – 27.10. 2008, Wrocław\r\n\r\nArtists:\r\n\r\nMarc Ribot Trio\r\n\r\nMatthew Shipp \r\n\r\nThe Thing feat. Ken Vandermark\r\n\r\nPhil Minton Quartet\r\n\r\nPierre Bastien \r\n\r\nZu \r\n\r\nBlack Engine \r\n\r\nEraldo Bernocchi\r\n\r\nMoHa!\r\n\r\nTrio KUH Kochan-Uchihashi-Hautzinger \r\n\r\nPain Jerk, Zbigniew Karkowski \r\n\r\nAudrey Chen \r\n\r\nLucas Niggli Drum Quartet \r\n\r\nPiernik Zabrodzki Projekt \r\n\r\nMałe Instrumenty\r\n\r\nMikrokolektyw \r\n\r\nPhonos ek Mechanes \r\n\r\nDawid Szczęsny\r\n\r\nGastrula\r\n\r\nKostas New Progrram', 'Avant Music Festival 2008Avant Music Festival 2008', '', 'inherit', 'closed', 'closed', '', '588-revision-2', '', '', '2012-09-06 19:47:52', '2012-09-06 17:47:52', '', 588, 'http://avantart.pl/588-revision-2/', 0, 'revision', '', 0), (605, 2, '2012-09-06 20:34:44', '2012-09-06 18:34:44', '', 'plakat2010', '', 'inherit', 'closed', 'closed', '', 'plakat2010', '', '', '2012-09-06 20:34:44', '2012-09-06 18:34:44', '', 20, 'http://avantart.pl/wp-content/uploads/2012/07/plakat2010.jpg', 0, 'attachment', 'image/jpeg', 0), (606, 2, '2012-09-06 20:35:23', '2012-09-06 18:35:23', '', 'plakat_aaf 2011', '', 'inherit', 'closed', 'closed', '', 'plakat_aaf-2011', '', '', '2012-09-06 20:35:23', '2012-09-06 18:35:23', '', 20, 'http://avantart.pl/wp-content/uploads/2012/07/plakat_aaf-2011.jpg', 0, 'attachment', 'image/jpeg', 0), (607, 2, '2012-08-09 20:28:14', '2012-08-09 18:28:14', '\r\n', 'Poprzednie edycjePrevious editions', '', 'inherit', 'closed', 'closed', '', '20-revision-8', '', '', '2012-08-09 20:28:14', '2012-08-09 18:28:14', '', 20, 'http://avantart.pl/20-revision-8/', 0, 'revision', '', 0), (608, 2, '2012-09-06 20:36:17', '2012-09-06 18:36:17', 'AAF 2011 | AAF 2010 | AAF 2009 | AAF 2008\r\n\r\n\r\n\r\n\r\n', 'Poprzednie edycjePrevious editions', '', 'inherit', 'closed', 'closed', '', '20-revision-9', '', '', '2012-09-06 20:36:17', '2012-09-06 18:36:17', '', 20, 'http://avantart.pl/20-revision-9/', 0, 'revision', '', 0), (609, 2, '2012-09-06 20:37:24', '2012-09-06 18:37:24', '19.09 – 27.10. 2008, Wrocław
\r\nArtists:
\r\n\r\n\r\nThe Thing feat. Ken Vandermark
\r\n\r\n\r\n\r\n\r\n\r\n\r\nTrio KUH Kochan-Uchihashi-Hautzinger
\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n', 'Avant Music Festival 2008Avant Music Festival 2008', '', 'inherit', 'closed', 'closed', '', '588-revision-3', '', '', '2012-09-06 20:28:49', '2012-09-06 18:28:49', '', 588, 'http://avantart.pl/588-revision-3/', 0, 'revision', '', 0), (619, 2, '2012-09-06 20:28:08', '2012-09-06 18:28:08', '24.09 – 04.10.2010 / Wrocław\r\n\r\nArtyści:\r\n\r\n\r\nMaja Ratkje \r\n\r\nArve Henriksen & Jan Bang \r\n\r\nRadian \r\n\r\nAlva Noto \r\n\r\nThe Thing & Otomo Yoshihide \r\n\r\nMaisonDahlBonnema & Needcompany Ricky and Ronny and Hundred Stars - a Sado Country Opera\r\n\r\nFreaky Bitches (Mira Calix & Andrea Parker) \r\n\r\nVerdensteatret And All the Questionmarks Started to Sing (NOR)\r\n\r\nPuma \r\n\r\nStian Westerhus & Terje Isungset \r\n\r\n[Minus 20] collective The Fork\r\n\r\nOffonoff\r\n\r\nRegenorchester - Franz Hautzinger, Martin Siewert\r\n\r\nJono El Grande \r\n\r\nPhall Fatale \r\n\r\nLucien Dubuis Trio \r\n\r\nMinimetal \r\n\r\n2g\r\n\r\nOrganoleptic Trio \r\n\r\noraz\r\nPlatforma Edukacji Kulturalnej: warsztaty dla kuratorów i producentów sztuk performatywnych oraz panel dyskusyjny24.09 – 04.10.2010 / Wrocław
\r\nArtists:
\r\n
MaisonDahlBonnema & Needcompany Ricky and Ronny and Hundred Stars - a Sado Country Opera
\r\nFreaky Bitches (Mira Calix & Andrea Parker)
\r\nVerdensteatret And All the Questionmarks Started to Sing (NOR)
\r\n\r\nStian Westerhus & Terje Isungset
\r\n[Minus 20] collective The Fork
\r\n\r\nRegenorchester - Franz Hautzinger, Martin Siewert
\r\n\r\n\r\n\r\n\r\n\r\n\r\n', 'Avant Art Festival 2010Avant Art Festival 2010', '', 'inherit', 'closed', 'closed', '', '598-revision-4', '', '', '2012-09-06 20:28:08', '2012-09-06 18:28:08', '', 598, 'http://avantart.pl/598-revision-4/', 0, 'revision', '', 0), (620, 2, '2012-09-06 21:31:40', '2012-09-06 19:31:40', '24.09 – 04.10.2010 / Wrocław\r\n\r\nArtyści:\r\n\r\n\r\nMaja Ratkje \r\n\r\nArve Henriksen & Jan Bang \r\n\r\nRadian \r\n\r\nAlva Noto \r\n\r\nThe Thing & Otomo Yoshihide \r\n\r\nMaisonDahlBonnema & Needcompany Ricky and Ronny and Hundred Stars - a Sado Country Opera\r\n\r\nFreaky Bitches (Mira Calix & Andrea Parker) \r\n\r\nVerdensteatret And All the Questionmarks Started to Sing (NOR)\r\n\r\nPuma \r\n\r\nStian Westerhus & Terje Isungset \r\n\r\n[Minus 20] collective The Fork\r\n\r\nOffonoff\r\n\r\nRegenorchester - Franz Hautzinger, Martin Siewert\r\n\r\nJono El Grande \r\n\r\nPhall Fatale \r\n\r\nLucien Dubuis Trio \r\n\r\nMinimetal \r\n\r\n2g\r\n\r\nOrganoleptic Trio \r\n\r\noraz\r\nPlatforma Edukacji Kulturalnej: warsztaty dla kuratorów i producentów sztuk performatywnych oraz panel dyskusyjny24.09 – 04.10.2010 / Wrocław
\r\nArtists:
\r\n
MaisonDahlBonnema & Needcompany Ricky and Ronny and Hundred Stars - a Sado Country Opera
\r\nFreaky Bitches (Mira Calix & Andrea Parker)
\r\nVerdensteatret And All the Questionmarks Started to Sing (NOR)
\r\n\r\nStian Westerhus & Terje Isungset
\r\n[Minus 20] collective The Fork
\r\n\r\nRegenorchester - Franz Hautzinger, Martin Siewert
\r\n\r\n\r\n\r\n\r\n\r\n\r\n', 'Avant Art Festival 2010Avant Art Festival 2010', '', 'inherit', 'closed', 'closed', '', '598-revision-5', '', '', '2012-09-06 21:31:40', '2012-09-06 19:31:40', '', 598, 'http://avantart.pl/598-revision-5/', 0, 'revision', '', 0), (621, 2, '2012-09-06 21:31:04', '2012-09-06 19:31:04', '26.09 – 18.10.2009, Wrocław
\r\nArtists:
\r\nPulsarus feat. Wojciech Waglewski
\r\n\r\n\r\n', 'Avant Art Festival 2009Avant Art Festival 2009', '', 'inherit', 'closed', 'closed', '', '593-revision-5', '', '', '2012-09-06 20:28:31', '2012-09-06 18:28:31', '', 593, 'http://avantart.pl/593-revision-5/', 0, 'revision', '', 0), (626, 2, '2012-09-06 21:31:18', '2012-09-06 19:31:18', '19.09 – 27.10. 2008 / Wrocław\r\n\r\nArtyści:\r\n\r\nMarc Ribot Trio\r\n\r\nMatthew Shipp \r\n\r\nThe Thing feat. Ken Vandermark\r\n\r\nPhil Minton Quartet\r\n\r\nPierre Bastien \r\n\r\nZu \r\n\r\nBlack Engine \r\n\r\nEraldo Bernocchi\r\n\r\nMoHa!\r\n\r\nTrio KUH Kochan-Uchihashi-Hautzinger \r\n\r\nPain Jerk, Zbigniew Karkowski \r\n\r\nAudrey Chen \r\n\r\nLucas Niggli Drum Quartet \r\n\r\nPiernik Zabrodzki Projekt \r\n\r\nMałe Instrumenty\r\n\r\nMikrokolektyw \r\n\r\nPhonos ek Mechanes \r\n\r\nDawid Szczęsny\r\n\r\nGastrula\r\n\r\nKostas New Progrram19.09 – 27.10. 2008, Wrocław
\r\nArtists:
\r\n\r\n\r\nThe Thing feat. Ken Vandermark
\r\n\r\n\r\n\r\n\r\n\r\n\r\nTrio KUH Kochan-Uchihashi-Hautzinger
\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n', 'Avant Music Festival 2008Avant Music Festival 2008', '', 'inherit', 'closed', 'closed', '', '588-revision-4', '', '', '2012-09-06 21:31:18', '2012-09-06 19:31:18', '', 588, 'http://avantart.pl/588-revision-4/', 0, 'revision', '', 0), (627, 2, '2012-09-06 21:37:47', '2012-09-06 19:37:47', 'It is a continuation of the premier spectacle "IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D" - presented during the previous edition of the Avant Art Festival as a Polish-Swiss co-production. This time in a version featuring Polish artists, with live music by the group 2g.
\r\n2g "In / Between" is a music project, but also a particular kind of multidisciplinary INSTALLATION with elements of live music, lights, video art. This is an artistic co-operation of the group 2g with a stage designer - a visual art artist, Gabriela Kowalska, who had also designed the stage design for the needs of "IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D".
\r\n2g is a "multi-limb", multi-personnel instrument binded in order to create music based on a deep sense of listening to one another and penetrating the sounds which create a multidimensional, multithreaded whole. 2g''s music is based on heavy, dispersed and slowed down rhythms with a low, characteristic bass, set in dark, fluently evolving spaces and sound textures created by the other electrical, acoustic instruments and the voices of the vocalists.
\r\nArtists: Gabriela Kowalska and 2g musicians: Bartek Kuźniak, Marcin Bijak, Piotr Siemiński, Maciej Polak, Kostas Georgakopulos.
\r\n\r\n\r\nwww.2g.333flow.com\r\n', '2g „In / Between” 2g „In / Between” ', '', 'publish', 'closed', 'closed', '', '2g-in-between', '', '', '2012-10-03 16:37:59', '2012-10-03 14:37:59', '', 36, 'http://avantart.pl/?page_id=632', 0, 'page', '', 0), (633, 2, '2012-09-06 23:02:22', '2012-09-06 21:02:22', '', 'In-between_m', '', 'inherit', 'closed', 'closed', '', 'in-between_m', '', '', '2012-09-06 23:02:22', '2012-09-06 21:02:22', '', 632, 'http://avantart.pl/wp-content/uploads/2012/09/In-between_m.jpg', 0, 'attachment', 'image/jpeg', 0), (634, 2, '2012-09-06 23:03:35', '2012-09-06 21:03:35', '\n\nTo kontynuacja premierowego spektaklu „IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D”- zaprezentowanego podczas ostatniej edycji festiwalu Avant Art jako koprodukcja polsko - szwajcarska. Tym razem w wersji z polskimi artystami, z muzyką na żywo zespołu 2g.\n\n2g „In / Between“ to projekt muzyczny, ale też szczególnego rodzaju multidyscyplinarna INSTALACJA z elementami żywej muzyki, światła, sztuki video. To artystyczna kooperacja zespołu 2g ze scenografem - artystką sztuk wizualnych Gabrielą Kowalską, która również zaprojektowałą scenografię do „IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D“.\n\n2g to wieloręki, wieloludzki instrument zespojony w celu muzykowania opartego na głębokim wzajemnym słuchaniu się i przenikaniu brzmień tworzących wielowymiarową, wielowątkową jedność. Muzyka 2g oparta jest na ciężkich, rozrzedzonych i spowolnionych rytmach z bardzo niskim, charakterystycznym basem, osadzonych na ciemnych, płynnie przekształcających się przestrzeniach i fakturach dźwiękowych tworzonych przez inne instrumenty elektryczne, akustyczne oraz głosy wokalistów.\n\nArtyści: Gabriela Kowalska oraz muzycy 2g: Bartek Kuźniak, Marcin Bijak, Piotr Siemiński, Maciej Polak, Kostas Georgakopulos.\n\nIt is a continuation of the premier spectacle "IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D" - presented during the previous edition of the Avant Art Festival as a Polish-Swiss co-production. This time in a version featuring Polish artists, with live music by the group 2g.\n\n2g "In / Between" is a music project, but also a particular kind of multidisciplinary INSTALLATION with elements of live music, lights, video art. This is an artistic co-operation of the group 2g with a stage designer - a visual art artist, Gabriela Kowalska, who had also designed the stage design for the needs of "IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D".\n\n2g is a "multi-limb", multi-personnel instrument binded in order to create music based on a deep sense of listening to one another and penetrating the sounds which create a multidimensional, multithreaded whole. 2g''s music is based on heavy, dispersed and slowed down rhythms with a low, characteristic bass, set in dark, fluently evolving spaces and sound textures created by the other electrical, acoustic instruments and the voices of the vocalists.\n\nArtists: Gabriela Kowalska and 2g musicians: Bartek Kuźniak, Marcin Bijak, Piotr Siemiński, Maciej Polak, Kostas Georgakopulos.\n\n \n\n ', '2g „In / Between” 2g „In / Between” ', '', 'inherit', 'closed', 'closed', '', '632-revision', '', '', '2012-09-06 23:03:35', '2012-09-06 21:03:35', '', 632, 'http://avantart.pl/632-revision/', 0, 'revision', '', 0), (635, 2, '2012-09-06 23:04:14', '2012-09-06 21:04:14', '\r\n\r\nTo kontynuacja premierowego spektaklu „IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D”- zaprezentowanego podczas ostatniej edycji festiwalu Avant Art jako koprodukcja polsko - szwajcarska. Tym razem w wersji z polskimi artystami, z muzyką na żywo zespołu 2g.\r\n\r\n2g „In / Between“ to projekt muzyczny, ale też szczególnego rodzaju multidyscyplinarna INSTALACJA z elementami żywej muzyki, światła, sztuki video. To artystyczna kooperacja zespołu 2g ze scenografem - artystką sztuk wizualnych Gabrielą Kowalską, która również zaprojektowałą scenografię do „IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D“.\r\n\r\n2g to wieloręki, wieloludzki instrument zespojony w celu muzykowania opartego na głębokim wzajemnym słuchaniu się i przenikaniu brzmień tworzących wielowymiarową, wielowątkową jedność. Muzyka 2g oparta jest na ciężkich, rozrzedzonych i spowolnionych rytmach z bardzo niskim, charakterystycznym basem, osadzonych na ciemnych, płynnie przekształcających się przestrzeniach i fakturach dźwiękowych tworzonych przez inne instrumenty elektryczne, akustyczne oraz głosy wokalistów.\r\n\r\nArtyści: Gabriela Kowalska oraz muzycy 2g: Bartek Kuźniak, Marcin Bijak, Piotr Siemiński, Maciej Polak, Kostas Georgakopulos.\r\n\r\n www.2g.333rec.org\r\n\r\nIt is a continuation of the premier spectacle "IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D" - presented during the previous edition of the Avant Art Festival as a Polish-Swiss co-production. This time in a version featuring Polish artists, with live music by the group 2g.\r\n\r\n2g "In / Between" is a music project, but also a particular kind of multidisciplinary INSTALLATION with elements of live music, lights, video art. This is an artistic co-operation of the group 2g with a stage designer - a visual art artist, Gabriela Kowalska, who had also designed the stage design for the needs of "IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D".\r\n\r\n2g is a "multi-limb", multi-personnel instrument binded in order to create music based on a deep sense of listening to one another and penetrating the sounds which create a multidimensional, multithreaded whole. 2g''s music is based on heavy, dispersed and slowed down rhythms with a low, characteristic bass, set in dark, fluently evolving spaces and sound textures created by the other electrical, acoustic instruments and the voices of the vocalists.\r\n\r\nArtists: Gabriela Kowalska and 2g musicians: Bartek Kuźniak, Marcin Bijak, Piotr Siemiński, Maciej Polak, Kostas Georgakopulos.\r\n\r\n www.2g.333rec.org', '2g „In / Between” 2g „In / Between” ', '', 'inherit', 'closed', 'closed', '', '632-revision-2', '', '', '2012-09-06 23:04:14', '2012-09-06 21:04:14', '', 632, 'http://avantart.pl/632-revision-2/', 0, 'revision', '', 0); INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (636, 2, '2012-09-30 21:32:16', '2012-09-30 19:32:16', '\n\nTo kontynuacja premierowego spektaklu „IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D”- zaprezentowanego podczas ostatniej edycji festiwalu Avant Art jako koprodukcja polsko - szwajcarska. Tym razem w wersji z polskimi artystami, z muzyką na żywo zespołu 2g.\n\n2g „In / Between“ to projekt muzyczny, ale też szczególnego rodzaju multidyscyplinarna INSTALACJA z elementami żywej muzyki, światła, sztuki video. To artystyczna kooperacja zespołu 2g ze scenografem - artystką sztuk wizualnych Gabrielą Kowalską, która również zaprojektowałą scenografię do „IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D“.\n\n2g to wieloręki, wieloludzki instrument zespojony w celu muzykowania opartego na głębokim wzajemnym słuchaniu się i przenikaniu brzmień tworzących wielowymiarową, wielowątkową jedność. Muzyka 2g oparta jest na ciężkich, rozrzedzonych i spowolnionych rytmach z bardzo niskim, charakterystycznym basem, osadzonych na ciemnych, płynnie przekształcających się przestrzeniach i fakturach dźwiękowych tworzonych przez inne instrumenty elektryczne, akustyczne oraz głosy wokalistów.\n\nArtyści: Gabriela Kowalska oraz muzycy 2g: Bartek Kuźniak, Marcin Bijak, Piotr Siemiński, Maciej Polak, Kostas Georgakopulos.\n\nwww.2g.333flow.com\nIt is a continuation of the premier spectacle "IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D" - presented during the previous edition of the Avant Art Festival as a Polish-Swiss co-production. This time in a version featuring Polish artists, with live music by the group 2g.
\n2g "In / Between" is a music project, but also a particular kind of multidisciplinary INSTALLATION with elements of live music, lights, video art. This is an artistic co-operation of the group 2g with a stage designer - a visual art artist, Gabriela Kowalska, who had also designed the stage design for the needs of "IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D".
\n2g is a "multi-limb", multi-personnel instrument binded in order to create music based on a deep sense of listening to one another and penetrating the sounds which create a multidimensional, multithreaded whole. 2g''s music is based on heavy, dispersed and slowed down rhythms with a low, characteristic bass, set in dark, fluently evolving spaces and sound textures created by the other electrical, acoustic instruments and the voices of the vocalists.
\nArtists: Gabriela Kowalska and 2g musicians: Bartek Kuźniak, Marcin Bijak, Piotr Siemiński, Maciej Polak, Kostas Georgakopulos.
\n\n', '2g „In / Between” 2g „In / Between” ', '', 'inherit', 'closed', 'closed', '', '632-autosave', '', '', '2012-09-30 21:32:16', '2012-09-30 19:32:16', '', 632, 'http://avantart.pl/632-autosave/', 0, 'revision', '', 0), (638, 1, '2012-08-13 09:11:57', '2012-08-13 07:11:57', '', 'OrganizatorzyOrganizers', '', 'inherit', 'closed', 'closed', '', '14-revision-5', '', '', '2012-08-13 09:11:57', '2012-08-13 07:11:57', '', 14, 'http://avantart.pl/14-revision-5/', 0, 'revision', '', 0), (639, 1, '2012-08-25 08:51:31', '2012-08-25 06:51:31', '\r\n
Fundacja Avant Art
\r\nPRZESTRZEŃ - KULTURA
\r\n\r\n
Fundacja w swoim założeniu stworzona i wymyślona została do prowadzenia projektu Avant Art Festival, obecnie jednak w kontekście dynamiki i rozwoju wspiera nie tylko festiwal, ale kreuje też inne działania interdyscyplinarne związane ze sztuką performatywną.\r\nCały czas obowiązuje nas artystyczna postawa „in between”.\r\nPodstawowym celem strategii fundacji Avant Art w ciągu najbliższych kilku lat jest kontynuacja zmiany charakteru i formy działań realizowanych w jej obrębie. Tak więc obecnie projekt fundacji i nasza strategia myślenia o Kulturze obejmuje stworzenie i kreacje przestrzeni przeznaczonej na całoroczną aktywność artystyczną, kuratorską, edukacyjną oraz społeczną związaną z prowadzeniem warsztatów i szkoleń w ramach projektów cyklicznych oraz samych projektów cyklicznych. Bardzo istotne w strategii fundacji jest także prowadzenie oraz realizacja działań koprodukcyjnych.
\r\nTe dynamiczne zmiany i przekształcenia w myśleniu o fundacji mają służyć także realizacji wielu wydarzeń artystycznych we współpracy z różnymi artystami czy organizacjami. Przykładem są tegoroczne (2012r.) realizacje Avant Art:\r\nRePLAY – Rozbudowa Instalacji Recyklingowej ReFUN, projekt zrealizowany w Warszawie czy przestrzeń galeryjno - warsztatową Pop Up 231, prowadzona we Wrocławiu przez Gabukow/Gabrielę Kowalską i Alicje Wacowską. Według naszej koncepcji fundacja Avant Art ma stać się wyzwolicielem kontaktów oraz interdyscyplinarnych działań, a przez to także bazą nowatorskich przedsięwzięć artystycznych. Artyści zaproszeni są i będą, by w jej ramach prezentować swoje dotychczasowe projekty, ale bardzo istotne są też nowe kreacje rozumiane jako „kontynuacje” i „łączenia”, czyli aktywności związane z pracą artystów, których będziemy prezentować w ramach różnych programów. Ponadto ważną intencją fundacji Avant Art jest coraz częściej rola inicjująca działania edukacyjne i społeczne, takie jak edukacja kulturalna oraz aktywizacja społeczności lokalnych, co możliwe będzie nie tylko w ramach festiwalu Avant Art, ale przede wszystkim we współpracy z artystami, kuratorami oraz innymi instytucjami czy organizacjami związanymi z Kulturą.
\r\nDzięki swoim działaniom fundacja Avant Art ma się stać się „artystycznym żywym organizmem”. Program aktywności fundacji ma być wynikiem stałych kontaktów partnerskich między artystami, managerami i kuratorami z całej Europy, a także rezultatem całorocznej pracy nad projektami realizowanymi w ramach funkcjonowania fundacji. Ma się stać „miejscem” łączenia w ramach koprodukcji działań o zasięgu nie tylko lokalnym czy krajowym, ale przede wszystkim międzynarodowym. Planowane realizacje, system budżetowania oraz strategia promocji umożliwiać będzie funkcjonowanie fundacji jako nowoczesnej instytucji kultury, zachowującej w pełni autonomię i niezależność.
\r\n\r\n\r\n
Like each year, the main character of the Avant Art Festival is music – music in all density variations, all forms and contexts. Standalone music and music combining diverse branches of art. One will have a chance to see unique artists during six days (from October 2nd to October 7th, 2012) on the festival stages; artists who search, blaze new trails and, like each year, eclecticism, originality and innovation will rule.
\r\nThis year’s edition will take place under the sign of Germany – a country uniquely rich with interesting artists. German artists lead in creating new trends and aesthetics, which conquer the stages of the world with their freshness and inventiveness, since many years. Both renown creators – pioneers of genres, who enjoy popularity throughout the whole world since years, and young artists – reformers, who are a driving force of the music with their fresh blood and talent, will perform during the festival. DAF – one of the most important groups of the 80s of the XXc., who laid down the basis for such genres as electro or EBM with their output, will appear in Wrocław. Apart from them one will have a chance to hear Caspar Brötzmann Massaker – something for the enthusiasts of brutal and dirty guitar-based sounds, based on pure and unrestrained expression, improvisation and a free-to-roam creative passion. The combination of the most up-to-date technologies with new techniques of creating sounds will be presented by the musicians of the famous label Raster-Noton - Frank Bretschneider, Byetone and Kangding Ray. Moritz Von Oswald Trio will present their own vision of melting such remote stylistics like techno, jazz and dub into a single entity. FM Einheit, once a member of the influential industrial group Einstürzende Neubeuten, will prove how to create multi-layered and rich music with, at first glance, non-musical instrumentarium. The Berlin nutcases of Bonaparte will prove, that a concert can be not only a mere presentation of sounds, but a unique and expressive spectacle as well. Youth will play with year-long experience in a single team in the form of a collaborative project of the young Polish musicians from the Defibrillator ensemble together with the titan of free jazz Peter Brötzmann. Artists of Danseland will skilfully combine post-punk with free improvisation on the stage, and the formation Dÿse will present their own, rich with various references, version of noise rock. The intercontinental, Canadian-German project Knuckleduster will build a bridge between world music, post-rock and electronics, and Tannhäuser Sterben & das Tod will turn all music stylistics known so far inside out. The dance-side of experimentation with sound will be revealed to the audience by projects from the prestigious Berlin-based label Project: Mooncircle, and during the show by the Time Art Ensemble one will have a chance to engulf oneself in the worlds created from avant-garde sounds and visualisations. Mex Gerngesehen Avant Art Project, a collaboration of German and Polish musicians especially founded for this edition of the festival, will showcase that, what is most important in the modern experimental trends.
\r\nThis year, Avant Art leaves the concert halls and goes out into the streets in the form of the Social Up Spacing project – a common initiative of Polish and German musicians and artists, who will present their recycling installations in the open municipal space. A very important fulfilment of the programme will be screenings of documentaries and films regarding the German music scene in the Helios cinema; these will complete the music stage of the festival in a visual manner, and putting it in a social and historical context. Numerous workshops, discussion panels and meetings with literature will take place as well. The fifth Avant Art Festival will leave Wrocław for the first time – particular shows and presentations will take place in Berlin and Koln as well.
\r\nSearches for something new in the field of art never stop. It is worth taking a look at new artists, fresh trends and newly originated notions. And once again, the criterion of selecting the artists invited to the festival is not limited by any particular genre, trend or aesthetic – their originality, resulting from breaking the fixed barriers in art, the skill of combining diverse forms into a coherent whole, experimental or even avant-garde attitude to the matter of sound, movement and image. Avant Art Festival is, out of assumption, a holiday of artistic eclecticism, which is visible on numerous planes. One can expect everything from Avant Art Festival – we wish to surprise and to amaze, put the spectator in a position opposite to the established schematics and a classical attitude towards art. Here rejection of traditions is the tradition, breaking canons is the canon, non-conventionality is the convention. We aim at diversity, multitude of genres and are open towards anything that is original.
\r\n', 'O festiwaluAbout the festival', '', 'inherit', 'closed', 'closed', '', '12-revision-11', '', '', '2012-09-10 11:05:04', '2012-09-10 09:05:04', '', 12, 'http://avantart.pl/12-revision-11/', 0, 'revision', '', 0), (651, 2, '2012-09-10 11:04:19', '2012-09-10 09:04:19', 'Organizatorem festiwalu jest fundacja Avant Art.\r\n\r\nFundacja Avant Art\r\nPRZESTRZEŃ - KULTURA\r\n\r\nFundacja w swoim założeniu stworzona i wymyślona została do prowadzenia projektu Avant Art Festival, obecnie jednak w kontekście dynamiki i rozwoju wspiera nie tylko festiwal, ale kreuje też inne działania interdyscyplinarne związane ze sztuką performatywną. Cały czas obowiązuje nas artystyczna postawa „in between”.\r\nPodstawowym celem strategii fundacji Avant Art w ciągu najbliższych kilku lat jest kontynuacja zmiany charakteru i formy działań realizowanych w jej obrębie. Tak więc obecnie projekt fundacji i nasza strategia myślenia o Kulturze obejmuje stworzenie i kreacje przestrzeni przeznaczonej na całoroczną aktywność artystyczną, kuratorską, edukacyjną oraz społeczną związaną z prowadzeniem warsztatów i szkoleń w ramach projektów cyklicznych oraz samych projektów cyklicznych. Bardzo istotne w strategii fundacji jest także prowadzenie oraz realizacja działań koprodukcyjnych.\r\n\r\nTe dynamiczne zmiany i przekształcenia w myśleniu o fundacji mają służyć także realizacji wielu wydarzeń artystycznych we współpracy z różnymi artystami czy organizacjami. Przykładem są tegoroczne (2012r.) realizacje Avant Art:\r\nRePLAY – Rozbudowa Instalacji Recyklingowej ReFUN, projekt zrealizowany w Warszawie czy przestrzeń galeryjno - warsztatową Pop Up 231, prowadzona we Wrocławiu przez Gabukow/Gabrielę Kowalską i Alicje Wacowską. Według naszej koncepcji fundacja Avant Art ma stać się wyzwolicielem kontaktów oraz interdyscyplinarnych działań, a przez to także bazą nowatorskich przedsięwzięć artystycznych. Artyści zaproszeni są i będą, by w jej ramach prezentować swoje dotychczasowe projekty, ale bardzo istotne są też nowe kreacje rozumiane jako „kontynuacje” i „łączenia”, czyli aktywności związane z pracą artystów, których będziemy prezentować w ramach różnych programów. Ponadto ważną intencją fundacji Avant Art jest coraz częściej rola inicjująca działania edukacyjne i społeczne, takie jak edukacja kulturalna oraz aktywizacja społeczności lokalnych, co możliwe będzie nie tylko w ramach festiwalu Avant Art, ale przede wszystkim we współpracy z artystami, kuratorami oraz innymi instytucjami czy organizacjami związanymi z Kulturą.\r\n\r\nDzięki swoim działaniom fundacja Avant Art ma się stać się „artystycznym żywym organizmem”. Program aktywności fundacji ma być wynikiem stałych kontaktów partnerskich między artystami, managerami i kuratorami z całej Europy, a także rezultatem całorocznej pracy nad projektami realizowanymi w ramach funkcjonowania fundacji. Ma się stać „miejscem” łączenia w ramach koprodukcji działań o zasięgu nie tylko lokalnym czy krajowym, ale przede wszystkim międzynarodowym. Planowane realizacje, system budżetowania oraz strategia promocji umożliwiać będzie funkcjonowanie fundacji jako nowoczesnej instytucji kultury, zachowującej w pełni autonomię i niezależność.\r\n\r\n\r\n\r\n\r\n', 'OrganizatorOrganizer', '', 'inherit', 'closed', 'closed', '', '14-revision-10', '', '', '2012-09-10 11:04:19', '2012-09-10 09:04:19', '', 14, 'http://avantart.pl/14-revision-10/', 0, 'revision', '', 0); INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (652, 2, '2012-09-10 11:07:07', '2012-09-10 09:07:07', 'Organizatorem festiwalu jest fundacja Avant Art.\r\n\r\nFundacja Avant Art\r\nPRZESTRZEŃ - KULTURA\r\n\r\nFundacja w swoim założeniu stworzona i wymyślona została do prowadzenia projektu Avant Art Festival, obecnie jednak w kontekście dynamiki i rozwoju wspiera nie tylko festiwal, ale kreuje też inne działania interdyscyplinarne związane ze sztuką performatywną. Cały czas obowiązuje nas artystyczna postawa „in between”.\r\nPodstawowym celem strategii fundacji Avant Art w ciągu najbliższych kilku lat jest kontynuacja zmiany charakteru i formy działań realizowanych w jej obrębie. Tak więc obecnie projekt fundacji i nasza strategia myślenia o Kulturze obejmuje stworzenie i kreacje przestrzeni przeznaczonej na całoroczną aktywność artystyczną, kuratorską, edukacyjną oraz społeczną związaną z prowadzeniem warsztatów i szkoleń w ramach projektów cyklicznych oraz samych projektów cyklicznych. Bardzo istotne w strategii fundacji jest także prowadzenie oraz realizacja działań koprodukcyjnych.\r\n\r\nTe dynamiczne zmiany i przekształcenia w myśleniu o fundacji mają służyć także realizacji wielu wydarzeń artystycznych we współpracy z różnymi artystami czy organizacjami. Przykładem są tegoroczne (2012r.) realizacje Avant Art:\r\nRePLAY – Rozbudowa Instalacji Recyklingowej ReFUN, projekt zrealizowany w Warszawie czy przestrzeń galeryjno - warsztatową Pop Up 203, prowadzona we Wrocławiu przez Gabukow/Gabrielę Kowalską i Alicje Wacowską. Według naszej koncepcji fundacja Avant Art ma stać się wyzwolicielem kontaktów oraz interdyscyplinarnych działań, a przez to także bazą nowatorskich przedsięwzięć artystycznych. Artyści zaproszeni są i będą, by w jej ramach prezentować swoje dotychczasowe projekty, ale bardzo istotne są też nowe kreacje rozumiane jako „kontynuacje” i „łączenia”, czyli aktywności związane z pracą artystów, których będziemy prezentować w ramach różnych programów. Ponadto ważną intencją fundacji Avant Art jest coraz częściej rola inicjująca działania edukacyjne i społeczne, takie jak edukacja kulturalna oraz aktywizacja społeczności lokalnych, co możliwe będzie nie tylko w ramach festiwalu Avant Art, ale przede wszystkim we współpracy z artystami, kuratorami oraz innymi instytucjami czy organizacjami związanymi z Kulturą.\r\n\r\nDzięki swoim działaniom fundacja Avant Art ma się stać się „artystycznym żywym organizmem”. Program aktywności fundacji ma być wynikiem stałych kontaktów partnerskich między artystami, managerami i kuratorami z całej Europy, a także rezultatem całorocznej pracy nad projektami realizowanymi w ramach funkcjonowania fundacji. Ma się stać „miejscem” łączenia w ramach koprodukcji działań o zasięgu nie tylko lokalnym czy krajowym, ale przede wszystkim międzynarodowym. Planowane realizacje, system budżetowania oraz strategia promocji umożliwiać będzie funkcjonowanie fundacji jako nowoczesnej instytucji kultury, zachowującej w pełni autonomię i niezależność.\r\n\r\n\r\n\r\n\r\n', 'OrganizatorOrganizer', '', 'inherit', 'closed', 'closed', '', '14-revision-11', '', '', '2012-09-10 11:07:07', '2012-09-10 09:07:07', '', 14, 'http://avantart.pl/14-revision-11/', 0, 'revision', '', 0), (653, 2, '2012-09-11 00:37:43', '2012-09-10 22:37:43', '\r\n\r\nRobot Koch to alias słynnego berlińskiego producenta Roberta Kocha, który poza solowymi produkcjami jest częścią kolektywu Jahcoozi. W swojej oryginalnej twórczości robi dobry użytek ze zdobyczy nowoczesnej basowej muzyki: postdubstep, dubstep, wonky hiphop, mieszając i zmieniając te gatunki i stylistyki, dodając czasem żywe instrumenty, czasem wokale.\r\n\r\n\r\n\r\n\r\nAlthough Berlin based producer Robot Koch has an international reputation as being “One of Europe`s finest producers of the beat generation“ (Low End Theory).
\r\nHe is signed to the Berlin Electronic/Future Bass/HipHop label Project: Mooncircle since 2009 and he released 4 Albums (Death Star Droid / Songs For Trees And Cyborgs / Robot Robinson / The Other Side), and 3 EP’s (Listen To Them Fade / Death Star Droid Remix EP /Cosmic Waves) in the last 3 years. His music has been remixed by the likes of Modeselektor (Bpitch Control), Shlohmo (FOF), Blue Daisy (Black Acre),Chris de Luca (Funkstörung), Ital Tek (Planet Mu) and Ata (Playhouse).
\r\n', 'ROBOT KOCHROBOT KOCH', '', 'publish', 'closed', 'closed', '', 'robot-koch', '', '', '2012-09-25 23:05:32', '2012-09-25 21:05:32', '', 36, 'http://avantart.pl/?page_id=653', 0, 'page', '', 0); INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (654, 2, '2012-09-10 13:00:35', '2012-09-10 11:00:35', 'ROBOT KOCH\n\nRobot Koch to alias słynnego berlińskiego producenta Roberta Kocha, który poza solowymi produkcjami jest częścią kolektywu Jahcoozi. W swojej oryginalnej twórczości robi dobry użytek ze zdobyczy nowoczesnej basowej muzyki: postdubstep, dubstep, wonky hiphop, mieszając i zmieniając te gatunki i stylistyki, dodając czasem żywe instrumenty, czasem wokale.\n\nRAIN DOG\n\nRain Dog ostatnie kilka lat spędził na eksperymentach z muzycznym oprogramowaniem, na konstruowaniu głośników, komponowaniu muzyki do niezależnych krótkometrażówek filmowych i przygotowywaniu swoich własnych bitów w niezliczonych mieszkaniach rozproszonych po terenie całej północnej Anglii. Obecnie, po osiedleniu w Londynie, kontynuuje swoje melodyczne poszukiwania.\n\n \nLONG ARM\n\n \n\nPod pseudonimem Long Arm ukrywa się Georgij – młody i utalentowany DJ, zafascynowany kulturą winyli. Ich duch przenika na wskroś jego twórczość, a jego muzyka jest nasycona często nieuchwytnym klimatem klasycznego jazzu, zaprezentowanego jednak w nowoczesnej i świeżej formie.\n\nGORDON OF PROJECT: MOONCIRCLE\n\nGordon Gieseking to postać wielowymiarowa – to wybitny grafik, którego prace zdobiły okładki płyt z takich wytwórni jak Warp, Ninja Tune czy Planet Mu; to założyciel prestiżowej wytwórni Project: Mooncircle; to w końcu – a może przede wszystkim – porywający tłumy DJ, który współpracował i występował z wybitnymi luminarzami współczesnej elektroniki.\n\nROBOT KOCH\n\n \n\nRobot Koch to alias słynnego berlińskiego producenta Roberta Kocha, który poza solowymi produkcjami jest częścią kolektywu Jahcoozi. W swojej oryginalnej twórczości robi dobry użytek ze zdobyczy nowoczesnej basowej muzyki: postdubstep, dubstep, wonky hiphop, mieszając i zmieniając te gatunki i stylistyki, dodając czasem żywe instrumenty, czasem wokale.\n\n \n\n \n\nRAIN DOG\n\n \n\n Rain Dog ostatnie kilka lat spędził na eksperymentach z muzycznym oprogramowaniem, na konstruowaniu głośników, komponowaniu muzyki do niezależnych krótkometrażówek filmowych i przygotowywaniu swoich własnych bitów w niezliczonych mieszkaniach rozproszonych po terenie całej północnej Anglii. Obecnie, po osiedleniu w Londynie, kontynuuje swoje melodyczne poszukiwania.\n\n \n\n\nLONG ARM\n\n \n\nPod pseudonimem Long Arm ukrywa się Georgij – młody i utalentowany DJ, zafascynowany kulturą winyli. Ich duch przenika na wskroś jego twórczość, a jego muzyka jest nasycona często nieuchwytnym klimatem klasycznego jazzu, zaprezentowanego jednak w nowoczesnej i świeżej formie.\n\n \nInformacje o biletach wkrótce
\r\n', 'BiletyTickets', '', 'inherit', 'closed', 'closed', '', '23-revision-10', '', '', '2012-09-06 12:54:01', '2012-09-06 10:54:01', '', 23, 'http://avantart.pl/23-revision-10/', 0, 'revision', '', 0), (657, 2, '2012-09-10 13:06:37', '2012-09-10 11:06:37', 'Sprzedaż biletów i karnetów pod linkiem BILETY ONLINE,\r\na także za pośrednictwem www.billetin.pl i w Imparcie (ul. Mazowiecka 17, Wrocław, w dni powszednie od 12:00 do 18:00).\r\n\r\nWkrótce ruszy sprzedaż przez www.ticketpro.pl.\r\nBilety dostępne będą także w dniu koncertu na godzinę przed rozpoczęciem wydarzenia.\r\n\r\nKarnet na wszystkie wydarzenia festiwalu: 90 zł\r\n\r\nKontakt: bilety@avantart.plThe purchase of tickets and whole-festival tickets is possible under the link www.avantart.pl/bilety, as well as via www.biletin.pl and at Impart box office (Mazowiecka 17, Wrocław, open during the week days from 12:00 to 18:00).\r\n\r\nSoon the sale via www.ticketpro.pl will begin as well. The tickets will also be available on the day of the performance, an hour before the beginning of the event.\r\n\r\nThe ticket prices are very reasonable - and range from 10 to 40 PLN pre-sale. The whole-festival ticket can be purchased for 90 PLN', 'BiletyTickets', '', 'inherit', 'closed', 'closed', '', '23-revision-11', '', '', '2012-09-10 13:06:37', '2012-09-10 11:06:37', '', 23, 'http://avantart.pl/23-revision-11/', 0, 'revision', '', 0), (658, 2, '2012-09-10 13:05:23', '2012-09-10 11:05:23', 'Sprzedaż biletów i karnetów możliwa jest pod linkiem BILETY ONLINE, a także za pośrednictwem www.biletin.pl i w Biurze Festiwalowym Impart 2016 (Mazowiecka 17, Wrocław, w dni powszednie od 12:00 do 18:00). Wkrótce ruszy sprzedaż przez www.ticketpro.pl. Bilety dostępne będą także w dniu koncertu na godzinę przed rozpoczęciem wydarzenia.\r\n\r\nCeny biletów są bardzo przystępne – wahają się od 10 do 40 zł w przedsprzedaży. Karnet kupić można za 90 zł. The purchase of tickets and whole-festival tickets is possible under the link www.avantart.pl/bilety, as well as via www.biletin.pl and at Impart box office (Mazowiecka 17, Wrocław, open during the week days from 12:00 to 18:00). Soon the sale via www.ticketpro.pl will begin as well. The tickets will also be available on the day of the performance, an hour before the beginning of the event.\r\n\r\nThe ticket prices are very reasonable - and range from 10 to 40 PLN pre-sale. The whole-festival ticket can be purchased for 90 PLN', 'Ruszyła sprzedaż biletów i karnetów na AVANT ART FESTIVAL!The sale of AVANT ART FESTIVAL tickets and whole-festival tickets has commenced!', '', 'inherit', 'closed', 'closed', '', '573-revision-10', '', '', '2012-09-10 13:05:23', '2012-09-10 11:05:23', '', 573, 'http://avantart.pl/573-revision-10/', 0, 'revision', '', 0), (659, 2, '2012-09-10 13:07:26', '2012-09-10 11:07:26', 'Sprzedaż biletów i karnetów możliwa jest pod linkiem BILETY ONLINE, a także za pośrednictwem www.biletin.pl i w Imparcie (ul. Mazowiecka 17, Wrocław, w dni powszednie od 12:00 do 18:00). Wkrótce ruszy sprzedaż przez www.ticketpro.pl. Bilety dostępne będą także w dniu koncertu na godzinę przed rozpoczęciem wydarzenia.\r\n\r\nCeny biletów są bardzo przystępne – wahają się od 10 do 40 zł w przedsprzedaży. Karnet kupić można za 90 zł.The purchase of tickets and whole-festival tickets is possible under the link www.avantart.pl/bilety, as well as via www.biletin.pl and at Impart box office (Mazowiecka 17, Wrocław, open during the week days from 12:00 to 18:00). Soon the sale via www.ticketpro.pl will begin as well. The tickets will also be available on the day of the performance, an hour before the beginning of the event.
\r\nThe ticket prices are very reasonable - and range from 10 to 40 PLN pre-sale. The whole-festival ticket can be purchased for 90 PLN
\r\n', 'Ruszyła sprzedaż biletów i karnetów na AVANT ART FESTIVAL!The sale of AVANT ART FESTIVAL tickets and whole-festival tickets has commenced!', '', 'inherit', 'closed', 'closed', '', '573-revision-11', '', '', '2012-09-10 13:07:26', '2012-09-10 11:07:26', '', 573, 'http://avantart.pl/573-revision-11/', 0, 'revision', '', 0), (660, 2, '2012-09-10 13:09:00', '2012-09-10 11:09:00', 'Sprzedaż biletów i karnetów możliwa jest pod linkiem BILETY ONLINE, a także za pośrednictwem www.biletin.pl i w Imparcie (ul. Mazowiecka 17, Wrocław, w dni powszednie od 12:00 do 18:00). Wkrótce ruszy sprzedaż przez www.ticketpro.pl. Bilety dostępne będą także w dniu koncertu na godzinę przed rozpoczęciem wydarzenia.\r\n\r\nCeny biletów są bardzo przystępne – wahają się od 10 do 40 zł w przedsprzedaży. Karnet kupić można za 90 zł. The purchase of tickets and whole-festival tickets is possible under the link TICKETS ONLINE, as well as via www.biletin.pl and at Impart box office (Mazowiecka 17, Wrocław, open during the week days from 12:00 to 18:00). Soon the sale via www.ticketpro.pl will begin as well. The tickets will also be available on the day of the performance, an hour before the beginning of the event.\r\n\r\nThe ticket prices are very reasonable - and range from 10 to 40 PLN pre-sale. The whole-festival ticket can be purchased for 90 PLN', 'Ruszyła sprzedaż biletów i karnetów na AVANT ART FESTIVAL!The sale of AVANT ART FESTIVAL tickets and whole-festival tickets has commenced!', '', 'inherit', 'closed', 'closed', '', '573-revision-12', '', '', '2012-09-10 13:09:00', '2012-09-10 11:09:00', '', 573, 'http://avantart.pl/573-revision-12/', 0, 'revision', '', 0), (661, 2, '2012-09-10 13:10:09', '2012-09-10 11:10:09', 'Sprzedaż biletów i karnetów możliwa jest pod linkiem BILETY ONLINE, a także za pośrednictwem www.biletin.pl i w Imparcie (ul. Mazowiecka 17, Wrocław, w dni powszednie od 12:00 do 18:00). Wkrótce ruszy sprzedaż przez www.ticketpro.pl. Bilety dostępne będą także w dniu koncertu na godzinę przed rozpoczęciem wydarzenia.\r\n\r\nCeny biletów są bardzo przystępne – wahają się od 10 do 40 zł w przedsprzedaży. Karnet kupić można za 90 zł. The purchase of tickets and whole-festival tickets is possible under the link TICKETS ONLINE, as well as via www.biletin.pl and at Impart box office (Mazowiecka 17, Wrocław, open during the week days from 12:00 to 18:00). Soon the sale via www.ticketpro.pl will begin as well. The tickets will also be available on the day of the performance, an hour before the beginning of the event.\r\n\r\nThe ticket prices are very reasonable - and range from 10 to 40 PLN pre-sale. The whole-festival ticket can be purchased for 90 PLN', 'Ruszyła sprzedaż biletów i karnetów na AVANT ART FESTIVAL!The sale of AVANT ART FESTIVAL tickets and whole-festival tickets has commenced!', '', 'inherit', 'closed', 'closed', '', '573-revision-13', '', '', '2012-09-10 13:10:09', '2012-09-10 11:10:09', '', 573, 'http://avantart.pl/573-revision-13/', 0, 'revision', '', 0), (662, 2, '2012-09-10 13:10:24', '2012-09-10 11:10:24', 'Sprzedaż biletów i karnetów możliwa jest pod linkiem BILETY ONLINE, a także za pośrednictwem www.biletin.pl i w Imparcie (ul. Mazowiecka 17, Wrocław, w dni powszednie od 12:00 do 18:00). Wkrótce ruszy sprzedaż przez www.ticketpro.pl. Bilety dostępne będą także w dniu koncertu na godzinę przed rozpoczęciem wydarzenia.\r\n\r\nCeny biletów są bardzo przystępne – wahają się od 10 do 40 zł w przedsprzedaży. Karnet kupić można za 90 zł.The purchase of tickets and whole-festival tickets is possible under the link TICKETS ONLINE, as well as via www.biletin.pl and at Impart box office (Mazowiecka 17, Wrocław, open during the week days from 12:00 to 18:00). Soon the sale via www.ticketpro.pl will begin as well. The tickets will also be available on the day of the performance, an hour before the beginning of the event.
\r\nThe ticket prices are very reasonable - and range from 10 to 40 PLN pre-sale. The whole-festival ticket can be purchased for 90 PLN
\r\n', 'Ruszyła sprzedaż biletów i karnetów na AVANT ART FESTIVAL!The sale of AVANT ART FESTIVAL tickets and whole-festival tickets has commenced!', '', 'inherit', 'closed', 'closed', '', '573-revision-14', '', '', '2012-09-10 13:10:24', '2012-09-10 11:10:24', '', 573, 'http://avantart.pl/573-revision-14/', 0, 'revision', '', 0), (663, 2, '2012-09-10 13:06:51', '2012-09-10 11:06:51', 'Sprzedaż biletów i karnetów pod linkiem BILETY ONLINE,\r\na także za pośrednictwem www.billetin.pl i w Imparcie (ul. Mazowiecka 17, Wrocław, w dni powszednie od 12:00 do 18:00).\r\n\r\nWkrótce ruszy sprzedaż przez www.ticketpro.pl.\r\nBilety dostępne będą także w dniu koncertu na godzinę przed rozpoczęciem wydarzenia.\r\n\r\nKarnet na wszystkie wydarzenia festiwalu: 90 zł\r\n\r\nKontakt: bilety@avantart.plThe purchase of tickets and whole-festival tickets is possible under the link www.avantart.pl/bilety, as well as via www.biletin.pl and at Impart box office (Mazowiecka 17, Wrocław, open during the week days from 12:00 to 18:00).\r\n\r\nSoon the sale via www.ticketpro.pl will begin as well. The tickets will also be available on the day of the performance, an hour before the beginning of the event.\r\n\r\nThe ticket prices are very reasonable - and range from 10 to 40 PLN pre-sale. The whole-festival ticket can be purchased for 90 PLN', 'BiletyTickets', '', 'inherit', 'closed', 'closed', '', '23-revision-12', '', '', '2012-09-10 13:06:51', '2012-09-10 11:06:51', '', 23, 'http://avantart.pl/23-revision-12/', 0, 'revision', '', 0), (664, 2, '2012-09-10 13:11:17', '2012-09-10 11:11:17', 'Sprzedaż biletów i karnetów pod linkiem BILETY ONLINE,\r\na także za pośrednictwem www.billetin.pl i w Imparcie (ul. Mazowiecka 17, Wrocław, w dni powszednie od 12:00 do 18:00).\r\n\r\nWkrótce ruszy sprzedaż przez www.ticketpro.pl.\r\nBilety dostępne będą także w dniu koncertu na godzinę przed rozpoczęciem wydarzenia.\r\n\r\nKarnet na wszystkie wydarzenia festiwalu: 90 zł\r\n\r\nKontakt: bilety@avantart.plThe purchase of tickets and whole-festival tickets is possible under the link TICKETS ONLINE, as well as via www.biletin.pl and at Impart box office (Mazowiecka 17, Wrocław, open during the week days from 12:00 to 18:00).\r\n\r\nSoon the sale via www.ticketpro.pl will begin as well. The tickets will also be available on the day of the performance, an hour before the beginning of the event.\r\n\r\nThe ticket prices are very reasonable - and range from 10 to 40 PLN pre-sale. The whole-festival ticket can be purchased for 90 PLN', 'BiletyTickets', '', 'inherit', 'closed', 'closed', '', '23-revision-13', '', '', '2012-09-10 13:11:17', '2012-09-10 11:11:17', '', 23, 'http://avantart.pl/23-revision-13/', 0, 'revision', '', 0), (665, 2, '2012-09-10 14:15:20', '2012-09-10 12:15:20', '', 'ROBOT-KOCH', '', 'inherit', 'closed', 'closed', '', 'robot-koch', '', '', '2012-09-10 14:15:20', '2012-09-10 12:15:20', '', 653, 'http://avantart.pl/wp-content/uploads/2012/09/ROBOT-KOCH.jpg', 0, 'attachment', 'image/jpeg', 0); INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (666, 2, '2012-09-10 14:16:03', '2012-09-10 12:16:03', '\n\nRobot Koch to alias słynnego berlińskiego producenta Roberta Kocha, który poza solowymi produkcjami jest częścią kolektywu Jahcoozi. W swojej oryginalnej twórczości robi dobry użytek ze zdobyczy nowoczesnej basowej muzyki: postdubstep, dubstep, wonky hiphop, mieszając i zmieniając te gatunki i stylistyki, dodając czasem żywe instrumenty, czasem wokale.\n\nRAIN DOG\n\nRain Dog ostatnie kilka lat spędził na eksperymentach z muzycznym oprogramowaniem, na konstruowaniu głośników, komponowaniu muzyki do niezależnych krótkometrażówek filmowych i przygotowywaniu swoich własnych bitów w niezliczonych mieszkaniach rozproszonych po terenie całej północnej Anglii. Obecnie, po osiedleniu w Londynie, kontynuuje swoje melodyczne poszukiwania.\n\nLONG ARM\n\nPod pseudonimem Long Arm ukrywa się Georgij – młody i utalentowany DJ, zafascynowany kulturą winyli. Ich duch przenika na wskroś jego twórczość, a jego muzyka jest nasycona często nieuchwytnym klimatem klasycznego jazzu, zaprezentowanego jednak w nowoczesnej i świeżej formie.\n\nGORDON OF PROJECT: MOONCIRCLE\n\nGordon Gieseking to postać wielowymiarowa – to wybitny grafik, którego prace zdobiły okładki płyt z takich wytwórni jak Warp, Ninja Tune czy Planet Mu; to założyciel prestiżowej wytwórni Project: Mooncircle; to w końcu – a może przede wszystkim – porywający tłumy DJ, który współpracował i występował z wybitnymi luminarzami współczesnej elektroniki.\n\nROBOT KOCH\n\nRobot Koch to alias słynnego berlińskiego producenta Roberta Kocha, który poza solowymi produkcjami jest częścią kolektywu Jahcoozi. W swojej oryginalnej twórczości robi dobry użytek ze zdobyczy nowoczesnej basowej muzyki: postdubstep, dubstep, wonky hiphop, mieszając i zmieniając te gatunki i stylistyki, dodając czasem żywe instrumenty, czasem wokale.\n\nRAIN DOG\n\n \n\n Rain Dog ostatnie kilka lat spędził na eksperymentach z muzycznym oprogramowaniem, na konstruowaniu głośników, komponowaniu muzyki do niezależnych krótkometrażówek filmowych i przygotowywaniu swoich własnych bitów w niezliczonych mieszkaniach rozproszonych po terenie całej północnej Anglii. Obecnie, po osiedleniu w Londynie, kontynuuje swoje melodyczne poszukiwania.\n\n \n\n\nLONG ARM\n\nPod pseudonimem Long Arm ukrywa się Georgij – młody i utalentowany DJ, zafascynowany kulturą winyli. Ich duch przenika na wskroś jego twórczość, a jego muzyka jest nasycona często nieuchwytnym klimatem klasycznego jazzu, zaprezentowanego jednak w nowoczesnej i świeżej formie.\nHaving originally studied as an artist, newcomer Rain Dog has spent the last couple of years experimenting with production software, building speakers, composing music for indie shorts and making beats out of various small bedrooms scattered across the north of England. Recently he has settled in London and with a release on Echodub''s imprint, Cut and a track featured on Project: Mooncirlce''s 10th anniversary box LP, he continues to develop his lowslung melodic compositions.
\r\n', 'RAIN DOGRAIN DOG ', '', 'publish', 'closed', 'closed', '', 'rain-dog', '', '', '2012-09-25 23:04:12', '2012-09-25 21:04:12', '', 36, 'http://avantart.pl/?page_id=667', 0, 'page', '', 0), (668, 2, '2012-09-10 15:16:55', '2012-09-10 13:16:55', '', 'RAIN-DOG', '', 'inherit', 'closed', 'closed', '', 'rain-dog', '', '', '2012-09-10 15:16:55', '2012-09-10 13:16:55', '', 667, 'http://avantart.pl/wp-content/uploads/2012/09/RAIN-DOG.jpg', 0, 'attachment', 'image/jpeg', 0), (669, 2, '2012-09-10 15:16:12', '2012-09-10 13:16:12', '', 'Auto Draft', '', 'inherit', 'closed', 'closed', '', '667-revision', '', '', '2012-09-10 15:16:12', '2012-09-10 13:16:12', '', 667, 'http://avantart.pl/667-revision/', 0, 'revision', '', 0), (670, 2, '2012-09-11 00:39:20', '2012-09-10 22:39:20', '\r\n\r\nPod pseudonimem Long Arm ukrywa się Georgij – młody i utalentowany DJ, zafascynowany kulturą winyli. Ich duch przenika na wskroś jego twórczość, a jego muzyka jest nasycona często nieuchwytnym klimatem klasycznego jazzu, zaprezentowanego jednak w nowoczesnej i świeżej formie.\r\nLong Arm is a musician of German label Project: Mooncircle where he released two albums over 2011. This is debut LP called "The Branches" and compilation of remixes and b-sides, called "Organic" EP. Releases have received good support, and compositions have been noticed in mixes by Hidden Orchestra (Tru Thoughts label, UK), Gilles Peterson (BBC Radio 1, "All Winners Show") etc. His lifelong passion for jazz influenced his whole music style.
\r\n', 'LONG ARMLONG ARM', '', 'publish', 'closed', 'closed', '', 'long-arm', '', '', '2012-09-25 14:36:12', '2012-09-25 12:36:12', '', 36, 'http://avantart.pl/?page_id=670', 0, 'page', '', 0), (671, 2, '2012-09-10 15:18:19', '2012-09-10 13:18:19', '', 'Long-Arm', '', 'inherit', 'closed', 'closed', '', 'long-arm', '', '', '2012-09-10 15:18:19', '2012-09-10 13:18:19', '', 670, 'http://avantart.pl/wp-content/uploads/2012/09/Long-Arm.jpg', 0, 'attachment', 'image/jpeg', 0), (672, 2, '2012-09-10 15:18:27', '2012-09-10 13:18:27', '\n\nPod pseudonimem Long Arm ukrywa się Georgij – młody i utalentowany DJ, zafascynowany kulturą winyli. Ich duch przenika na wskroś jego twórczość, a jego muzyka jest nasycona często nieuchwytnym klimatem klasycznego jazzu, zaprezentowanego jednak w nowoczesnej i świeżej formie.Gordon Gieseking is a graphic artist and a DJ for Project Mooncircle | hhv.de | Finest Ego | Project Squared.
\r\nHe made mixes for international magazines like Big Up Magazine (San Francisco), Pixelatique (Serbia), Inverted Audio (UK) and supported musicians like: Robot Koch, Mike Slott, fLako, 1000 Names, John Robinson, Lewis Parker, Gang Starr, Zion I. He played live sets at Boiler Room, Sonar, Satta Outside Festival, etc.
\r\nGordon is the founder of the Future Bass / Hip Hop / Electronic label Project: Mooncircle, the Music platform: Finest Ego, and a co – founder of the Dubstep / Techno sublabel Project Squared.
\r\n', 'GORDON OF PROJECT: MOONCIRCLEGORDON OF PROJECT: MOONCIRCLE', '', 'publish', 'closed', 'closed', '', 'gordon-of-project-mooncircle', '', '', '2012-09-25 22:58:58', '2012-09-25 20:58:58', '', 36, 'http://avantart.pl/?page_id=673', 0, 'page', '', 0), (674, 2, '2012-09-10 15:19:23', '2012-09-10 13:19:23', '', 'Gordon_Gieseking', '', 'inherit', 'closed', 'closed', '', 'gordon_gieseking', '', '', '2012-09-10 15:19:23', '2012-09-10 13:19:23', '', 673, 'http://avantart.pl/wp-content/uploads/2012/09/Gordon_Gieseking.jpg', 0, 'attachment', 'image/jpeg', 0), (675, 2, '2012-09-10 15:18:40', '2012-09-10 13:18:40', '', 'Auto Draft', '', 'inherit', 'closed', 'closed', '', '673-revision', '', '', '2012-09-10 15:18:40', '2012-09-10 13:18:40', '', 673, 'http://avantart.pl/673-revision/', 0, 'revision', '', 0), (676, 2, '2012-08-26 18:10:07', '2012-08-26 16:10:07', 'Kontakt dla mediów:\r\nMagda Kotowska | magda.kotowska@highlite.pl, tel. 792 234 779\r\n\r\nKontakt dla mediów:
\r\nMagda Kotowska
\r\nmagda.kotowska@highlite.pl, tel. 792 234 779
\r\n', 'Press Room', '', 'inherit', 'closed', 'closed', '', '26-revision-12', '', '', '2012-08-26 18:10:07', '2012-08-26 16:10:07', '', 26, 'http://avantart.pl/26-revision-12/', 0, 'revision', '', 0), (677, 2, '2012-09-11 00:26:51', '2012-09-10 22:26:51', ' \r\n\r\nKontakt dla mediów:\r\nMagda Kotowska | magda.kotowska@highlite.pl, tel. 792 234 779\r\n\r\nKontakt dla mediów:
\r\nMagda Kotowska
\r\nmagda.kotowska@highlite.pl, tel. 792 234 779
\r\n', 'Press Room', '', 'inherit', 'closed', 'closed', '', '26-revision-13', '', '', '2012-09-11 00:26:51', '2012-09-10 22:26:51', '', 26, 'http://avantart.pl/26-revision-13/', 0, 'revision', '', 0), (678, 2, '2012-09-11 00:28:12', '2012-09-10 22:28:12', ' \r\n\r\nKontakt dla mediów:\r\nMagda Kotowska | magda.kotowska@highlite.pl, tel. 792 234 779\r\n\r\nKontakt dla mediów:
\r\nMagda Kotowska
\r\nmagda.kotowska@highlite.pl, tel. 792 234 779
\r\n', 'Press Room', '', 'inherit', 'closed', 'closed', '', '26-revision-14', '', '', '2012-09-11 00:28:12', '2012-09-10 22:28:12', '', 26, 'http://avantart.pl/26-revision-14/', 0, 'revision', '', 0), (679, 2, '2012-09-11 00:34:29', '2012-09-10 22:34:29', 'Kontakt dla mediów:\r\nMagda Kotowska | magda.kotowska@highlite.pl, tel. 792 234 779\r\n\r\nKontakt dla mediów:
\r\nMagda Kotowska
\r\nmagda.kotowska@highlite.pl, tel. 792 234 779
\r\n', 'Press Room', '', 'inherit', 'closed', 'closed', '', '26-revision-15', '', '', '2012-09-11 00:34:29', '2012-09-10 22:34:29', '', 26, 'http://avantart.pl/26-revision-15/', 0, 'revision', '', 0); INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (680, 2, '2012-09-11 00:37:37', '2012-09-10 22:37:37', '\n\nRobot Koch to alias słynnego berlińskiego producenta Roberta Kocha, który poza solowymi produkcjami jest częścią kolektywu Jahcoozi. W swojej oryginalnej twórczości robi dobry użytek ze zdobyczy nowoczesnej basowej muzyki: postdubstep, dubstep, wonky hiphop, mieszając i zmieniając te gatunki i stylistyki, dodając czasem żywe instrumenty, czasem wokale.\n\n\n\n\n\nAlthough Berlin based producer Robot Koch has an international reputation as being “One of Europe`s finest producers of the beat generation“ (Low End Theory).\nHe is signed to the Berlin Electronic/Future Bass/HipHop label Project: Mooncircle since 2009 and he released 4 Albums (Death Star Droid / Songs For Trees And Cyborgs / Robot Robinson / The Other Side), and 3 EP’s (Listen To Them Fade / Death Star Droid Remix EP /Cosmic Waves) in the last 3 years. His music has been remixed by the likes of Modeselektor (Bpitch Control), Shlohmo (FOF), Blue Daisy (Black Acre),Chris de Luca (Funkstörung), Ital Tek (Planet Mu) and Ata (Playhouse).', 'ROBOT KOCHROBOT KOCH', '', 'inherit', 'closed', 'closed', '', '653-revision-3', '', '', '2012-09-11 00:37:37', '2012-09-10 22:37:37', '', 653, 'http://avantart.pl/653-revision-3/', 0, 'revision', '', 0), (681, 2, '2012-09-11 00:37:43', '2012-09-10 22:37:43', '\r\n\r\nRobot Koch to alias słynnego berlińskiego producenta Roberta Kocha, który poza solowymi produkcjami jest częścią kolektywu Jahcoozi. W swojej oryginalnej twórczości robi dobry użytek ze zdobyczy nowoczesnej basowej muzyki: postdubstep, dubstep, wonky hiphop, mieszając i zmieniając te gatunki i stylistyki, dodając czasem żywe instrumenty, czasem wokale.\r\n\r\n\r\n\r\n\r\n\r\nAlthough Berlin based producer Robot Koch has an international reputation as being “One of Europe`s finest producers of the beat generation“ (Low End Theory).\r\nHe is signed to the Berlin Electronic/Future Bass/HipHop label Project: Mooncircle since 2009 and he released 4 Albums (Death Star Droid / Songs For Trees And Cyborgs / Robot Robinson / The Other Side), and 3 EP’s (Listen To Them Fade / Death Star Droid Remix EP /Cosmic Waves) in the last 3 years. His music has been remixed by the likes of Modeselektor (Bpitch Control), Shlohmo (FOF), Blue Daisy (Black Acre),Chris de Luca (Funkstörung), Ital Tek (Planet Mu) and Ata (Playhouse).', 'ROBOT KOCHROBOT KOCH', '', 'inherit', 'closed', 'closed', '', '653-revision-4', '', '', '2012-09-11 00:37:43', '2012-09-10 22:37:43', '', 653, 'http://avantart.pl/653-revision-4/', 0, 'revision', '', 0), (683, 2, '2012-09-10 15:18:32', '2012-09-10 13:18:32', '\r\n\r\nPod pseudonimem Long Arm ukrywa się Georgij – młody i utalentowany DJ, zafascynowany kulturą winyli. Ich duch przenika na wskroś jego twórczość, a jego muzyka jest nasycona często nieuchwytnym klimatem klasycznego jazzu, zaprezentowanego jednak w nowoczesnej i świeżej formie.Having originally studied as an artist, newcomer Rain Dog has spent the last couple of years experimenting with production software, building speakers, composing music for indie shorts and making beats out of various small bedrooms scattered across the north of England. Recently he has settled in London and with a release on Echodub''s imprint, Cut and a track featured on Project: Mooncirlce''s 10th anniversary box LP, he continues to develop his lowslung melodic compositions.
\r\n', 'RAIN DOGRAIN DOG ', '', 'inherit', 'closed', 'closed', '', '667-revision-4', '', '', '2012-09-11 00:42:55', '2012-09-10 22:42:55', '', 667, 'http://avantart.pl/667-revision-4/', 0, 'revision', '', 0), (689, 2, '2012-09-11 00:44:22', '2012-09-10 22:44:22', '\r\n\r\nRain Dog ostatnie kilka lat spędził na eksperymentach z muzycznym oprogramowaniem, na konstruowaniu głośników, komponowaniu muzyki do niezależnych krótkometrażówek filmowych i przygotowywaniu swoich własnych bitów w niezliczonych mieszkaniach rozproszonych po terenie całej północnej Anglii. Obecnie, po osiedleniu w Londynie, kontynuuje swoje melodyczne poszukiwania.\r\nHaving originally studied as an artist, newcomer Rain Dog has spent the last couple of years experimenting with production software, building speakers, composing music for indie shorts and making beats out of various small bedrooms scattered across the north of England. Recently he has settled in London and with a release on Echodub''s imprint, Cut and a track featured on Project: Mooncirlce''s 10th anniversary box LP, he continues to develop his lowslung melodic compositions.
\r\n', 'RAIN DOGRAIN DOG ', '', 'inherit', 'closed', 'closed', '', '667-revision-5', '', '', '2012-09-11 00:44:22', '2012-09-10 22:44:22', '', 667, 'http://avantart.pl/667-revision-5/', 0, 'revision', '', 0); INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (690, 2, '2012-09-11 00:38:20', '2012-09-10 22:38:20', '\r\n\r\nRobot Koch to alias słynnego berlińskiego producenta Roberta Kocha, który poza solowymi produkcjami jest częścią kolektywu Jahcoozi. W swojej oryginalnej twórczości robi dobry użytek ze zdobyczy nowoczesnej basowej muzyki: postdubstep, dubstep, wonky hiphop, mieszając i zmieniając te gatunki i stylistyki, dodając czasem żywe instrumenty, czasem wokale.\r\n\r\n\r\n\r\n\r\nAlthough Berlin based producer Robot Koch has an international reputation as being “One of Europe`s finest producers of the beat generation“ (Low End Theory).
\r\nHe is signed to the Berlin Electronic/Future Bass/HipHop label Project: Mooncircle since 2009 and he released 4 Albums (Death Star Droid / Songs For Trees And Cyborgs / Robot Robinson / The Other Side), and 3 EP’s (Listen To Them Fade / Death Star Droid Remix EP /Cosmic Waves) in the last 3 years. His music has been remixed by the likes of Modeselektor (Bpitch Control), Shlohmo (FOF), Blue Daisy (Black Acre),Chris de Luca (Funkstörung), Ital Tek (Planet Mu) and Ata (Playhouse).
The Berlin-based label Project: Mooncircle specializes in combining
\r\nelectronic and organic music. In just ten years of existence it gained
\r\nprestige and became a renown brand and a synonym of high quality on stage.
\r\nProject: Mooncircle together with its diverse vocalists and producers is an
\r\ninteresting experience, for everyone who looks for something unique in music.
\r\nAs a part of Project: Mooncircle 10th anniversary showcase Robot Koch, Rain Dog, Long Arm and Gordon will perform.
\r\n\r\n\r\n\r\nsoundcloud.com/projectmooncircle/tracks
\r\n', ' PROJECT: MOONCIRCLE 10th anniversary showcase PROJECT: MOONCIRCLE 10th anniversary showcase', '', 'publish', 'closed', 'closed', '', 'project-mooncircle', '', '', '2012-10-03 16:34:38', '2012-10-03 14:34:38', '', 36, 'http://avantart.pl/?page_id=691', 0, 'page', '', 0), (692, 2, '2012-09-11 00:48:35', '2012-09-10 22:48:35', '', 'mooncircle', '', 'inherit', 'closed', 'closed', '', 'mooncircle', '', '', '2012-09-11 00:48:35', '2012-09-10 22:48:35', '', 691, 'http://avantart.pl/wp-content/uploads/2012/09/mooncircle.jpg', 0, 'attachment', 'image/jpeg', 0), (693, 2, '2012-09-11 00:50:28', '2012-09-10 22:50:28', '\n\nBerlińska wytwórnia Project: Mooncircle specjalizuje się w łączeniu muzyki elektronicznej z organiczną. W ciągu zaledwie dziesięciu lat istnienia uzyskała prestiż i wyrobiła sobie wiarygodną markę i stała się synonimem wysokiej jakości na scenie. Project: Mooncircle, wraz ze swoimi różnorodnymi wokalistami i producentami jest interesującym doświadczeniem dla każdego, kto w muzyce szuka czegoś, co niezwykłegoThe Berlin-based label Project: Mooncircle specializes in combining
\nelectronic and organic music. In just ten years of existence it gained
\nprestige and became a renown brand and a synonym of high quality on stage.
\nProject: Mooncircle together with its diverse vocalists and producers is an
\ninteresting experience, for everyone who looks for something unique in music.
\nAs a part of Project: Mooncircle 10th anniversary showcase Robot Koch, Rain Dog, Long Arm and Gordon will perform.
\n\nsoundcloud.com/projectmooncircle/tracks
\n', ' PROJECT: MOONCIRCLE 10th anniversary showcase PROJECT: MOONCIRCLE 10th anniversary showcase', '', 'inherit', 'closed', 'closed', '', '691-autosave', '', '', '2012-09-25 14:30:41', '2012-09-25 12:30:41', '', 691, 'http://avantart.pl/691-autosave/', 0, 'revision', '', 0), (695, 2, '2012-09-11 00:51:15', '2012-09-10 22:51:15', '\r\n\r\nBerlińska wytwórnia Project: Mooncircle specjalizuje się w łączeniu muzyki elektronicznej z organiczną. W ciągu zaledwie dziesięciu lat istnienia uzyskała prestiż i wyrobiła sobie wiarygodną markę i stała się synonimem wysokiej jakości na scenie. Project: Mooncircle, wraz ze swoimi różnorodnymi wokalistami i producentami jest interesującym doświadczeniem dla każdego, kto w muzyce szuka czegoś, co niezwykłego.It is a continuation of the premier spectacle "IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D" - presented during the previous edition of the Avant Art Festival as a Polish-Swiss co-production. This time in a version featuring Polish artists, with live music by the group 2g.
\r\n2g "In / Between" is a music project, but also a particular kind of multidisciplinary INSTALLATION with elements of live music, lights, video art. This is an artistic co-operation of the group 2g with a stage designer - a visual art artist, Gabriela Kowalska, who had also designed the stage design for the needs of "IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D".
\r\n2g is a "multi-limb", multi-personnel instrument binded in order to create music based on a deep sense of listening to one another and penetrating the sounds which create a multidimensional, multithreaded whole. 2g''s music is based on heavy, dispersed and slowed down rhythms with a low, characteristic bass, set in dark, fluently evolving spaces and sound textures created by the other electrical, acoustic instruments and the voices of the vocalists.
\r\nArtists: Gabriela Kowalska and 2g musicians: Bartek Kuźniak, Marcin Bijak, Piotr Siemiński, Maciej Polak, Kostas Georgakopulos.
\r\n\r\n', '2g „In / Between” 2g „In / Between” ', '', 'inherit', 'closed', 'closed', '', '632-revision-3', '', '', '2012-09-06 23:04:49', '2012-09-06 21:04:49', '', 632, 'http://avantart.pl/632-revision-3/', 0, 'revision', '', 0), (706, 2, '2012-09-11 21:51:17', '2012-09-11 19:51:17', '\r\n\r\nTo kontynuacja premierowego spektaklu „IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D”- zaprezentowanego podczas ostatniej edycji festiwalu Avant Art jako koprodukcja polsko - szwajcarska. Tym razem w wersji z polskimi artystami, z muzyką na żywo zespołu 2g.\r\n\r\n2g „In / Between“ to projekt muzyczny, ale też szczególnego rodzaju multidyscyplinarna INSTALACJA z elementami żywej muzyki, światła, sztuki video. To artystyczna kooperacja zespołu 2g ze scenografem - artystką sztuk wizualnych Gabrielą Kowalską, która również zaprojektowałą scenografię do „IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D“.\r\n\r\n2g to wieloręki, wieloludzki instrument zespojony w celu muzykowania opartego na głębokim wzajemnym słuchaniu się i przenikaniu brzmień tworzących wielowymiarową, wielowątkową jedność. Muzyka 2g oparta jest na ciężkich, rozrzedzonych i spowolnionych rytmach z bardzo niskim, charakterystycznym basem, osadzonych na ciemnych, płynnie przekształcających się przestrzeniach i fakturach dźwiękowych tworzonych przez inne instrumenty elektryczne, akustyczne oraz głosy wokalistów.\r\n\r\nArtyści: Gabriela Kowalska oraz muzycy 2g: Bartek Kuźniak, Marcin Bijak, Piotr Siemiński, Maciej Polak, Kostas Georgakopulos.\r\n\r\n www.2g.333rec.org\r\nIt is a continuation of the premier spectacle "IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D" - presented during the previous edition of the Avant Art Festival as a Polish-Swiss co-production. This time in a version featuring Polish artists, with live music by the group 2g.
\r\n2g "In / Between" is a music project, but also a particular kind of multidisciplinary INSTALLATION with elements of live music, lights, video art. This is an artistic co-operation of the group 2g with a stage designer - a visual art artist, Gabriela Kowalska, who had also designed the stage design for the needs of "IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D".
\r\n2g is a "multi-limb", multi-personnel instrument binded in order to create music based on a deep sense of listening to one another and penetrating the sounds which create a multidimensional, multithreaded whole. 2g''s music is based on heavy, dispersed and slowed down rhythms with a low, characteristic bass, set in dark, fluently evolving spaces and sound textures created by the other electrical, acoustic instruments and the voices of the vocalists.
\r\nArtists: Gabriela Kowalska and 2g musicians: Bartek Kuźniak, Marcin Bijak, Piotr Siemiński, Maciej Polak, Kostas Georgakopulos.
\r\n\r\n', '2g „In / Between” 2g „In / Between” ', '', 'inherit', 'closed', 'closed', '', '632-revision-4', '', '', '2012-09-11 21:51:17', '2012-09-11 19:51:17', '', 632, 'http://avantart.pl/632-revision-4/', 0, 'revision', '', 0), (707, 2, '2012-09-11 21:52:31', '2012-09-11 19:52:31', '\r\n\r\nTo kontynuacja premierowego spektaklu „IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D”- zaprezentowanego podczas ostatniej edycji festiwalu Avant Art jako koprodukcja polsko - szwajcarska. Tym razem w wersji z polskimi artystami, z muzyką na żywo zespołu 2g.\r\n\r\n2g „In / Between“ to projekt muzyczny, ale też szczególnego rodzaju multidyscyplinarna INSTALACJA z elementami żywej muzyki, światła, sztuki video. To artystyczna kooperacja zespołu 2g ze scenografem - artystką sztuk wizualnych Gabrielą Kowalską, która również zaprojektowałą scenografię do „IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D“.\r\n\r\n2g to wieloręki, wieloludzki instrument zespojony w celu muzykowania opartego na głębokim wzajemnym słuchaniu się i przenikaniu brzmień tworzących wielowymiarową, wielowątkową jedność. Muzyka 2g oparta jest na ciężkich, rozrzedzonych i spowolnionych rytmach z bardzo niskim, charakterystycznym basem, osadzonych na ciemnych, płynnie przekształcających się przestrzeniach i fakturach dźwiękowych tworzonych przez inne instrumenty elektryczne, akustyczne oraz głosy wokalistów.\r\n\r\nArtyści: Gabriela Kowalska oraz muzycy 2g: Bartek Kuźniak, Marcin Bijak, Piotr Siemiński, Maciej Polak, Kostas Georgakopulos.\r\n\r\n www.2g.333rec.org\r\nIt is a continuation of the premier spectacle "IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D" - presented during the previous edition of the Avant Art Festival as a Polish-Swiss co-production. This time in a version featuring Polish artists, with live music by the group 2g.
\r\n2g "In / Between" is a music project, but also a particular kind of multidisciplinary INSTALLATION with elements of live music, lights, video art. This is an artistic co-operation of the group 2g with a stage designer - a visual art artist, Gabriela Kowalska, who had also designed the stage design for the needs of "IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D".
\r\n2g is a "multi-limb", multi-personnel instrument binded in order to create music based on a deep sense of listening to one another and penetrating the sounds which create a multidimensional, multithreaded whole. 2g''s music is based on heavy, dispersed and slowed down rhythms with a low, characteristic bass, set in dark, fluently evolving spaces and sound textures created by the other electrical, acoustic instruments and the voices of the vocalists.
\r\nArtists: Gabriela Kowalska and 2g musicians: Bartek Kuźniak, Marcin Bijak, Piotr Siemiński, Maciej Polak, Kostas Georgakopulos.
\r\n\r\n', '2g „In / Between” 2g „In / Between” ', '', 'inherit', 'closed', 'closed', '', '632-revision-5', '', '', '2012-09-11 21:52:31', '2012-09-11 19:52:31', '', 632, 'http://avantart.pl/632-revision-5/', 0, 'revision', '', 0), (708, 2, '2012-09-11 21:52:50', '2012-09-11 19:52:50', '\r\n\r\nTo kontynuacja premierowego spektaklu „IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D”- zaprezentowanego podczas ostatniej edycji festiwalu Avant Art jako koprodukcja polsko - szwajcarska. Tym razem w wersji z polskimi artystami, z muzyką na żywo zespołu 2g.\r\n\r\n2g „In / Between“ to projekt muzyczny, ale też szczególnego rodzaju multidyscyplinarna INSTALACJA z elementami żywej muzyki, światła, sztuki video. To artystyczna kooperacja zespołu 2g ze scenografem - artystką sztuk wizualnych Gabrielą Kowalską, która również zaprojektowałą scenografię do „IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D“.\r\n\r\n2g to wieloręki, wieloludzki instrument zespojony w celu muzykowania opartego na głębokim wzajemnym słuchaniu się i przenikaniu brzmień tworzących wielowymiarową, wielowątkową jedność. Muzyka 2g oparta jest na ciężkich, rozrzedzonych i spowolnionych rytmach z bardzo niskim, charakterystycznym basem, osadzonych na ciemnych, płynnie przekształcających się przestrzeniach i fakturach dźwiękowych tworzonych przez inne instrumenty elektryczne, akustyczne oraz głosy wokalistów.\r\n\r\nArtyści: Gabriela Kowalska oraz muzycy 2g: Bartek Kuźniak, Marcin Bijak, Piotr Siemiński, Maciej Polak, Kostas Georgakopulos.\r\n\r\n www.2g.333rec.org\r\nIt is a continuation of the premier spectacle "IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D" - presented during the previous edition of the Avant Art Festival as a Polish-Swiss co-production. This time in a version featuring Polish artists, with live music by the group 2g.
\r\n2g "In / Between" is a music project, but also a particular kind of multidisciplinary INSTALLATION with elements of live music, lights, video art. This is an artistic co-operation of the group 2g with a stage designer - a visual art artist, Gabriela Kowalska, who had also designed the stage design for the needs of "IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D".
\r\n2g is a "multi-limb", multi-personnel instrument binded in order to create music based on a deep sense of listening to one another and penetrating the sounds which create a multidimensional, multithreaded whole. 2g''s music is based on heavy, dispersed and slowed down rhythms with a low, characteristic bass, set in dark, fluently evolving spaces and sound textures created by the other electrical, acoustic instruments and the voices of the vocalists.
\r\nArtists: Gabriela Kowalska and 2g musicians: Bartek Kuźniak, Marcin Bijak, Piotr Siemiński, Maciej Polak, Kostas Georgakopulos.
\r\n\r\n', '2g „In / Between” 2g „In / Between” ', '', 'inherit', 'closed', 'closed', '', '632-revision-6', '', '', '2012-09-11 21:52:50', '2012-09-11 19:52:50', '', 632, 'http://avantart.pl/632-revision-6/', 0, 'revision', '', 0), (709, 2, '2012-08-25 09:23:50', '2012-08-25 07:23:50', '\r\n\r\nAvant Art Festival to nie tylko sama muzyka – to wszystkie sfery sztuki, w których muzyka odgrywa ważną rolę. I dlatego też – po raz pierwszy w historii festiwalu – w czasie jego piątej edycji pojawi się nowy blok programowy – prezentacje filmów dokumentalnych i fabularnych. Podczas tegorocznego cyklu filmowego, odbywającego się w przestrzeniach kina Helios Nowe Horyzonty, publiczność będzie miała okazję obejrzeć siedem obrazów. Z założenia prezentowane filmy swoją tematyką korespondują z wydarzeniami na muzycznej scenie festiwalu, jednocześnie poszerzając jej kontekst o wymiar kulturowy i historyczny. Tegoroczne filmy, podobnie jak główny nurt AAF, skupiają się na przybliżeniu publiczności bogatej sztuki niemieckiej. Pokażemy filmy ilustrujące najciekawsze sylwetki artystów i zjawiska, jakie zachodziły w eksperymentalnej muzyce tego kraju na przestrzeni ostatnich dekad. Wśród nich znajdą się klasyczne już obrazy, które polscy odbiorcy po raz pierwszy będą mieli okazję zobaczyć na dużym ekranie, a także zupełnie nowe produkcje. Punktem wyjścia w selekcji filmów była nie tylko ich wartość merytoryczna, ale także walory estetyczne, które sprawiają, że prezentowane obrazy będą ucztą muzyczną dla entuzjastów nietypowych Avantowych dźwięków. Szeroka rozpiętość tematyczna prezentowanych filmów ma na celu jak najpełniejsze przedstawienie niezwykle różnorodnej sceny niemieckiej. Sięgniemy do narodzin krautrocka, odwiedzimy czasy punkowej rebelii, będziemy śledzić rozwój elektronicznych nurtów, zahaczymy o berliński underground i poznamy szeroką gamę muzyki jej współczesnych twórców. Dodatkowo towarzyszące filmom wydarzenia specjalne w ramach Avant Film, takie jak spotkania i dyskusje ze znawcami i specjalistami z poszczególnych dziedzin, a także i twórcami pokazywanych filmów, wzbogacą projekcje o szerszy kontekst. Osobnym punktem programu, towarzyszącym filmowi przedstawiającemu fenomen punk rocka w Niemczech Wschodnich, będzie wystawa w Galerii U, prezentująca artefakty z tamtego okresu.\r\n\r\nWe współpracy z: \r\nAvant Art Festival is not only music – it touches on all the planes of art, in which music plays an important role. That is why – for the first time in the festival’s history – a new programme block will appear during its fifth edition – the presentations of documentaries and films. During this year’s film series, taking place in the space of the Helios cinema, the audience will have a chance to see seven pictures. Out of assumption, the presented film will thematically correspond to the events on the music stage of the festival, at the same time broadening its context to include the cultural and historical dimension. This year’s films, just like the main part of AAF, focus on bringing the rich German art closer to the audience. We will present films illustrating the most interesting artist figures and events, which took place in the experimental music of the country over the last decades. Already classic motion pictures, which the Polish recipients will have a chance to see for the first time on the big screen, will appear among them, as well as new productions. The starting point of the selection of the films was not only their substantial worth, but aesthetic qualities, which will make the presented pictures a musical feast for the enthusiasts of unusual Avant sounds.
\r\nThe wide range of themes of the presented films is aimed at presenting the uniquely diverse German scene as fully as possible. We will see the birth of krautrock, visit the times of the punk rebellion, we will follow the development of electronic trends, stumble upon the Berlin underground and get acquainted with a wide variety of music and its contemporary creators. Additionally, special events accompanying the films as a part of Avant Film, such as meetings and discussions with experts and specialists of particular spheres, as well as the creators of the presented films, will be enriched by lectures about their wider context. A separate event in the programme, accompanying the screening of the film presenting the phenomenon of punk rock in East Germany, will be an exhibition of artefacts from that time period in the Galeria U [U Gallery]
\r\nCooperation:
\r\n', 'AVANT ART FILM', '', 'inherit', 'closed', 'closed', '', '284-revision-20', '', '', '2012-08-25 09:23:50', '2012-08-25 07:23:50', '', 284, 'http://avantart.pl/284-revision-20/', 0, 'revision', '', 0), (710, 2, '2012-09-11 22:56:30', '2012-09-11 20:56:30', '\r\n\r\nAVANT ART FILM – przegląd niemieckich filmów o muzyce\r\n\r\nWe współpracy z: \r\n\r\nW nawiązaniu do tegorocznej edycji festiwalu zaprezentowanych zostanie sześć dokumentów o muzyce i artystach z Niemiec. Narodziny techno i elektroniki, czasy enerdowskiego punk-rocka, berliński underground czy Klaus Nomi - odkrycie Davida Bowie to tylko niektóre hasła przeglądu, przygotowanego przez AVANT ART jako uzupełnienie dźwiękowego oblicza festiwalu i jeden z kluczowych elementów festiwalowej przestrzeni dla kultury. Ukoronowaniem przeglądu będzie koncerto-performance w wykonaniu wizjonera perkusjonaliów - FM Einheita.\r\n\r\nAvant Art Festival to nie tylko muzyka. To również wszystkie dyscypliny sztuki, w których muzyka odgrywa ważną rolę i z którymi wchodzi w różnorakie interakcje. Po raz pierwszy w historii festiwalu jego piąta edycja poszerzona zostanie o nowy blok programowy - przegląd filmów dokumentalnych pod szyldem Avant Art Film. Publiczność zgromadzona w kinie Helios Nowe Horyzonty – jedyny będzie miała okazję obejrzeć sześć obrazów, które swoją tematyką korespondują z wydarzeniami muzycznej sceny festiwalu. Zaprezentowane zostaną dokumenty ilustrujące wybrane sylwetki artystów i rozmaite zjawiska, które ukształtowały muzyczną scenę Niemiec, jak również wywarły istotny wpływ na rozwój muzyki ostatnich dekad poza ich granicami. Wśród nich znajdą się obrazy, które polscy odbiorcy po raz pierwszy będą mieli okazję zobaczyć na dużym ekranie.\r\n\r\nW trakcie przeglądu odwiedzimy czasy punkowej rebelii. Będziemy też śledzić rozwój nurtów elektronicznych. Zahaczymy o berliński underground i poznamy szeroką gamę muzyki jej współczesnych twórców. We Built This City wprowadzi widzów w barwny świat dźwięków, tworzonych przez muzyków pochodzących z Kolonii. Dzięki OSTPUNK! too much future zobaczymy pomijaną przez oficjalne media i wydawnictwa scenę enerdowskiego punk rocka. Wkład niemieckich twórców w powstanie i rozwój kultury klubowej prześledzimy z kolei w filmie We Call It Techno!, zaś w The Nomi Song przyjrzymy się jednej z najoryginalniejszych postaci niemieckiej muzyki – Klausowi Nomi, którego twórczość odkrył dla całego świata sam David Bowie. Berlin Super 80. stanowić będzie natomiast fascynującą podróż w głąb niezależnej undergroundowej sceny berlińskiej z początku lat 80. XX wieku, której wpływ na współczesną muzykę eksperymentalną pozostaje w dalszym ciągu odczuwalny. \r\n\r\nNa zakończenie przeglądu, 7 października, swój performance zaprezentuje Frank Martin Strauss znany jako FM Einheit. To postać, której znaczenia dla niemieckiej muzyki eksperymentalnej nie da się przecenić. Współpracował między innymi z takimi zespołami i artystami jak KMFDM, Goethes Erben, Mona Mur, Alfred 23 Harth czy Caspar Brötzmann Massaker. Stał się sławny dzięki przygotowywanym samodzielnie perkusyjnym instalacjom, złożonym z kawałków blachy, złomu i części rozmaitych urządzeń, na których grał podczas nagrań i występów na żywo. Często udziela się solowo, komponując ścieżki dźwiękowe do filmów i spektakli teatralnych. Twórczość tego wizjonera perkusjonaliów to niezwykle unikalny dźwiękowy świat, w którym uderzenia metalu o metal, wiertarki i młoty współgrają z wysokiej jakości elektroniką.\r\n\r\nPrzegląd filmów o muzyce w ramach AVANT ART jest zaledwie namiastką tego, co prezentuje niemiecka scena muzyczna, ale stanowi doskonałe dopełnienie koncertów. To także jeden z kluczowych elementów przestrzeni dla kultury AVANT ART, w ramach której w trakcie festiwalu prócz projekcji filmów, odbywać się będą koncerty, spotkania z literaturą („Czytanie w ciemnościach” z Ritą Baum”), performance’y i debaty. W ramach 5. edycji AVANT ART do Wrocławia przyjadą gwiazdy niemieckiej sceny muzycznej m.in.: DAF, Moritz Von Oswald Trio, Kangding Ray, Byetone, Frank Bretschneider, Caspar Brotzmann Massaker i Peter Broztmann & Defibrillator.\r\n\r\nBilety na filmy ( w tym koncert FM Einheita) do nabycia w Helios Nowe Horyzonty (Kazimierza Wielkiego 19-21, Wrocław)\r\n\r\nAvant Art Festival is not only music – it touches on all the planes of art, in which music plays an important role. That is why – for the first time in the festival’s history – a new programme block will appear during its fifth edition – the presentations of documentaries and films. During this year’s film series, taking place in the space of the Helios cinema, the audience will have a chance to see seven pictures. Out of assumption, the presented film will thematically correspond to the events on the music stage of the festival, at the same time broadening its context to include the cultural and historical dimension. This year’s films, just like the main part of AAF, focus on bringing the rich German art closer to the audience. We will present films illustrating the most interesting artist figures and events, which took place in the experimental music of the country over the last decades. Already classic motion pictures, which the Polish recipients will have a chance to see for the first time on the big screen, will appear among them, as well as new productions. The starting point of the selection of the films was not only their substantial worth, but aesthetic qualities, which will make the presented pictures a musical feast for the enthusiasts of unusual Avant sounds.\r\n\r\nThe wide range of themes of the presented films is aimed at presenting the uniquely diverse German scene as fully as possible. We will see the birth of krautrock, visit the times of the punk rebellion, we will follow the development of electronic trends, stumble upon the Berlin underground and get acquainted with a wide variety of music and its contemporary creators. Additionally, special events accompanying the films as a part of Avant Film, such as meetings and discussions with experts and specialists of particular spheres, as well as the creators of the presented films, will be enriched by lectures about their wider context. A separate event in the programme, accompanying the screening of the film presenting the phenomenon of punk rock in East Germany, will be an exhibition of artefacts from that time period in the Galeria U [U Gallery]\r\n\r\nCooperation: ', 'AVANT ART FILM', '', 'inherit', 'closed', 'closed', '', '284-revision-21', '', '', '2012-09-11 22:56:30', '2012-09-11 20:56:30', '', 284, 'http://avantart.pl/284-revision-21/', 0, 'revision', '', 0), (711, 2, '2012-09-11 22:57:13', '2012-09-11 20:57:13', '\r\n\r\nWe współpracy z: \r\n\r\nW nawiązaniu do tegorocznej edycji festiwalu zaprezentowanych zostanie sześć dokumentów o muzyce i artystach z Niemiec. Narodziny techno i elektroniki, czasy enerdowskiego punk-rocka, berliński underground czy Klaus Nomi - odkrycie Davida Bowie to tylko niektóre hasła przeglądu, przygotowanego przez AVANT ART jako uzupełnienie dźwiękowego oblicza festiwalu i jeden z kluczowych elementów festiwalowej przestrzeni dla kultury. Ukoronowaniem przeglądu będzie koncerto-performance w wykonaniu wizjonera perkusjonaliów - FM Einheita.\r\n\r\nAvant Art Festival to nie tylko muzyka. To również wszystkie dyscypliny sztuki, w których muzyka odgrywa ważną rolę i z którymi wchodzi w różnorakie interakcje. Po raz pierwszy w historii festiwalu jego piąta edycja poszerzona zostanie o nowy blok programowy - przegląd filmów dokumentalnych pod szyldem Avant Art Film. Publiczność zgromadzona w kinie Helios Nowe Horyzonty – jedyny będzie miała okazję obejrzeć sześć obrazów, które swoją tematyką korespondują z wydarzeniami muzycznej sceny festiwalu. Zaprezentowane zostaną dokumenty ilustrujące wybrane sylwetki artystów i rozmaite zjawiska, które ukształtowały muzyczną scenę Niemiec, jak również wywarły istotny wpływ na rozwój muzyki ostatnich dekad poza ich granicami. Wśród nich znajdą się obrazy, które polscy odbiorcy po raz pierwszy będą mieli okazję zobaczyć na dużym ekranie.\r\n\r\nW trakcie przeglądu odwiedzimy czasy punkowej rebelii. Będziemy też śledzić rozwój nurtów elektronicznych. Zahaczymy o berliński underground i poznamy szeroką gamę muzyki jej współczesnych twórców. We Built This City wprowadzi widzów w barwny świat dźwięków, tworzonych przez muzyków pochodzących z Kolonii. Dzięki OSTPUNK! too much future zobaczymy pomijaną przez oficjalne media i wydawnictwa scenę enerdowskiego punk rocka. Wkład niemieckich twórców w powstanie i rozwój kultury klubowej prześledzimy z kolei w filmie We Call It Techno!, zaś w The Nomi Song przyjrzymy się jednej z najoryginalniejszych postaci niemieckiej muzyki – Klausowi Nomi, którego twórczość odkrył dla całego świata sam David Bowie. Berlin Super 80. stanowić będzie natomiast fascynującą podróż w głąb niezależnej undergroundowej sceny berlińskiej z początku lat 80. XX wieku, której wpływ na współczesną muzykę eksperymentalną pozostaje w dalszym ciągu odczuwalny. \r\n\r\nNa zakończenie przeglądu, 7 października, swój performance zaprezentuje Frank Martin Strauss znany jako FM Einheit. To postać, której znaczenia dla niemieckiej muzyki eksperymentalnej nie da się przecenić. Współpracował między innymi z takimi zespołami i artystami jak KMFDM, Goethes Erben, Mona Mur, Alfred 23 Harth czy Caspar Brötzmann Massaker. Stał się sławny dzięki przygotowywanym samodzielnie perkusyjnym instalacjom, złożonym z kawałków blachy, złomu i części rozmaitych urządzeń, na których grał podczas nagrań i występów na żywo. Często udziela się solowo, komponując ścieżki dźwiękowe do filmów i spektakli teatralnych. Twórczość tego wizjonera perkusjonaliów to niezwykle unikalny dźwiękowy świat, w którym uderzenia metalu o metal, wiertarki i młoty współgrają z wysokiej jakości elektroniką.\r\n\r\nPrzegląd filmów o muzyce w ramach AVANT ART jest zaledwie namiastką tego, co prezentuje niemiecka scena muzyczna, ale stanowi doskonałe dopełnienie koncertów. To także jeden z kluczowych elementów przestrzeni dla kultury AVANT ART, w ramach której w trakcie festiwalu prócz projekcji filmów, odbywać się będą koncerty, spotkania z literaturą („Czytanie w ciemnościach” z Ritą Baum”), performance’y i debaty. W ramach 5. edycji AVANT ART do Wrocławia przyjadą gwiazdy niemieckiej sceny muzycznej m.in.: DAF, Moritz Von Oswald Trio, Kangding Ray, Byetone, Frank Bretschneider, Caspar Brotzmann Massaker i Peter Broztmann & Defibrillator.\r\n\r\nBilety na filmy ( w tym koncert FM Einheita) do nabycia w Helios Nowe Horyzonty (Kazimierza Wielkiego 19-21, Wrocław)\r\nAvant Art Festival is not only music – it touches on all the planes of art, in which music plays an important role. That is why – for the first time in the festival’s history – a new programme block will appear during its fifth edition – the presentations of documentaries and films. During this year’s film series, taking place in the space of the Helios cinema, the audience will have a chance to see seven pictures. Out of assumption, the presented film will thematically correspond to the events on the music stage of the festival, at the same time broadening its context to include the cultural and historical dimension. This year’s films, just like the main part of AAF, focus on bringing the rich German art closer to the audience. We will present films illustrating the most interesting artist figures and events, which took place in the experimental music of the country over the last decades. Already classic motion pictures, which the Polish recipients will have a chance to see for the first time on the big screen, will appear among them, as well as new productions. The starting point of the selection of the films was not only their substantial worth, but aesthetic qualities, which will make the presented pictures a musical feast for the enthusiasts of unusual Avant sounds.
\r\nThe wide range of themes of the presented films is aimed at presenting the uniquely diverse German scene as fully as possible. We will see the birth of krautrock, visit the times of the punk rebellion, we will follow the development of electronic trends, stumble upon the Berlin underground and get acquainted with a wide variety of music and its contemporary creators. Additionally, special events accompanying the films as a part of Avant Film, such as meetings and discussions with experts and specialists of particular spheres, as well as the creators of the presented films, will be enriched by lectures about their wider context. A separate event in the programme, accompanying the screening of the film presenting the phenomenon of punk rock in East Germany, will be an exhibition of artefacts from that time period in the Galeria U [U Gallery]
\r\nCooperation:
\r\n', 'AVANT ART FILM', '', 'inherit', 'closed', 'closed', '', '284-revision-22', '', '', '2012-09-11 22:57:13', '2012-09-11 20:57:13', '', 284, 'http://avantart.pl/284-revision-22/', 0, 'revision', '', 0); INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (712, 2, '2012-09-11 23:16:30', '2012-09-11 21:16:30', '2–7.10.2012 / HELIOS NOWE HORYZONTY / WROCŁAW\r\nAvant Art Festival is not only music – it touches on all the planes of art, in which music plays an important role. That is why – for the first time in the festival’s history – a new programme block will appear during its fifth edition – the presentations of documentaries and films. During this year’s film series, taking place in the space of the Helios cinema, the audience will have a chance to see seven pictures. Out of assumption, the presented film will thematically correspond to the events on the music stage of the festival, at the same time broadening its context to include the cultural and historical dimension. This year’s films, just like the main part of AAF, focus on bringing the rich German art closer to the audience. We will present films illustrating the most interesting artist figures and events, which took place in the experimental music of the country over the last decades. Already classic motion pictures, which the Polish recipients will have a chance to see for the first time on the big screen, will appear among them, as well as new productions. The starting point of the selection of the films was not only their substantial worth, but aesthetic qualities, which will make the presented pictures a musical feast for the enthusiasts of unusual Avant sounds.
\r\nThe wide range of themes of the presented films is aimed at presenting the uniquely diverse German scene as fully as possible. We will see the birth of krautrock, visit the times of the punk rebellion, we will follow the development of electronic trends, stumble upon the Berlin underground and get acquainted with a wide variety of music and its contemporary creators. Additionally, special events accompanying the films as a part of Avant Film, such as meetings and discussions with experts and specialists of particular spheres, as well as the creators of the presented films, will be enriched by lectures about their wider context. A separate event in the programme, accompanying the screening of the film presenting the phenomenon of punk rock in East Germany, will be an exhibition of artefacts from that time period in the Galeria U [U Gallery]
\r\nCooperation:
\r\n', 'AVANT ART FILM', '', 'inherit', 'closed', 'closed', '', '284-revision-23', '', '', '2012-09-11 23:06:10', '2012-09-11 21:06:10', '', 284, 'http://avantart.pl/284-revision-23/', 0, 'revision', '', 0); INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (719, 2, '2012-09-11 23:28:48', '2012-09-11 21:28:48', '\r\n\r\nWe współpracy z: \r\n\r\nPROGRAM \r\n\r\nW nawiązaniu do tegorocznej edycji festiwalu zaprezentowanych zostanie sześć dokumentów o muzyce i artystach z Niemiec. Narodziny techno i elektroniki, czasy enerdowskiego punk-rocka, berliński underground czy Klaus Nomi - odkrycie Davida Bowie to tylko niektóre hasła przeglądu, przygotowanego przez AVANT ART jako uzupełnienie dźwiękowego oblicza festiwalu i jeden z kluczowych elementów festiwalowej przestrzeni dla kultury. Ukoronowaniem przeglądu będzie koncerto-performance w wykonaniu wizjonera perkusjonaliów - FM Einheita.\r\n\r\nAvant Art Festival to nie tylko muzyka. To również wszystkie dyscypliny sztuki, w których muzyka odgrywa ważną rolę i z którymi wchodzi w różnorakie interakcje. Po raz pierwszy w historii festiwalu jego piąta edycja poszerzona zostanie o nowy blok programowy - przegląd filmów dokumentalnych pod szyldem Avant Art Film. Publiczność zgromadzona w kinie Helios Nowe Horyzonty – jedyny będzie miała okazję obejrzeć sześć obrazów, które swoją tematyką korespondują z wydarzeniami muzycznej sceny festiwalu. Zaprezentowane zostaną dokumenty ilustrujące wybrane sylwetki artystów i rozmaite zjawiska, które ukształtowały muzyczną scenę Niemiec, jak również wywarły istotny wpływ na rozwój muzyki ostatnich dekad poza ich granicami. Wśród nich znajdą się obrazy, które polscy odbiorcy po raz pierwszy będą mieli okazję zobaczyć na dużym ekranie.\r\n\r\nW trakcie przeglądu odwiedzimy czasy punkowej rebelii. Będziemy też śledzić rozwój nurtów elektronicznych. Zahaczymy o berliński underground i poznamy szeroką gamę muzyki jej współczesnych twórców. We Built This City wprowadzi widzów w barwny świat dźwięków, tworzonych przez muzyków pochodzących z Kolonii. Dzięki OSTPUNK! too much future zobaczymy pomijaną przez oficjalne media i wydawnictwa scenę enerdowskiego punk rocka. Wkład niemieckich twórców w powstanie i rozwój kultury klubowej prześledzimy z kolei w filmie We Call It Techno!, zaś w The Nomi Song przyjrzymy się jednej z najoryginalniejszych postaci niemieckiej muzyki – Klausowi Nomi, którego twórczość odkrył dla całego świata sam David Bowie. Berlin Super 80. stanowić będzie natomiast fascynującą podróż w głąb niezależnej undergroundowej sceny berlińskiej z początku lat 80. XX wieku, której wpływ na współczesną muzykę eksperymentalną pozostaje w dalszym ciągu odczuwalny. \r\n\r\nNa zakończenie przeglądu, 7 października, swój performance zaprezentuje Frank Martin Strauss znany jako FM Einheit. To postać, której znaczenia dla niemieckiej muzyki eksperymentalnej nie da się przecenić. Współpracował między innymi z takimi zespołami i artystami jak KMFDM, Goethes Erben, Mona Mur, Alfred 23 Harth czy Caspar Brötzmann Massaker. Stał się sławny dzięki przygotowywanym samodzielnie perkusyjnym instalacjom, złożonym z kawałków blachy, złomu i części rozmaitych urządzeń, na których grał podczas nagrań i występów na żywo. Często udziela się solowo, komponując ścieżki dźwiękowe do filmów i spektakli teatralnych. Twórczość tego wizjonera perkusjonaliów to niezwykle unikalny dźwiękowy świat, w którym uderzenia metalu o metal, wiertarki i młoty współgrają z wysokiej jakości elektroniką.\r\n\r\nPrzegląd filmów o muzyce w ramach AVANT ART jest zaledwie namiastką tego, co prezentuje niemiecka scena muzyczna, ale stanowi doskonałe dopełnienie koncertów. To także jeden z kluczowych elementów przestrzeni dla kultury AVANT ART, w ramach której w trakcie festiwalu prócz projekcji filmów, odbywać się będą koncerty, spotkania z literaturą („Czytanie w ciemnościach” z Ritą Baum”), performance’y i debaty. W ramach 5. edycji AVANT ART do Wrocławia przyjadą gwiazdy niemieckiej sceny muzycznej m.in.: DAF, Moritz Von Oswald Trio, Kangding Ray, Byetone, Frank Bretschneider, Caspar Brotzmann Massaker i Peter Broztmann & Defibrillator.\r\n\r\nBilety na filmy ( w tym koncert FM Einheita) do nabycia w Helios Nowe Horyzonty (Kazimierza Wielkiego 19-21, Wrocław)\r\nAvant Art Festival is not only music – it touches on all the planes of art, in which music plays an important role. That is why – for the first time in the festival’s history – a new programme block will appear during its fifth edition – the presentations of documentaries and films. During this year’s film series, taking place in the space of the Helios cinema, the audience will have a chance to see seven pictures. Out of assumption, the presented film will thematically correspond to the events on the music stage of the festival, at the same time broadening its context to include the cultural and historical dimension. This year’s films, just like the main part of AAF, focus on bringing the rich German art closer to the audience. We will present films illustrating the most interesting artist figures and events, which took place in the experimental music of the country over the last decades. Already classic motion pictures, which the Polish recipients will have a chance to see for the first time on the big screen, will appear among them, as well as new productions. The starting point of the selection of the films was not only their substantial worth, but aesthetic qualities, which will make the presented pictures a musical feast for the enthusiasts of unusual Avant sounds.
\r\nThe wide range of themes of the presented films is aimed at presenting the uniquely diverse German scene as fully as possible. We will see the birth of krautrock, visit the times of the punk rebellion, we will follow the development of electronic trends, stumble upon the Berlin underground and get acquainted with a wide variety of music and its contemporary creators. Additionally, special events accompanying the films as a part of Avant Film, such as meetings and discussions with experts and specialists of particular spheres, as well as the creators of the presented films, will be enriched by lectures about their wider context. A separate event in the programme, accompanying the screening of the film presenting the phenomenon of punk rock in East Germany, will be an exhibition of artefacts from that time period in the Galeria U [U Gallery]
\r\nCooperation:
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PATRONAGE
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\r\nThe Festival is organized by Avant Art Foundation
\r\nAvant Art Foundation
\r\nSPACE – CULTURE
In its assumption, the foundation was devised and created to carry out the Avant Art Festival project, however currently in the context of dynamics and the development it supports not only the festival, but also creates other multi-disciplinary activities connected with performative art.
\r\nWe are still obliged by the artistic attitude “in between”.
\r\nThe main aim of the Avant Art Foundation’s strategy in the next few years is the continuation of changes in character and form of the activities carried out within its limits. Thus, currently the project of the foundation and our strategy concerning thinking about Culture includes creating and shaping a space intended for an all-year-long artistic, curator, educational and social activity, connected with running workshops and trainings as a part of cyclical projects and the projects themselves. Carrying out co-production activities is also very important in the strategy of the foundation.
\r\nThese dynamic changes and transformations in the thinking about the foundation, are also supposed to serve the production of numerous artistic events in co-operation with diverse artists or organisations. This year’s (2012) Avant Art’s productions are an example:
\r\nRePLAY. An expansion of the ReFUN Recycling Installation, a project carried out in Warsaw or the Pop Up 231 gallery-workshop space in Wrocław by Gabukow/Gabriela Kowalska and Alicja Wacowska. According to out conception, the Avant Art Foundation is supposed to become a liberator of contacts and inter-disciplinary activities, thus becoming a base for innovative artistic endeavours. Artists are and will be invited, in order to present their previous projects, but new creations understood as “continuations” and “combinations” are as important; i.e. activities concerned with the work of artists, who will be presented as a part of different programmes. Furthermore, a very important intention of the Avant Art Foundation is more and more frequently the role of initiating educational and social activities, such as cultural education and the acquisition of local societies, which will be possible not only as a part of the Avant Art Festival, but above all in co-operation with the artists, curators and other institutions or organizations related to Culture.
\r\nThanks to its activities, the Avant Art Foundation is intended to become “a living artistic organism”. The programme of the foundation’s activities is supposed to be a result of constant partnership contacts between artists, managers and curators from all around Europe, as well as a result of a year-long work on the projects carried out as a part of the foundations actions. It is aimed at becoming a “place” combining, within the limits of co-productions, activities of not only local or nation reach, but first of all of international reach. The planned productions, budgeting system and promotion strategy will allow the functioning of the foundation as a modern culture institution, retaining full autonomy and independence.
\r\n', 'OrganizatorOrganizer', '', 'inherit', 'closed', 'closed', '', '14-revision-14', '', '', '2012-09-16 12:28:40', '2012-09-16 10:28:40', '', 14, 'http://avantart.pl/14-revision-14/', 0, 'revision', '', 0); INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (760, 2, '2012-09-16 12:29:11', '2012-09-16 10:29:11', 'Organizatorem festiwalu jest fundacja Avant Art.\r\n\r\nFundacja Avant Art\r\nPRZESTRZEŃ - KULTURA\r\n\r\nFundacja w swoim założeniu stworzona i wymyślona została do prowadzenia projektu Avant Art Festival, obecnie jednak w kontekście dynamiki i rozwoju wspiera nie tylko festiwal, ale kreuje też inne działania interdyscyplinarne związane ze sztuką performatywną. Cały czas obowiązuje nas artystyczna postawa „in between”.\r\nPodstawowym celem strategii fundacji Avant Art w ciągu najbliższych kilku lat jest kontynuacja zmiany charakteru i formy działań realizowanych w jej obrębie. Tak więc obecnie projekt fundacji i nasza strategia myślenia o Kulturze obejmuje stworzenie i kreacje przestrzeni przeznaczonej na całoroczną aktywność artystyczną, kuratorską, edukacyjną oraz społeczną związaną z prowadzeniem warsztatów i szkoleń w ramach projektów cyklicznych oraz samych projektów cyklicznych. Bardzo istotne w strategii fundacji jest także prowadzenie oraz realizacja działań koprodukcyjnych.\r\n\r\nTe dynamiczne zmiany i przekształcenia w myśleniu o fundacji mają służyć także realizacji wielu wydarzeń artystycznych we współpracy z różnymi artystami czy organizacjami. Przykładem są tegoroczne (2012r.) realizacje Avant Art:\r\nRePLAY – Rozbudowa Instalacji Recyklingowej ReFUN, projekt zrealizowany w Warszawie czy przestrzeń galeryjno - warsztatową Pop Up 203, prowadzona we Wrocławiu przez Gabukow/Gabrielę Kowalską i Alicje Wacowską. Według naszej koncepcji fundacja Avant Art ma stać się wyzwolicielem kontaktów oraz interdyscyplinarnych działań, a przez to także bazą nowatorskich przedsięwzięć artystycznych. Artyści zaproszeni są i będą, by w jej ramach prezentować swoje dotychczasowe projekty, ale bardzo istotne są też nowe kreacje rozumiane jako „kontynuacje” i „łączenia”, czyli aktywności związane z pracą artystów, których będziemy prezentować w ramach różnych programów. Ponadto ważną intencją fundacji Avant Art jest coraz częściej rola inicjująca działania edukacyjne i społeczne, takie jak edukacja kulturalna oraz aktywizacja społeczności lokalnych, co możliwe będzie nie tylko w ramach festiwalu Avant Art, ale przede wszystkim we współpracy z artystami, kuratorami oraz innymi instytucjami czy organizacjami związanymi z Kulturą.\r\n\r\nDzięki swoim działaniom fundacja Avant Art ma się stać się „artystycznym żywym organizmem”. Program aktywności fundacji ma być wynikiem stałych kontaktów partnerskich między artystami, managerami i kuratorami z całej Europy, a także rezultatem całorocznej pracy nad projektami realizowanymi w ramach funkcjonowania fundacji. Ma się stać „miejscem” łączenia w ramach koprodukcji działań o zasięgu nie tylko lokalnym czy krajowym, ale przede wszystkim międzynarodowym. Planowane realizacje, system budżetowania oraz strategia promocji umożliwiać będzie funkcjonowanie fundacji jako nowoczesnej instytucji kultury, zachowującej w pełni autonomię i niezależność.\r\n\r\n\r\n\r\nThe Festival is organized by Avant Art Foundation
\r\nAvant Art Foundation
\r\nSPACE – CULTURE
In its assumption, the foundation was devised and created to carry out the Avant Art Festival project, however currently in the context of dynamics and the development it supports not only the festival, but also creates other multi-disciplinary activities connected with performative art.
\r\nWe are still obliged by the artistic attitude “in between”.
\r\nThe main aim of the Avant Art Foundation’s strategy in the next few years is the continuation of changes in character and form of the activities carried out within its limits. Thus, currently the project of the foundation and our strategy concerning thinking about Culture includes creating and shaping a space intended for an all-year-long artistic, curator, educational and social activity, connected with running workshops and trainings as a part of cyclical projects and the projects themselves. Carrying out co-production activities is also very important in the strategy of the foundation.
\r\nThese dynamic changes and transformations in the thinking about the foundation, are also supposed to serve the production of numerous artistic events in co-operation with diverse artists or organisations. This year’s (2012) Avant Art’s productions are an example:
\r\nRePLAY. An expansion of the ReFUN Recycling Installation, a project carried out in Warsaw or the Pop Up 231 gallery-workshop space in Wrocław by Gabukow/Gabriela Kowalska and Alicja Wacowska. According to out conception, the Avant Art Foundation is supposed to become a liberator of contacts and inter-disciplinary activities, thus becoming a base for innovative artistic endeavours. Artists are and will be invited, in order to present their previous projects, but new creations understood as “continuations” and “combinations” are as important; i.e. activities concerned with the work of artists, who will be presented as a part of different programmes. Furthermore, a very important intention of the Avant Art Foundation is more and more frequently the role of initiating educational and social activities, such as cultural education and the acquisition of local societies, which will be possible not only as a part of the Avant Art Festival, but above all in co-operation with the artists, curators and other institutions or organizations related to Culture.
\r\nThanks to its activities, the Avant Art Foundation is intended to become “a living artistic organism”. The programme of the foundation’s activities is supposed to be a result of constant partnership contacts between artists, managers and curators from all around Europe, as well as a result of a year-long work on the projects carried out as a part of the foundations actions. It is aimed at becoming a “place” combining, within the limits of co-productions, activities of not only local or nation reach, but first of all of international reach. The planned productions, budgeting system and promotion strategy will allow the functioning of the foundation as a modern culture institution, retaining full autonomy and independence.
\r\n', 'OrganizatorOrganizer', '', 'inherit', 'closed', 'closed', '', '14-revision-15', '', '', '2012-09-16 12:29:11', '2012-09-16 10:29:11', '', 14, 'http://avantart.pl/14-revision-15/', 0, 'revision', '', 0); INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (761, 2, '2012-09-16 12:30:56', '2012-09-16 10:30:56', 'Organizatorem festiwalu jest fundacja Avant Art.\r\n\r\nFundacja Avant Art\r\nPRZESTRZEŃ - KULTURA\r\n\r\nFundacja w swoim założeniu stworzona i wymyślona została do prowadzenia projektu Avant Art Festival, obecnie jednak w kontekście dynamiki i rozwoju wspiera nie tylko festiwal, ale kreuje też inne działania interdyscyplinarne związane ze sztuką performatywną. Cały czas obowiązuje nas artystyczna postawa „in between”.\r\nPodstawowym celem strategii fundacji Avant Art w ciągu najbliższych kilku lat jest kontynuacja zmiany charakteru i formy działań realizowanych w jej obrębie. Tak więc obecnie projekt fundacji i nasza strategia myślenia o Kulturze obejmuje stworzenie i kreacje przestrzeni przeznaczonej na całoroczną aktywność artystyczną, kuratorską, edukacyjną oraz społeczną związaną z prowadzeniem warsztatów i szkoleń w ramach projektów cyklicznych oraz samych projektów cyklicznych. Bardzo istotne w strategii fundacji jest także prowadzenie oraz realizacja działań koprodukcyjnych.\r\n\r\nTe dynamiczne zmiany i przekształcenia w myśleniu o fundacji mają służyć także realizacji wielu wydarzeń artystycznych we współpracy z różnymi artystami czy organizacjami. Przykładem są tegoroczne (2012r.) realizacje Avant Art:\r\nRePLAY – Rozbudowa Instalacji Recyklingowej ReFUN, projekt zrealizowany w Warszawie czy przestrzeń galeryjno - warsztatową Pop Up 203, prowadzona we Wrocławiu przez Gabukow/Gabrielę Kowalską i Alicje Wacowską. Według naszej koncepcji fundacja Avant Art ma stać się wyzwolicielem kontaktów oraz interdyscyplinarnych działań, a przez to także bazą nowatorskich przedsięwzięć artystycznych. Artyści zaproszeni są i będą, by w jej ramach prezentować swoje dotychczasowe projekty, ale bardzo istotne są też nowe kreacje rozumiane jako „kontynuacje” i „łączenia”, czyli aktywności związane z pracą artystów, których będziemy prezentować w ramach różnych programów. Ponadto ważną intencją fundacji Avant Art jest coraz częściej rola inicjująca działania edukacyjne i społeczne, takie jak edukacja kulturalna oraz aktywizacja społeczności lokalnych, co możliwe będzie nie tylko w ramach festiwalu Avant Art, ale przede wszystkim we współpracy z artystami, kuratorami oraz innymi instytucjami czy organizacjami związanymi z Kulturą.\r\n\r\nDzięki swoim działaniom fundacja Avant Art ma się stać się „artystycznym żywym organizmem”. Program aktywności fundacji ma być wynikiem stałych kontaktów partnerskich między artystami, managerami i kuratorami z całej Europy, a także rezultatem całorocznej pracy nad projektami realizowanymi w ramach funkcjonowania fundacji. Ma się stać „miejscem” łączenia w ramach koprodukcji działań o zasięgu nie tylko lokalnym czy krajowym, ale przede wszystkim międzynarodowym. Planowane realizacje, system budżetowania oraz strategia promocji umożliwiać będzie funkcjonowanie fundacji jako nowoczesnej instytucji kultury, zachowującej w pełni autonomię i niezależność.\r\n\r\n\r\n\r\nThe Festival is organized by Avant Art Foundation
\r\nAvant Art Foundation
\r\nSPACE – CULTURE
\r\nIn its assumption, the foundation was devised and created to carry out the Avant Art Festival project, however currently in the context of dynamics and the development it supports not only the festival, but also creates other multi-disciplinary activities connected with performative art.
\r\nWe are still obliged by the artistic attitude “in between”.
\r\nThe main aim of the Avant Art Foundation’s strategy in the next few years is the continuation of changes in character and form of the activities carried out within its limits. Thus, currently the project of the foundation and our strategy concerning thinking about Culture includes creating and shaping a space intended for an all-year-long artistic, curator, educational and social activity, connected with running workshops and trainings as a part of cyclical projects and the projects themselves. Carrying out co-production activities is also very important in the strategy of the foundation.
\r\nThese dynamic changes and transformations in the thinking about the foundation, are also supposed to serve the production of numerous artistic events in co-operation with diverse artists or organisations. This year’s (2012) Avant Art’s productions are an example:
\r\nRePLAY. An expansion of the ReFUN Recycling Installation, a project carried out in Warsaw or the Pop Up 231 gallery-workshop space in Wrocław by Gabukow/Gabriela Kowalska and Alicja Wacowska. According to out conception, the Avant Art Foundation is supposed to become a liberator of contacts and inter-disciplinary activities, thus becoming a base for innovative artistic endeavours. Artists are and will be invited, in order to present their previous projects, but new creations understood as “continuations” and “combinations” are as important; i.e. activities concerned with the work of artists, who will be presented as a part of different programmes. Furthermore, a very important intention of the Avant Art Foundation is more and more frequently the role of initiating educational and social activities, such as cultural education and the acquisition of local societies, which will be possible not only as a part of the Avant Art Festival, but above all in co-operation with the artists, curators and other institutions or organizations related to Culture.
\r\nThanks to its activities, the Avant Art Foundation is intended to become “a living artistic organism”. The programme of the foundation’s activities is supposed to be a result of constant partnership contacts between artists, managers and curators from all around Europe, as well as a result of a year-long work on the projects carried out as a part of the foundations actions. It is aimed at becoming a “place” combining, within the limits of co-productions, activities of not only local or nation reach, but first of all of international reach. The planned productions, budgeting system and promotion strategy will allow the functioning of the foundation as a modern culture institution, retaining full autonomy and independence.
\r\n', 'OrganizatorOrganizer', '', 'inherit', 'closed', 'closed', '', '14-revision-16', '', '', '2012-09-16 12:30:56', '2012-09-16 10:30:56', '', 14, 'http://avantart.pl/14-revision-16/', 0, 'revision', '', 0); INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (762, 2, '2012-09-16 12:33:24', '2012-09-16 10:33:24', 'Organizatorem festiwalu jest fundacja Avant Art.\r\n\r\nFundacja Avant Art\r\nPRZESTRZEŃ - KULTURA\r\n\r\nFundacja w swoim założeniu stworzona i wymyślona została do prowadzenia projektu Avant Art Festival, obecnie jednak w kontekście dynamiki i rozwoju wspiera nie tylko festiwal, ale kreuje też inne działania interdyscyplinarne związane ze sztuką performatywną. Cały czas obowiązuje nas artystyczna postawa „in between”.\r\nPodstawowym celem strategii fundacji Avant Art w ciągu najbliższych kilku lat jest kontynuacja zmiany charakteru i formy działań realizowanych w jej obrębie. Tak więc obecnie projekt fundacji i nasza strategia myślenia o Kulturze obejmuje stworzenie i kreacje przestrzeni przeznaczonej na całoroczną aktywność artystyczną, kuratorską, edukacyjną oraz społeczną związaną z prowadzeniem warsztatów i szkoleń w ramach projektów cyklicznych oraz samych projektów cyklicznych. Bardzo istotne w strategii fundacji jest także prowadzenie oraz realizacja działań koprodukcyjnych.\r\n\r\nTe dynamiczne zmiany i przekształcenia w myśleniu o fundacji mają służyć także realizacji wielu wydarzeń artystycznych we współpracy z różnymi artystami czy organizacjami. Przykładem są tegoroczne (2012r.) realizacje Avant Art:\r\nRePLAY – Rozbudowa Instalacji Recyklingowej ReFUN, projekt zrealizowany w Warszawie czy przestrzeń galeryjno - warsztatową Pop Up 203, prowadzona we Wrocławiu przez Gabukow/Gabrielę Kowalską i Alicje Wacowską. Według naszej koncepcji fundacja Avant Art ma stać się wyzwolicielem kontaktów oraz interdyscyplinarnych działań, a przez to także bazą nowatorskich przedsięwzięć artystycznych. Artyści zaproszeni są i będą, by w jej ramach prezentować swoje dotychczasowe projekty, ale bardzo istotne są też nowe kreacje rozumiane jako „kontynuacje” i „łączenia”, czyli aktywności związane z pracą artystów, których będziemy prezentować w ramach różnych programów. Ponadto ważną intencją fundacji Avant Art jest coraz częściej rola inicjująca działania edukacyjne i społeczne, takie jak edukacja kulturalna oraz aktywizacja społeczności lokalnych, co możliwe będzie nie tylko w ramach festiwalu Avant Art, ale przede wszystkim we współpracy z artystami, kuratorami oraz innymi instytucjami czy organizacjami związanymi z Kulturą.\r\n\r\nDzięki swoim działaniom fundacja Avant Art ma się stać się „artystycznym żywym organizmem”. Program aktywności fundacji ma być wynikiem stałych kontaktów partnerskich między artystami, managerami i kuratorami z całej Europy, a także rezultatem całorocznej pracy nad projektami realizowanymi w ramach funkcjonowania fundacji. Ma się stać „miejscem” łączenia w ramach koprodukcji działań o zasięgu nie tylko lokalnym czy krajowym, ale przede wszystkim międzynarodowym. Planowane realizacje, system budżetowania oraz strategia promocji umożliwiać będzie funkcjonowanie fundacji jako nowoczesnej instytucji kultury, zachowującej w pełni autonomię i niezależność.\r\n\r\n\r\n\r\nThe Festival is organized by Avant Art Foundation
\r\nAvant Art Foundation
\r\nSPACE – CULTURE
\r\nIn its assumption, the foundation was devised and created to carry out the Avant Art Festival project, however currently in the context of dynamics and the development it supports not only the festival, but also creates other multi-disciplinary activities connected with performative art.
\r\nWe are still obliged by the artistic attitude “in between”.
\r\nThe main aim of the Avant Art Foundation’s strategy in the next few years is the continuation of changes in character and form of the activities carried out within its limits. Thus, currently the project of the foundation and our strategy concerning thinking about Culture includes creating and shaping a space intended for an all-year-long artistic, curator, educational and social activity, connected with running workshops and trainings as a part of cyclical projects and the projects themselves. Carrying out co-production activities is also very important in the strategy of the foundation.
\r\nThese dynamic changes and transformations in the thinking about the foundation, are also supposed to serve the production of numerous artistic events in co-operation with diverse artists or organisations. This year’s (2012) Avant Art’s productions are an example:
\r\nRePLAY. An expansion of the ReFUN Recycling Installation, a project carried out in Warsaw or the Pop Up 231 gallery-workshop space in Wrocław by Gabukow/Gabriela Kowalska and Alicja Wacowska. According to out conception, the Avant Art Foundation is supposed to become a liberator of contacts and inter-disciplinary activities, thus becoming a base for innovative artistic endeavours. Artists are and will be invited, in order to present their previous projects, but new creations understood as “continuations” and “combinations” are as important; i.e. activities concerned with the work of artists, who will be presented as a part of different programmes. Furthermore, a very important intention of the Avant Art Foundation is more and more frequently the role of initiating educational and social activities, such as cultural education and the acquisition of local societies, which will be possible not only as a part of the Avant Art Festival, but above all in co-operation with the artists, curators and other institutions or organizations related to Culture.
\r\nThanks to its activities, the Avant Art Foundation is intended to become “a living artistic organism”. The programme of the foundation’s activities is supposed to be a result of constant partnership contacts between artists, managers and curators from all around Europe, as well as a result of a year-long work on the projects carried out as a part of the foundations actions. It is aimed at becoming a “place” combining, within the limits of co-productions, activities of not only local or nation reach, but first of all of international reach. The planned productions, budgeting system and promotion strategy will allow the functioning of the foundation as a modern culture institution, retaining full autonomy and independence.
\r\n', 'OrganizatorOrganizer', '', 'inherit', 'closed', 'closed', '', '14-revision-17', '', '', '2012-09-16 12:33:24', '2012-09-16 10:33:24', '', 14, 'http://avantart.pl/14-revision-17/', 0, 'revision', '', 0); INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (763, 2, '2012-09-16 12:34:24', '2012-09-16 10:34:24', 'Organizatorem festiwalu jest fundacja Avant Art.\r\n\r\nFundacja Avant Art\r\nPRZESTRZEŃ - KULTURA\r\n\r\n \r\n\r\nFundacja w swoim założeniu stworzona i wymyślona została do prowadzenia projektu Avant Art Festival, obecnie jednak w kontekście dynamiki i rozwoju wspiera nie tylko festiwal, ale kreuje też inne działania interdyscyplinarne związane ze sztuką performatywną. Cały czas obowiązuje nas artystyczna postawa „in between”.\r\nPodstawowym celem strategii fundacji Avant Art w ciągu najbliższych kilku lat jest kontynuacja zmiany charakteru i formy działań realizowanych w jej obrębie. Tak więc obecnie projekt fundacji i nasza strategia myślenia o Kulturze obejmuje stworzenie i kreacje przestrzeni przeznaczonej na całoroczną aktywność artystyczną, kuratorską, edukacyjną oraz społeczną związaną z prowadzeniem warsztatów i szkoleń w ramach projektów cyklicznych oraz samych projektów cyklicznych. Bardzo istotne w strategii fundacji jest także prowadzenie oraz realizacja działań koprodukcyjnych.\r\n\r\nTe dynamiczne zmiany i przekształcenia w myśleniu o fundacji mają służyć także realizacji wielu wydarzeń artystycznych we współpracy z różnymi artystami czy organizacjami. Przykładem są tegoroczne (2012r.) realizacje Avant Art:\r\nRePLAY – Rozbudowa Instalacji Recyklingowej ReFUN, projekt zrealizowany w Warszawie czy przestrzeń galeryjno - warsztatową Pop Up 203, prowadzona we Wrocławiu przez Gabukow/Gabrielę Kowalską i Alicje Wacowską. Według naszej koncepcji fundacja Avant Art ma stać się wyzwolicielem kontaktów oraz interdyscyplinarnych działań, a przez to także bazą nowatorskich przedsięwzięć artystycznych. Artyści zaproszeni są i będą, by w jej ramach prezentować swoje dotychczasowe projekty, ale bardzo istotne są też nowe kreacje rozumiane jako „kontynuacje” i „łączenia”, czyli aktywności związane z pracą artystów, których będziemy prezentować w ramach różnych programów. Ponadto ważną intencją fundacji Avant Art jest coraz częściej rola inicjująca działania edukacyjne i społeczne, takie jak edukacja kulturalna oraz aktywizacja społeczności lokalnych, co możliwe będzie nie tylko w ramach festiwalu Avant Art, ale przede wszystkim we współpracy z artystami, kuratorami oraz innymi instytucjami czy organizacjami związanymi z Kulturą.\r\n\r\nDzięki swoim działaniom fundacja Avant Art ma się stać się „artystycznym żywym organizmem”. Program aktywności fundacji ma być wynikiem stałych kontaktów partnerskich między artystami, managerami i kuratorami z całej Europy, a także rezultatem całorocznej pracy nad projektami realizowanymi w ramach funkcjonowania fundacji. Ma się stać „miejscem” łączenia w ramach koprodukcji działań o zasięgu nie tylko lokalnym czy krajowym, ale przede wszystkim międzynarodowym. Planowane realizacje, system budżetowania oraz strategia promocji umożliwiać będzie funkcjonowanie fundacji jako nowoczesnej instytucji kultury, zachowującej w pełni autonomię i niezależność.\r\n\r\n\r\n\r\nThe Festival is organized by Avant Art Foundation \r\n\r\nAvant Art Foundation\r\n\r\nSPACE – CULTURE\r\n\r\n \r\n\r\nIn its assumption, the foundation was devised and created to carry out the Avant Art Festival project, however currently in the context of dynamics and the development it supports not only the festival, but also creates other multi-disciplinary activities connected with performative art.\r\n\r\nWe are still obliged by the artistic attitude “in between”.\r\n\r\nThe main aim of the Avant Art Foundation’s strategy in the next few years is the continuation of changes in character and form of the activities carried out within its limits. Thus, currently the project of the foundation and our strategy concerning thinking about Culture includes creating and shaping a space intended for an all-year-long artistic, curator, educational and social activity, connected with running workshops and trainings as a part of cyclical projects and the projects themselves. Carrying out co-production activities is also very important in the strategy of the foundation.\r\n\r\nThese dynamic changes and transformations in the thinking about the foundation, are also supposed to serve the production of numerous artistic events in co-operation with diverse artists or organisations. This year’s (2012) Avant Art’s productions are an example:\r\n\r\nRePLAY. An expansion of the ReFUN Recycling Installation, a project carried out in Warsaw or the Pop Up 231 gallery-workshop space in Wrocław by Gabukow/Gabriela Kowalska and Alicja Wacowska. According to out conception, the Avant Art Foundation is supposed to become a liberator of contacts and inter-disciplinary activities, thus becoming a base for innovative artistic endeavours. Artists are and will be invited, in order to present their previous projects, but new creations understood as “continuations” and “combinations” are as important; i.e. activities concerned with the work of artists, who will be presented as a part of different programmes. Furthermore, a very important intention of the Avant Art Foundation is more and more frequently the role of initiating educational and social activities, such as cultural education and the acquisition of local societies, which will be possible not only as a part of the Avant Art Festival, but above all in co-operation with the artists, curators and other institutions or organizations related to Culture.\r\n\r\nThanks to its activities, the Avant Art Foundation is intended to become “a living artistic organism”. The programme of the foundation’s activities is supposed to be a result of constant partnership contacts between artists, managers and curators from all around Europe, as well as a result of a year-long work on the projects carried out as a part of the foundations actions. It is aimed at becoming a “place” combining, within the limits of co-productions, activities of not only local or nation reach, but first of all of international reach. The planned productions, budgeting system and promotion strategy will allow the functioning of the foundation as a modern culture institution, retaining full autonomy and independence.', 'OrganizatorOrganizer', '', 'inherit', 'closed', 'closed', '', '14-revision-18', '', '', '2012-09-16 12:34:24', '2012-09-16 10:34:24', '', 14, 'http://avantart.pl/14-revision-18/', 0, 'revision', '', 0); INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (764, 2, '2012-09-16 12:35:10', '2012-09-16 10:35:10', 'Organizatorem festiwalu jest fundacja Avant Art.\r\n\r\nFundacja Avant Art\r\nPRZESTRZEŃ - KULTURA\r\n\r\nFundacja w swoim założeniu stworzona i wymyślona została do prowadzenia projektu Avant Art Festival, obecnie jednak w kontekście dynamiki i rozwoju wspiera nie tylko festiwal, ale kreuje też inne działania interdyscyplinarne związane ze sztuką performatywną. Cały czas obowiązuje nas artystyczna postawa „in between”.\r\nPodstawowym celem strategii fundacji Avant Art w ciągu najbliższych kilku lat jest kontynuacja zmiany charakteru i formy działań realizowanych w jej obrębie. Tak więc obecnie projekt fundacji i nasza strategia myślenia o Kulturze obejmuje stworzenie i kreacje przestrzeni przeznaczonej na całoroczną aktywność artystyczną, kuratorską, edukacyjną oraz społeczną związaną z prowadzeniem warsztatów i szkoleń w ramach projektów cyklicznych oraz samych projektów cyklicznych. Bardzo istotne w strategii fundacji jest także prowadzenie oraz realizacja działań koprodukcyjnych.\r\n\r\nTe dynamiczne zmiany i przekształcenia w myśleniu o fundacji mają służyć także realizacji wielu wydarzeń artystycznych we współpracy z różnymi artystami czy organizacjami. Przykładem są tegoroczne (2012r.) realizacje Avant Art:\r\nRePLAY – Rozbudowa Instalacji Recyklingowej ReFUN, projekt zrealizowany w Warszawie czy przestrzeń galeryjno - warsztatową Pop Up 203, prowadzona we Wrocławiu przez Gabukow/Gabrielę Kowalską i Alicje Wacowską. Według naszej koncepcji fundacja Avant Art ma stać się wyzwolicielem kontaktów oraz interdyscyplinarnych działań, a przez to także bazą nowatorskich przedsięwzięć artystycznych. Artyści zaproszeni są i będą, by w jej ramach prezentować swoje dotychczasowe projekty, ale bardzo istotne są też nowe kreacje rozumiane jako „kontynuacje” i „łączenia”, czyli aktywności związane z pracą artystów, których będziemy prezentować w ramach różnych programów. Ponadto ważną intencją fundacji Avant Art jest coraz częściej rola inicjująca działania edukacyjne i społeczne, takie jak edukacja kulturalna oraz aktywizacja społeczności lokalnych, co możliwe będzie nie tylko w ramach festiwalu Avant Art, ale przede wszystkim we współpracy z artystami, kuratorami oraz innymi instytucjami czy organizacjami związanymi z Kulturą.\r\n\r\nDzięki swoim działaniom fundacja Avant Art ma się stać się „artystycznym żywym organizmem”. Program aktywności fundacji ma być wynikiem stałych kontaktów partnerskich między artystami, managerami i kuratorami z całej Europy, a także rezultatem całorocznej pracy nad projektami realizowanymi w ramach funkcjonowania fundacji. Ma się stać „miejscem” łączenia w ramach koprodukcji działań o zasięgu nie tylko lokalnym czy krajowym, ale przede wszystkim międzynarodowym. Planowane realizacje, system budżetowania oraz strategia promocji umożliwiać będzie funkcjonowanie fundacji jako nowoczesnej instytucji kultury, zachowującej w pełni autonomię i niezależność.\r\n\r\n\r\n\r\nThe Festival is organized by Avant Art Foundation \r\n\r\nAvant Art Foundation\r\n\r\nSPACE – CULTURE\r\n\r\nIn its assumption, the foundation was devised and created to carry out the Avant Art Festival project, however currently in the context of dynamics and the development it supports not only the festival, but also creates other multi-disciplinary activities connected with performative art.\r\n\r\nWe are still obliged by the artistic attitude “in between”.\r\n\r\nThe main aim of the Avant Art Foundation’s strategy in the next few years is the continuation of changes in character and form of the activities carried out within its limits. Thus, currently the project of the foundation and our strategy concerning thinking about Culture includes creating and shaping a space intended for an all-year-long artistic, curator, educational and social activity, connected with running workshops and trainings as a part of cyclical projects and the projects themselves. Carrying out co-production activities is also very important in the strategy of the foundation.\r\n\r\nThese dynamic changes and transformations in the thinking about the foundation, are also supposed to serve the production of numerous artistic events in co-operation with diverse artists or organisations. This year’s (2012) Avant Art’s productions are an example:\r\n\r\nRePLAY. An expansion of the ReFUN Recycling Installation, a project carried out in Warsaw or the Pop Up 231 gallery-workshop space in Wrocław by Gabukow/Gabriela Kowalska and Alicja Wacowska. According to out conception, the Avant Art Foundation is supposed to become a liberator of contacts and inter-disciplinary activities, thus becoming a base for innovative artistic endeavours. Artists are and will be invited, in order to present their previous projects, but new creations understood as “continuations” and “combinations” are as important; i.e. activities concerned with the work of artists, who will be presented as a part of different programmes. Furthermore, a very important intention of the Avant Art Foundation is more and more frequently the role of initiating educational and social activities, such as cultural education and the acquisition of local societies, which will be possible not only as a part of the Avant Art Festival, but above all in co-operation with the artists, curators and other institutions or organizations related to Culture.\r\n\r\nThanks to its activities, the Avant Art Foundation is intended to become “a living artistic organism”. The programme of the foundation’s activities is supposed to be a result of constant partnership contacts between artists, managers and curators from all around Europe, as well as a result of a year-long work on the projects carried out as a part of the foundations actions. It is aimed at becoming a “place” combining, within the limits of co-productions, activities of not only local or nation reach, but first of all of international reach. The planned productions, budgeting system and promotion strategy will allow the functioning of the foundation as a modern culture institution, retaining full autonomy and independence.', 'OrganizatorOrganizer', '', 'inherit', 'closed', 'closed', '', '14-revision-19', '', '', '2012-09-16 12:35:10', '2012-09-16 10:35:10', '', 14, 'http://avantart.pl/14-revision-19/', 0, 'revision', '', 0); INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (765, 2, '2012-09-16 12:35:58', '2012-09-16 10:35:58', 'Organizatorem festiwalu jest fundacja Avant Art.\r\n\r\nFundacja Avant Art\r\nPRZESTRZEŃ - KULTURA\r\n\r\nFundacja w swoim założeniu stworzona i wymyślona została do prowadzenia projektu Avant Art Festival, obecnie jednak w kontekście dynamiki i rozwoju wspiera nie tylko festiwal, ale kreuje też inne działania interdyscyplinarne związane ze sztuką performatywną. Cały czas obowiązuje nas artystyczna postawa „in between”.\r\nPodstawowym celem strategii fundacji Avant Art w ciągu najbliższych kilku lat jest kontynuacja zmiany charakteru i formy działań realizowanych w jej obrębie. Tak więc obecnie projekt fundacji i nasza strategia myślenia o Kulturze obejmuje stworzenie i kreacje przestrzeni przeznaczonej na całoroczną aktywność artystyczną, kuratorską, edukacyjną oraz społeczną związaną z prowadzeniem warsztatów i szkoleń w ramach projektów cyklicznych oraz samych projektów cyklicznych. Bardzo istotne w strategii fundacji jest także prowadzenie oraz realizacja działań koprodukcyjnych.\r\n\r\nTe dynamiczne zmiany i przekształcenia w myśleniu o fundacji mają służyć także realizacji wielu wydarzeń artystycznych we współpracy z różnymi artystami czy organizacjami. Przykładem są tegoroczne (2012r.) realizacje Avant Art:\r\nRePLAY – Rozbudowa Instalacji Recyklingowej ReFUN, projekt zrealizowany w Warszawie czy przestrzeń galeryjno - warsztatową Pop Up 203, prowadzona we Wrocławiu przez Gabukow/Gabrielę Kowalską i Alicje Wacowską. Według naszej koncepcji fundacja Avant Art ma stać się wyzwolicielem kontaktów oraz interdyscyplinarnych działań, a przez to także bazą nowatorskich przedsięwzięć artystycznych. Artyści zaproszeni są i będą, by w jej ramach prezentować swoje dotychczasowe projekty, ale bardzo istotne są też nowe kreacje rozumiane jako „kontynuacje” i „łączenia”, czyli aktywności związane z pracą artystów, których będziemy prezentować w ramach różnych programów. Ponadto ważną intencją fundacji Avant Art jest coraz częściej rola inicjująca działania edukacyjne i społeczne, takie jak edukacja kulturalna oraz aktywizacja społeczności lokalnych, co możliwe będzie nie tylko w ramach festiwalu Avant Art, ale przede wszystkim we współpracy z artystami, kuratorami oraz innymi instytucjami czy organizacjami związanymi z Kulturą.\r\n\r\nDzięki swoim działaniom fundacja Avant Art ma się stać się „artystycznym żywym organizmem”. Program aktywności fundacji ma być wynikiem stałych kontaktów partnerskich między artystami, managerami i kuratorami z całej Europy, a także rezultatem całorocznej pracy nad projektami realizowanymi w ramach funkcjonowania fundacji. Ma się stać „miejscem” łączenia w ramach koprodukcji działań o zasięgu nie tylko lokalnym czy krajowym, ale przede wszystkim międzynarodowym. Planowane realizacje, system budżetowania oraz strategia promocji umożliwiać będzie funkcjonowanie fundacji jako nowoczesnej instytucji kultury, zachowującej w pełni autonomię i niezależność.\r\n\r\n\r\n\r\nThe Festival is organized by Avant Art Foundation \r\n\r\nAvant Art Foundation\r\n\r\nSPACE – CULTURE\r\n\r\nIn its assumption, the foundation was devised and created to carry out the Avant Art Festival project, however currently in the context of dynamics and the development it supports not only the festival, but also creates other multi-disciplinary activities connected with performative art. We are still obliged by the artistic attitude “in between”.\r\n\r\nThe main aim of the Avant Art Foundation’s strategy in the next few years is the continuation of changes in character and form of the activities carried out within its limits. Thus, currently the project of the foundation and our strategy concerning thinking about Culture includes creating and shaping a space intended for an all-year-long artistic, curator, educational and social activity, connected with running workshops and trainings as a part of cyclical projects and the projects themselves. Carrying out co-production activities is also very important in the strategy of the foundation.\r\n\r\nThese dynamic changes and transformations in the thinking about the foundation, are also supposed to serve the production of numerous artistic events in co-operation with diverse artists or organisations. This year’s (2012) Avant Art’s productions are an example:\r\n\r\nRePLAY. An expansion of the ReFUN Recycling Installation, a project carried out in Warsaw or the Pop Up 231 gallery-workshop space in Wrocław by Gabukow/Gabriela Kowalska and Alicja Wacowska. According to out conception, the Avant Art Foundation is supposed to become a liberator of contacts and inter-disciplinary activities, thus becoming a base for innovative artistic endeavours. Artists are and will be invited, in order to present their previous projects, but new creations understood as “continuations” and “combinations” are as important; i.e. activities concerned with the work of artists, who will be presented as a part of different programmes. Furthermore, a very important intention of the Avant Art Foundation is more and more frequently the role of initiating educational and social activities, such as cultural education and the acquisition of local societies, which will be possible not only as a part of the Avant Art Festival, but above all in co-operation with the artists, curators and other institutions or organizations related to Culture.\r\n\r\nThanks to its activities, the Avant Art Foundation is intended to become “a living artistic organism”. The programme of the foundation’s activities is supposed to be a result of constant partnership contacts between artists, managers and curators from all around Europe, as well as a result of a year-long work on the projects carried out as a part of the foundations actions. It is aimed at becoming a “place” combining, within the limits of co-productions, activities of not only local or nation reach, but first of all of international reach. The planned productions, budgeting system and promotion strategy will allow the functioning of the foundation as a modern culture institution, retaining full autonomy and independence.', 'OrganizatorOrganizer', '', 'inherit', 'closed', 'closed', '', '14-revision-20', '', '', '2012-09-16 12:35:58', '2012-09-16 10:35:58', '', 14, 'http://avantart.pl/14-revision-20/', 0, 'revision', '', 0); INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (766, 2, '2012-09-16 12:36:38', '2012-09-16 10:36:38', 'Organizatorem festiwalu jest fundacja Avant Art.\r\n\r\nFundacja Avant Art\r\n PRZESTRZEŃ - KULTURA\r\n\r\nFundacja w swoim założeniu stworzona i wymyślona została do prowadzenia projektu Avant Art Festival, obecnie jednak w kontekście dynamiki i rozwoju wspiera nie tylko festiwal, ale kreuje też inne działania interdyscyplinarne związane ze sztuką performatywną. Cały czas obowiązuje nas artystyczna postawa „in between”.\r\nPodstawowym celem strategii fundacji Avant Art w ciągu najbliższych kilku lat jest kontynuacja zmiany charakteru i formy działań realizowanych w jej obrębie. Tak więc obecnie projekt fundacji i nasza strategia myślenia o Kulturze obejmuje stworzenie i kreacje przestrzeni przeznaczonej na całoroczną aktywność artystyczną, kuratorską, edukacyjną oraz społeczną związaną z prowadzeniem warsztatów i szkoleń w ramach projektów cyklicznych oraz samych projektów cyklicznych. Bardzo istotne w strategii fundacji jest także prowadzenie oraz realizacja działań koprodukcyjnych.\r\n\r\nTe dynamiczne zmiany i przekształcenia w myśleniu o fundacji mają służyć także realizacji wielu wydarzeń artystycznych we współpracy z różnymi artystami czy organizacjami. Przykładem są tegoroczne (2012r.) realizacje Avant Art:\r\nRePLAY – Rozbudowa Instalacji Recyklingowej ReFUN, projekt zrealizowany w Warszawie czy przestrzeń galeryjno - warsztatową Pop Up 203, prowadzona we Wrocławiu przez Gabukow/Gabrielę Kowalską i Alicje Wacowską. Według naszej koncepcji fundacja Avant Art ma stać się wyzwolicielem kontaktów oraz interdyscyplinarnych działań, a przez to także bazą nowatorskich przedsięwzięć artystycznych. Artyści zaproszeni są i będą, by w jej ramach prezentować swoje dotychczasowe projekty, ale bardzo istotne są też nowe kreacje rozumiane jako „kontynuacje” i „łączenia”, czyli aktywności związane z pracą artystów, których będziemy prezentować w ramach różnych programów. Ponadto ważną intencją fundacji Avant Art jest coraz częściej rola inicjująca działania edukacyjne i społeczne, takie jak edukacja kulturalna oraz aktywizacja społeczności lokalnych, co możliwe będzie nie tylko w ramach festiwalu Avant Art, ale przede wszystkim we współpracy z artystami, kuratorami oraz innymi instytucjami czy organizacjami związanymi z Kulturą.\r\n\r\nDzięki swoim działaniom fundacja Avant Art ma się stać się „artystycznym żywym organizmem”. Program aktywności fundacji ma być wynikiem stałych kontaktów partnerskich między artystami, managerami i kuratorami z całej Europy, a także rezultatem całorocznej pracy nad projektami realizowanymi w ramach funkcjonowania fundacji. Ma się stać „miejscem” łączenia w ramach koprodukcji działań o zasięgu nie tylko lokalnym czy krajowym, ale przede wszystkim międzynarodowym. Planowane realizacje, system budżetowania oraz strategia promocji umożliwiać będzie funkcjonowanie fundacji jako nowoczesnej instytucji kultury, zachowującej w pełni autonomię i niezależność.\r\n\r\n\r\n\r\nThe Festival is organized by Avant Art Foundation \r\n\r\nAvant Art Foundation\r\n SPACE – CULTURE\r\n\r\nIn its assumption, the foundation was devised and created to carry out the Avant Art Festival project, however currently in the context of dynamics and the development it supports not only the festival, but also creates other multi-disciplinary activities connected with performative art. We are still obliged by the artistic attitude “in between”.\r\n\r\nThe main aim of the Avant Art Foundation’s strategy in the next few years is the continuation of changes in character and form of the activities carried out within its limits. Thus, currently the project of the foundation and our strategy concerning thinking about Culture includes creating and shaping a space intended for an all-year-long artistic, curator, educational and social activity, connected with running workshops and trainings as a part of cyclical projects and the projects themselves. Carrying out co-production activities is also very important in the strategy of the foundation.\r\n\r\nThese dynamic changes and transformations in the thinking about the foundation, are also supposed to serve the production of numerous artistic events in co-operation with diverse artists or organisations. This year’s (2012) Avant Art’s productions are an example:\r\n\r\nRePLAY. An expansion of the ReFUN Recycling Installation, a project carried out in Warsaw or the Pop Up 231 gallery-workshop space in Wrocław by Gabukow/Gabriela Kowalska and Alicja Wacowska. According to out conception, the Avant Art Foundation is supposed to become a liberator of contacts and inter-disciplinary activities, thus becoming a base for innovative artistic endeavours. Artists are and will be invited, in order to present their previous projects, but new creations understood as “continuations” and “combinations” are as important; i.e. activities concerned with the work of artists, who will be presented as a part of different programmes. Furthermore, a very important intention of the Avant Art Foundation is more and more frequently the role of initiating educational and social activities, such as cultural education and the acquisition of local societies, which will be possible not only as a part of the Avant Art Festival, but above all in co-operation with the artists, curators and other institutions or organizations related to Culture.\r\n\r\nThanks to its activities, the Avant Art Foundation is intended to become “a living artistic organism”. The programme of the foundation’s activities is supposed to be a result of constant partnership contacts between artists, managers and curators from all around Europe, as well as a result of a year-long work on the projects carried out as a part of the foundations actions. It is aimed at becoming a “place” combining, within the limits of co-productions, activities of not only local or nation reach, but first of all of international reach. The planned productions, budgeting system and promotion strategy will allow the functioning of the foundation as a modern culture institution, retaining full autonomy and independence.', 'OrganizatorOrganizer', '', 'inherit', 'closed', 'closed', '', '14-revision-21', '', '', '2012-09-16 12:36:38', '2012-09-16 10:36:38', '', 14, 'http://avantart.pl/14-revision-21/', 0, 'revision', '', 0); INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (767, 2, '2012-09-16 12:37:31', '2012-09-16 10:37:31', 'Organizatorem festiwalu jest fundacja Avant Art.\r\n\r\nFundacja Avant Art\r\n PRZESTRZEŃ - KULTURA\r\n\r\nFundacja w swoim założeniu stworzona i wymyślona została do prowadzenia projektu Avant Art Festival, obecnie jednak w kontekście dynamiki i rozwoju wspiera nie tylko festiwal, ale kreuje też inne działania interdyscyplinarne związane ze sztuką performatywną. Cały czas obowiązuje nas artystyczna postawa „in between”.\r\nPodstawowym celem strategii fundacji Avant Art w ciągu najbliższych kilku lat jest kontynuacja zmiany charakteru i formy działań realizowanych w jej obrębie. Tak więc obecnie projekt fundacji i nasza strategia myślenia o Kulturze obejmuje stworzenie i kreacje przestrzeni przeznaczonej na całoroczną aktywność artystyczną, kuratorską, edukacyjną oraz społeczną związaną z prowadzeniem warsztatów i szkoleń w ramach projektów cyklicznych oraz samych projektów cyklicznych. Bardzo istotne w strategii fundacji jest także prowadzenie oraz realizacja działań koprodukcyjnych.\r\n\r\nTe dynamiczne zmiany i przekształcenia w myśleniu o fundacji mają służyć także realizacji wielu wydarzeń artystycznych we współpracy z różnymi artystami czy organizacjami. Przykładem są tegoroczne (2012r.) realizacje Avant Art:\r\nRePLAY – Rozbudowa Instalacji Recyklingowej ReFUN, projekt zrealizowany w Warszawie czy przestrzeń galeryjno - warsztatową Pop Up 203, prowadzona we Wrocławiu przez Gabukow/Gabrielę Kowalską i Alicje Wacowską. Według naszej koncepcji fundacja Avant Art ma stać się wyzwolicielem kontaktów oraz interdyscyplinarnych działań, a przez to także bazą nowatorskich przedsięwzięć artystycznych. Artyści zaproszeni są i będą, by w jej ramach prezentować swoje dotychczasowe projekty, ale bardzo istotne są też nowe kreacje rozumiane jako „kontynuacje” i „łączenia”, czyli aktywności związane z pracą artystów, których będziemy prezentować w ramach różnych programów. Ponadto ważną intencją fundacji Avant Art jest coraz częściej rola inicjująca działania edukacyjne i społeczne, takie jak edukacja kulturalna oraz aktywizacja społeczności lokalnych, co możliwe będzie nie tylko w ramach festiwalu Avant Art, ale przede wszystkim we współpracy z artystami, kuratorami oraz innymi instytucjami czy organizacjami związanymi z Kulturą.\r\n\r\nDzięki swoim działaniom fundacja Avant Art ma się stać się „artystycznym żywym organizmem”. Program aktywności fundacji ma być wynikiem stałych kontaktów partnerskich między artystami, managerami i kuratorami z całej Europy, a także rezultatem całorocznej pracy nad projektami realizowanymi w ramach funkcjonowania fundacji. Ma się stać „miejscem” łączenia w ramach koprodukcji działań o zasięgu nie tylko lokalnym czy krajowym, ale przede wszystkim międzynarodowym. Planowane realizacje, system budżetowania oraz strategia promocji umożliwiać będzie funkcjonowanie fundacji jako nowoczesnej instytucji kultury, zachowującej w pełni autonomię i niezależność.\r\n\r\n\r\n\r\nThe Festival is organized by Avant Art Foundation \r\n\r\nAvant Art Foundation\r\n\r\n SPACE – CULTURE\r\n\r\nIn its assumption, the foundation was devised and created to carry out the Avant Art Festival project, however currently in the context of dynamics and the development it supports not only the festival, but also creates other multi-disciplinary activities connected with performative art. We are still obliged by the artistic attitude “in between”.\r\n\r\nThe main aim of the Avant Art Foundation’s strategy in the next few years is the continuation of changes in character and form of the activities carried out within its limits. Thus, currently the project of the foundation and our strategy concerning thinking about Culture includes creating and shaping a space intended for an all-year-long artistic, curator, educational and social activity, connected with running workshops and trainings as a part of cyclical projects and the projects themselves. Carrying out co-production activities is also very important in the strategy of the foundation.\r\n\r\nThese dynamic changes and transformations in the thinking about the foundation, are also supposed to serve the production of numerous artistic events in co-operation with diverse artists or organisations. This year’s (2012) Avant Art’s productions are an example: RePLAY. An expansion of the ReFUN Recycling Installation, a project carried out in Warsaw or the Pop Up 231 gallery-workshop space in Wrocław by Gabukow/Gabriela Kowalska and Alicja Wacowska. According to out conception, the Avant Art Foundation is supposed to become a liberator of contacts and inter-disciplinary activities, thus becoming a base for innovative artistic endeavours. Artists are and will be invited, in order to present their previous projects, but new creations understood as “continuations” and “combinations” are as important; i.e. activities concerned with the work of artists, who will be presented as a part of different programmes. Furthermore, a very important intention of the Avant Art Foundation is more and more frequently the role of initiating educational and social activities, such as cultural education and the acquisition of local societies, which will be possible not only as a part of the Avant Art Festival, but above all in co-operation with the artists, curators and other institutions or organizations related to Culture.\r\n\r\nThanks to its activities, the Avant Art Foundation is intended to become “a living artistic organism”. The programme of the foundation’s activities is supposed to be a result of constant partnership contacts between artists, managers and curators from all around Europe, as well as a result of a year-long work on the projects carried out as a part of the foundations actions. It is aimed at becoming a “place” combining, within the limits of co-productions, activities of not only local or nation reach, but first of all of international reach. The planned productions, budgeting system and promotion strategy will allow the functioning of the foundation as a modern culture institution, retaining full autonomy and independence.', 'OrganizatorOrganizer', '', 'inherit', 'closed', 'closed', '', '14-revision-22', '', '', '2012-09-16 12:37:31', '2012-09-16 10:37:31', '', 14, 'http://avantart.pl/14-revision-22/', 0, 'revision', '', 0); INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (768, 2, '2012-09-16 12:37:58', '2012-09-16 10:37:58', 'Organizatorem festiwalu jest fundacja Avant Art.\r\n\r\nFundacja Avant Art\r\n PRZESTRZEŃ - KULTURA\r\n\r\nFundacja w swoim założeniu stworzona i wymyślona została do prowadzenia projektu Avant Art Festival, obecnie jednak w kontekście dynamiki i rozwoju wspiera nie tylko festiwal, ale kreuje też inne działania interdyscyplinarne związane ze sztuką performatywną. Cały czas obowiązuje nas artystyczna postawa „in between”.\r\nPodstawowym celem strategii fundacji Avant Art w ciągu najbliższych kilku lat jest kontynuacja zmiany charakteru i formy działań realizowanych w jej obrębie. Tak więc obecnie projekt fundacji i nasza strategia myślenia o Kulturze obejmuje stworzenie i kreacje przestrzeni przeznaczonej na całoroczną aktywność artystyczną, kuratorską, edukacyjną oraz społeczną związaną z prowadzeniem warsztatów i szkoleń w ramach projektów cyklicznych oraz samych projektów cyklicznych. Bardzo istotne w strategii fundacji jest także prowadzenie oraz realizacja działań koprodukcyjnych.\r\n\r\nTe dynamiczne zmiany i przekształcenia w myśleniu o fundacji mają służyć także realizacji wielu wydarzeń artystycznych we współpracy z różnymi artystami czy organizacjami. Przykładem są tegoroczne (2012r.) realizacje Avant Art:\r\nRePLAY – Rozbudowa Instalacji Recyklingowej ReFUN, projekt zrealizowany w Warszawie czy przestrzeń galeryjno - warsztatową Pop Up 203, prowadzona we Wrocławiu przez Gabukow/Gabrielę Kowalską i Alicje Wacowską. Według naszej koncepcji fundacja Avant Art ma stać się wyzwolicielem kontaktów oraz interdyscyplinarnych działań, a przez to także bazą nowatorskich przedsięwzięć artystycznych. Artyści zaproszeni są i będą, by w jej ramach prezentować swoje dotychczasowe projekty, ale bardzo istotne są też nowe kreacje rozumiane jako „kontynuacje” i „łączenia”, czyli aktywności związane z pracą artystów, których będziemy prezentować w ramach różnych programów. Ponadto ważną intencją fundacji Avant Art jest coraz częściej rola inicjująca działania edukacyjne i społeczne, takie jak edukacja kulturalna oraz aktywizacja społeczności lokalnych, co możliwe będzie nie tylko w ramach festiwalu Avant Art, ale przede wszystkim we współpracy z artystami, kuratorami oraz innymi instytucjami czy organizacjami związanymi z Kulturą.\r\n\r\nDzięki swoim działaniom fundacja Avant Art ma się stać się „artystycznym żywym organizmem”. Program aktywności fundacji ma być wynikiem stałych kontaktów partnerskich między artystami, managerami i kuratorami z całej Europy, a także rezultatem całorocznej pracy nad projektami realizowanymi w ramach funkcjonowania fundacji. Ma się stać „miejscem” łączenia w ramach koprodukcji działań o zasięgu nie tylko lokalnym czy krajowym, ale przede wszystkim międzynarodowym. Planowane realizacje, system budżetowania oraz strategia promocji umożliwiać będzie funkcjonowanie fundacji jako nowoczesnej instytucji kultury, zachowującej w pełni autonomię i niezależność.\r\n\r\n\r\n\r\nThe Festival is organized by Avant Art Foundation \r\n\r\nAvant Art Foundation\r\nSPACE – CULTURE\r\n\r\nIn its assumption, the foundation was devised and created to carry out the Avant Art Festival project, however currently in the context of dynamics and the development it supports not only the festival, but also creates other multi-disciplinary activities connected with performative art. We are still obliged by the artistic attitude “in between”.\r\n\r\nThe main aim of the Avant Art Foundation’s strategy in the next few years is the continuation of changes in character and form of the activities carried out within its limits. Thus, currently the project of the foundation and our strategy concerning thinking about Culture includes creating and shaping a space intended for an all-year-long artistic, curator, educational and social activity, connected with running workshops and trainings as a part of cyclical projects and the projects themselves. Carrying out co-production activities is also very important in the strategy of the foundation.\r\n\r\nThese dynamic changes and transformations in the thinking about the foundation, are also supposed to serve the production of numerous artistic events in co-operation with diverse artists or organisations. This year’s (2012) Avant Art’s productions are an example: RePLAY. An expansion of the ReFUN Recycling Installation, a project carried out in Warsaw or the Pop Up 231 gallery-workshop space in Wrocław by Gabukow/Gabriela Kowalska and Alicja Wacowska. According to out conception, the Avant Art Foundation is supposed to become a liberator of contacts and inter-disciplinary activities, thus becoming a base for innovative artistic endeavours. Artists are and will be invited, in order to present their previous projects, but new creations understood as “continuations” and “combinations” are as important; i.e. activities concerned with the work of artists, who will be presented as a part of different programmes. Furthermore, a very important intention of the Avant Art Foundation is more and more frequently the role of initiating educational and social activities, such as cultural education and the acquisition of local societies, which will be possible not only as a part of the Avant Art Festival, but above all in co-operation with the artists, curators and other institutions or organizations related to Culture.\r\n\r\nThanks to its activities, the Avant Art Foundation is intended to become “a living artistic organism”. The programme of the foundation’s activities is supposed to be a result of constant partnership contacts between artists, managers and curators from all around Europe, as well as a result of a year-long work on the projects carried out as a part of the foundations actions. It is aimed at becoming a “place” combining, within the limits of co-productions, activities of not only local or nation reach, but first of all of international reach. The planned productions, budgeting system and promotion strategy will allow the functioning of the foundation as a modern culture institution, retaining full autonomy and independence.', 'OrganizatorOrganizer', '', 'inherit', 'closed', 'closed', '', '14-revision-23', '', '', '2012-09-16 12:37:58', '2012-09-16 10:37:58', '', 14, 'http://avantart.pl/14-revision-23/', 0, 'revision', '', 0), (769, 2, '2012-08-07 10:20:21', '2012-08-07 08:20:21', 'ListaLista', 'Artyści i WydarzeniaArtists & Events', '', 'inherit', 'closed', 'closed', '', '36-revision-6', '', '', '2012-08-07 10:20:21', '2012-08-07 08:20:21', '', 36, 'http://avantart.pl/36-revision-6/', 0, 'revision', '', 0), (770, 2, '2012-09-25 14:37:15', '2012-09-25 12:37:15', '\n\nPod pseudonimem Long Arm ukrywa się Georgij – młody i utalentowany DJ, zafascynowany kulturą winyli. Ich duch przenika na wskroś jego twórczość, a jego muzyka jest nasycona często nieuchwytnym klimatem klasycznego jazzu, zaprezentowanego jednak w nowoczesnej i świeżej formie.\nLong Arm is a musician of German label Project: Mooncircle where he released two albums over 2011. This is debut LP called "The Branches" and compilation of remixes and b-sides, called "Organic" EP. Releases have received good support, and compositions have been noticed in mixes by Hidden Orchestra (Tru Thoughts label, UK), Gilles Peterson (BBC Radio 1, "All Winners Show") etc. His lifelong passion for jazz influenced his whole music style.
\n', 'LONG ARMLONG ARM', '', 'inherit', 'closed', 'closed', '', '670-autosave', '', '', '2012-09-25 14:37:15', '2012-09-25 12:37:15', '', 670, 'http://avantart.pl/670-autosave/', 0, 'revision', '', 0), (771, 2, '2012-09-12 00:46:33', '2012-09-11 22:46:33', '2–7.10.2012 / HELIOS NOWE HORYZONTY / WROCŁAW\r\nAvant Art Festival is not only music – it touches on all the planes of art, in which music plays an important role. That is why – for the first time in the festival’s history – a new programme block will appear during its fifth edition – the presentations of documentaries and films. During this year’s film series, taking place in the space of the Helios cinema, the audience will have a chance to see seven pictures. Out of assumption, the presented film will thematically correspond to the events on the music stage of the festival, at the same time broadening its context to include the cultural and historical dimension. This year’s films, just like the main part of AAF, focus on bringing the rich German art closer to the audience. We will present films illustrating the most interesting artist figures and events, which took place in the experimental music of the country over the last decades. Already classic motion pictures, which the Polish recipients will have a chance to see for the first time on the big screen, will appear among them, as well as new productions. The starting point of the selection of the films was not only their substantial worth, but aesthetic qualities, which will make the presented pictures a musical feast for the enthusiasts of unusual Avant sounds.
\r\nThe wide range of themes of the presented films is aimed at presenting the uniquely diverse German scene as fully as possible. We will see the birth of krautrock, visit the times of the punk rebellion, we will follow the development of electronic trends, stumble upon the Berlin underground and get acquainted with a wide variety of music and its contemporary creators. Additionally, special events accompanying the films as a part of Avant Film, such as meetings and discussions with experts and specialists of particular spheres, as well as the creators of the presented films, will be enriched by lectures about their wider context. A separate event in the programme, accompanying the screening of the film presenting the phenomenon of punk rock in East Germany, will be an exhibition of artefacts from that time period in the Galeria U [U Gallery]
\r\nCooperation:
\r\n', 'AVANT ART FILM', '', 'inherit', 'closed', 'closed', '', '284-revision-25', '', '', '2012-09-11 23:31:17', '2012-09-11 21:31:17', '', 284, 'http://avantart.pl/284-revision-25/', 0, 'revision', '', 0), (775, 2, '2012-09-17 23:03:29', '2012-09-17 21:03:29', '\r\n\r\nWe współpracy z: \r\nAvant Art Festival is not only music – it touches on all the planes of art, in which music plays an important role. That is why – for the first time in the festival’s history – a new programme block will appear during its fifth edition – the presentations of documentaries and films. During this year’s film series, taking place in the space of the Helios cinema, the audience will have a chance to see seven pictures. Out of assumption, the presented film will thematically correspond to the events on the music stage of the festival, at the same time broadening its context to include the cultural and historical dimension. This year’s films, just like the main part of AAF, focus on bringing the rich German art closer to the audience. We will present films illustrating the most interesting artist figures and events, which took place in the experimental music of the country over the last decades. Already classic motion pictures, which the Polish recipients will have a chance to see for the first time on the big screen, will appear among them, as well as new productions. The starting point of the selection of the films was not only their substantial worth, but aesthetic qualities, which will make the presented pictures a musical feast for the enthusiasts of unusual Avant sounds.
\r\nThe wide range of themes of the presented films is aimed at presenting the uniquely diverse German scene as fully as possible. We will see the birth of krautrock, visit the times of the punk rebellion, we will follow the development of electronic trends, stumble upon the Berlin underground and get acquainted with a wide variety of music and its contemporary creators. Additionally, special events accompanying the films as a part of Avant Film, such as meetings and discussions with experts and specialists of particular spheres, as well as the creators of the presented films, will be enriched by lectures about their wider context. A separate event in the programme, accompanying the screening of the film presenting the phenomenon of punk rock in East Germany, will be an exhibition of artefacts from that time period in the Galeria U [U Gallery]
\r\nCooperation:
\r\n', 'AVANT ART FILM', '', 'inherit', 'closed', 'closed', '', '284-revision-26', '', '', '2012-09-17 23:03:29', '2012-09-17 21:03:29', '', 284, 'http://avantart.pl/284-revision-26/', 0, 'revision', '', 0), (776, 2, '2012-09-17 23:08:34', '2012-09-17 21:08:34', '\r\n\r\nWe współpracy z: \r\nAvant Art Festival is not only music – it touches on all the planes of art, in which music plays an important role. That is why – for the first time in the festival’s history – a new programme block will appear during its fifth edition – the presentations of documentaries and films. During this year’s film series, taking place in the space of the Helios cinema, the audience will have a chance to see seven pictures. Out of assumption, the presented film will thematically correspond to the events on the music stage of the festival, at the same time broadening its context to include the cultural and historical dimension. This year’s films, just like the main part of AAF, focus on bringing the rich German art closer to the audience. We will present films illustrating the most interesting artist figures and events, which took place in the experimental music of the country over the last decades. Already classic motion pictures, which the Polish recipients will have a chance to see for the first time on the big screen, will appear among them, as well as new productions. The starting point of the selection of the films was not only their substantial worth, but aesthetic qualities, which will make the presented pictures a musical feast for the enthusiasts of unusual Avant sounds.
\r\nThe wide range of themes of the presented films is aimed at presenting the uniquely diverse German scene as fully as possible. We will see the birth of krautrock, visit the times of the punk rebellion, we will follow the development of electronic trends, stumble upon the Berlin underground and get acquainted with a wide variety of music and its contemporary creators. Additionally, special events accompanying the films as a part of Avant Film, such as meetings and discussions with experts and specialists of particular spheres, as well as the creators of the presented films, will be enriched by lectures about their wider context. A separate event in the programme, accompanying the screening of the film presenting the phenomenon of punk rock in East Germany, will be an exhibition of artefacts from that time period in the Galeria U [U Gallery]
\r\nCooperation:
\r\n', 'AVANT ART FILM', '', 'inherit', 'closed', 'closed', '', '284-revision-27', '', '', '2012-09-17 23:08:34', '2012-09-17 21:08:34', '', 284, 'http://avantart.pl/284-revision-27/', 0, 'revision', '', 0), (777, 2, '2012-09-17 23:09:28', '2012-09-17 21:09:28', '\r\n\r\nWe współpracy z: \r\nAvant Art Festival is not only music – it touches on all the planes of art, in which music plays an important role. That is why – for the first time in the festival’s history – a new programme block will appear during its fifth edition – the presentations of documentaries and films. During this year’s film series, taking place in the space of the Helios cinema, the audience will have a chance to see seven pictures. Out of assumption, the presented film will thematically correspond to the events on the music stage of the festival, at the same time broadening its context to include the cultural and historical dimension. This year’s films, just like the main part of AAF, focus on bringing the rich German art closer to the audience. We will present films illustrating the most interesting artist figures and events, which took place in the experimental music of the country over the last decades. Already classic motion pictures, which the Polish recipients will have a chance to see for the first time on the big screen, will appear among them, as well as new productions. The starting point of the selection of the films was not only their substantial worth, but aesthetic qualities, which will make the presented pictures a musical feast for the enthusiasts of unusual Avant sounds.
\r\nThe wide range of themes of the presented films is aimed at presenting the uniquely diverse German scene as fully as possible. We will see the birth of krautrock, visit the times of the punk rebellion, we will follow the development of electronic trends, stumble upon the Berlin underground and get acquainted with a wide variety of music and its contemporary creators. Additionally, special events accompanying the films as a part of Avant Film, such as meetings and discussions with experts and specialists of particular spheres, as well as the creators of the presented films, will be enriched by lectures about their wider context. A separate event in the programme, accompanying the screening of the film presenting the phenomenon of punk rock in East Germany, will be an exhibition of artefacts from that time period in the Galeria U [U Gallery]
\r\nCooperation:
\r\n', 'AVANT ART FILM', '', 'inherit', 'closed', 'closed', '', '284-revision-28', '', '', '2012-09-17 23:09:28', '2012-09-17 21:09:28', '', 284, 'http://avantart.pl/284-revision-28/', 0, 'revision', '', 0); INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (778, 2, '2012-09-17 23:09:45', '2012-09-17 21:09:45', '\r\n\r\nWe współpracy z: \r\nAvant Art Festival is not only music – it touches on all the planes of art, in which music plays an important role. That is why – for the first time in the festival’s history – a new programme block will appear during its fifth edition – the presentations of documentaries and films. During this year’s film series, taking place in the space of the Helios cinema, the audience will have a chance to see seven pictures. Out of assumption, the presented film will thematically correspond to the events on the music stage of the festival, at the same time broadening its context to include the cultural and historical dimension. This year’s films, just like the main part of AAF, focus on bringing the rich German art closer to the audience. We will present films illustrating the most interesting artist figures and events, which took place in the experimental music of the country over the last decades. Already classic motion pictures, which the Polish recipients will have a chance to see for the first time on the big screen, will appear among them, as well as new productions. The starting point of the selection of the films was not only their substantial worth, but aesthetic qualities, which will make the presented pictures a musical feast for the enthusiasts of unusual Avant sounds.
\r\nThe wide range of themes of the presented films is aimed at presenting the uniquely diverse German scene as fully as possible. We will see the birth of krautrock, visit the times of the punk rebellion, we will follow the development of electronic trends, stumble upon the Berlin underground and get acquainted with a wide variety of music and its contemporary creators. Additionally, special events accompanying the films as a part of Avant Film, such as meetings and discussions with experts and specialists of particular spheres, as well as the creators of the presented films, will be enriched by lectures about their wider context. A separate event in the programme, accompanying the screening of the film presenting the phenomenon of punk rock in East Germany, will be an exhibition of artefacts from that time period in the Galeria U [U Gallery]
\r\nCooperation:
\r\n', 'AVANT ART FILM', '', 'inherit', 'closed', 'closed', '', '284-revision-29', '', '', '2012-09-17 23:09:45', '2012-09-17 21:09:45', '', 284, 'http://avantart.pl/284-revision-29/', 0, 'revision', '', 0), (780, 1, '2012-09-07 14:15:12', '2012-09-07 12:15:12', '1) BIURO FESTIWALOWE IMPART 2016
\r\nul. Mazowiecka 17
\r\n2) BWA Wrocław | Galeria Design
\r\nul.Świdnicka 2
\r\n3) Eter Club
\r\nul. Kazimierza Wielkiego 19
\r\n4) BWA Wrocław, Galeria Avangarda
\r\nul. Wita Stwosza 32
\r\n', 'MiejscaLocations', '', 'inherit', 'closed', 'closed', '', '30-revision-13', '', '', '2012-09-06 12:54:45', '2012-09-06 10:54:45', '', 30, 'http://avantart.pl/30-revision-13/', 0, 'revision', '', 0), (803, 2, '2012-09-21 10:45:25', '2012-09-21 08:45:25', 'Miejsca festiwalowe:\r\n\r\n1) IMPART\r\nul. Mazowiecka 17\r\n\r\n2) Eter Club\r\nul. Kazimierza Wielkiego 19\r\n\r\n3) Helios Nowe Horyzonty\r\nul. Kazimierza Wielkiego 19a-21\r\n\r\n4) BWA Wrocław, Galeria Awangarda\r\nul. Wita Stwosza 32\r\n\r\n5) pop up 203\r\ngaleria/ dizajnbutik / coworking* / przestrzeń dla kultury Avant Art Festival\r\nul. Namysłowska 8, Wrocław1) BIURO FESTIWALOWE IMPART 2016
\r\nul. Mazowiecka 17
\r\n2) BWA Wrocław | Galeria Design
\r\nul.Świdnicka 2
\r\n3) Eter Club
\r\nul. Kazimierza Wielkiego 19
\r\n4) BWA Wrocław, Galeria Avangarda
\r\nul. Wita Stwosza 32
\r\n', 'MiejscaLocations', '', 'inherit', 'closed', 'closed', '', '30-revision-14', '', '', '2012-09-21 10:45:25', '2012-09-21 08:45:25', '', 30, 'http://avantart.pl/30-revision-14/', 0, 'revision', '', 0), (804, 2, '2012-09-21 10:51:10', '2012-09-21 08:51:10', ' \r\n\r\nMiejsca festiwalowe:\r\n\r\n1) IMPART\r\nul. Mazowiecka 17\r\n\r\n2) Eter Club\r\nul. Kazimierza Wielkiego 19\r\n\r\n3) Helios Nowe Horyzonty\r\nul. Kazimierza Wielkiego 19a-21\r\n\r\n4) BWA Wrocław, Galeria Awangarda\r\nul. Wita Stwosza 32\r\n\r\n5) pop up 203\r\ngaleria/ dizajnbutik / coworking* / przestrzeń dla kultury Avant Art Festival\r\nul. Namysłowska 8\r\n\r\nPolecamy:\r\n\r\nHotel Campanile\r\nul. Ślężna 26\r\n\r\nHotel Premiere Classe\r\nul. Ślężna 281) BIURO FESTIWALOWE IMPART 2016
\r\nul. Mazowiecka 17
\r\n2) BWA Wrocław | Galeria Design
\r\nul.Świdnicka 2
\r\n3) Eter Club
\r\nul. Kazimierza Wielkiego 19
\r\n4) BWA Wrocław, Galeria Avangarda
\r\nul. Wita Stwosza 32
\r\n', 'MiejscaLocations', '', 'inherit', 'closed', 'closed', '', '30-revision-15', '', '', '2012-09-21 10:51:10', '2012-09-21 08:51:10', '', 30, 'http://avantart.pl/30-revision-15/', 0, 'revision', '', 0), (805, 2, '2012-09-21 10:51:34', '2012-09-21 08:51:34', 'Miejsca festiwalowe:\r\n\r\n1) IMPART\r\nul. Mazowiecka 17\r\n\r\n2) Eter Club\r\nul. Kazimierza Wielkiego 19\r\n\r\n3) Helios Nowe Horyzonty\r\nul. Kazimierza Wielkiego 19a-21\r\n\r\n4) BWA Wrocław, Galeria Awangarda\r\nul. Wita Stwosza 32\r\n\r\n5) pop up 203\r\ngaleria/ dizajnbutik / coworking* / przestrzeń dla kultury Avant Art Festival\r\nul. Namysłowska 8\r\n\r\nPolecamy:\r\n\r\nHotel Campanile\r\nul. Ślężna 26\r\n\r\nHotel Premiere Classe\r\nul. Ślężna 281) BIURO FESTIWALOWE IMPART 2016
\r\nul. Mazowiecka 17
\r\n2) BWA Wrocław | Galeria Design
\r\nul.Świdnicka 2
\r\n3) Eter Club
\r\nul. Kazimierza Wielkiego 19
\r\n4) BWA Wrocław, Galeria Avangarda
\r\nul. Wita Stwosza 32
\r\n', 'MiejscaLocations', '', 'inherit', 'closed', 'closed', '', '30-revision-16', '', '', '2012-09-21 10:51:34', '2012-09-21 08:51:34', '', 30, 'http://avantart.pl/30-revision-16/', 0, 'revision', '', 0), (806, 2, '2012-09-21 10:54:56', '2012-09-21 08:54:56', 'Miejsca festiwalowe:\r\n\r\n1) IMPART\r\nul. Mazowiecka 17\r\n\r\n2) Eter Club\r\nul. Kazimierza Wielkiego 19\r\n\r\n3) Helios Nowe Horyzonty\r\nul. Kazimierza Wielkiego 19a-21\r\n\r\n4) BWA Wrocław, Galeria Awangarda\r\nul. Wita Stwosza 32\r\n\r\n5) pop up 203\r\ngaleria/ dizajnbutik / coworking* / przestrzeń dla kultury Avant Art Festival\r\nul. Namysłowska 8\r\n\r\nPolecamy:\r\n\r\nHotel CAMPANILE WROCŁAW CENTRUM\r\nul. Ślężna 26\r\n\r\nHotel PREMIERE CLASSE WROCLAW CENTRUM \r\nul. Ślężna 281) BIURO FESTIWALOWE IMPART 2016
\r\nul. Mazowiecka 17
\r\n2) BWA Wrocław | Galeria Design
\r\nul.Świdnicka 2
\r\n3) Eter Club
\r\nul. Kazimierza Wielkiego 19
\r\n4) BWA Wrocław, Galeria Avangarda
\r\nul. Wita Stwosza 32
\r\n', 'MiejscaLocations', '', 'inherit', 'closed', 'closed', '', '30-revision-17', '', '', '2012-09-21 10:54:56', '2012-09-21 08:54:56', '', 30, 'http://avantart.pl/30-revision-17/', 0, 'revision', '', 0), (807, 2, '2012-09-21 10:55:41', '2012-09-21 08:55:41', 'Miejsca festiwalowe:\r\n\r\n1) IMPART\r\nul. Mazowiecka 17\r\n\r\n2) Eter Club\r\nul. Kazimierza Wielkiego 19\r\n\r\n3) Helios Nowe Horyzonty\r\nul. Kazimierza Wielkiego 19a-21\r\n\r\n4) BWA Wrocław, Galeria Awangarda\r\nul. Wita Stwosza 32\r\n\r\n5) pop up 203\r\ngaleria/ dizajnbutik / coworking* / przestrzeń dla kultury Avant Art Festival\r\nul. Namysłowska 8\r\n\r\nPolecamy:\r\n\r\nHotel CAMPANILE WROCŁAW CENTRUM\r\nul. Ślężna 26\r\n\r\nHotel PREMIERE CLASSE WROCLAW CENTRUM \r\nul. Ślężna 281) BIURO FESTIWALOWE IMPART 2016
\r\nul. Mazowiecka 17
\r\n2) BWA Wrocław | Galeria Design
\r\nul.Świdnicka 2
\r\n3) Eter Club
\r\nul. Kazimierza Wielkiego 19
\r\n4) BWA Wrocław, Galeria Avangarda
\r\nul. Wita Stwosza 32
\r\n', 'MiejscaLocations', '', 'inherit', 'closed', 'closed', '', '30-revision-18', '', '', '2012-09-21 10:55:41', '2012-09-21 08:55:41', '', 30, 'http://avantart.pl/30-revision-18/', 0, 'revision', '', 0), (808, 2, '2012-09-21 10:55:59', '2012-09-21 08:55:59', 'Miejsca festiwalowe:\r\n\r\n1) IMPART\r\nul. Mazowiecka 17\r\n\r\n2) Eter Club\r\nul. Kazimierza Wielkiego 19\r\n\r\n3) Helios Nowe Horyzonty\r\nul. Kazimierza Wielkiego 19a-21\r\n\r\n4) BWA Wrocław, Galeria Awangarda\r\nul. Wita Stwosza 32\r\n\r\n5) pop up 203\r\ngaleria/ dizajnbutik / coworking* / przestrzeń dla kultury Avant Art Festival\r\nul. Namysłowska 8\r\n\r\nPolecamy:\r\n\r\nHotel CAMPANILE WROCŁAW CENTRUM\r\nul. Ślężna 26\r\n\r\nHotel PREMIERE CLASSE WROCLAW CENTRUM \r\nul. Ślężna 281) BIURO FESTIWALOWE IMPART 2016
\r\nul. Mazowiecka 17
\r\n2) BWA Wrocław | Galeria Design
\r\nul.Świdnicka 2
\r\n3) Eter Club
\r\nul. Kazimierza Wielkiego 19
\r\n4) BWA Wrocław, Galeria Avangarda
\r\nul. Wita Stwosza 32
\r\n', 'MiejscaLocations', '', 'inherit', 'closed', 'closed', '', '30-revision-19', '', '', '2012-09-21 10:55:59', '2012-09-21 08:55:59', '', 30, 'http://avantart.pl/30-revision-19/', 0, 'revision', '', 0), (809, 2, '2012-09-21 10:56:33', '2012-09-21 08:56:33', 'Miejsca festiwalowe:\r\n\r\n1) IMPART\r\nul. Mazowiecka 17\r\n\r\n2) Eter Club\r\nul. Kazimierza Wielkiego 19\r\n\r\n3) Helios Nowe Horyzonty\r\nul. Kazimierza Wielkiego 19a-21\r\n\r\n4) BWA Wrocław, Galeria Awangarda\r\nul. Wita Stwosza 32\r\n\r\n5) pop up 203\r\ngaleria/ dizajnbutik / coworking* / przestrzeń dla kultury Avant Art Festival\r\nul. Namysłowska 8\r\n\r\nPolecamy:\r\n\r\nHotel CAMPANILE WROCŁAW CENTRUM\r\nul. Ślężna 26\r\n\r\nHotel PREMIERE CLASSE WROCLAW CENTRUM \r\nul. Ślężna 281) BIURO FESTIWALOWE IMPART 2016
\r\nul. Mazowiecka 17
\r\n2) BWA Wrocław | Galeria Design
\r\nul.Świdnicka 2
\r\n3) Eter Club
\r\nul. Kazimierza Wielkiego 19
\r\n4) BWA Wrocław, Galeria Avangarda
\r\nul. Wita Stwosza 32
\r\n', 'MiejscaLocations', '', 'inherit', 'closed', 'closed', '', '30-revision-20', '', '', '2012-09-21 10:56:33', '2012-09-21 08:56:33', '', 30, 'http://avantart.pl/30-revision-20/', 0, 'revision', '', 0), (810, 2, '2012-09-21 10:57:25', '2012-09-21 08:57:25', 'Miejsca festiwalowe:\r\n\r\n1) IMPART\r\nul. Mazowiecka 17\r\n\r\n2) Eter Club\r\nul. Kazimierza Wielkiego 19\r\n\r\n3) Helios Nowe Horyzonty\r\nul. Kazimierza Wielkiego 19a-21\r\n\r\n4) BWA Wrocław, Galeria Awangarda\r\nul. Wita Stwosza 32\r\n\r\n5) pop up 203\r\ngaleria/ dizajnbutik / coworking* / przestrzeń dla kultury Avant Art Festival\r\nul. Namysłowska 8\r\n\r\nPolecamy:\r\n\r\nHotel CAMPANILE WROCŁAW CENTRUM\r\nul. Ślężna 26\r\n\r\nHotel PREMIERE CLASSE WROCLAW CENTRUM \r\nul. Ślężna 281) BIURO FESTIWALOWE IMPART 2016
\r\nul. Mazowiecka 17
\r\n2) BWA Wrocław | Galeria Design
\r\nul.Świdnicka 2
\r\n3) Eter Club
\r\nul. Kazimierza Wielkiego 19
\r\n4) BWA Wrocław, Galeria Avangarda
\r\nul. Wita Stwosza 32
\r\n', 'MiejscaLocations', '', 'inherit', 'closed', 'closed', '', '30-revision-21', '', '', '2012-09-21 10:57:25', '2012-09-21 08:57:25', '', 30, 'http://avantart.pl/30-revision-21/', 0, 'revision', '', 0), (811, 2, '2012-09-21 10:57:34', '2012-09-21 08:57:34', 'Miejsca festiwalowe:\r\n\r\n1) IMPART\r\nul. Mazowiecka 17\r\n\r\n2) Eter Club\r\nul. Kazimierza Wielkiego 19\r\n\r\n3) Helios Nowe Horyzonty\r\nul. Kazimierza Wielkiego 19a-21\r\n\r\n4) BWA Wrocław, Galeria Awangarda\r\nul. Wita Stwosza 32\r\n\r\n5) pop up 203\r\ngaleria/ dizajnbutik / coworking* / przestrzeń dla kultury Avant Art Festival\r\nul. Namysłowska 8\r\n\r\nPolecamy:\r\n\r\nHotel CAMPANILE WROCŁAW CENTRUM\r\nul. Ślężna 26\r\n\r\nHotel PREMIERE CLASSE WROCLAW CENTRUM \r\nul. Ślężna 281) BIURO FESTIWALOWE IMPART 2016
\r\nul. Mazowiecka 17
\r\n2) BWA Wrocław | Galeria Design
\r\nul.Świdnicka 2
\r\n3) Eter Club
\r\nul. Kazimierza Wielkiego 19
\r\n4) BWA Wrocław, Galeria Avangarda
\r\nul. Wita Stwosza 32
\r\n', 'MiejscaLocations', '', 'inherit', 'closed', 'closed', '', '30-revision-22', '', '', '2012-09-21 10:57:34', '2012-09-21 08:57:34', '', 30, 'http://avantart.pl/30-revision-22/', 0, 'revision', '', 0), (812, 1, '2012-09-18 10:04:00', '2012-09-18 08:04:00', 'We invite people who like to do-it-yourself, repair and different other things and show interest in recycling, design, architecture, in order to get involved in an experimental, international social-artistic project of a recycling character “Social up Spacing – Przestrzeń dla odzysku” (2-6/10/2012 Wrocław). More information can be found here.
\r\nWe await Your application, until 25.09, send the needed information and a filled out form to the following address wolontariat@avantart.pl with POP UP 203 in the message’s title. We will send an application form and more detailed information about the duties over to the ones interested. Feel welcome!
\r\nWe invite people who like to do-it-yourself, repair and different other things and show interest in recycling, design, architecture, in order to get involved in an experimental, international social-artistic project of a recycling character “Social up Spacing – Przestrzeń dla odzysku” (2-6/10/2012 Wrocław). More information can be found here.
\nWe await Your application, until 25.09, send the needed information and a filled out form to the following address wolontariat@avantart.pl with POP UP 203 in the message’s title. We will send an application form and more detailed information about the duties over to the ones interested. Feel welcome!
\nKontakt dla mediów:
\r\nMagda Kotowska
\r\nmagda.kotowska@highlite.pl, tel. 792 234 779
\r\n', 'Press Room', '', 'inherit', 'closed', 'closed', '', '26-revision-25', '', '', '2012-09-11 23:59:05', '2012-09-11 21:59:05', '', 26, 'http://avantart.pl/26-revision-25/', 0, 'revision', '', 0), (820, 2, '2012-09-23 12:35:52', '2012-09-23 10:35:52', 'Kontakt dla mediów:\r\nMagda Kotowska | magda.kotowska@highlite.pl, tel. 792 234 779\r\n\r\nKontakt dla mediów:
\r\nMagda Kotowska
\r\nmagda.kotowska@highlite.pl, tel. 792 234 779
\r\n', 'Press Room', '', 'inherit', 'closed', 'closed', '', '26-revision-26', '', '', '2012-09-23 12:35:52', '2012-09-23 10:35:52', '', 26, 'http://avantart.pl/26-revision-26/', 0, 'revision', '', 0), (821, 2, '2012-09-23 12:36:38', '2012-09-23 10:36:38', 'Kontakt dla mediów:\r\nMagda Kotowska | magda.kotowska@highlite.pl, tel. 792 234 779\r\n\r\nKontakt dla mediów:
\r\nMagda Kotowska
\r\nmagda.kotowska@highlite.pl, tel. 792 234 779
\r\n', 'Press Room', '', 'inherit', 'closed', 'closed', '', '26-revision-27', '', '', '2012-09-23 12:36:38', '2012-09-23 10:36:38', '', 26, 'http://avantart.pl/26-revision-27/', 0, 'revision', '', 0); INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (822, 2, '2012-09-23 12:53:58', '2012-09-23 10:53:58', 'Kontakt dla mediów:\r\nMagda Kotowska | magda.kotowska@highlite.pl, tel. 792 234 779\r\n\r\nKontakt dla mediów:
\r\nMagda Kotowska
\r\nmagda.kotowska@highlite.pl, tel. 792 234 779
\r\n', 'Press Room', '', 'inherit', 'closed', 'closed', '', '26-revision-28', '', '', '2012-09-23 12:53:58', '2012-09-23 10:53:58', '', 26, 'http://avantart.pl/26-revision-28/', 0, 'revision', '', 0), (823, 2, '2012-09-23 12:55:25', '2012-09-23 10:55:25', 'Kontakt dla mediów:\r\nMagda Kotowska | magda.kotowska@highlite.pl, tel. 792 234 779\r\n\r\nKontakt dla mediów:
\r\nMagda Kotowska
\r\nmagda.kotowska@highlite.pl, tel. 792 234 779
\r\n', 'Press Room', '', 'inherit', 'closed', 'closed', '', '26-revision-29', '', '', '2012-09-23 12:55:25', '2012-09-23 10:55:25', '', 26, 'http://avantart.pl/26-revision-29/', 0, 'revision', '', 0), (824, 2, '2012-09-11 21:12:05', '2012-09-11 19:12:05', '\r\n\r\nBerlińska wytwórnia Project: Mooncircle specjalizuje się w łączeniu muzyki elektronicznej z organiczną. W ciągu zaledwie dziesięciu lat istnienia uzyskała prestiż i wyrobiła sobie wiarygodną markę i stała się synonimem wysokiej jakości na scenie. Project: Mooncircle, wraz ze swoimi różnorodnymi wokalistami i producentami jest interesującym doświadczeniem dla każdego, kto w muzyce szuka czegoś, co niezwykłego.W ramach Project: Mooncircle 10th anniversary showcase zagrają: Robot Koch, Rain Dog, Long Arm i Gordon.\r\n\r\nwww.projectmooncircle.com\r\nsoundcloud.com/projectmooncircle/tracks\r\nThe Berlin-based label Project: Mooncircle specializes in combining
\r\nelectronic and organic music. In just ten years of existence it gained
\r\nprestige and became a renown brand and a synonym of high quality on stage.
\r\nProject: Mooncircle together with its diverse vocalists and producers is an
\r\ninteresting experience, for everyone who looks for something unique in music.
As a part of Project: Mooncircle 10th anniversary showcase Robot Koch, Rain Dog, Long Arm and Gordon will perform.
\r\nwww.projectmooncircle.com
\r\nsoundcloud.com/projectmooncircle/tracks
The Berlin-based label Project: Mooncircle specializes in combining
\r\nelectronic and organic music. In just ten years of existence it gained
\r\nprestige and became a renown brand and a synonym of high quality on stage.
\r\nProject: Mooncircle together with its diverse vocalists and producers is an
\r\ninteresting experience, for everyone who looks for something unique in music.
As a part of Project: Mooncircle 10th anniversary showcase Robot Koch, Rain Dog, Long Arm and Gordon will perform.
\r\nwww.projectmooncircle.com
\r\nsoundcloud.com/projectmooncircle/tracks
The Berlin-based label Project: Mooncircle specializes in combining
\r\nelectronic and organic music. In just ten years of existence it gained
\r\nprestige and became a renown brand and a synonym of high quality on stage.
\r\nProject: Mooncircle together with its diverse vocalists and producers is an
\r\ninteresting experience, for everyone who looks for something unique in music.
\r\nAs a part of Project: Mooncircle 10th anniversary showcase Robot Koch, Rain Dog, Long Arm and Gordon will perform.
\r\n\r\nsoundcloud.com/projectmooncircle/tracks
\r\n', ' PROJECT: MOONCIRCLE 10th anniversary showcase PROJECT: MOONCIRCLE 10th anniversary showcase', '', 'inherit', 'closed', 'closed', '', '691-revision-10', '', '', '2012-09-23 14:04:47', '2012-09-23 12:04:47', '', 691, 'http://avantart.pl/691-revision-10/', 0, 'revision', '', 0), (827, 2, '2012-09-21 10:58:30', '2012-09-21 08:58:30', 'Miejsca festiwalowe:\r\n\r\n1) IMPART\r\nul. Mazowiecka 17\r\n\r\n2) Eter Club\r\nul. Kazimierza Wielkiego 19\r\n\r\n3) Helios Nowe Horyzonty\r\nul. Kazimierza Wielkiego 19a-21\r\n\r\n4) BWA Wrocław, Galeria Awangarda\r\nul. Wita Stwosza 32\r\n\r\n5) pop up 203\r\ngaleria/ dizajnbutik / coworking* / przestrzeń dla kultury Avant Art Festival\r\nul. Namysłowska 8\r\n\r\nPolecamy:\r\n\r\nHotel CAMPANILE WROCŁAW CENTRUM\r\nul. Ślężna 26\r\n\r\nHotel PREMIERE CLASSE WROCLAW CENTRUM \r\nul. Ślężna 281) BIURO FESTIWALOWE IMPART 2016
\r\nul. Mazowiecka 17
\r\n2) BWA Wrocław | Galeria Design
\r\nul.Świdnicka 2
\r\n3) Eter Club
\r\nul. Kazimierza Wielkiego 19
\r\n4) BWA Wrocław, Galeria Avangarda
\r\nul. Wita Stwosza 32
\r\n', 'MiejscaLocations', '', 'inherit', 'closed', 'closed', '', '30-revision-23', '', '', '2012-09-21 10:58:30', '2012-09-21 08:58:30', '', 30, 'http://avantart.pl/30-revision-23/', 0, 'revision', '', 0), (828, 2, '2012-09-23 14:24:57', '2012-09-23 12:24:57', 'Miejsca festiwalowe:\r\n\r\n1) IMPART\r\nul. Mazowiecka 17\r\n\r\n2) Eter Club\r\nul. Kazimierza Wielkiego 19\r\n\r\n3) Helios Nowe Horyzonty\r\nul. Kazimierza Wielkiego 19a-21\r\n\r\n4) BWA Wrocław, Galeria Awangarda\r\nul. Wita Stwosza 32\r\n\r\n5) pop up 203\r\ngaleria/ dizajnbutik / coworking* / przestrzeń dla kultury Avant Art Festival\r\nul. Namysłowska 8\r\n\r\n6) Przestrzeń Muzyczna PUZZLE\r\nPrzejście Garncarskie 2\r\n\r\n7) Galeria U\r\nul. Jedności Narodowej 93\r\n\r\nPolecamy:\r\n\r\nHotel CAMPANILE WROCŁAW CENTRUM\r\nul. Ślężna 26\r\n\r\nHotel PREMIERE CLASSE WROCLAW CENTRUM \r\nul. Ślężna 281) BIURO FESTIWALOWE IMPART 2016
\r\nul. Mazowiecka 17
\r\n2) BWA Wrocław | Galeria Design
\r\nul.Świdnicka 2
\r\n3) Eter Club
\r\nul. Kazimierza Wielkiego 19
\r\n4) BWA Wrocław, Galeria Avangarda
\r\nul. Wita Stwosza 32
\r\n', 'MiejscaLocations', '', 'inherit', 'closed', 'closed', '', '30-revision-24', '', '', '2012-09-23 14:24:57', '2012-09-23 12:24:57', '', 30, 'http://avantart.pl/30-revision-24/', 0, 'revision', '', 0), (829, 2, '2012-09-23 14:35:46', '2012-09-23 12:35:46', 'Wernisaż: 03.10.1012 godz. 18:00\r\nThe Berlin-based label Project: Mooncircle specializes in combining
\r\nelectronic and organic music. In just ten years of existence it gained
\r\nprestige and became a renown brand and a synonym of high quality on stage.
\r\nProject: Mooncircle together with its diverse vocalists and producers is an
\r\ninteresting experience, for everyone who looks for something unique in music.
\r\nAs a part of Project: Mooncircle 10th anniversary showcase Robot Koch, Rain Dog, Long Arm and Gordon will perform.
\r\n\r\nsoundcloud.com/projectmooncircle/tracks
\r\n', ' PROJECT: MOONCIRCLE 10th anniversary showcase PROJECT: MOONCIRCLE 10th anniversary showcase', '', 'inherit', 'closed', 'closed', '', '691-revision-11', '', '', '2012-09-23 14:22:08', '2012-09-23 12:22:08', '', 691, 'http://avantart.pl/691-revision-11/', 0, 'revision', '', 0), (843, 2, '2012-09-11 00:39:20', '2012-09-10 22:39:20', '\r\n\r\nPod pseudonimem Long Arm ukrywa się Georgij – młody i utalentowany DJ, zafascynowany kulturą winyli. Ich duch przenika na wskroś jego twórczość, a jego muzyka jest nasycona często nieuchwytnym klimatem klasycznego jazzu, zaprezentowanego jednak w nowoczesnej i świeżej formie.\r\n\r\nLong Arm is a musician of German label Project: Mooncircle where he released two albums over 2011. This is debut LP called "The Branches" and compilation of remixes and b-sides, called "Organic" EP. Releases have received good support, and compositions have been noticed in mixes by Hidden Orchestra (Tru Thoughts label, UK), Gilles Peterson (BBC Radio 1, "All Winners Show") etc. His lifelong passion for jazz influenced his whole music style.', 'LONG ARMLONG ARM', '', 'inherit', 'closed', 'closed', '', '670-revision-3', '', '', '2012-09-11 00:39:20', '2012-09-10 22:39:20', '', 670, 'http://avantart.pl/670-revision-3/', 0, 'revision', '', 0), (844, 2, '2012-09-11 00:45:51', '2012-09-10 22:45:51', '\r\n\r\nRobot Koch to alias słynnego berlińskiego producenta Roberta Kocha, który poza solowymi produkcjami jest częścią kolektywu Jahcoozi. W swojej oryginalnej twórczości robi dobry użytek ze zdobyczy nowoczesnej basowej muzyki: postdubstep, dubstep, wonky hiphop, mieszając i zmieniając te gatunki i stylistyki, dodając czasem żywe instrumenty, czasem wokale.\r\n\r\n\r\n\r\n\r\nAlthough Berlin based producer Robot Koch has an international reputation as being “One of Europe`s finest producers of the beat generation“ (Low End Theory).
\r\nHe is signed to the Berlin Electronic/Future Bass/HipHop label Project: Mooncircle since 2009 and he released 4 Albums (Death Star Droid / Songs For Trees And Cyborgs / Robot Robinson / The Other Side), and 3 EP’s (Listen To Them Fade / Death Star Droid Remix EP /Cosmic Waves) in the last 3 years. His music has been remixed by the likes of Modeselektor (Bpitch Control), Shlohmo (FOF), Blue Daisy (Black Acre),Chris de Luca (Funkstörung), Ital Tek (Planet Mu) and Ata (Playhouse).
Although Berlin based producer Robot Koch has an international reputation as being “One of Europe`s finest producers of the beat generation“ (Low End Theory).
\nHe is signed to the Berlin Electronic/Future Bass/HipHop label Project: Mooncircle since 2009 and he released 4 Albums (Death Star Droid / Songs For Trees And Cyborgs / Robot Robinson / The Other Side), and 3 EP’s (Listen To Them Fade / Death Star Droid Remix EP /Cosmic Waves) in the last 3 years. His music has been remixed by the likes of Modeselektor (Bpitch Control), Shlohmo (FOF), Blue Daisy (Black Acre),Chris de Luca (Funkstörung), Ital Tek (Planet Mu) and Ata (Playhouse).
\n', 'ROBOT KOCHROBOT KOCH', '', 'inherit', 'closed', 'closed', '', '653-autosave', '', '', '2012-09-23 16:23:22', '2012-09-23 14:23:22', '', 653, 'http://avantart.pl/653-autosave/', 0, 'revision', '', 0), (846, 1, '2012-09-21 11:12:04', '2012-09-21 09:12:04', 'VORTEX na festiwalu Todaysart\r\nAutorzy: raumlabor Berlin oraz refunc.nl\r\n\r\nPojęcie przestrzeni jest względne i szerokie. Obejmuje zarówno efemeryczność zmysłów jak i cielesność chodnika. Projekt Social Up Spacing - Przestrzeń dla Odzysku stawia pytanie o możliwości jej oswajania za pomocą materiałów z drugiego obiegu tych właśnie z definicji wyjętych poza obieg główny.\r\n\r\nZaproszeni artyści z Polski, Niemiec, Holandii i Francji w charakterystyczny dla siebie sposób odniosą się do hasła festiwalu Avant Art 2012 - PRZESTRZEŃ DLA KULTURY rozwijając tę Przestrzeń o aspekt społeczny. Wspólnym mianownikiem wszystkich działań będzie użycie, jako budulca, różnego rodzaju odpadów, materiałów postprodukcyjnych oraz koncentracja na generowaniu potencjału interakcji tak z mieszkańcami Wrocławia jak i z gośćmi festiwalu.\r\n\r\nWażnym etapem projektu będą przygotowania do fizycznej realizacji projektu, w które mają być zaangażowani mieszkańcy m.in. zbieranie np. butelek PET, opakowań oraz innych przedmiotów/części przedmiotów, które będą mogły posłużyć jako tworzywo.\r\n\r\nNie powstaną obiekty tylko do oglądania.\r\n\r\nCałość zdarzeń skumuluje się 06.10 na ul. Mazowieckiej, przed Impartem, gdzie nastąpi finisażprojektu a w rzeczywistości otwarcie - oddanie do korzystania/smakowania/dotykania powstałych instalacji. Tego dnia również duet Elefantterrible zaanektuje nas i miejsca. Pojawi się na kilka godzin ze swoją interwencyjną akcją, by stopniowo wchłaniać zarówno uwagę przechodniów jak i fizyczną przestrzeń ulicy Mazowieckiej.\r\n\r\nKOORDYNACJA ARTYSTYCZNA:\r\nGabriela Kowalska\r\n\r\nARTYŚCI:\r\n\r\nNikolaus Schrot - Elefanterrible [ DE]\r\nwww.nikolausschrot.de, http://www.nikolausschrot.de/urban-action/lets-go-bad/\r\n\r\nVanessa Raynal [FR] - Elefanterrible [DE]\r\nhttp://www.nikolausschrot.de/urban- action/lets-go-bad/\r\n\r\nJan KÖrbes [DE] www.refunc.nl\r\n\r\nDamian van der Velden [NL] www.refunc.nl\r\n\r\nMagdalena Major [PL]\r\n\r\nKarol Przestrzelski [PL] http://www.art-tool.pl/\r\n\r\nGabukow [ PL] www.gabukow.pl\r\n\r\nPaweł Romańczuk [PL]\r\n\r\nMichał Litwiniec [PL] http://www.myspace.com/litwa71\r\n\r\nPARTNERZY:\r\nKoelner s.a.\r\nOKIS\r\nUrząd Marszałkowski województwa Dolnośląskiego\r\n', '“Social up Spacing - Przestrzeń dla Odzysku” ', '', 'inherit', 'closed', 'closed', '', '788-revision-11', '', '', '2012-09-24 11:11:26', '2012-09-24 09:11:26', '', 788, 'http://avantart.pl/788-revision-11/', 0, 'revision', '', 0), (857, 2, '2012-09-24 11:16:37', '2012-09-24 09:16:37', '\r\n\r\nFestiwal TodaysArt \r\nAutorzy: Raumlabor Berlin oraz refunc.nl\r\n\r\nPojęcie przestrzeni jest względne i szerokie. Obejmuje zarówno efemeryczność zmysłów jak i cielesność chodnika. Projekt Social Up Spacing - Przestrzeń dla Odzysku stawia pytanie o możliwości jej oswajania za pomocą materiałów z drugiego obiegu tych właśnie z definicji wyjętych poza obieg główny.\r\n\r\nZaproszeni artyści z Polski, Niemiec, Holandii i Francji w charakterystyczny dla siebie sposób odniosą się do hasła festiwalu Avant Art 2012 - PRZESTRZEŃ DLA KULTURY rozwijając tę Przestrzeń o aspekt społeczny. Wspólnym mianownikiem wszystkich działań będzie użycie, jako budulca, różnego rodzaju odpadów, materiałów postprodukcyjnych oraz koncentracja na generowaniu potencjału interakcji tak z mieszkańcami Wrocławia jak i z gośćmi festiwalu.\r\n\r\nWażnym etapem projektu będą przygotowania do fizycznej realizacji projektu, w które mają być zaangażowani mieszkańcy m.in. zbieranie np. butelek PET, opakowań oraz innych przedmiotów/części przedmiotów, które będą mogły posłużyć jako tworzywo.\r\n\r\nNie powstaną obiekty tylko do oglądania.\r\n\r\nCałość zdarzeń skumuluje się 06.10 na ul. Mazowieckiej, przed Impartem, gdzie nastąpi finisażprojektu a w rzeczywistości otwarcie - oddanie do korzystania/smakowania/dotykania powstałych instalacji. Tego dnia również duet Elefantterrible zaanektuje nas i miejsca. Pojawi się na kilka godzin ze swoją interwencyjną akcją, by stopniowo wchłaniać zarówno uwagę przechodniów jak i fizyczną przestrzeń ulicy Mazowieckiej.\r\n\r\nKOORDYNACJA ARTYSTYCZNA:\r\nGabriela Kowalska\r\n\r\nARTYŚCI:\r\n\r\nNikolaus Schrot - Elefanterrible [ DE]\r\nwww.nikolausschrot.de, http://www.nikolausschrot.de/urban-action/lets-go-bad/\r\n\r\nVanessa Raynal [FR] - Elefanterrible [DE]\r\nhttp://www.nikolausschrot.de/urban- action/lets-go-bad/\r\n\r\nJan KÖrbes [DE] www.refunc.nl\r\n\r\nDamian van der Velden [NL] www.refunc.nl\r\n\r\nMagdalena Major [PL]\r\n\r\nKarol Przestrzelski [PL] http://www.art-tool.pl/\r\n\r\nGabukow [ PL] www.gabukow.pl\r\n\r\nPaweł Romańczuk [PL]\r\n\r\nMichał Litwiniec [PL] http://www.myspace.com/litwa71\r\n\r\nPARTNERZY:\r\nKoelner s.a.\r\nOKIS\r\nUrząd Marszałkowski województwa Dolnośląskiego\r\n', '“Social up Spacing - Przestrzeń dla Odzysku” ', '', 'inherit', 'closed', 'closed', '', '788-revision-12', '', '', '2012-09-24 11:16:37', '2012-09-24 09:16:37', '', 788, 'http://avantart.pl/788-revision-12/', 0, 'revision', '', 0), (858, 2, '2012-09-24 11:17:15', '2012-09-24 09:17:15', '\r\n\r\nVORTEX na festiwalu TodaysArt\r\nAutorzy: Raumlabor Berlin oraz refunc.nl\r\n\r\nPojęcie przestrzeni jest względne i szerokie. Obejmuje zarówno efemeryczność zmysłów jak i cielesność chodnika. Projekt Social Up Spacing - Przestrzeń dla Odzysku stawia pytanie o możliwości jej oswajania za pomocą materiałów z drugiego obiegu tych właśnie z definicji wyjętych poza obieg główny.\r\n\r\nZaproszeni artyści z Polski, Niemiec, Holandii i Francji w charakterystyczny dla siebie sposób odniosą się do hasła festiwalu Avant Art 2012 - PRZESTRZEŃ DLA KULTURY rozwijając tę Przestrzeń o aspekt społeczny. Wspólnym mianownikiem wszystkich działań będzie użycie, jako budulca, różnego rodzaju odpadów, materiałów postprodukcyjnych oraz koncentracja na generowaniu potencjału interakcji tak z mieszkańcami Wrocławia jak i z gośćmi festiwalu.\r\n\r\nWażnym etapem projektu będą przygotowania do fizycznej realizacji projektu, w które mają być zaangażowani mieszkańcy m.in. zbieranie np. butelek PET, opakowań oraz innych przedmiotów/części przedmiotów, które będą mogły posłużyć jako tworzywo.\r\n\r\nNie powstaną obiekty tylko do oglądania.\r\n\r\nCałość zdarzeń skumuluje się 06.10 na ul. Mazowieckiej, przed Impartem, gdzie nastąpi finisażprojektu a w rzeczywistości otwarcie - oddanie do korzystania/smakowania/dotykania powstałych instalacji. Tego dnia również duet Elefantterrible zaanektuje nas i miejsca. Pojawi się na kilka godzin ze swoją interwencyjną akcją, by stopniowo wchłaniać zarówno uwagę przechodniów jak i fizyczną przestrzeń ulicy Mazowieckiej.\r\n\r\nKOORDYNACJA ARTYSTYCZNA:\r\nGabriela Kowalska\r\n\r\nARTYŚCI:\r\n\r\nNikolaus Schrot - Elefanterrible [ DE]\r\nwww.nikolausschrot.de, http://www.nikolausschrot.de/urban-action/lets-go-bad/\r\n\r\nVanessa Raynal [FR] - Elefanterrible [DE]\r\nhttp://www.nikolausschrot.de/urban- action/lets-go-bad/\r\n\r\nJan KÖrbes [DE] www.refunc.nl\r\n\r\nDamian van der Velden [NL] www.refunc.nl\r\n\r\nMagdalena Major [PL]\r\n\r\nKarol Przestrzelski [PL] http://www.art-tool.pl/\r\n\r\nGabukow [ PL] www.gabukow.pl\r\n\r\nPaweł Romańczuk [PL]\r\n\r\nMichał Litwiniec [PL] http://www.myspace.com/litwa71\r\n\r\nPARTNERZY:\r\nKoelner s.a.\r\nOKIS\r\nUrząd Marszałkowski województwa Dolnośląskiego\r\n', '“Social up Spacing - Przestrzeń dla Odzysku” ', '', 'inherit', 'closed', 'closed', '', '788-revision-13', '', '', '2012-09-24 11:17:15', '2012-09-24 09:17:15', '', 788, 'http://avantart.pl/788-revision-13/', 0, 'revision', '', 0), (859, 2, '2012-09-24 11:45:30', '2012-09-24 09:45:30', '\r\n\r\n \r\n\r\nPojęcie przestrzeni jest względne i szerokie. Obejmuje zarówno efemeryczność zmysłów jak i cielesność chodnika. Projekt Social Up Spacing - Przestrzeń dla Odzysku stawia pytanie o możliwości jej oswajania za pomocą materiałów z drugiego obiegu tych właśnie z definicji wyjętych poza obieg główny.\r\n\r\nZaproszeni artyści z Polski, Niemiec, Holandii i Francji w charakterystyczny dla siebie sposób odniosą się do hasła festiwalu Avant Art 2012 - PRZESTRZEŃ DLA KULTURY rozwijając tę Przestrzeń o aspekt społeczny. Wspólnym mianownikiem wszystkich działań będzie użycie, jako budulca, różnego rodzaju odpadów, materiałów postprodukcyjnych oraz koncentracja na generowaniu potencjału interakcji tak z mieszkańcami Wrocławia jak i z gośćmi festiwalu.\r\n\r\nWażnym etapem projektu będą przygotowania do fizycznej realizacji projektu, w które mają być zaangażowani mieszkańcy m.in. zbieranie np. butelek PET, opakowań oraz innych przedmiotów/części przedmiotów, które będą mogły posłużyć jako tworzywo.\r\n\r\nNie powstaną obiekty tylko do oglądania.\r\n\r\nCałość zdarzeń skumuluje się 06.10 na ul. Mazowieckiej, przed Impartem, gdzie nastąpi finisażprojektu a w rzeczywistości otwarcie - oddanie do korzystania/smakowania/dotykania powstałych instalacji. Tego dnia również duet Elefantterrible zaanektuje nas i miejsca. Pojawi się na kilka godzin ze swoją interwencyjną akcją, by stopniowo wchłaniać zarówno uwagę przechodniów jak i fizyczną przestrzeń ulicy Mazowieckiej.\r\n\r\nKOORDYNACJA ARTYSTYCZNA:\r\nGabriela Kowalska\r\n\r\nARTYŚCI:\r\n\r\nNikolaus Schrot - Elefanterrible [ DE]\r\nwww.nikolausschrot.de, http://www.nikolausschrot.de/urban-action/lets-go-bad/\r\n\r\nVanessa Raynal [FR] - Elefanterrible [DE]\r\nhttp://www.nikolausschrot.de/urban- action/lets-go-bad/\r\n\r\nJan KÖrbes [DE] www.refunc.nl\r\n\r\nDamian van der Velden [NL] www.refunc.nl\r\n\r\nMagdalena Major [PL]\r\n\r\nKarol Przestrzelski [PL] http://www.art-tool.pl/\r\n\r\nGabukow [ PL] www.gabukow.pl\r\n\r\nPaweł Romańczuk [PL]\r\n\r\nMichał Litwiniec [PL] http://www.myspace.com/litwa71\r\n\r\nPARTNERZY:\r\nKoelner s.a.\r\nOKIS\r\nUrząd Marszałkowski województwa Dolnośląskiego\r\n', '“Social up Spacing - Przestrzeń dla Odzysku” ', '', 'inherit', 'closed', 'closed', '', '788-revision-14', '', '', '2012-09-24 11:45:30', '2012-09-24 09:45:30', '', 788, 'http://avantart.pl/788-revision-14/', 0, 'revision', '', 0), (860, 2, '2012-09-24 20:49:11', '2012-09-24 18:49:11', '\r\n\r\nJuż 6 października podczas AVANT ART FESTIVAL dekadę istnienia świętować będzie prestiżowa niemiecka wytwórnia – Project: Mooncircle. Na obchody dziesięciolecia do Wrocławia przyjadą wielkie gwiazdy: Robot Koch, Rain Dog, Long Arm i Gordon – założyciel wytwórni. Usłyszymy nowoczesny hip hop, niebanalny dubstep, nowatorskie techno czy eksperymentalna dance music. Showcase wytwórni odbędzie się w Przestrzeni Muzycznej PUZZLE.\r\n\r\nSoon, on October 6th, during AVANT ART FESTIVAL, the prestigious German label – Project: Mooncircle, will celebrate its tenth anniversary of existence. The following huge stars will arrive to Wrocław to take part in the celebrations: Robot Koch, Rain Dog, Long Arm and Gordon – the founder of the label. We will have a chance to hear modern hip-hop, non-trivial dubstep, innovative techno or experimental dance music. The showcase of the label will take place at the Przestrzeń Muzyczna PUZZLE.', 'Dziesięciolecie wytwórni Mooncircle Project na AVANT ART FESTIVAL!The tenth anniversary of the Mooncircle Project on AVANT ART FESTIVAL!', '', 'publish', 'closed', 'closed', '', 'dziesieciolecie-wytworni-mooncircle-project-na-avant-art-festival', '', '', '2012-09-28 15:11:00', '2012-09-28 13:11:00', '', 0, 'http://avantart.pl/?p=860', 0, 'post', '', 0); INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (861, 2, '2012-09-24 20:47:44', '2012-09-24 18:47:44', 'Już 6 października podczas AVANT ART FESTIVAL dekadę istnienia świętować będzie prestiżowa niemiecka wytwórnia – Project: Mooncircle. Na obchody dziesięciolecia do Wrocławia przyjadą wielkie gwiazdy: Robot Koch, Rain Dog, Long Arm i Gordon – założyciel wytwórni. Usłyszymy nowoczesny hip hop, niebanalny dubstep, nowatorskie techno czy eksperymentalna dance music.
“Reading in the Dark” is a project focused on creating radio plays, inter-media spectacles taking place in front of the audience in the dark or total darkness, thus affecting mainly other senses apart from the sense of sight. The main idea is the presentation of literature in a “dark”, different way. Words are accompanied by music, sometimes video images emerge from the darkness. The mentioned darkness, in which the spectacles take place, allows to “pull” the, at times, classic texts out from the patterns. This activity enables a broader reception of various culture texts – makes the recipients more sensible to the audio-visual aspects of literature.
\r\nIn total darkness we reading excerpts of „Herztier” and „Niederungen”. There is something what connects these both books. In the darkness we will hear voices from lowlands and voice of protagonists gifted by herztier. „Niederungen” really begins in the moment of finishing. It means, we can notice only in the end of the book there is no „heart” without „lowlands”. Without humiliating work in Romanian factory, the writer''s essentional description of the world wouldn''t exist. It is born from pain, abasement and lack of perspectives for better life. It''s just a paradox this nuisance can conjure up this life another time. In the darkness we want first crack at such diagnosis, we want to be faithful to the author and we want to become engrossed in the bueutiful and dark past.
\r\n', 'CZYTANIE W CIEMNOŚCIACH. HERTA MÜLLERREADING IN THE DARK. HERTA MÜLLER', '', 'inherit', 'closed', 'closed', '', '493-revision-9', '', '', '2012-08-25 22:00:58', '2012-08-25 20:00:58', '', 493, 'http://avantart.pl/493-revision-9/', 0, 'revision', '', 0); INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (875, 2, '2012-09-25 11:26:19', '2012-09-25 09:26:19', '\r\n\r\nProdukcja Rita Baum\r\n\r\n„Czytanie w ciemnościach” to projekt polegający na kreowaniu słuchowisk, intermedialnych spektakli odbywających się przed publicznością w mroku lub całkowitych ciemnościach, a więc działających głównie na inne zmysły poza zmysłem wzroku. Ideą przewodnią jest zaprezentowanie literatury w „ciemny”, odmienny sposób. Słowom towarzyszy muzyka, czasami z mroku wyłaniają się obrazy wideo. Ciemność, w której odbywają się spektakle, pozwala „wyrwać” klasyczne czasami teksty ze schematów. Działanie to pozwala na poszerzony odbiór różnych tekstów kultury – uwrażliwia odbiorców na foniczno- wizualne aspekty literatury. Ciemność, w jakiej odbywają się spektakle, jest także istotna ze względu na otwarcie przedsięwzięcia dla osób niewidomych i niedowidzących. Każdy spektakl aranżujemy, by mógł być w pełni odebrany bez udziału wzroku.\r\n\r\nW ciemności buduje się wspólnota pomiędzy tymi, którzy widzą, i tymi, którzy są niewidomi; nic nas wszystkich wtedy nie odróżnia.\r\n\r\nczęść I\r\n\r\nEseistyczny kolaż "Tykanie zaborczej normy" nawiązuje do stęchłej i podszytej niepokojem atmosfery książki Herty Müller „Głód i Jedwab”. Strach Herty Müller wpisuje się w realia dzisiejszej Polski i z pewnością nie jest strachem przed utratą pracy czy niskimi zarobkami. Czego się boimy? Straty dobrego samopoczucia, jaki oferuje nam kapitalistyczny sen, po którym ciężko się przebudzić? A może jest to złowieszczy strach przed powrotem języka PRL-u, który w dzisiejszej Polsce nadal jest przedłużeniem nietolerancji i ksenofobii wielu rodzimych środowisk?\r\n\r\nHerta Müller doświadczona dyktaturami Stalina i Ceausescu, przestrzega przed zbyt pochopnym akceptowaniem łatwych utopii. W neurotycznym XXI wieku, polityczny mrok pod płaszczykiem hellenistycznej wizji ładu i szczęścia, nasiąka z wolna groźnym cieniem. W Polsce ten ciemny społeczny refleks objawia się w postaci dwóch partii, które od wielu lat monopolizują praktyki wyborcze obywateli i są w pewnym sensie rodzajem pseudo - obywatelskiego „all inclusive”. Nie zapominajmy, że liderzy tych partii kolejny rok sprzedają nam pakiet plastikowych usług społecznych, nie biorąc odpowiedzialności za wy[powiedziane] słowa. Warunki pakietu zaleca się zaakceptować w „ciemno”. Grunt, aby za bardzo nie „wychylać się”, nie drążyć i nie zadawać niewygodnych pytań odnośnie tego, co tak naprawdę dzieje się w tej naszej polskiej, coraz bardziej oderwanej od rzeczywistości, turystycznej zonie. Kiedyś takie praktyki nazywano emigracją wewnętrzną.\r\n\r\nZ tego właśnie powodu ważne są zdania Herty Müller dotyczące utopii, ponieważ polska „normalność” pod płaszczykiem estetycznego patriotyzmu oraz rzekomego przywiązania do tradycji, tworzy nowe i dotąd nieznane obywatelowi narzędzie kontroli społecznej.\r\n\r\nczęść II\r\n\r\n„Sercątko” otworzą przed wami trzy kobiety. Jest tam Herta (tak ją nazwaliśmy umownie), jest tam Teresa i Krawcowa. W tym ciężkim, rumuńskim czasie socjalizmu wszystkie trzy zmagają się z opresją dyktatury, bo sięga ona najprostszego, „najmniejszego” człowieka na najdalszej prowincji, ale też robią na co dzień to, co wszystkie kobiety świata. Przesłuchania mieszają się tu z szyciem sukienek, wróżeniem z kart i pracą w fabryce. Jest też mężczyzna, który im towarzyszy i który nie ma lżej od nich. To jego słowami rozpoczyna się „Sercątko”: „ Kiedy milczymy, stajemy się nieprzyjemni, kiedy mówimy – śmieszni”. Dlatego w ciemnościach będzie nieprzyjemnie i śmiesznie.\r\n\r\nReżyseria I części Andrzej Ficowski, reżyseria II części Marcin Czerwiński.\r\n\r\nRedakcja czasopisma „Rita Baum” dziękuje Wydawnictwu „Czarne” za okazaną pomoc w realizacji projektu. \r\n“Reading in the Dark” is a project focused on creating radio plays, inter-media spectacles taking place in front of the audience in the dark or total darkness, thus affecting mainly other senses apart from the sense of sight. The main idea is the presentation of literature in a “dark”, different way. Words are accompanied by music, sometimes video images emerge from the darkness. The mentioned darkness, in which the spectacles take place, allows to “pull” the, at times, classic texts out from the patterns. This activity enables a broader reception of various culture texts – makes the recipients more sensible to the audio-visual aspects of literature.
\r\nIn total darkness we reading excerpts of „Herztier” and „Niederungen”. There is something what connects these both books. In the darkness we will hear voices from lowlands and voice of protagonists gifted by herztier. „Niederungen” really begins in the moment of finishing. It means, we can notice only in the end of the book there is no „heart” without „lowlands”. Without humiliating work in Romanian factory, the writer''s essentional description of the world wouldn''t exist. It is born from pain, abasement and lack of perspectives for better life. It''s just a paradox this nuisance can conjure up this life another time. In the darkness we want first crack at such diagnosis, we want to be faithful to the author and we want to become engrossed in the bueutiful and dark past.
\r\n', 'CZYTANIE W CIEMNOŚCIACH. HERTA MÜLLERREADING IN THE DARK. HERTA MÜLLER', '', 'inherit', 'closed', 'closed', '', '493-revision-10', '', '', '2012-09-25 11:26:19', '2012-09-25 09:26:19', '', 493, 'http://avantart.pl/493-revision-10/', 0, 'revision', '', 0), (876, 1, '2012-09-18 10:03:12', '2012-09-18 08:03:12', 'The Berlin-based label Project: Mooncircle specializes in combining
\r\nelectronic and organic music. In just ten years of existence it gained
\r\nprestige and became a renown brand and a synonym of high quality on stage.
\r\nProject: Mooncircle together with its diverse vocalists and producers is an
\r\ninteresting experience, for everyone who looks for something unique in music.
\r\nAs a part of Project: Mooncircle 10th anniversary showcase Robot Koch, Rain Dog, Long Arm and Gordon will perform.
\r\n\r\nsoundcloud.com/projectmooncircle/tracks
\r\n', ' PROJECT: MOONCIRCLE 10th anniversary showcase PROJECT: MOONCIRCLE 10th anniversary showcase', '', 'inherit', 'closed', 'closed', '', '691-revision-12', '', '', '2012-09-23 16:18:54', '2012-09-23 14:18:54', '', 691, 'http://avantart.pl/691-revision-12/', 0, 'revision', '', 0), (879, 2, '2012-09-25 14:29:39', '2012-09-25 12:29:39', '\r\n\r\nW ramach Project: Mooncircle 10th anniversary showcase zagrają: Robot Koch, Rain Dog, Long Arm i Gordon.\r\n\r\nJest całe mnóstwo wytwórni specjalizujących się w wydawaniu muzyki, którą zwykło się szufladkować jako „nowe brzmienia”, ale niewiele z nich w ciągu zaledwie dziesięciu lat swojego istnienia dorobiło się takiego prestiżu i uznania, jak berliński label Project: Mooncircle. Powołana do życia w 2002 roku przez Gordona Giesekinga wytwórnia przebiła się, została zauważona i doceniona zarówno przez słuchaczy, jak i krytyków dzięki wydawnictwom cechującym się za każdym razem wysoką jakością wykonania i oryginalnością zawartych na nich dźwięków, jak też określonym profilem prezentowanej muzyki – w zamyśle założycieli już od początków swojego istnienia miała być platformą dla artystów, którzy w swojej twórczości specjalizują się w łączeniu muzyki elektronicznej z organiczną. Project: Mooncircle to jedna idea – ale za to wielość gatunków i różnorodność ich realizacji. Znajdzie się tu wszystko, co fascynuje i porywa do tańca zwolenników najnowszych trendów inteligentnej muzyki tanecznej: nowoczesny hip hop, niebanalny dubstep, nowatorskie techno czy eksperymentalna dance music. Wystarczy wymienić zaledwie kilku z wykonawców, którzy wydają w niej swoje płyty, a jest pewnym, że te nazwy wywołają entuzjazm wśród fanów nowych brzmień – Mr Cooper, 40 Winks, CYNE, Jahbitat, John Robinson, MF Doom, Lambent, Lewis Parker, Non of Shadowhuntaz, Graciela Maria, Strand, Robot Koch, Pavel Dovgal, Ta-Ku, Mika Gao, Onra, Obba Supa, fLako, Sina., 1000 Names, DZA, Krts, Long Arm czy Glen Porter. Sama wytwórnia posiada swoje poboczne gałęzie – sub-labele: Project: Squared specjalizuje się w wydawaniu dubstepowych i technoidalnych dwunastocalówek, a celem drugiego z nich, Finest Ego, jest konsolidacja wszechstronności instrumentalnych bitów, glitchów i wszelakich dziwacznych dźwięków. Płyty wydane w Project: Mooncircle cechują się też wyjątkową dbałością o projekty graficzne samych płyt i ich okładek – przygotowują je tacy uznani dizajnerzy, jak Bioniq, Dan May, Iain McArthur, Ima One, LNY, Gordon, 44 Flavours, La Mano Fria i The Binh, którzy swoimi obrazami wspomagają i idealnie dopełniają akustyczne przestrzenie albumów. Podsumowując – zapoznanie się z Project: Mooncircle, ze swoim bogactwem producentów i wokalistów, jest zawsze interesującym doświadczeniem dla tych, którzy w dźwiękach szukają czegoś niezwykłego, zdecydowanie wykraczającego poza banalną muzyczną sieczkę.\r\n\r\nwww.projectmooncircle.com\r\nsoundcloud.com/projectmooncircle/tracks\r\nThe Berlin-based label Project: Mooncircle specializes in combining
\r\nelectronic and organic music. In just ten years of existence it gained
\r\nprestige and became a renown brand and a synonym of high quality on stage.
\r\nProject: Mooncircle together with its diverse vocalists and producers is an
\r\ninteresting experience, for everyone who looks for something unique in music.
\r\nAs a part of Project: Mooncircle 10th anniversary showcase Robot Koch, Rain Dog, Long Arm and Gordon will perform.
\r\n\r\nsoundcloud.com/projectmooncircle/tracks
\r\n', ' PROJECT: MOONCIRCLE 10th anniversary showcase PROJECT: MOONCIRCLE 10th anniversary showcase', '', 'inherit', 'closed', 'closed', '', '691-revision-13', '', '', '2012-09-25 14:29:39', '2012-09-25 12:29:39', '', 691, 'http://avantart.pl/691-revision-13/', 0, 'revision', '', 0), (880, 2, '2012-09-25 14:30:48', '2012-09-25 12:30:48', '\r\n\r\nW ramach Project: Mooncircle 10th anniversary showcase zagrają: Robot Koch, Rain Dog, Long Arm i Gordon.\r\n\r\nJest całe mnóstwo wytwórni specjalizujących się w wydawaniu muzyki, którą zwykło się szufladkować jako „nowe brzmienia”, ale niewiele z nich w ciągu zaledwie dziesięciu lat swojego istnienia dorobiło się takiego prestiżu i uznania, jak berliński label Project: Mooncircle. Powołana do życia w 2002 roku przez Gordona Giesekinga wytwórnia przebiła się, została zauważona i doceniona zarówno przez słuchaczy, jak i krytyków dzięki wydawnictwom cechującym się za każdym razem wysoką jakością wykonania i oryginalnością zawartych na nich dźwięków, jak też określonym profilem prezentowanej muzyki – w zamyśle założycieli już od początków swojego istnienia miała być platformą dla artystów, którzy w swojej twórczości specjalizują się w łączeniu muzyki elektronicznej z organiczną. Project: Mooncircle to jedna idea – ale za to wielość gatunków i różnorodność ich realizacji. Znajdzie się tu wszystko, co fascynuje i porywa do tańca zwolenników najnowszych trendów inteligentnej muzyki tanecznej: nowoczesny hip hop, niebanalny dubstep, nowatorskie techno czy eksperymentalna dance music. Wystarczy wymienić zaledwie kilku z wykonawców, którzy wydają w niej swoje płyty, a jest pewnym, że te nazwy wywołają entuzjazm wśród fanów nowych brzmień – Mr Cooper, 40 Winks, CYNE, Jahbitat, John Robinson, MF Doom, Lambent, Lewis Parker, Non of Shadowhuntaz, Graciela Maria, Strand, Robot Koch, Pavel Dovgal, Ta-Ku, Mika Gao, Onra, Obba Supa, fLako, Sina., 1000 Names, DZA, Krts, Long Arm czy Glen Porter. Sama wytwórnia posiada swoje poboczne gałęzie – sub-labele: Project: Squared specjalizuje się w wydawaniu dubstepowych i technoidalnych dwunastocalówek, a celem drugiego z nich, Finest Ego, jest konsolidacja wszechstronności instrumentalnych bitów, glitchów i wszelakich dziwacznych dźwięków. Płyty wydane w Project: Mooncircle cechują się też wyjątkową dbałością o projekty graficzne samych płyt i ich okładek – przygotowują je tacy uznani dizajnerzy, jak Bioniq, Dan May, Iain McArthur, Ima One, LNY, Gordon, 44 Flavours, La Mano Fria i The Binh, którzy swoimi obrazami wspomagają i idealnie dopełniają akustyczne przestrzenie albumów. Podsumowując – zapoznanie się z Project: Mooncircle, ze swoim bogactwem producentów i wokalistów, jest zawsze interesującym doświadczeniem dla tych, którzy w dźwiękach szukają czegoś niezwykłego, zdecydowanie wykraczającego poza banalną muzyczną sieczkę.\r\n\r\nwww.projectmooncircle.com\r\nsoundcloud.com/projectmooncircle/tracks\r\nThe Berlin-based label Project: Mooncircle specializes in combining
\r\nelectronic and organic music. In just ten years of existence it gained
\r\nprestige and became a renown brand and a synonym of high quality on stage.
\r\nProject: Mooncircle together with its diverse vocalists and producers is an
\r\ninteresting experience, for everyone who looks for something unique in music.
\r\nAs a part of Project: Mooncircle 10th anniversary showcase Robot Koch, Rain Dog, Long Arm and Gordon will perform.
\r\n\r\nsoundcloud.com/projectmooncircle/tracks
\r\n', ' PROJECT: MOONCIRCLE 10th anniversary showcase PROJECT: MOONCIRCLE 10th anniversary showcase', '', 'inherit', 'closed', 'closed', '', '691-revision-14', '', '', '2012-09-25 14:30:48', '2012-09-25 12:30:48', '', 691, 'http://avantart.pl/691-revision-14/', 0, 'revision', '', 0), (881, 2, '2012-09-25 14:31:26', '2012-09-25 12:31:26', '\r\n\r\nW ramach Project: Mooncircle 10th anniversary showcase zagrają: Robot Koch, Rain Dog, Long Arm i Gordon.\r\n\r\nJest całe mnóstwo wytwórni specjalizujących się w wydawaniu muzyki, którą zwykło się szufladkować jako „nowe brzmienia”, ale niewiele z nich w ciągu zaledwie dziesięciu lat swojego istnienia dorobiło się takiego prestiżu i uznania, jak berliński label Project: Mooncircle. Powołana do życia w 2002 roku przez Gordona Giesekinga wytwórnia przebiła się, została zauważona i doceniona zarówno przez słuchaczy, jak i krytyków dzięki wydawnictwom cechującym się za każdym razem wysoką jakością wykonania i oryginalnością zawartych na nich dźwięków, jak też określonym profilem prezentowanej muzyki – w zamyśle założycieli już od początków swojego istnienia miała być platformą dla artystów, którzy w swojej twórczości specjalizują się w łączeniu muzyki elektronicznej z organiczną. Project: Mooncircle to jedna idea – ale za to wielość gatunków i różnorodność ich realizacji. Znajdzie się tu wszystko, co fascynuje i porywa do tańca zwolenników najnowszych trendów inteligentnej muzyki tanecznej: nowoczesny hip hop, niebanalny dubstep, nowatorskie techno czy eksperymentalna dance music. Wystarczy wymienić zaledwie kilku z wykonawców, którzy wydają w niej swoje płyty, a jest pewnym, że te nazwy wywołają entuzjazm wśród fanów nowych brzmień – Mr Cooper, 40 Winks, CYNE, Jahbitat, John Robinson, MF Doom, Lambent, Lewis Parker, Non of Shadowhuntaz, Graciela Maria, Strand, Robot Koch, Pavel Dovgal, Ta-Ku, Mika Gao, Onra, Obba Supa, fLako, Sina., 1000 Names, DZA, Krts, Long Arm czy Glen Porter. Sama wytwórnia posiada swoje poboczne gałęzie – sub-labele: Project: Squared specjalizuje się w wydawaniu dubstepowych i technoidalnych dwunastocalówek, a celem drugiego z nich, Finest Ego, jest konsolidacja wszechstronności instrumentalnych bitów, glitchów i wszelakich dziwacznych dźwięków. Płyty wydane w Project: Mooncircle cechują się też wyjątkową dbałością o projekty graficzne samych płyt i ich okładek – przygotowują je tacy uznani dizajnerzy, jak Bioniq, Dan May, Iain McArthur, Ima One, LNY, Gordon, 44 Flavours, La Mano Fria i The Binh, którzy swoimi obrazami wspomagają i idealnie dopełniają akustyczne przestrzenie albumów. Podsumowując – zapoznanie się z Project: Mooncircle, ze swoim bogactwem producentów i wokalistów, jest zawsze interesującym doświadczeniem dla tych, którzy w dźwiękach szukają czegoś niezwykłego, zdecydowanie wykraczającego poza banalną muzyczną sieczkę.\r\n\r\nwww.projectmooncircle.com\r\nsoundcloud.com/projectmooncircle/tracks\r\nThe Berlin-based label Project: Mooncircle specializes in combining
\r\nelectronic and organic music. In just ten years of existence it gained
\r\nprestige and became a renown brand and a synonym of high quality on stage.
\r\nProject: Mooncircle together with its diverse vocalists and producers is an
\r\ninteresting experience, for everyone who looks for something unique in music.
\r\nAs a part of Project: Mooncircle 10th anniversary showcase Robot Koch, Rain Dog, Long Arm and Gordon will perform.
\r\n\r\nsoundcloud.com/projectmooncircle/tracks
\r\n', ' PROJECT: MOONCIRCLE 10th anniversary showcase PROJECT: MOONCIRCLE 10th anniversary showcase', '', 'inherit', 'closed', 'closed', '', '691-revision-15', '', '', '2012-09-25 14:31:26', '2012-09-25 12:31:26', '', 691, 'http://avantart.pl/691-revision-15/', 0, 'revision', '', 0), (882, 2, '2012-09-25 14:31:49', '2012-09-25 12:31:49', '\r\n\r\nW ramach Project: Mooncircle 10th anniversary showcase zagrają: Robot Koch, Rain Dog, Long Arm i Gordon.\r\n\r\nJest całe mnóstwo wytwórni specjalizujących się w wydawaniu muzyki, którą zwykło się szufladkować jako „nowe brzmienia”, ale niewiele z nich w ciągu zaledwie dziesięciu lat swojego istnienia dorobiło się takiego prestiżu i uznania, jak berliński label Project: Mooncircle. Powołana do życia w 2002 roku przez Gordona Giesekinga wytwórnia przebiła się, została zauważona i doceniona zarówno przez słuchaczy, jak i krytyków dzięki wydawnictwom cechującym się za każdym razem wysoką jakością wykonania i oryginalnością zawartych na nich dźwięków, jak też określonym profilem prezentowanej muzyki – w zamyśle założycieli już od początków swojego istnienia miała być platformą dla artystów, którzy w swojej twórczości specjalizują się w łączeniu muzyki elektronicznej z organiczną. Project: Mooncircle to jedna idea – ale za to wielość gatunków i różnorodność ich realizacji. Znajdzie się tu wszystko, co fascynuje i porywa do tańca zwolenników najnowszych trendów inteligentnej muzyki tanecznej: nowoczesny hip hop, niebanalny dubstep, nowatorskie techno czy eksperymentalna dance music. Wystarczy wymienić zaledwie kilku z wykonawców, którzy wydają w niej swoje płyty, a jest pewnym, że te nazwy wywołają entuzjazm wśród fanów nowych brzmień – Mr Cooper, 40 Winks, CYNE, Jahbitat, John Robinson, MF Doom, Lambent, Lewis Parker, Non of Shadowhuntaz, Graciela Maria, Strand, Robot Koch, Pavel Dovgal, Ta-Ku, Mika Gao, Onra, Obba Supa, fLako, Sina., 1000 Names, DZA, Krts, Long Arm czy Glen Porter. Sama wytwórnia posiada swoje poboczne gałęzie – sub-labele: Project: Squared specjalizuje się w wydawaniu dubstepowych i technoidalnych dwunastocalówek, a celem drugiego z nich, Finest Ego, jest konsolidacja wszechstronności instrumentalnych bitów, glitchów i wszelakich dziwacznych dźwięków. Płyty wydane w Project: Mooncircle cechują się też wyjątkową dbałością o projekty graficzne samych płyt i ich okładek – przygotowują je tacy uznani dizajnerzy, jak Bioniq, Dan May, Iain McArthur, Ima One, LNY, Gordon, 44 Flavours, La Mano Fria i The Binh, którzy swoimi obrazami wspomagają i idealnie dopełniają akustyczne przestrzenie albumów. Podsumowując – zapoznanie się z Project: Mooncircle, ze swoim bogactwem producentów i wokalistów, jest zawsze interesującym doświadczeniem dla tych, którzy w dźwiękach szukają czegoś niezwykłego, zdecydowanie wykraczającego poza banalną muzyczną sieczkę.\r\n\r\nwww.projectmooncircle.com\r\nsoundcloud.com/projectmooncircle/tracks\r\nThe Berlin-based label Project: Mooncircle specializes in combining
\r\nelectronic and organic music. In just ten years of existence it gained
\r\nprestige and became a renown brand and a synonym of high quality on stage.
\r\nProject: Mooncircle together with its diverse vocalists and producers is an
\r\ninteresting experience, for everyone who looks for something unique in music.
\r\nAs a part of Project: Mooncircle 10th anniversary showcase Robot Koch, Rain Dog, Long Arm and Gordon will perform.
\r\n\r\nsoundcloud.com/projectmooncircle/tracks
\r\n', ' PROJECT: MOONCIRCLE 10th anniversary showcase PROJECT: MOONCIRCLE 10th anniversary showcase', '', 'inherit', 'closed', 'closed', '', '691-revision-16', '', '', '2012-09-25 14:31:49', '2012-09-25 12:31:49', '', 691, 'http://avantart.pl/691-revision-16/', 0, 'revision', '', 0), (883, 2, '2012-09-25 14:32:27', '2012-09-25 12:32:27', '\r\n\r\nW ramach Project: Mooncircle 10th anniversary showcase zagrają: Robot Koch, Rain Dog, Long Arm i Gordon.\r\n\r\nJest całe mnóstwo wytwórni specjalizujących się w wydawaniu muzyki, którą zwykło się szufladkować jako „nowe brzmienia”, ale niewiele z nich w ciągu zaledwie dziesięciu lat swojego istnienia dorobiło się takiego prestiżu i uznania, jak berliński label Project: Mooncircle. Powołana do życia w 2002 roku przez Gordona Giesekinga wytwórnia przebiła się, została zauważona i doceniona zarówno przez słuchaczy, jak i krytyków dzięki wydawnictwom cechującym się za każdym razem wysoką jakością wykonania i oryginalnością zawartych na nich dźwięków, jak też określonym profilem prezentowanej muzyki – w zamyśle założycieli już od początków swojego istnienia miała być platformą dla artystów, którzy w swojej twórczości specjalizują się w łączeniu muzyki elektronicznej z organiczną. Project: Mooncircle to jedna idea – ale za to wielość gatunków i różnorodność ich realizacji. Znajdzie się tu wszystko, co fascynuje i porywa do tańca zwolenników najnowszych trendów inteligentnej muzyki tanecznej: nowoczesny hip hop, niebanalny dubstep, nowatorskie techno czy eksperymentalna dance music. Wystarczy wymienić zaledwie kilku z wykonawców, którzy wydają w niej swoje płyty, a jest pewnym, że te nazwy wywołają entuzjazm wśród fanów nowych brzmień – Mr Cooper, 40 Winks, CYNE, Jahbitat, John Robinson, MF Doom, Lambent, Lewis Parker, Non of Shadowhuntaz, Graciela Maria, Strand, Robot Koch, Pavel Dovgal, Ta-Ku, Mika Gao, Onra, Obba Supa, fLako, Sina., 1000 Names, DZA, Krts, Long Arm czy Glen Porter. Sama wytwórnia posiada swoje poboczne gałęzie – sub-labele: Project: Squared specjalizuje się w wydawaniu dubstepowych i technoidalnych dwunastocalówek, a celem drugiego z nich, Finest Ego, jest konsolidacja wszechstronności instrumentalnych bitów, glitchów i wszelakich dziwacznych dźwięków. Płyty wydane w Project: Mooncircle cechują się też wyjątkową dbałością o projekty graficzne samych płyt i ich okładek – przygotowują je tacy uznani dizajnerzy, jak Bioniq, Dan May, Iain McArthur, Ima One, LNY, Gordon, 44 Flavours, La Mano Fria i The Binh, którzy swoimi obrazami wspomagają i idealnie dopełniają akustyczne przestrzenie albumów. Podsumowując – zapoznanie się z Project: Mooncircle, ze swoim bogactwem producentów i wokalistów, jest zawsze interesującym doświadczeniem dla tych, którzy w dźwiękach szukają czegoś niezwykłego, zdecydowanie wykraczającego poza banalną muzyczną sieczkę.\r\n\r\nwww.projectmooncircle.com\r\nsoundcloud.com/projectmooncircle/tracks\r\nThe Berlin-based label Project: Mooncircle specializes in combining
\r\nelectronic and organic music. In just ten years of existence it gained
\r\nprestige and became a renown brand and a synonym of high quality on stage.
\r\nProject: Mooncircle together with its diverse vocalists and producers is an
\r\ninteresting experience, for everyone who looks for something unique in music.
\r\nAs a part of Project: Mooncircle 10th anniversary showcase Robot Koch, Rain Dog, Long Arm and Gordon will perform.
\r\n\r\nsoundcloud.com/projectmooncircle/tracks
\r\n', ' PROJECT: MOONCIRCLE 10th anniversary showcase PROJECT: MOONCIRCLE 10th anniversary showcase', '', 'inherit', 'closed', 'closed', '', '691-revision-17', '', '', '2012-09-25 14:32:27', '2012-09-25 12:32:27', '', 691, 'http://avantart.pl/691-revision-17/', 0, 'revision', '', 0), (884, 2, '2012-09-23 16:20:30', '2012-09-23 14:20:30', '\r\n\r\nPod pseudonimem Long Arm ukrywa się Georgij – młody i utalentowany DJ, zafascynowany kulturą winyli. Ich duch przenika na wskroś jego twórczość, a jego muzyka jest nasycona często nieuchwytnym klimatem klasycznego jazzu, zaprezentowanego jednak w nowoczesnej i świeżej formie.\r\nLong Arm is a musician of German label Project: Mooncircle where he released two albums over 2011. This is debut LP called "The Branches" and compilation of remixes and b-sides, called "Organic" EP. Releases have received good support, and compositions have been noticed in mixes by Hidden Orchestra (Tru Thoughts label, UK), Gilles Peterson (BBC Radio 1, "All Winners Show") etc. His lifelong passion for jazz influenced his whole music style.
\r\n', 'LONG ARMLONG ARM', '', 'inherit', 'closed', 'closed', '', '670-revision-4', '', '', '2012-09-23 16:20:30', '2012-09-23 14:20:30', '', 670, 'http://avantart.pl/670-revision-4/', 0, 'revision', '', 0), (885, 2, '2012-09-25 14:34:14', '2012-09-25 12:34:14', '\r\n\r\nPod pseudonimem Long Arm ukrywa się Georgij – młody i utalentowany DJ, zafascynowany kulturą winyli. Ich duch przenika na wskroś jego twórczość, a jego muzyka jest nasycona często nieuchwytnym klimatem klasycznego jazzu, zaprezentowanego jednak w nowoczesnej i świeżej formie.\r\nLong Arm is a musician of German label Project: Mooncircle where he released two albums over 2011. This is debut LP called "The Branches" and compilation of remixes and b-sides, called "Organic" EP. Releases have received good support, and compositions have been noticed in mixes by Hidden Orchestra (Tru Thoughts label, UK), Gilles Peterson (BBC Radio 1, "All Winners Show") etc. His lifelong passion for jazz influenced his whole music style.
\r\n', 'LONG ARMLONG ARM', '', 'inherit', 'closed', 'closed', '', '670-revision-5', '', '', '2012-09-25 14:34:14', '2012-09-25 12:34:14', '', 670, 'http://avantart.pl/670-revision-5/', 0, 'revision', '', 0), (886, 2, '2012-09-25 14:34:50', '2012-09-25 12:34:50', '\r\n\r\nPod pseudonimem Long Arm ukrywa się Georgij – młody i utalentowany DJ, zafascynowany kulturą winyli. Ich duch przenika na wskroś jego twórczość, a jego muzyka jest nasycona często nieuchwytnym klimatem klasycznego jazzu, zaprezentowanego jednak w nowoczesnej i świeżej formie.\r\nLong Arm is a musician of German label Project: Mooncircle where he released two albums over 2011. This is debut LP called "The Branches" and compilation of remixes and b-sides, called "Organic" EP. Releases have received good support, and compositions have been noticed in mixes by Hidden Orchestra (Tru Thoughts label, UK), Gilles Peterson (BBC Radio 1, "All Winners Show") etc. His lifelong passion for jazz influenced his whole music style.
\r\n', 'LONG ARMLONG ARM', '', 'inherit', 'closed', 'closed', '', '670-revision-6', '', '', '2012-09-25 14:34:50', '2012-09-25 12:34:50', '', 670, 'http://avantart.pl/670-revision-6/', 0, 'revision', '', 0), (887, 2, '2012-09-23 13:18:51', '2012-09-23 11:18:51', 'Kontakt dla mediów:\r\nMagda Kotowska | magda.kotowska@highlite.pl, tel. 792 234 779\r\n\r\nKontakt dla mediów:
\r\nMagda Kotowska
\r\nmagda.kotowska@highlite.pl, tel. 792 234 779
\r\n', 'Press Room', '', 'inherit', 'closed', 'closed', '', '26-revision-30', '', '', '2012-09-23 13:18:51', '2012-09-23 11:18:51', '', 26, 'http://avantart.pl/26-revision-30/', 0, 'revision', '', 0); INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (888, 2, '2012-09-25 19:10:01', '2012-09-25 17:10:01', 'Kontakt dla mediów:\r\nMagda Kotowska | magda.kotowska@highlite.pl, tel. 792 234 779\r\n\r\nKontakt dla mediów:
\r\nMagda Kotowska
\r\nmagda.kotowska@highlite.pl, tel. 792 234 779
\r\n', 'Press Room', '', 'inherit', 'closed', 'closed', '', '26-revision-31', '', '', '2012-09-25 19:10:01', '2012-09-25 17:10:01', '', 26, 'http://avantart.pl/26-revision-31/', 0, 'revision', '', 0), (889, 2, '2012-09-25 19:16:00', '2012-09-25 17:16:00', 'Kontakt dla mediów:\r\nMagda Kotowska | magda.kotowska@highlite.pl, tel. 792 234 779\r\n\r\nKontakt dla mediów:
\r\nMagda Kotowska
\r\nmagda.kotowska@highlite.pl, tel. 792 234 779
\r\n', 'Press Room', '', 'inherit', 'closed', 'closed', '', '26-revision-32', '', '', '2012-09-25 19:16:00', '2012-09-25 17:16:00', '', 26, 'http://avantart.pl/26-revision-32/', 0, 'revision', '', 0), (890, 2, '2012-09-25 19:20:18', '2012-09-25 17:20:18', 'Kontakt dla mediów:\r\nMagda Kotowska | magda.kotowska@highlite.pl, tel. 792 234 779\r\n\r\nKontakt dla mediów:
\r\nMagda Kotowska
\r\nmagda.kotowska@highlite.pl, tel. 792 234 779
\r\n', 'Press Room', '', 'inherit', 'closed', 'closed', '', '26-revision-33', '', '', '2012-09-25 19:20:18', '2012-09-25 17:20:18', '', 26, 'http://avantart.pl/26-revision-33/', 0, 'revision', '', 0), (891, 2, '2012-09-25 19:21:16', '2012-09-25 17:21:16', 'Kontakt dla mediów:\r\nMagda Kotowska | magda.kotowska@highlite.pl, tel. 792 234 779\r\n\r\nKontakt dla mediów:
\r\nMagda Kotowska
\r\nmagda.kotowska@highlite.pl, tel. 792 234 779
\r\n', 'Press Room', '', 'inherit', 'closed', 'closed', '', '26-revision-34', '', '', '2012-09-25 19:21:16', '2012-09-25 17:21:16', '', 26, 'http://avantart.pl/26-revision-34/', 0, 'revision', '', 0), (892, 2, '2012-09-25 19:23:11', '2012-09-25 17:23:11', 'Kontakt dla mediów:\r\nMagda Kotowska | magda.kotowska@highlite.pl, tel. 792 234 779\r\n\r\nKontakt dla mediów:
\r\nMagda Kotowska
\r\nmagda.kotowska@highlite.pl, tel. 792 234 779
\r\n', 'Press Room', '', 'inherit', 'closed', 'closed', '', '26-revision-35', '', '', '2012-09-25 19:23:11', '2012-09-25 17:23:11', '', 26, 'http://avantart.pl/26-revision-35/', 0, 'revision', '', 0), (893, 2, '2012-09-10 14:05:42', '2012-09-10 12:05:42', 'Sprzedaż biletów i karnetów pod linkiem BILETY ONLINE,\r\na także za pośrednictwem www.billetin.pl i w Imparcie (ul. Mazowiecka 17, Wrocław, w dni powszednie od 12:00 do 18:00).\r\n\r\nWkrótce ruszy sprzedaż przez www.ticketpro.pl.\r\nBilety dostępne będą także w dniu koncertu na godzinę przed rozpoczęciem wydarzenia.\r\n\r\nKarnet na wszystkie wydarzenia festiwalu: 90 zł\r\n\r\nKontakt: bilety@avantart.plThe purchase of tickets and whole-festival tickets is possible under the link TICKETS ONLINE, as well as via www.biletin.pl and at Impart box office (Mazowiecka 17, Wrocław, open during the week days from 12:00 to 18:00).
\r\nSoon the sale via www.ticketpro.pl will begin as well. The tickets will also be available on the day of the performance, an hour before the beginning of the event.
\r\nThe ticket prices are very reasonable - and range from 10 to 40 PLN pre-sale. The whole-festival ticket can be purchased for 90 PLN
\r\n', 'BiletyTickets', '', 'inherit', 'closed', 'closed', '', '23-revision-14', '', '', '2012-09-10 14:05:42', '2012-09-10 12:05:42', '', 23, 'http://avantart.pl/23-revision-14/', 0, 'revision', '', 0), (894, 2, '2012-09-25 19:44:19', '2012-09-25 17:44:19', 'Sprzedaż biletów na koncerty i karnetów na wszystkie wydarzenia pod linkiem BILETY ONLINE,\r\na także za pośrednictwem www.billetin.pl i w Imparcie (ul. Mazowiecka 17, Wrocław, w dni powszednie od 12:00 do 18:00) oraz w SieciTicketpro.\r\nInformacje o punktach sprzedaży na terenie całego kraju dostępne na stronie:\r\nhttp://www.ticketpro.pl/jnp/gdzie-kupic-bilety/index.html\r\n\r\nBilety na filmy i karnet filmowy do nabycia w Helios Nowe Horyzonty (ul. Kazimierza Wielkiego 19a-21, Wrocław) oraz na www.heliosnh.pl .\r\n\r\nBilety dostępne będą także w dniu koncertu na godzinę przed rozpoczęciem wydarzenia.\r\n\r\nKarnet na wszystkie wydarzenia festiwalu: 90 zł\r\nKarnet filmowy: 30 zł\r\n\r\nThe purchase of tickets and whole-festival tickets is possible under the link TICKETS ONLINE, as well as via www.biletin.pl and at Impart box office (Mazowiecka 17, Wrocław, open during the week days from 12:00 to 18:00).
\r\nSoon the sale via www.ticketpro.pl will begin as well. The tickets will also be available on the day of the performance, an hour before the beginning of the event.
\r\nThe ticket prices are very reasonable - and range from 10 to 40 PLN pre-sale. The whole-festival ticket can be purchased for 90 PLN
\r\n', 'BiletyTickets', '', 'inherit', 'closed', 'closed', '', '23-revision-15', '', '', '2012-09-25 19:44:19', '2012-09-25 17:44:19', '', 23, 'http://avantart.pl/23-revision-15/', 0, 'revision', '', 0), (895, 2, '2012-09-25 19:44:44', '2012-09-25 17:44:44', 'Sprzedaż biletów na koncerty i karnetów na wszystkie wydarzenia pod linkiem BILETY ONLINE,\r\na także za pośrednictwem www.billetin.pl, w Imparcie (ul. Mazowiecka 17, Wrocław, w dni powszednie od 12:00 do 18:00) oraz w SieciTicketpro.\r\nInformacje o punktach sprzedaży na terenie całego kraju dostępne na stronie:\r\nhttp://www.ticketpro.pl/jnp/gdzie-kupic-bilety/index.html\r\n\r\nBilety na filmy i karnet filmowy do nabycia w Helios Nowe Horyzonty (ul. Kazimierza Wielkiego 19a-21, Wrocław) oraz na www.heliosnh.pl .\r\n\r\nBilety dostępne będą także w dniu koncertu na godzinę przed rozpoczęciem wydarzenia.\r\n\r\nKarnet na wszystkie wydarzenia festiwalu: 90 zł\r\nKarnet filmowy: 30 zł\r\n\r\nThe purchase of tickets and whole-festival tickets is possible under the link TICKETS ONLINE, as well as via www.biletin.pl and at Impart box office (Mazowiecka 17, Wrocław, open during the week days from 12:00 to 18:00).
\r\nSoon the sale via www.ticketpro.pl will begin as well. The tickets will also be available on the day of the performance, an hour before the beginning of the event.
\r\nThe ticket prices are very reasonable - and range from 10 to 40 PLN pre-sale. The whole-festival ticket can be purchased for 90 PLN
\r\n', 'BiletyTickets', '', 'inherit', 'closed', 'closed', '', '23-revision-16', '', '', '2012-09-25 19:44:44', '2012-09-25 17:44:44', '', 23, 'http://avantart.pl/23-revision-16/', 0, 'revision', '', 0), (896, 2, '2012-09-25 19:47:46', '2012-09-25 17:47:46', 'Sprzedaż biletów na koncerty i karnetów na wszystkie wydarzenia pod linkiem BILETY ONLINE,\r\na także za pośrednictwem www.billetin.pl, w Imparcie (ul. Mazowiecka 17, Wrocław, w dni powszednie od 12:00 do 18:00) oraz w SieciTicketpro.\r\nInformacje o punktach sprzedaży na terenie całego kraju dostępne na stronie:\r\nhttp://www.ticketpro.pl/jnp/gdzie-kupic-bilety/index.html\r\n\r\nBilety na filmy i karnet filmowy do nabycia w Helios Nowe Horyzonty (ul. Kazimierza Wielkiego 19a-21, Wrocław) oraz na www.heliosnh.pl .\r\n\r\nBilety dostępne będą także w dniu koncertu na godzinę przed rozpoczęciem wydarzenia.\r\n\r\nKarnet na wszystkie wydarzenia festiwalu: 90 zł\r\nKarnet filmowy: 30 zł\r\n\r\nPobierz program z cenami biletów plik pdf\r\n\r\nThe purchase of tickets and whole-festival tickets is possible under the link TICKETS ONLINE, as well as via www.biletin.pl and at Impart box office (Mazowiecka 17, Wrocław, open during the week days from 12:00 to 18:00).
\r\nSoon the sale via www.ticketpro.pl will begin as well. The tickets will also be available on the day of the performance, an hour before the beginning of the event.
\r\nThe ticket prices are very reasonable - and range from 10 to 40 PLN pre-sale. The whole-festival ticket can be purchased for 90 PLN
\r\n', 'BiletyTickets', '', 'inherit', 'closed', 'closed', '', '23-revision-17', '', '', '2012-09-25 19:47:46', '2012-09-25 17:47:46', '', 23, 'http://avantart.pl/23-revision-17/', 0, 'revision', '', 0), (897, 2, '2012-09-25 19:48:18', '2012-09-25 17:48:18', 'Sprzedaż biletów na koncerty i karnetów na wszystkie wydarzenia pod linkiem BILETY ONLINE,\r\na także za pośrednictwem www.billetin.pl, w Imparcie (ul. Mazowiecka 17, Wrocław, w dni powszednie od 12:00 do 18:00) oraz w SieciTicketpro.\r\n\r\nInformacje o punktach sprzedaży na terenie całego kraju dostępne na stronie:\r\nhttp://www.ticketpro.pl/jnp/gdzie-kupic-bilety/index.html\r\n\r\nBilety na filmy i karnet filmowy do nabycia w Helios Nowe Horyzonty (ul. Kazimierza Wielkiego 19a-21, Wrocław) oraz na www.heliosnh.pl .\r\n\r\nBilety dostępne będą także w dniu koncertu na godzinę przed rozpoczęciem wydarzenia.\r\n\r\nKarnet na wszystkie wydarzenia festiwalu: 90 zł\r\nKarnet filmowy: 30 zł\r\n\r\nPobierz program z cenami biletów plik pdf\r\n\r\nThe purchase of tickets and whole-festival tickets is possible under the link TICKETS ONLINE, as well as via www.biletin.pl and at Impart box office (Mazowiecka 17, Wrocław, open during the week days from 12:00 to 18:00).
\r\nSoon the sale via www.ticketpro.pl will begin as well. The tickets will also be available on the day of the performance, an hour before the beginning of the event.
\r\nThe ticket prices are very reasonable - and range from 10 to 40 PLN pre-sale. The whole-festival ticket can be purchased for 90 PLN
\r\n', 'BiletyTickets', '', 'inherit', 'closed', 'closed', '', '23-revision-18', '', '', '2012-09-25 19:48:18', '2012-09-25 17:48:18', '', 23, 'http://avantart.pl/23-revision-18/', 0, 'revision', '', 0), (898, 2, '2012-09-25 19:58:14', '2012-09-25 17:58:14', 'Sprzedaż biletów na koncerty i karnetów na wszystkie wydarzenia pod linkiem BILETY ONLINE,\r\na także za pośrednictwem www.billetin.pl, w Imparcie (ul. Mazowiecka 17, Wrocław, w dni powszednie od 12:00 do 18:00) oraz w SieciTicketpro.\r\n\r\nInformacje o punktach sprzedaży na terenie całego kraju dostępne na stronie:\r\nhttp://www.ticketpro.pl/jnp/gdzie-kupic-bilety/index.html\r\n\r\nBilety na filmy i karnet filmowy do nabycia w Helios Nowe Horyzonty (ul. Kazimierza Wielkiego 19a-21, Wrocław) oraz na www.heliosnh.pl .\r\n\r\nBilety dostępne będą także w miejscach festiwalowych na godzinę przed rozpoczęciem wydarzenia.\r\n\r\nKarnet na wszystkie wydarzenia festiwalu: 90 zł\r\nKarnet filmowy: 30 zł\r\n\r\nPobierz program z cenami biletów plik pdf\r\n\r\n“Reading in the Dark” is a project focused on creating radio plays, inter-media spectacles taking place in front of the audience in the dark or total darkness, thus affecting mainly other senses apart from the sense of sight. The main idea is the presentation of literature in a “dark”, different way. Words are accompanied by music, sometimes video images emerge from the darkness. The mentioned darkness, in which the spectacles take place, allows to “pull” the, at times, classic texts out from the patterns. This activity enables a broader reception of various culture texts – makes the recipients more sensible to the audio-visual aspects of literature.
\r\nIn total darkness we reading excerpts of „Herztier” and „Niederungen”. There is something what connects these both books. In the darkness we will hear voices from lowlands and voice of protagonists gifted by herztier. „Niederungen” really begins in the moment of finishing. It means, we can notice only in the end of the book there is no „heart” without „lowlands”. Without humiliating work in Romanian factory, the writer''s essentional description of the world wouldn''t exist. It is born from pain, abasement and lack of perspectives for better life. It''s just a paradox this nuisance can conjure up this life another time. In the darkness we want first crack at such diagnosis, we want to be faithful to the author and we want to become engrossed in the bueutiful and dark past.
\r\n', 'CZYTANIE W CIEMNOŚCIACH. HERTA MÜLLERREADING IN THE DARK. HERTA MÜLLER', '', 'inherit', 'closed', 'closed', '', '493-revision-11', '', '', '2012-09-25 11:38:54', '2012-09-25 09:38:54', '', 493, 'http://avantart.pl/493-revision-11/', 0, 'revision', '', 0), (900, 2, '2012-09-25 22:54:31', '2012-09-25 20:54:31', '\r\n\r\nProdukcja Rita Baum\r\n\r\n„Czytanie w ciemnościach” to projekt polegający na kreowaniu słuchowisk, intermedialnych spektakli odbywających się przed publicznością w mroku lub całkowitych ciemnościach, a więc działających głównie na inne zmysły poza zmysłem wzroku. Ideą przewodnią jest zaprezentowanie literatury w „ciemny”, odmienny sposób. Słowom towarzyszy muzyka, czasami z mroku wyłaniają się obrazy wideo. Ciemność, w której odbywają się spektakle, pozwala „wyrwać” klasyczne czasami teksty ze schematów. Działanie to pozwala na poszerzony odbiór różnych tekstów kultury – uwrażliwia odbiorców na foniczno- wizualne aspekty literatury. Ciemność, w jakiej odbywają się spektakle, jest także istotna ze względu na otwarcie przedsięwzięcia dla osób niewidomych i niedowidzących. Każdy spektakl aranżujemy, by mógł być w pełni odebrany bez udziału wzroku.\r\n\r\nW ciemności buduje się wspólnota pomiędzy tymi, którzy widzą, i tymi, którzy są niewidomi; nic nas wszystkich wtedy nie odróżnia.\r\n\r\nczęść I\r\n\r\nEseistyczny kolaż "Tykanie zaborczej normy" nawiązuje do stęchłej i podszytej niepokojem atmosfery książki Herty Müller „Głód i Jedwab”. Strach Herty Müller wpisuje się w realia dzisiejszej Polski i z pewnością nie jest strachem przed utratą pracy czy niskimi zarobkami. Czego się boimy? Straty dobrego samopoczucia, jaki oferuje nam kapitalistyczny sen, po którym ciężko się przebudzić? A może jest to złowieszczy strach przed powrotem języka PRL-u, który w dzisiejszej Polsce nadal jest przedłużeniem nietolerancji i ksenofobii wielu rodzimych środowisk?\r\n\r\nHerta Müller doświadczona dyktaturami Stalina i Ceausescu, przestrzega przed zbyt pochopnym akceptowaniem łatwych utopii. W neurotycznym XXI wieku, polityczny mrok pod płaszczykiem hellenistycznej wizji ładu i szczęścia, nasiąka z wolna groźnym cieniem. W Polsce ten ciemny społeczny refleks objawia się w postaci dwóch partii, które od wielu lat monopolizują praktyki wyborcze obywateli i są w pewnym sensie rodzajem pseudo - obywatelskiego „all inclusive”. Nie zapominajmy, że liderzy tych partii kolejny rok sprzedają nam pakiet plastikowych usług społecznych, nie biorąc odpowiedzialności za wy[powiedziane] słowa. Warunki pakietu zaleca się zaakceptować w „ciemno”. Grunt, aby za bardzo nie „wychylać się”, nie drążyć i nie zadawać niewygodnych pytań odnośnie tego, co tak naprawdę dzieje się w tej naszej polskiej, coraz bardziej oderwanej od rzeczywistości, turystycznej zonie. Kiedyś takie praktyki nazywano emigracją wewnętrzną.\r\n\r\nZ tego właśnie powodu ważne są zdania Herty Müller dotyczące utopii, ponieważ polska „normalność” pod płaszczykiem estetycznego patriotyzmu oraz rzekomego przywiązania do tradycji, tworzy nowe i dotąd nieznane obywatelowi narzędzie kontroli społecznej.\r\n\r\nczęść II\r\n\r\n„Sercątko” otworzą przed wami trzy kobiety. Jest tam Herta (tak ją nazwaliśmy umownie), jest tam Teresa i Krawcowa. W tym ciężkim, rumuńskim czasie socjalizmu wszystkie trzy zmagają się z opresją dyktatury, bo sięga ona najprostszego, „najmniejszego” człowieka na najdalszej prowincji, ale też robią na co dzień to, co wszystkie kobiety świata. Przesłuchania mieszają się tu z szyciem sukienek, wróżeniem z kart i pracą w fabryce. Jest też mężczyzna, który im towarzyszy i który nie ma lżej od nich. To jego słowami rozpoczyna się „Sercątko”: „ Kiedy milczymy, stajemy się nieprzyjemni, kiedy mówimy – śmieszni”. Dlatego w ciemnościach będzie nieprzyjemnie i śmiesznie.\r\n\r\nReżyseria I części Andrzej Ficowski, reżyseria II części Marcin Czerwiński.\r\n\r\nRedakcja czasopisma „Rita Baum” dziękuje Wydawnictwu „Czarne” za okazaną pomoc w realizacji projektu. \r\n“Reading in the Dark” is a project focused on creating radio plays, inter-media spectacles taking place in front of the audience in the dark or total darkness, thus affecting mainly other senses apart from the sense of sight. The main idea is the presentation of literature in a “dark”, different way. Words are accompanied by music, sometimes video images emerge from the darkness. The mentioned darkness, in which the spectacles take place, allows to “pull” the, at times, classic texts out from the patterns. This activity enables a broader reception of various culture texts – makes the recipients more sensible to the audio-visual aspects of literature.
\r\nIn total darkness we reading excerpts of „Herztier” and „Niederungen”. There is something what connects these both books. In the darkness we will hear voices from lowlands and voice of protagonists gifted by herztier. „Niederungen” really begins in the moment of finishing. It means, we can notice only in the end of the book there is no „heart” without „lowlands”. Without humiliating work in Romanian factory, the writer''s essentional description of the world wouldn''t exist. It is born from pain, abasement and lack of perspectives for better life. It''s just a paradox this nuisance can conjure up this life another time. In the darkness we want first crack at such diagnosis, we want to be faithful to the author and we want to become engrossed in the bueutiful and dark past.
\r\n', 'CZYTANIE W CIEMNOŚCIACH. HERTA MÜLLERREADING IN THE DARK. HERTA MÜLLER', '', 'inherit', 'closed', 'closed', '', '493-revision-12', '', '', '2012-09-25 22:54:31', '2012-09-25 20:54:31', '', 493, 'http://avantart.pl/493-revision-12/', 0, 'revision', '', 0); INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (901, 2, '2012-09-25 22:55:01', '2012-09-25 20:55:01', '\r\n\r\nProdukcja Rita Baum\r\n\r\n„Czytanie w ciemnościach” to projekt polegający na kreowaniu słuchowisk, intermedialnych spektakli odbywających się przed publicznością w mroku lub całkowitych ciemnościach, a więc działających głównie na inne zmysły poza zmysłem wzroku. Ideą przewodnią jest zaprezentowanie literatury w „ciemny”, odmienny sposób. Słowom towarzyszy muzyka, czasami z mroku wyłaniają się obrazy wideo. Ciemność, w której odbywają się spektakle, pozwala „wyrwać” klasyczne czasami teksty ze schematów. Działanie to pozwala na poszerzony odbiór różnych tekstów kultury – uwrażliwia odbiorców na foniczno- wizualne aspekty literatury. Ciemność, w jakiej odbywają się spektakle, jest także istotna ze względu na otwarcie przedsięwzięcia dla osób niewidomych i niedowidzących. Każdy spektakl aranżujemy, by mógł być w pełni odebrany bez udziału wzroku.\r\n\r\nW ciemności buduje się wspólnota pomiędzy tymi, którzy widzą, i tymi, którzy są niewidomi; nic nas wszystkich wtedy nie odróżnia.\r\n\r\nczęść I\r\n\r\nEseistyczny kolaż "Tykanie zaborczej normy" nawiązuje do stęchłej i podszytej niepokojem atmosfery książki Herty Müller „Głód i Jedwab”. Strach Herty Müller wpisuje się w realia dzisiejszej Polski i z pewnością nie jest strachem przed utratą pracy czy niskimi zarobkami. Czego się boimy? Straty dobrego samopoczucia, jaki oferuje nam kapitalistyczny sen, po którym ciężko się przebudzić? A może jest to złowieszczy strach przed powrotem języka PRL-u, który w dzisiejszej Polsce nadal jest przedłużeniem nietolerancji i ksenofobii wielu rodzimych środowisk?\r\n\r\nHerta Müller doświadczona dyktaturami Stalina i Ceausescu, przestrzega przed zbyt pochopnym akceptowaniem łatwych utopii. W neurotycznym XXI wieku, polityczny mrok pod płaszczykiem hellenistycznej wizji ładu i szczęścia, nasiąka z wolna groźnym cieniem. W Polsce ten ciemny społeczny refleks objawia się w postaci dwóch partii, które od wielu lat monopolizują praktyki wyborcze obywateli i są w pewnym sensie rodzajem pseudo - obywatelskiego „all inclusive”. Nie zapominajmy, że liderzy tych partii kolejny rok sprzedają nam pakiet plastikowych usług społecznych, nie biorąc odpowiedzialności za wy[powiedziane] słowa. Warunki pakietu zaleca się zaakceptować w „ciemno”. Grunt, aby za bardzo nie „wychylać się”, nie drążyć i nie zadawać niewygodnych pytań odnośnie tego, co tak naprawdę dzieje się w tej naszej polskiej, coraz bardziej oderwanej od rzeczywistości, turystycznej zonie. Kiedyś takie praktyki nazywano emigracją wewnętrzną.\r\n\r\nZ tego właśnie powodu ważne są zdania Herty Müller dotyczące utopii, ponieważ polska „normalność” pod płaszczykiem estetycznego patriotyzmu oraz rzekomego przywiązania do tradycji, tworzy nowe i dotąd nieznane obywatelowi narzędzie kontroli społecznej.\r\n\r\nczęść II\r\n\r\n„Sercątko” otworzą przed wami trzy kobiety. Jest tam Herta (tak ją nazwaliśmy umownie), jest tam Teresa i Krawcowa. W tym ciężkim, rumuńskim czasie socjalizmu wszystkie trzy zmagają się z opresją dyktatury, bo sięga ona najprostszego, „najmniejszego” człowieka na najdalszej prowincji, ale też robią na co dzień to, co wszystkie kobiety świata. Przesłuchania mieszają się tu z szyciem sukienek, wróżeniem z kart i pracą w fabryce. Jest też mężczyzna, który im towarzyszy i który nie ma lżej od nich. To jego słowami rozpoczyna się „Sercątko”: „ Kiedy milczymy, stajemy się nieprzyjemni, kiedy mówimy – śmieszni”. Dlatego w ciemnościach będzie nieprzyjemnie i śmiesznie.\r\n\r\nReżyseria I części Andrzej Ficowski, reżyseria II części Marcin Czerwiński.\r\n\r\nRedakcja czasopisma „Rita Baum” dziękuje Wydawnictwu „Czarne” za okazaną pomoc w realizacji projektu. \r\n“Reading in the Dark” is a project focused on creating radio plays, inter-media spectacles taking place in front of the audience in the dark or total darkness, thus affecting mainly other senses apart from the sense of sight. The main idea is the presentation of literature in a “dark”, different way. Words are accompanied by music, sometimes video images emerge from the darkness. The mentioned darkness, in which the spectacles take place, allows to “pull” the, at times, classic texts out from the patterns. This activity enables a broader reception of various culture texts – makes the recipients more sensible to the audio-visual aspects of literature.
\r\nIn total darkness we reading excerpts of „Herztier” and „Niederungen”. There is something what connects these both books. In the darkness we will hear voices from lowlands and voice of protagonists gifted by herztier. „Niederungen” really begins in the moment of finishing. It means, we can notice only in the end of the book there is no „heart” without „lowlands”. Without humiliating work in Romanian factory, the writer''s essentional description of the world wouldn''t exist. It is born from pain, abasement and lack of perspectives for better life. It''s just a paradox this nuisance can conjure up this life another time. In the darkness we want first crack at such diagnosis, we want to be faithful to the author and we want to become engrossed in the bueutiful and dark past.
\r\n', 'CZYTANIE W CIEMNOŚCIACH. HERTA MÜLLERREADING IN THE DARK. HERTA MÜLLER', '', 'inherit', 'closed', 'closed', '', '493-revision-13', '', '', '2012-09-25 22:55:01', '2012-09-25 20:55:01', '', 493, 'http://avantart.pl/493-revision-13/', 0, 'revision', '', 0), (902, 2, '2012-09-25 22:56:34', '2012-09-25 20:56:34', '\n\nGordon Gieseking to postać wielowymiarowa – to wybitny grafik, którego prace zdobiły okładki płyt z takich wytwórni jak Warp, Ninja Tune czy Planet Mu; to założyciel prestiżowej wytwórni Project: Mooncircle; to w końcu – a może przede wszystkim – porywający tłumy DJ, który współpracował i występował z wybitnymi luminarzami współczesnej elektroniki.\nGordon Gieseking is a graphic artist and a DJ for Project Mooncircle | hhv.de | Finest Ego | Project Squared.
\nHe made mixes for international magazines like Big Up Magazine (San Francisco), Pixelatique (Serbia), Inverted Audio (UK) and supported musicians like: Robot Koch, Mike Slott, fLako, 1000 Names, John Robinson, Lewis Parker, Gang Starr, Zion I. He played live sets at Boiler Room, Sonar, Satta Outside Festival, etc.
\nGordon is the founder of the Future Bass / Hip Hop / Electronic label Project: Mooncircle, the Music platform: Finest Ego, and a co – founder of the Dubstep / Techno sublabel Project Squared.
\n', 'GORDON OF PROJECT: MOONCIRCLEGORDON OF PROJECT: MOONCIRCLE', '', 'inherit', 'closed', 'closed', '', '673-autosave', '', '', '2012-09-25 22:56:34', '2012-09-25 20:56:34', '', 673, 'http://avantart.pl/673-autosave/', 0, 'revision', '', 0), (903, 2, '2012-09-11 00:41:06', '2012-09-10 22:41:06', '\r\n\r\nGordon Gieseking to postać wielowymiarowa – to wybitny grafik, którego prace zdobiły okładki płyt z takich wytwórni jak Warp, Ninja Tune czy Planet Mu; to założyciel prestiżowej wytwórni Project: Mooncircle; to w końcu – a może przede wszystkim – porywający tłumy DJ, który współpracował i występował z wybitnymi luminarzami współczesnej elektroniki.\r\nGordon Gieseking is a graphic artist and a DJ for Project Mooncircle | hhv.de | Finest Ego | Project Squared.
\r\nHe made mixes for international magazines like Big Up Magazine (San Francisco), Pixelatique (Serbia), Inverted Audio (UK) and supported musicians like: Robot Koch, Mike Slott, fLako, 1000 Names, John Robinson, Lewis Parker, Gang Starr, Zion I. He played live sets at Boiler Room, Sonar, Satta Outside Festival, etc.
\r\nGordon is the founder of the Future Bass / Hip Hop / Electronic label Project: Mooncircle, the Music platform: Finest Ego, and a co – founder of the Dubstep / Techno sublabel Project Squared.
\r\n', 'GORDON OF PROJECT: MOONCIRCLEGORDON OF PROJECT: MOONCIRCLE', '', 'inherit', 'closed', 'closed', '', '673-revision-4', '', '', '2012-09-11 00:41:06', '2012-09-10 22:41:06', '', 673, 'http://avantart.pl/673-revision-4/', 0, 'revision', '', 0), (904, 2, '2012-09-25 22:57:37', '2012-09-25 20:57:37', '\r\n\r\nGordon Gieseking to postać wielowymiarowa – to wybitny grafik, którego prace zdobiły okładki płyt z takich wytwórni jak Warp, Ninja Tune czy Planet Mu; to założyciel prestiżowej wytwórni Project: Mooncircle; to w końcu – a może przede wszystkim – porywający tłumy DJ, który współpracował i występował z wybitnymi luminarzami współczesnej elektroniki.\r\nGordon Gieseking is a graphic artist and a DJ for Project Mooncircle | hhv.de | Finest Ego | Project Squared.
\r\nHe made mixes for international magazines like Big Up Magazine (San Francisco), Pixelatique (Serbia), Inverted Audio (UK) and supported musicians like: Robot Koch, Mike Slott, fLako, 1000 Names, John Robinson, Lewis Parker, Gang Starr, Zion I. He played live sets at Boiler Room, Sonar, Satta Outside Festival, etc.
\r\nGordon is the founder of the Future Bass / Hip Hop / Electronic label Project: Mooncircle, the Music platform: Finest Ego, and a co – founder of the Dubstep / Techno sublabel Project Squared.
\r\n', 'GORDON OF PROJECT: MOONCIRCLEGORDON OF PROJECT: MOONCIRCLE', '', 'inherit', 'closed', 'closed', '', '673-revision-5', '', '', '2012-09-25 22:57:37', '2012-09-25 20:57:37', '', 673, 'http://avantart.pl/673-revision-5/', 0, 'revision', '', 0), (905, 2, '2012-09-25 11:23:07', '2012-09-25 09:23:07', '\r\n\r\n Koprodukcja Avant Art Fesival, Wrocław; mex – experimentelle und intermediale Musikprojekte e.V., Dortmund and gerngesehen, Köln\r\n\r\nMex Gerngesehen Avant Art Project to premierowa realizacja muzyczno-performatywna, będąca koprodukcją wrocławskiego festiwalu Avant Art, dortmundzkiej organizacji Mex – intermediale und experimentelle Musikprojekte i Gerngesehen z Kolonii. To kooperacja kompozytorów, performerów i muzyków skupionych wokół kolońskiej sceny sound artu, muzyki eksperymentalnej i teatru z polskim środowiskiem muzyków tworzących w szeroko rozumianym idiomie muzyki współczesnej oraz improwizowanej. Rozszerzone techniki wokalne i performatywne używane przez kompozytorkę i performerkę Betine Wenzel, język ruchu oraz współczesny performance duetu „cri du coeur“ prowadzonego przez Fine Kwiatkowski i Willehada Grafenhorsta, obiekty dźwiękowe i sound art hansa w. kocha, synteza modularna, circuit-bending i synth-design w MAX/MSP Jokera Niesa, instrumenty dęte, saksofony oraz generatory fal Gerarda Lebika, preparowany fortepian i trąbka Piotra Damasiewicza, symfoniczne instrumenty perkusyjne z grupy idiofonów stosowane przez Wojtka Romanowskiego – to wszystko to elementy składowe, źródła dźwięku i techniki użyte w intermedialnych poszukiwaniach nad nieprzewidywalnością we wszystkich płaszczyznach kompozycji powstającej w ramach pierwszej współpracy artystów na tegorocznym Avant Art Festival.\r\n\r\nArtyści:\r\nNoGo by duo „cri du coeur“\r\nFine Kwiatkowski / Willehad Grafenhorst\r\ncrossing borders\r\nGerard Lebik / Piotr Damasiewicz / Wojciech Romanowski\r\nBettina Wenzel / hans w. koch / Joker Nies\r\n\r\nKuratorzy: Kostas Georgakopulos / Avant Art Festival; Olimpia Swist / [ su:p];\r\nMaija Julius /mex und Georg Dietzler / gerngesehen\r\n\r\nKoprodukcja wspierana przez: Ministerium für Familie, Kinder, Jugend, Kultur und Sport des Landes Nordrhein-Westfalen, NRW KULTURsekretariat, Polnisches Institut Berlin & Düsseldorf, Wrocław / Europejska Stolica Kultury 2016, Urząd Marszałkowski Dolnego śląska, Ministerstwo Kultury i Dziedzictwa Narodowego/Warszawa, Auswärtiges Amt der Bundesrepublik Deutschland, Goethe Institut\r\n\r\n\r\n\r\ngerardlebik.com/Mex_Gerngesehen_Avant_Art_Project_.html\r\nCo-production: Avant Art Fesival, Wrocław; mex – experimentelle und intermediale Musikprojekte e.V., Dortmund and gerngesehen, Köln
\r\nPixel Klänge is a premiere hybrid arts co-production of the Wrocław festival Avant Art and the Dortmund organisation Mex – intermediale und experimentelle Musikprojekte and Gerngesehen from Koln. This is a co-operation ( of composers, performers and musicians focused around the Koln-based scene of sound art, experimental music and theatre with the Polish circle of musicians creating in the broadly understood idiom of contemporary and improvised music. The expanded vocal and performative techniques used by the performer Betina Wenzel, the language of movement and modern performance of the duo „cri du coeur“, led by Fina Kwiatkowski and Willehad Grafenhorst, sound objects and art of hans w koch, modular synthesis, circuit-bending and synth-design in MAX/MSP of Joker Nies, wind instruments, saxophone and wave generators of Gerard Lebik, self-prepared piano and trumpet of Piotr Damasiewicz, symphonic percussion instruments from the idiophone group used by Wojtek Romanowski – it all are components, sound sources and techniques used in the intermedial searches of the unpredictability on all planes of a composition, being created as part of the first encounter of artists at this year’s Avant Art Festival.
\r\nArtists:
\r\nNoGo by duo „cri du coeur“
\r\nFine Kwiatkowski / Willehad Grafenhorst
\r\ncrossing borders
\r\nGerard Lebik / Piotr Damasiewicz / Wojciech Romanowski
\r\nBettina Wenzel / hans w. koch / Joker Nies
\r\nCurators: Kostas Georgakopulos / Avant Art Festival; Olimpia Swist / [ su:p]; Maija Julius / mex; Georg Dietzler / gerngesehen
\r\nCo-production supported by: Ministerium für Familie, Kinder, Jugend, Kultur und Sport des Landes Nordrhein-Westfalen, NRW KULTURsekretariat, Polnisches Institut Berlin & Düsseldorf, Wrocław / Europejska Stolica Kultury 2016, Urząd Marszałkowski Dolnego śląska, Ministerstwo Kultury i Dziedzictwa Narodowego/Warszawa, Auswärtiges Amt der Bundesrepublik Deutschland, Goethe Institut
\r\ngerardlebik.com/Mex_Gerngesehen_Avant_Art_Project_.html
\r\n', 'PIXEL KLÄNGEPIXEL KLÄNGE', '', 'inherit', 'closed', 'closed', '', '69-revision-19', '', '', '2012-09-25 11:23:07', '2012-09-25 09:23:07', '', 69, 'http://avantart.pl/69-revision-19/', 0, 'revision', '', 0), (906, 2, '2012-09-25 23:00:17', '2012-09-25 21:00:17', '\r\n\r\n Koprodukcja Avant Art Fesival, Wrocław; mex – experimentelle und intermediale Musikprojekte e.V., Dortmund and gerngesehen, Köln\r\n\r\nMex Gerngesehen Avant Art Project to premierowa realizacja muzyczno-performatywna, będąca koprodukcją wrocławskiego festiwalu Avant Art, dortmundzkiej organizacji Mex – intermediale und experimentelle Musikprojekte i Gerngesehen z Kolonii. To kooperacja kompozytorów, performerów i muzyków skupionych wokół kolońskiej sceny sound artu, muzyki eksperymentalnej i teatru z polskim środowiskiem muzyków tworzących w szeroko rozumianym idiomie muzyki współczesnej oraz improwizowanej. Rozszerzone techniki wokalne i performatywne używane przez kompozytorkę i performerkę Betine Wenzel, język ruchu oraz współczesny performance duetu „cri du coeur“ prowadzonego przez Fine Kwiatkowski i Willehada Grafenhorsta, obiekty dźwiękowe i sound art hansa w. kocha, synteza modularna, circuit-bending i synth-design w MAX/MSP Jokera Niesa, instrumenty dęte, saksofony oraz generatory fal Gerarda Lebika, preparowany fortepian i trąbka Piotra Damasiewicza, symfoniczne instrumenty perkusyjne z grupy idiofonów stosowane przez Wojtka Romanowskiego – to wszystko to elementy składowe, źródła dźwięku i techniki użyte w intermedialnych poszukiwaniach nad nieprzewidywalnością we wszystkich płaszczyznach kompozycji powstającej w ramach pierwszej współpracy artystów na tegorocznym Avant Art Festival.\r\n\r\nArtyści:\r\nNoGo by duo „cri du coeur“\r\nFine Kwiatkowski / Willehad Grafenhorst\r\ncrossing borders\r\nGerard Lebik / Piotr Damasiewicz / Wojciech Romanowski\r\nBettina Wenzel / hans w. koch / Joker Nies\r\n\r\nKuratorzy: Kostas Georgakopulos / Avant Art Festival; Olimpia Swist / [ su:p];\r\nMaija Julius /mex und Georg Dietzler / gerngesehen\r\n\r\nKoprodukcja wspierana przez: Ministerium für Familie, Kinder, Jugend, Kultur und Sport des Landes Nordrhein-Westfalen, NRW KULTURsekretariat, Polnisches Institut Berlin & Düsseldorf, Wrocław / Europejska Stolica Kultury 2016, Urząd Marszałkowski Dolnego śląska, Ministerstwo Kultury i Dziedzictwa Narodowego/Warszawa, Auswärtiges Amt der Bundesrepublik Deutschland, Goethe Institut\r\n\r\n\r\n\r\ngerardlebik.com/Mex_Gerngesehen_Avant_Art_Project_.html\r\nCo-production: Avant Art Fesival, Wrocław; mex – experimentelle und intermediale Musikprojekte e.V., Dortmund and gerngesehen, Köln
\r\nPixel Klänge is a premiere hybrid arts co-production of the Wrocław festival Avant Art and the Dortmund organisation Mex – intermediale und experimentelle Musikprojekte and Gerngesehen from Koln. This is a co-operation ( of composers, performers and musicians focused around the Koln-based scene of sound art, experimental music and theatre with the Polish circle of musicians creating in the broadly understood idiom of contemporary and improvised music. The expanded vocal and performative techniques used by the performer Betina Wenzel, the language of movement and modern performance of the duo „cri du coeur“, led by Fina Kwiatkowski and Willehad Grafenhorst, sound objects and art of hans w koch, modular synthesis, circuit-bending and synth-design in MAX/MSP of Joker Nies, wind instruments, saxophone and wave generators of Gerard Lebik, self-prepared piano and trumpet of Piotr Damasiewicz, symphonic percussion instruments from the idiophone group used by Wojtek Romanowski – it all are components, sound sources and techniques used in the intermedial searches of the unpredictability on all planes of a composition, being created as part of the first encounter of artists at this year’s Avant Art Festival.
\r\nArtists:
\r\nNoGo by duo „cri du coeur“
\r\nFine Kwiatkowski / Willehad Grafenhorst
\r\ncrossing borders
\r\nGerard Lebik / Piotr Damasiewicz / Wojciech Romanowski
\r\nBettina Wenzel / hans w. koch / Joker Nies
\r\nCurators: Kostas Georgakopulos / Avant Art Festival; Olimpia Swist / [ su:p]; Maija Julius / mex; Georg Dietzler / gerngesehen
\r\nCo-production supported by: Ministerium für Familie, Kinder, Jugend, Kultur und Sport des Landes Nordrhein-Westfalen, NRW KULTURsekretariat, Polnisches Institut Berlin & Düsseldorf, Wrocław / Europejska Stolica Kultury 2016, Urząd Marszałkowski Dolnego śląska, Ministerstwo Kultury i Dziedzictwa Narodowego/Warszawa, Auswärtiges Amt der Bundesrepublik Deutschland, Goethe Institut
\r\ngerardlebik.com/Mex_Gerngesehen_Avant_Art_Project_.html
\r\n', 'PIXEL KLÄNGEPIXEL KLÄNGE', '', 'inherit', 'closed', 'closed', '', '69-revision-20', '', '', '2012-09-25 23:00:17', '2012-09-25 21:00:17', '', 69, 'http://avantart.pl/69-revision-20/', 0, 'revision', '', 0), (907, 2, '2012-09-25 23:03:47', '2012-09-25 21:03:47', '\n\nRain Dog ostatnie kilka lat spędził na eksperymentach z muzycznym oprogramowaniem, na konstruowaniu głośników, komponowaniu muzyki do niezależnych krótkometrażówek filmowych i przygotowywaniu swoich własnych bitów w niezliczonych mieszkaniach rozproszonych po terenie całej północnej Anglii. Obecnie, po osiedleniu w Londynie, kontynuuje swoje melodyczne poszukiwania.\nHaving originally studied as an artist, newcomer Rain Dog has spent the last couple of years experimenting with production software, building speakers, composing music for indie shorts and making beats out of various small bedrooms scattered across the north of England. Recently he has settled in London and with a release on Echodub''s imprint, Cut and a track featured on Project: Mooncirlce''s 10th anniversary box LP, he continues to develop his lowslung melodic compositions.
\n', 'RAIN DOGRAIN DOG ', '', 'inherit', 'closed', 'closed', '', '667-autosave', '', '', '2012-09-25 23:03:47', '2012-09-25 21:03:47', '', 667, 'http://avantart.pl/667-autosave/', 0, 'revision', '', 0), (908, 2, '2012-09-11 00:44:40', '2012-09-10 22:44:40', '\r\n\r\nRain Dog ostatnie kilka lat spędził na eksperymentach z muzycznym oprogramowaniem, na konstruowaniu głośników, komponowaniu muzyki do niezależnych krótkometrażówek filmowych i przygotowywaniu swoich własnych bitów w niezliczonych mieszkaniach rozproszonych po terenie całej północnej Anglii. Obecnie, po osiedleniu w Londynie, kontynuuje swoje melodyczne poszukiwania.\r\nHaving originally studied as an artist, newcomer Rain Dog has spent the last couple of years experimenting with production software, building speakers, composing music for indie shorts and making beats out of various small bedrooms scattered across the north of England. Recently he has settled in London and with a release on Echodub''s imprint, Cut and a track featured on Project: Mooncirlce''s 10th anniversary box LP, he continues to develop his lowslung melodic compositions.
\r\n', 'RAIN DOGRAIN DOG ', '', 'inherit', 'closed', 'closed', '', '667-revision-6', '', '', '2012-09-11 00:44:40', '2012-09-10 22:44:40', '', 667, 'http://avantart.pl/667-revision-6/', 0, 'revision', '', 0), (909, 2, '2012-09-23 16:22:09', '2012-09-23 14:22:09', '\r\n\r\nRobot Koch to alias słynnego berlińskiego producenta Roberta Kocha, który poza solowymi produkcjami jest częścią kolektywu Jahcoozi. W swojej oryginalnej twórczości robi dobry użytek ze zdobyczy nowoczesnej basowej muzyki: postdubstep, dubstep, wonky hiphop, mieszając i zmieniając te gatunki i stylistyki, dodając czasem żywe instrumenty, czasem wokale.\r\n\r\n\r\n\r\n\r\nAlthough Berlin based producer Robot Koch has an international reputation as being “One of Europe`s finest producers of the beat generation“ (Low End Theory).
\r\nHe is signed to the Berlin Electronic/Future Bass/HipHop label Project: Mooncircle since 2009 and he released 4 Albums (Death Star Droid / Songs For Trees And Cyborgs / Robot Robinson / The Other Side), and 3 EP’s (Listen To Them Fade / Death Star Droid Remix EP /Cosmic Waves) in the last 3 years. His music has been remixed by the likes of Modeselektor (Bpitch Control), Shlohmo (FOF), Blue Daisy (Black Acre),Chris de Luca (Funkstörung), Ital Tek (Planet Mu) and Ata (Playhouse).
\r\n', 'ROBOT KOCHROBOT KOCH', '', 'inherit', 'closed', 'closed', '', '653-revision-7', '', '', '2012-09-23 16:22:09', '2012-09-23 14:22:09', '', 653, 'http://avantart.pl/653-revision-7/', 0, 'revision', '', 0); INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (910, 2, '2012-09-17 23:11:00', '2012-09-17 21:11:00', '\r\n\r\nWe współpracy z: \r\nAvant Art Festival is not only music – it touches on all the planes of art, in which music plays an important role. That is why – for the first time in the festival’s history – a new programme block will appear during its fifth edition – the presentations of documentaries and films. During this year’s film series, taking place in the space of the Helios cinema, the audience will have a chance to see seven pictures. Out of assumption, the presented film will thematically correspond to the events on the music stage of the festival, at the same time broadening its context to include the cultural and historical dimension. This year’s films, just like the main part of AAF, focus on bringing the rich German art closer to the audience. We will present films illustrating the most interesting artist figures and events, which took place in the experimental music of the country over the last decades. Already classic motion pictures, which the Polish recipients will have a chance to see for the first time on the big screen, will appear among them, as well as new productions. The starting point of the selection of the films was not only their substantial worth, but aesthetic qualities, which will make the presented pictures a musical feast for the enthusiasts of unusual Avant sounds.
\r\nThe wide range of themes of the presented films is aimed at presenting the uniquely diverse German scene as fully as possible. We will see the birth of krautrock, visit the times of the punk rebellion, we will follow the development of electronic trends, stumble upon the Berlin underground and get acquainted with a wide variety of music and its contemporary creators. Additionally, special events accompanying the films as a part of Avant Film, such as meetings and discussions with experts and specialists of particular spheres, as well as the creators of the presented films, will be enriched by lectures about their wider context. A separate event in the programme, accompanying the screening of the film presenting the phenomenon of punk rock in East Germany, will be an exhibition of artefacts from that time period in the Galeria U [U Gallery]
\r\nCooperation:
\r\n', 'AVANT ART FILM', '', 'inherit', 'closed', 'closed', '', '284-revision-30', '', '', '2012-09-17 23:11:00', '2012-09-17 21:11:00', '', 284, 'http://avantart.pl/284-revision-30/', 0, 'revision', '', 0), (911, 2, '2012-09-25 23:07:38', '2012-09-25 21:07:38', '\r\n\r\nWe współpracy z: \r\nAvant Art Festival is not only music – it touches on all the planes of art, in which music plays an important role. That is why – for the first time in the festival’s history – a new programme block will appear during its fifth edition – the presentations of documentaries and films. During this year’s film series, taking place in the space of the Helios cinema, the audience will have a chance to see seven pictures. Out of assumption, the presented film will thematically correspond to the events on the music stage of the festival, at the same time broadening its context to include the cultural and historical dimension. This year’s films, just like the main part of AAF, focus on bringing the rich German art closer to the audience. We will present films illustrating the most interesting artist figures and events, which took place in the experimental music of the country over the last decades. Already classic motion pictures, which the Polish recipients will have a chance to see for the first time on the big screen, will appear among them, as well as new productions. The starting point of the selection of the films was not only their substantial worth, but aesthetic qualities, which will make the presented pictures a musical feast for the enthusiasts of unusual Avant sounds.
\r\nThe wide range of themes of the presented films is aimed at presenting the uniquely diverse German scene as fully as possible. We will see the birth of krautrock, visit the times of the punk rebellion, we will follow the development of electronic trends, stumble upon the Berlin underground and get acquainted with a wide variety of music and its contemporary creators. Additionally, special events accompanying the films as a part of Avant Film, such as meetings and discussions with experts and specialists of particular spheres, as well as the creators of the presented films, will be enriched by lectures about their wider context. A separate event in the programme, accompanying the screening of the film presenting the phenomenon of punk rock in East Germany, will be an exhibition of artefacts from that time period in the Galeria U [U Gallery]
\r\nCooperation:
\r\n', 'AVANT ART FILM', '', 'inherit', 'closed', 'closed', '', '284-revision-31', '', '', '2012-09-25 23:07:38', '2012-09-25 21:07:38', '', 284, 'http://avantart.pl/284-revision-31/', 0, 'revision', '', 0), (912, 2, '2012-09-25 23:08:16', '2012-09-25 21:08:16', '\r\n\r\nWe współpracy z: \r\nAvant Art Festival is not only music – it touches on all the planes of art, in which music plays an important role. That is why – for the first time in the festival’s history – a new programme block will appear during its fifth edition – the presentations of documentaries and films. During this year’s film series, taking place in the space of the Helios cinema, the audience will have a chance to see seven pictures. Out of assumption, the presented film will thematically correspond to the events on the music stage of the festival, at the same time broadening its context to include the cultural and historical dimension. This year’s films, just like the main part of AAF, focus on bringing the rich German art closer to the audience. We will present films illustrating the most interesting artist figures and events, which took place in the experimental music of the country over the last decades. Already classic motion pictures, which the Polish recipients will have a chance to see for the first time on the big screen, will appear among them, as well as new productions. The starting point of the selection of the films was not only their substantial worth, but aesthetic qualities, which will make the presented pictures a musical feast for the enthusiasts of unusual Avant sounds.
\r\nThe wide range of themes of the presented films is aimed at presenting the uniquely diverse German scene as fully as possible. We will see the birth of krautrock, visit the times of the punk rebellion, we will follow the development of electronic trends, stumble upon the Berlin underground and get acquainted with a wide variety of music and its contemporary creators. Additionally, special events accompanying the films as a part of Avant Film, such as meetings and discussions with experts and specialists of particular spheres, as well as the creators of the presented films, will be enriched by lectures about their wider context. A separate event in the programme, accompanying the screening of the film presenting the phenomenon of punk rock in East Germany, will be an exhibition of artefacts from that time period in the Galeria U [U Gallery]
\r\nCooperation:
\r\n', 'AVANT ART FILM', '', 'inherit', 'closed', 'closed', '', '284-revision-32', '', '', '2012-09-25 23:08:16', '2012-09-25 21:08:16', '', 284, 'http://avantart.pl/284-revision-32/', 0, 'revision', '', 0), (913, 2, '2012-09-04 18:58:55', '2012-09-04 16:58:55', '\r\n\r\nKażdy, kto podejmuje próby określenia gatunkowej przynależności stacjonującego w Berlinie muzycznego kolektywu Bonaparte, znajduje się w wyjątkowo trudnej sytuacji. Bo jak można określić twórczość zespołu, który w każdym utworze brzmi inaczej? Ten, kto stwierdzi, że Bonaparte gra elektro-rock zainfekowany bluesem będzie miał rację. Ale rację trzeba będzie przyznać też temu, kto stwierdzi, że to elektroniczny punkowy rave. Indie? Oczywiście! Długo by można kłócić się o etykietki – w skrócie należy po prostu stwierdzić, że to rock''n''rollowy cyrk, prowadzony przez ekstrawertycznego nawiedzonego szaleńca Tobiasa Jundta, który zebrał wokół siebie równie zwariowanych muzyków. Nigdy nie wiesz, czego się można po nich spodziewać. W swoich kompozycjach posiedli umiejętność takiego zniekształcania klasycznego brzmienia instrumentów, że ciężko określić, który dźwięk pochodzi z syntezatora, a który z gitary elektrycznej. Bonaparte dalekie jest jednak od chaotyczności – to muzyka pełna melodyjności i tanecznych rytmów, oparta na tradycyjnych gatunkach w rodzaju bluesa czy folku, ale do granic możliwości nasycona miejskimi stylistykami elektro, hip hopu i dubstepu. www.bonaparte.cc\r\n\r\nEveryone, who attempts to describe the genre appurtenance of the Berlin-stationed musical collective Bonaparte, finds oneself in a tough spot. How can one describe the output of a group, which sound different with each song? The ones, who say that Bonaparte perform electro-rock infected with blues, will be right. But right will also have to be given to the one, who says it is electronic punk rave. Indie? Of course! We could argue over the labels for a long time – in a nutshell, one just has to state, that it is a rock’n’roll circus, run by an extrovert haunted mental case Tobias Jundt, who has gathered equally crazy musicians around him. You never know what to expect from them. In their tracks they possessed the ability to deform the classical sounds of instruments to such an extent, that it is hard to determine which comes from a synthesizer, and which – an electric guitar. However, Bonaparte is far from being chaotic – it is a music filled with melody and dance rhythms, based on traditional genres in the vein of blues or folk, but saturated to the bounds of possibility with the urban stylistics of electro, hip hop and dubstep.\r\n\r\nwww.bonaparte.cc', 'BONAPARTE', '', 'inherit', 'closed', 'closed', '', '130-revision-10', '', '', '2012-09-04 18:58:55', '2012-09-04 16:58:55', '', 130, 'http://avantart.pl/130-revision-10/', 0, 'revision', '', 0), (914, 2, '2012-09-25 23:12:06', '2012-09-25 21:12:06', '\r\n\r\nKażdy, kto podejmuje próby określenia gatunkowej przynależności stacjonującego w Berlinie muzycznego kolektywu Bonaparte, znajduje się w wyjątkowo trudnej sytuacji. Bo jak można określić twórczość zespołu, który w każdym utworze brzmi inaczej? Ten, kto stwierdzi, że Bonaparte gra elektro-rock zainfekowany bluesem będzie miał rację. Ale rację trzeba będzie przyznać też temu, kto stwierdzi, że to elektroniczny punkowy rave. Indie? Oczywiście! Długo by można kłócić się o etykietki – w skrócie należy po prostu stwierdzić, że to rock''n''rollowy cyrk, prowadzony przez ekstrawertycznego nawiedzonego szaleńca Tobiasa Jundta, który zebrał wokół siebie równie zwariowanych muzyków. Nigdy nie wiesz, czego się można po nich spodziewać. W swoich kompozycjach posiedli umiejętność takiego zniekształcania klasycznego brzmienia instrumentów, że ciężko określić, który dźwięk pochodzi z syntezatora, a który z gitary elektrycznej. Bonaparte dalekie jest jednak od chaotyczności – to muzyka pełna melodyjności i tanecznych rytmów, oparta na tradycyjnych gatunkach w rodzaju bluesa czy folku, ale do granic możliwości nasycona miejskimi stylistykami elektro, hip hopu i dubstepu. www.bonaparte.cc\r\nEveryone, who attempts to describe the genre appurtenance of the Berlin-stationed musical collective Bonaparte, finds oneself in a tough spot. How can one describe the output of a group, which sound different with each song? The ones, who say that Bonaparte perform electro-rock infected with blues, will be right. But right will also have to be given to the one, who says it is electronic punk rave. Indie? Of course! We could argue over the labels for a long time – in a nutshell, one just has to state, that it is a rock’n’roll circus, run by an extrovert haunted mental case Tobias Jundt, who has gathered equally crazy musicians around him. You never know what to expect from them. In their tracks they possessed the ability to deform the classical sounds of instruments to such an extent, that it is hard to determine which comes from a synthesizer, and which – an electric guitar. However, Bonaparte is far from being chaotic – it is a music filled with melody and dance rhythms, based on traditional genres in the vein of blues or folk, but saturated to the bounds of possibility with the urban stylistics of electro, hip hop and dubstep.
\r\n\r\n', 'BONAPARTE', '', 'inherit', 'closed', 'closed', '', '130-revision-11', '', '', '2012-09-25 23:12:06', '2012-09-25 21:12:06', '', 130, 'http://avantart.pl/130-revision-11/', 0, 'revision', '', 0), (915, 2, '2012-07-30 23:12:28', '2012-07-30 21:12:28', '\r\n\r\nŻywiołowy taniec i zaduma nad artyzmem, wpadająca w ucho melodyjność i surowość wykorzystanych środków, najnowsza technologia i sentymentalna wycieczka w przeszłość muzyki – tak w skrócie można opisać muzykę Byetone, jednego z najważniejszych projektów ze stajni niemieckiej wytwórni Raster-Noton. To muzyka pełna nawracających fraz, wielowymiarowych warstw dźwięku, gęstości i energii zaprezentowanych z melodyjnością i wręcz inżynieryjną finezją. Utwory Olafa Bendera – bo tak nazywa się muzyk skrywający się pod pseudonimem Byetone – wręcz opalizują dzięki licznym zmianom i seriom kulminacji – tempo zmienia się w nich często, na przemian zwalniając i przyspieszając, a polirytmiczne frazy wirują wokół prostych bitów. Muzyka projektu pozornie kojarzyć się może z minimalnym techno z wczesnych lat dziewięćdziesiątych XX wieku, lecz jest od niego znacznie bogatsza. Naukowe zainteresowanie artysty procesami rządzącymi ludzką pamięcią odciska piętno na jego muzyce, która będąc na wskroś nowoczesna, jest jednocześnie gęsto nasycona cytatami z przeróżnych stylistyk rocka i popu, jednak zręcznie unika zbytniego osadzenia w przeszłości – dzięki temu żadnej z jego kompozycji nie da się opisać sztywną definicją jakiegokolwiek z gatunków. Byetone zabiera słuchaczy do alternatywnej dźwiękowej rzeczywistości, gdzie nie obowiązują zasady fizycznego świata i w której rządzi nieodparty impuls do tańca. To bity, które pompują do serca nie krew, ale chemikalia.\r\n\r\nwww.raster-noton.net \r\n\r\nImpetuous dance and deep thoughts over artistry, a melodicity catching the ear and the rawness of means, the most recent technology and a sentimental journey into the past of music – that is how one can describe Byetone’s music in a nutshell; Byetone – one of the most important projects of the German label Raster-Noton. It is music filled with repeated phrases, the multidimensionality of the sound layers, density and energy presented together with melodicity and a downright engineer-like finesse. The tracks by Olaf Bender – as that is the name of the musician hiding behind the pseudonym of Byetone – simply opalesce thanks to numerous shifts and series of culminations – the tempo undergoes frequent changes, decelerating and accelerating by turns with the polyrhythmic phrases twirling around simple beats. The music of the projects can, on the surface, bring to mind minimal techno from the early 90s of the XX c., however it is much richer from the mentioned. The scientific interests of the artist, with processes governing the human memory, make a clear imprint on his music, which although being modern, is at the same time densely filled with citations from various stylistics of rock and pop, but skilfully manages not to be placed in the past too much – thanks to that none of his compositions can be described with a rigid definition of any of the genres. Byetone takes the listeners to an alternative sound reality, where no rules of the physical world are in force and which is ruled by an irresistible impulse to dance. These are beats, which do not pump blood into one’s heart – they pump chemicals.\r\n\r\nwww.raster-noton.net ', 'BYETONE', '', 'inherit', 'closed', 'closed', '', '56-revision-18', '', '', '2012-07-30 23:12:28', '2012-07-30 21:12:28', '', 56, 'http://avantart.pl/56-revision-18/', 0, 'revision', '', 0), (916, 2, '2012-07-30 23:43:43', '2012-07-30 21:43:43', ' Wydawanie płyt w prestiżowej wytwórni Raster-Noton jest synonimem wysokiej jakości muzycznej – i to właśnie można powiedzieć o dźwiękach tworzonych przez Davida Letelliera, osiadłego w Berlinie francuskiego muzyka, znanego jednak całemu środowisku fanów niebanalnej elektroniki pod pseudonimem Kangding Ray. Artysta w umiejętny sposób potrafi połączyć brzmienie elektronicznych urządzeń z żywymi instrumentami i tak tworzyć subtelne i rytmiczne suity, w których współgrają ze sobą glitche, ściany przesterowanych dźwięków, masywne ścieżki basowe, ludzkie głosy i nagrania terenowe. Wynikiem jest mieszanka głębokich, tanecznych bitów i mrocznej atmosfery – a całość możemy opisać jako „abstrakcyjną muzykę basową”. To dźwięki pełne chłodnych prądów, melodii zakamuflowanych w rytmie i eleganckich bitów wycyzelowanych ze spartańskim rygorem. To rzadko spotykana eksplozja unikalnej wrażliwości nałożonej na totalnie zdyscyplinowaną, pełną ukrytych detali odmianę muzyki stworzonej przy pomocy komputera. Kangding Ray proponuje nam imprezę taneczną, na jakiej jeszcze nie dane nam było być. Jego muzykę możemy określić jako muzykę pogranicza – zręcznie balansuje ona z jednej strony na krawędzi eksperymentu i awangardy, z drugiej jest przystępna dla wszystkich zwolenników kultury klubowej. www.kangdingray.com Releasing albums in the prestigious Raster-Noton label is synonymous for a high musical quality – exactly that can be said about the sounds created by David Letellier, a French musician residing in Berlin, known to the entire circle of fans of non-trivial electronics under the moniker of Kangding Ray. The artist can skilfully combine the sound of electronic equipment with living instruments and thus create subtle and rhythmic suites, in which glitches harmonise with walls of distorted sounds, massive bass tracks, human voices and field recordings. The result is a mix of deep, dance beats and a dark atmosphere – and the whole can be described as “abstract bass music”. These are sounds full of cold currents, melodies camouflaged in rhythm and elegant beats crafted under a Spartan discipline. It is a rarely encountered explosion of unique sensibility applied on an entirely disciplined music, filled with hidden details, created with the help of a computer. Kangding Ray proposes a dance party we have never been to before. We can describe his music as the music of the borderland – it skilfully balances on, one hand, the border of experiment and avant-garde, and on the other – it is accessible to all the supporters of the club culture.\r\n\r\nwww.kangdingray.com', 'KANGDING RAY', '', 'inherit', 'closed', 'closed', '', '48-revision-11', '', '', '2012-07-30 23:43:43', '2012-07-30 21:43:43', '', 48, 'http://avantart.pl/48-revision-11/', 0, 'revision', '', 0), (917, 2, '2012-09-25 23:18:09', '2012-09-25 21:18:09', ' Frank Bretschneider – obok Olafa Bendera i Carstena Nicolaia jeden z trzech ojców-założycieli wytwórni Raster-Noton – w przeciwieństwie do wielu zanurzonych w samouwielbieniu artystów nie sili się na dorabianie specjalnej filozofii do swojej twórczości. Nie ma dla niej osobnej definicji, a tworzone przez siebie dźwięki określa jako muzykę praktycznie w całości wykreowaną przy pomocy komputera, która w równej mierze jest zainspirowana muzycznym akademizmem i popkulturą, a także nauką i sztuką. Ta artystyczna skromność przekłada się na niezwykle wysoką jakość jego twórczości we wszystkich sferach, w których się udziela – zarówno jako muzyka, jak i kompozytora i artysty wizualnego. Jego utwory wyróżniają się bardzo precyzyjnym cyzelowaniem dźwięków, kompleksowymi, splatającymi się strukturami rytmicznymi i specyficznym, minimalistycznym podejściem do całego procesu tworzenia. Jego muzyka jest w różnoraki sposób opisywana – jako abstrakcyjny analogowy puentylizm, jako kompozycje przyszłości, które powinny wypełniać futurystyczne poczekalnie i hale portów kosmicznych czy też jako nowatorskie, pełne organiczności techno – i w każdym z tych określeń jest sporo prawdy. Jego twórczość można usytuować w królestwie awangardy, nie pozbawionej jednak pewnej formy popowej wrażliwości – i dlatego jego muzyka nadaje się zarówno do tańczenia w klubach, jak i do słuchania w słuchawkach w domowych warunkach na wysokiej klasy audiofilskim sprzęcie. www.frankbretschneider.com\nFrank Bretschneider – one of the three founding-fathers of the Raster-Noton label, beside Olaf Bender and Carsten Nicolai – in opposition to numerous artists engulfed in self-admiration, he does not try to assign a special philosophy to his creations. He does not have a separate definition for it, and describes the sounds created by himself as music, practically, entirely created with the help of a computer, which is equally inspired by musical academism and pop culture, as well as science and art. This artistic modesty is translated into an extremely high quality of his creations in all spheres, in which he contributes – both as a musician, as well as composer and visual artist. His compositions are characterised by a very precise craftsmanship of sounds, complex, intertwining rhythmic structures and a particular, minimalistic approach towards the entire process of creation. His music is described in various different ways – as an abstract analogue pointillism, as compositions of the future, which should fill out futuristic waiting rooms and space port halls or as innovative organic techno – and there is a lot of truth in each and every of these descriptions. His creation can be situated in the kingdom of avant-garde, however one which does not lack a certain form of poppy sensibility – and that is why his music is suited for, both, dancing in clubs, as well as listening to back home with headphones on, on high quality audiophile equipment.
\n\n', 'FRANK BRETSCHNEIDER', '', 'inherit', 'closed', 'closed', '', '46-autosave', '', '', '2012-09-25 23:18:09', '2012-09-25 21:18:09', '', 46, 'http://avantart.pl/46-autosave/', 0, 'revision', '', 0), (918, 2, '2012-07-30 23:43:01', '2012-07-30 21:43:01', ' Frank Bretschneider – obok Olafa Bendera i Carstena Nicolaia jeden z trzech ojców-założycieli wytwórni Raster-Noton – w przeciwieństwie do wielu zanurzonych w samouwielbieniu artystów nie sili się na dorabianie specjalnej filozofii do swojej twórczości. Nie ma dla niej osobnej definicji, a tworzone przez siebie dźwięki określa jako muzykę praktycznie w całości wykreowaną przy pomocy komputera, która w równej mierze jest zainspirowana muzycznym akademizmem i popkulturą, a także nauką i sztuką. Ta artystyczna skromność przekłada się na niezwykle wysoką jakość jego twórczości we wszystkich sferach, w których się udziela – zarówno jako muzyka, jak i kompozytora i artysty wizualnego. Jego utwory wyróżniają się bardzo precyzyjnym cyzelowaniem dźwięków, kompleksowymi, splatającymi się strukturami rytmicznymi i specyficznym, minimalistycznym podejściem do całego procesu tworzenia. Jego muzyka jest w różnoraki sposób opisywana – jako abstrakcyjny analogowy puentylizm, jako kompozycje przyszłości, które powinny wypełniać futurystyczne poczekalnie i hale portów kosmicznych czy też jako nowatorskie, pełne organiczności techno – i w każdym z tych określeń jest sporo prawdy. Jego twórczość można usytuować w królestwie awangardy, nie pozbawionej jednak pewnej formy popowej wrażliwości – i dlatego jego muzyka nadaje się zarówno do tańczenia w klubach, jak i do słuchania w słuchawkach w domowych warunkach na wysokiej klasy audiofilskim sprzęcie. www.frankbretschneider.com\r\n\r\nFrank Bretschneider – one of the three founding-fathers of the Raster-Noton label, beside Olaf Bender and Carsten Nicolai – in opposition to numerous artists engulfed in self-admiration, he does not try to assign a special philosophy to his creations. He does not have a separate definition for it, and describes the sounds created by himself as music, practically, entirely created with the help of a computer, which is equally inspired by musical academism and pop culture, as well as science and art. This artistic modesty is translated into an extremely high quality of his creations in all spheres, in which he contributes – both as a musician, as well as composer and visual artist. His compositions are characterised by a very precise craftsmanship of sounds, complex, intertwining rhythmic structures and a particular, minimalistic approach towards the entire process of creation. His music is described in various different ways – as an abstract analogue pointillism, as compositions of the future, which should fill out futuristic waiting rooms and space port halls or as innovative organic techno – and there is a lot of truth in each and every of these descriptions. His creation can be situated in the kingdom of avant-garde, however one which does not lack a certain form of poppy sensibility – and that is why his music is suited for, both, dancing in clubs, as well as listening to back home with headphones on, on high quality audiophile equipment.\r\n\r\nwww.frankbretschneider.com', 'FRANK BRETSCHNEIDER', '', 'inherit', 'closed', 'closed', '', '46-revision-9', '', '', '2012-07-30 23:43:01', '2012-07-30 21:43:01', '', 46, 'http://avantart.pl/46-revision-9/', 0, 'revision', '', 0), (919, 2, '2012-07-30 22:09:50', '2012-07-30 20:09:50', '\r\n Są zespoły, których twórczość z definicji jest niedefiniowalna – taką grupą z pewnością jest stacjonujący w Berlinie duet o nazwie Tannhäuser Sterben & das Tod. Po prostu nie da się jednoznacznie sklasyfikować wręcz monstrualnego eklektyzmu tej formacji, prowadzonej przez Thomasa Mahmouda, znanego z takich projektów jak Eine Oliver Twist Kooperation, A**ro Cologne, Ives#1 czy Von Spar oraz udzielającego się w Mediengruppe Telekommander Geralda Mandla. Ich wspólne eksperymenty dźwiękowe tworzone są za pomocą zapętlonych głosów, basu, syntezatorów, field recording, samplerów, manipulacji w czasie rzeczywistym całą gamą przeróżnych cyfrowych i analogowych efektów i brzmień wykreowanych przez programy komputerowe. Ich muzyczny język zainspirowany jest przede wszystkim stylistykami ambientu, post-rocka, dubu, krautrocka, elektroakustyki i minimalizmu. Nie ma dla nich żadnych granic, których nie można przekroczyć i żadnych barier, których nie da się złamać. To pełen pomysłowości soniczny kolaż, w ramach którego artyści potrafią dowolną muzyczną tkankę i jakikolwiek dźwiękowy pomysł pociąć, posklejać, wywrócić na nice i zbudować na nowo w zupełnie nowym kształcie. Tannhäuser Sterben & das Tod to eksplozja niczym nieskrępowanej twórczej wyobraźni, w której wszystko jest możliwe i gdzie słuchacza czeka wiele niespodzianek. www.myspace.com/unddastod\r\n
There are groups which output is, out of definition, undefinable – the residing in Berlin duo carrying the name Tannhäuser Sterben & das Tod is certainly such a group. It is just impossible to simply classify the act’s basically monstrous eclecticism, led by Thomas Mahmoud, known from such projects as Eine Oliver Twist Kooperation, A**ro Cologne, Ives#1 or Von Spa and contributing to Gerald Mandl’s Mediengruppe Telekommander. Their collaborative sound experiments created with the help of looped voices, bass, synthesizers, field recordings, samplers, real-time manipulations of a wide range of various digital and analogue effects and sounds created by computer programmes. Their musical language is, foremost, inspired by the stylistics of ambient, post-rock, dub, krautrock, electro-acoustics and minimalism. There are no borders for them, no borders which cannot be crossed and no barriers, which cannot be broken. This is a sonic collage filled with innovation, and the musicians are able to cut, paste, turn inside out any musical tissue and idea, and build it anew into an entirely new shape as a part of the collage. Tannhäuser Sterben & das Tod is an explosion of unrestricted creative imagination, in which everything is possible and where the listener is awaited by a lot of surprises.
\r\n\r\n', 'TANNHÄUSER STERBEN UND DAS TOD', '', 'inherit', 'closed', 'closed', '', '245-revision-7', '', '', '2012-07-30 22:09:50', '2012-07-30 20:09:50', '', 245, 'http://avantart.pl/245-revision-7/', 0, 'revision', '', 0); INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (920, 2, '2012-07-30 22:30:48', '2012-07-30 20:30:48', ' DAF – czyli Deutsch-Amerikanische Freundschaft – to żywa legenda. Niewiele jest równie wpływowych formacji w dziejach muzyki niż właśnie ta, powołana do życia w 1978 roku przez Gabiego Delgado Lopeza i Roberta Görla – dwóch zapaleńców zdecydowanych, by stworzyć coś zupełnie nowego, co nieuchronnie wstrząśnie posadami przyszłej muzyki. Bez DAF nie byłoby Nowej Niemieckiej Fali w formie, jaką dzisiaj znamy, słynny promotor John Peel nazwał ich dziadkami muzyki techno, są właściwymi pionierami electropunka i podstawową inspiracją dla całej rzeszy twórców synthpopowych. Bez ich wkładu nie powstałby zupełnie nowy gatunek, łączący w sobie cechy muzyki industrialnej i punka czyli EBM. DAF to zespół, który wybiegł daleko w przyszłość, będąc bezpośrednim ogniwem łączącym awangardowy punk i muzykę elektroniczną. Stylu DAF zwyczajnie nie da się podrobić – pulsująca syntezatorowa muzyka, operująca podobnym ładunkiem energii jak najlepsze zespoły punkrockowe, niepokojąca rytmiczność i specyficzne gęste brzmienie w połączeniu z oryginalnymi tekstami stały się znakiem rozpoznawczym grupy i niedoścignionym wzorem dla wielu innych muzyków. Bez dwóch zdań – DAF to jeden z najważniejszych zespołów powstałych na fali punkowej rebelii, który nawet w nowym stuleciu potrafi nas zaskoczyć swoim świeżym i mocnym brzmieniem. www.myspace.com/officialdaf www.deutschamerikanischefreundschaft.de\r\nDAF – i.e. Deutsch-Amerikanische Freundschaft – are a living legend. There are not many so influential groups in the history of music like this particular one, brought to life in 1978 by Gabi Delgado Lopez and Robert Görl – two hotheads set on creating something entirely new, which will inevitably shake the foundations of future music. There would not be the New German Wave, in the form as we know it today, without DAF; the famous British promoter, John Peel, called them the grandfathers of techno; they are the real pioneers of electropunk and the main inspiration for an entire throng of synthpop composers. The all new genre, EBM, combining the characteristics of industrial music and punk, would not come to existence without them. DAF is a band, which forerun way into the future, is a direct link combining avant-garde punk and electronic music. DAF’s style just cannot be copied – pulsating synthesizer music, operating with an energy load resembling the one operated by the best punkrock bands, disturbing rhythmic and a characteristic dense sound combined with unique lyrics became the trademarks of the group and unrivalled example for numerous other artists. Without a doubt – DAF is one of the most important bands founded on the wave of the punk rebellion, which can surprise us with its fresh and powerful sound even in the new century.
\r\nwww.myspace.com/officialdaf
\r\nwww.deutschamerikanischefreundschaft.de
\r\n
If someone is interested in the grey, still quite obscurely researched sphere between free improvisation and post-punk, the group Danseland should meet his or hers expectations. Their improvisations, to a great extent based on traditional rock structures, are unusually intensive, crackling with soon-to-erupt energy, but at the same time one cannot deny them possessing quite a dose of subtle selectivity. The uniquely expressive vocalist, David Moss, can reduce his voice to mere whispers, murmurs and rasps and with this individual language communicate with Hannese Stoble and Hanno Leichtmann. Stroble, responsible for bass and electronic duties in the band, who creates hypnotic soundscapes, and Liechtmann, who via the usage of percussion instruments and various digital effects, creates a rhythmic frame for the mutual experimentation. Their music, filled with diverse tensions and harmonising with oppositions, full of animalistic and tribal sounds, never becomes anything concrete and defined, never relates to anything. It is constant evolution and movement. It is a lesson in improvisation and originality – a combination of warm, acoustic textures with more abstract structures.
\r\n\r\n', 'DENSELAND', '', 'inherit', 'closed', 'closed', '', '250-revision-9', '', '', '2012-09-25 23:29:50', '2012-09-25 21:29:50', '', 250, 'http://avantart.pl/250-revision-9/', 0, 'revision', '', 0), (924, 2, '2012-07-30 23:51:48', '2012-07-30 21:51:48', ' Moritz von Oswald Trio nie jest zwykłą formacją – w pełni zasługuje ona na miano supergrupy. Pod jej szyldem zebrali się najbardziej zasłużeni pionierzy berlińskiej muzyki elektronicznej wczesnych lat 90-tych XX wieku – Moritz von Oswald, Max Loderbauer i Vladislav Delay – by razem powołać do życia unikalny projekt stworzony specjalnie dla występów na żywo. Ta trójka luminarzy połączyła w jedno swoje osobiste, często odmienne podejścia do tworzenia muzyki, by teraz wspólnie ponownie odkryć możliwości kryjące się w muzycznej elektronice w jej dubowej odmianie. Ten zespół jest eksploracją możliwości tkwiących w kolektywnej koncertowej improwizacji, gdzie Moritz von Oswald zajął się opanowaniem instrumentów elektroakustycznych, Loderbauer korzysta z analogowych syntezatorów, a Vladislav Delay powraca do swoich początków i gra na perkusji. W sercu tej epickiej wyprawy tkwi marzenie o połączeniu w jedną współgrającą całość dorobku klasycznego berlińskiego techno z jazzem Milesa Davisa, krautrockowym szaleństwem geniuszy z Can i neoklasycyzmem Igora Strawińskiego. To przyswajalny lecz nie pozbawiony ambicji i oryginalności fusion jazz przefiltrowany przez historię dub techno. Trzech możnowładców niemieckiej elektroniki stworzyło nowe imperium, na którego tereny zdecydowanie warto się zapuścić. www.vladislavdelay.com/site/?page_id=49\r\nMoritz von Oswald Trio is not your everyday group – it fully deserves the name of super group. The most deserved pioneers of the Berlin-based electronic music scene of the early 90s of the XX c., have gathered under its banner - Moritz von Oswald, Max Loderbauer i Vladislav Delay – this time in order to found a unique project created especially for live performances. The three luminaries have combined their personal, frequently diverse attitudes towards creating music, into one in order to now mutually rediscover the possibilities hidden in electronic music in its dub variety. This group is an exploration of possibilities lurking in a collective live improvisation, where Moritz von Oswald took over the rule of electro-acoustic instruments, Loderbauer uses analogue synthesizers and Vladislav Delay returns to his roots and plays the drums. In the heart of this epic journey lays the dream of combining the output of the classic Berlin techno with the jazz of Miles Davies, krautrock madness of the geniuses of Can and neo-classical Igor Strawiński, into one harmonising whole. This is accessible, but not lacking ambition and originality, fusion jazz filtrated through history of dub techno. Three magnates of the German electronics, have created a new empire, the territory of which is definitely worth venturing into.
\r\nwww.vladislavdelay.com/site/?page_id=49
\r\n', 'MORITZ VON OSWALD TRIO', '', 'inherit', 'closed', 'closed', '', '239-revision-10', '', '', '2012-07-30 23:51:48', '2012-07-30 21:51:48', '', 239, 'http://avantart.pl/239-revision-10/', 0, 'revision', '', 0), (925, 2, '2012-09-25 23:30:37', '2012-09-25 21:30:37', ' Jeżeli kogoś w muzyce interesuje szara, wciąż słabo zbadana strefa pomiędzy wolną improwizacją a post-punkiem, to zespół Denseland powinien spełnić jego oczekiwania. Ich kompozycje, w dużej mierze oparte na tradycyjnych rockowych strukturach, są niezwykle intensywne, buzujące bliską niekontrolowanej erupcji energią, ale jednocześnie nie sposób odmówić im sporej dozy subtelnej selektywności. Niebywale ekspresyjny wokalista David Moss potrafi zredukować swój głos do szeptów, pomruków i zgrzytów, tym indywidualnym językiem komunikując się z kreującym hipnotyczne dźwiękowe panoramy Hannesem Stroblem, odpowiedzialnym w zespole za bas i elektronikę i z Hanno Leichtmannem, który swoim wykorzystaniem instrumentów perkusyjnych i rozmaitych cyfrowych efektów tworzy rytmiczną ramę do wspólnego eksperymentowania. Ich pełna rozmaitych napięć i współgrających przeciwieństw muzyka, wypełniona animalistycznymi i plemiennymi dźwiękami, nigdy nie staje się czymś konkretnym i zdefiniowanym, nigdy nie odnosi się do czegoś. To ciągła ewolucja i ruch. To lekcja improwizacji i oryginalności – kombinacja ciepłych, akustycznych tekstur z bardziej abstrakcyjnymi strukturami. http://www.denseland.de/\r\n
If someone is interested in the grey, still quite obscurely researched sphere between free improvisation and post-punk, the group Danseland should meet his or hers expectations. Their improvisations, to a great extent based on traditional rock structures, are unusually intensive, crackling with soon-to-erupt energy, but at the same time one cannot deny them possessing quite a dose of subtle selectivity. The uniquely expressive vocalist, David Moss, can reduce his voice to mere whispers, murmurs and rasps and with this individual language communicate with Hannese Stoble and Hanno Leichtmann. Stroble, responsible for bass and electronic duties in the band, who creates hypnotic soundscapes, and Liechtmann, who via the usage of percussion instruments and various digital effects, creates a rhythmic frame for the mutual experimentation. Their music, filled with diverse tensions and harmonising with oppositions, full of animalistic and tribal sounds, never becomes anything concrete and defined, never relates to anything. It is constant evolution and movement. It is a lesson in improvisation and originality – a combination of warm, acoustic textures with more abstract structures.
\r\n\r\n', 'DENSELAND', '', 'inherit', 'closed', 'closed', '', '250-revision-10', '', '', '2012-09-25 23:30:37', '2012-09-25 21:30:37', '', 250, 'http://avantart.pl/250-revision-10/', 0, 'revision', '', 0), (926, 2, '2012-10-03 16:09:27', '2012-10-03 14:09:27', ' Założona wiosną 2003 roku formacja Dÿse została nazwana na cześć motelu Dysecatmotel w Amsterdanie, w którym po raz pierwszy spotkali się jej muzycy. To, co początkowo miało być tylko pobocznym, powołanym do życia dla zabawy projektem dla grających już w innych składach gitarzysty i wokalisty Andre Dietricha i perkusisty Jari Rebeleina, wkrótce stało się pełnoprawnym zespołem, w którym jego założyciele mogli próbować wszystkiego co nowe, komponując utwory bez zwracania uwagi na jakiekolwiek ograniczenia czy oczekiwania od innych. Ich muzyka, z braku lepszego określenia, wrzucana jest do dość pojemnego worka opatrzonego etykietką noise rocka – jest to raczej prostolinijny rock''n''roll naładowany młodzieńczym gniewem, entuzjazmem i energią, dopełniony sporą dozą awangardowości i takich dźwięków, które najlepiej opisuje słowo bizarre. Ich twórczość jest głęboko zakorzeniona w latach 90-tych XX wieku, a jej ojcami chrzestnymi można nazwać takie zespoły jak Sonic Youth, Fugazi czy Refused. Tu brzęczące gitarowe riffy wspierane przez prostą rytmikę perkusji i wokal, który w jednej chwili potrafi przejść od szeptu do dzikiego krzyku, to nowa wersja metalu, który jednak potrafi wyjść poza swoje ramy gatunkowe i odważnie wkroczyć na terytoria jazzu i funku.\nSpecjalnie na AVANT ART Dÿse wystąpi z polskimi muzykami - akordeonistą Arkadiuszem Rejdą i trębaczem Tadeuszem Kulasem.\n\n\n\n\nThe group Dÿse, founded in the Spring of 2003, was named in honour of the Amsterdam motel Dysecatmotel, where the musicians first met. That, which initially was supposed to be a side-project, founded just for fun by guitarist and vocalist, Andre Dietrich, and drummer Jari Rebelein, both of whom already performed with some other acts, soon became a full-fledged band, where its founders could try out everything what is new, compose songs without paying attention to any restrictions and expectations of others. Their music, due to the lack of a better name, is frequently put on the quite spacious shelf labelled noise rock – it is rather straightforward rock’n’roll filled with youth anger, enthusiasm and energy, completed by quite a dose of ‘avant-gardeness’ and sounds with are best described by the word bizarre. Their output is heavily rooted in the 90s of the XX c., and such bands like Sonic Youth, Fugazi and Refused can be called Dÿse’s godfathers. Here buzzing guitar riffs, supported by a simple rhythmic of the drums and vocal, which can alternate from a whisper to a savage scream, are a new version of metal music, which in the end can surpass its genre boarders and courageously enter new territories of jazz and funk.
\n\n', 'DŸSE', '', 'inherit', 'closed', 'closed', '', '65-autosave', '', '', '2012-10-03 16:09:27', '2012-10-03 14:09:27', '', 65, 'http://avantart.pl/65-autosave/', 0, 'revision', '', 0), (927, 2, '2012-07-30 22:17:29', '2012-07-30 20:17:29', ' Założona wiosną 2003 roku formacja Dÿse została nazwana na cześć motelu Dysecatmotel w Amsterdanie, w którym po raz pierwszy spotkali się jej muzycy. To, co początkowo miało być tylko pobocznym, powołanym do życia dla zabawy projektem dla grających już w innych składach gitarzysty i wokalisty Andre Dietricha i perkusisty Jari Rebeleina, wkrótce stało się pełnoprawnym zespołem, w którym jego założyciele mogli próbować wszystkiego co nowe, komponując utwory bez zwracania uwagi na jakiekolwiek ograniczenia czy oczekiwania od innych. Ich muzyka, z braku lepszego określenia, wrzucana jest do dość pojemnego worka opatrzonego etykietką noise rocka – jest to raczej prostolinijny rock''n''roll naładowany młodzieńczym gniewem, entuzjazmem i energią, dopełniony sporą dozą awangardowości i takich dźwięków, które najlepiej opisuje słowo bizarre. Ich twórczość jest głęboko zakorzeniona w latach 90-tych XX wieku, a jej ojcami chrzestnymi można nazwać takie zespoły jak Sonic Youth, Fugazi czy Refused. Tu brzęczące gitarowe riffy wspierane przez prostą rytmikę perkusji i wokal, który w jednej chwili potrafi przejść od szeptu do dzikiego krzyku, to nowa wersja metalu, który jednak potrafi wyjść poza swoje ramy gatunkowe i odważnie wkroczyć na terytoria jazzu i funku. www.dyse.info\r\n\r\nThe group Dÿse, founded in the Spring of 2003, was named in honour of the Amsterdam motel Dysecatmotel, where the musicians first met. That, which initially was supposed to be a side-project, founded just for fun by guitarist and vocalist, Andre Dietrich, and drummer Jari Rebelein, both of whom already performed with some other acts, soon became a full-fledged band, where its founders could try out everything what is new, compose songs without paying attention to any restrictions and expectations of others. Their music, due to the lack of a better name, is frequently put on the quite spacious shelf labelled noise rock – it is rather straightforward rock’n’roll filled with youth anger, enthusiasm and energy, completed by quite a dose of ‘avant-gardeness’ and sounds with are best described by the word bizarre. Their output is heavily rooted in the 90s of the XX c., and such bands like Sonic Youth, Fugazi and Refused can be called Dÿse’s godfathers. Here buzzing guitar riffs, supported by a simple rhythmic of the drums and vocal, which can alternate from a whisper to a savage scream, are a new version of metal music, which in the end can surpass its genre boarders and courageously enter new territories of jazz and funk.\r\n\r\nwww.dyse.info', 'DŸSE', '', 'inherit', 'closed', 'closed', '', '65-revision-7', '', '', '2012-07-30 22:17:29', '2012-07-30 20:17:29', '', 65, 'http://avantart.pl/65-revision-7/', 0, 'revision', '', 0), (928, 2, '2012-08-28 13:26:14', '2012-08-28 11:26:14', ' Knuckleduster, transatlantycka kolaboracja niemieckiego artysty dźwiękowego Roberta Lippoka i rezydującego w Kanadzie indyjskiego multimedialnego twórcy Debashisa Sinhy, rozpoczęła się od obustronnej fascynacji dźwiękiem i jego produkcją. Po dyskusjach prowadzonych podczas spotkań w Berlinie i Toronto oraz za pośrednictwem internetu, obaj muzycy stworzyli podstawy do kreowania wspólnych kompozycji. Lippok, jedna z najważniejszych postaci berlińskiej sceny elektronicznej i założyciel słynnej formacji To Rococo Rot, znany jest przede wszystkim jako osoba, która odnowiła stylistykę post-rocka poprzez włączenie do niego sztuki konceptualnej, instalacji i improwizacji. Sinha, znawca rytmicznych systemów z różnych kultur, w swojej twórczości łączy czysto etniczne dźwięki i tradycyjne techniki z elementami zachodniej improwizacji i elektroniki. Ze zderzenia doświadczeń dwóch tak różnych osobowości muzycznych powstała muzyka, w której nowoczesność spotyka się z archaicznością, tworząc multikulturowy konglomerat brzmieniowy, który potrafi porwać słuchacza w niezwykłą podróż w czasie i przestrzeni. Akustyczne instrumenty i wysoko zaawansowana technologia, ludzki głos i syntetyczne brzmienia, szamanizm i nauka – to wszystko można odnaleźć w kompozycjach i improwizacjach tego oryginalnego duetu. kdmusic.orgKnuckleduster, a transatlantic collaboration of the German sound artist, Robert Lippok, and Debashis Sinhy, a Hindu multimedia creator residing in Canada, began from a mutual fascination with sound and its production. After the discussions conducted during their meetings in Berlin and Toronto, and via the Internet, both musicians created the basis for creating collaborative compositions. Lippok is one of the most important figures of the Berlin electronic scene and founder of the famous To Rococo Rot, renown foremost as a person, who renew the post-rock stylistics by including the conceptual art, installations and improvisation into it. Sinha, an expert of rhythmic systems of different cultures, in his creations combines purely ethnic sounds and traditional techniques with elements of Western improvisation and electronics. Music, in which modernity meets archaism, creating a multicultural sound conglomerate, which can take the listener on a unique journey through time and space, came to be out of the collision of experiences of two such different personalities. Acoustic instruments and highly sophisticated technology, the human voice and synthetic sounds, shamanism and science – it all can be found in the compositions and improvisations of this original duo.
\r\n\r\n', 'KNUCKLEDUSTER', '', 'inherit', 'closed', 'closed', '', '52-revision-12', '', '', '2012-08-28 13:26:14', '2012-08-28 11:26:14', '', 52, 'http://avantart.pl/52-revision-12/', 0, 'revision', '', 0), (929, 2, '2012-07-30 22:16:36', '2012-07-30 20:16:36', ' Frank Martin Strauss, lepiej znany pod swoim artystycznym pseudonimem FM Einheit, to postać której znaczenia dla niemieckiej muzyki eksperymentalnej nie da się przecenić. Swoje pierwsze kroki muzyczne stawiał w legendarnej eksperymentalno-punkowej formacji Abwärts i w post-punkowym objawieniu kontynentalnej Europy Palais Schaumburg, by zaraz potem przyjąć posadę „głównego operatora maszynerii” – perkusisty jednego z najważniejszych i najbardziej wpływowych zespołów w dziejach muzyki, awangardzistów industrialu Einstürzende Neubauten. Te trzy zespoły były dopiero początkiem jego bogatej kariery muzycznej – w dalszych latach współpracował między innymi z takimi zespołami i artystami jak KMFDM, Goethes Erben, Mona Mur, Alfred 23 Harth czy Caspar Brötzmann Massaker i współtworzył projekty Stein i Gry. Stał się sławny dzięki swoistym, przygotowanym przez niego samego perkusyjnym instalacjom, złożonym z kawałków blachy, złomu i części rozmaitych urządzeń, na których grał podczas nagrań i występów na żywo. Cały czas udziela się solowo, komponując ścieżki dźwiękowe do filmów i spektakli teatralnych. Twórczość tego wizjonera perkusjonaliów to niezwykle unikalny dźwiękowy świat, w którym uderzenia metalu o metal, wiertarki i młoty współgrają z wysokiej jakości elektroniką. FM Einheit jest jedynym w swoim rodzaju, unikalnym artystą. www.fmeinheit.org\r\n\r\nFrank Martin Strauss, better known under the artistic pseudonym FM Einheit, is a figure whose significance for the German experimental scene cannot be overrated. He made his first musical steps in the legendary experimental-punk group Abwärts and in the post-punk revelation of continental Europe, Palais Schamburg, in order to accept the post of “the main machinery operator” – the drummer of one of the most important and most influential bands in the history of music, the industrial avant-gardist Einstürzende Neubauten. These three bands where just the beginning of his rich music career – in the following years he co-operated with, among others, such bands and artists like KMFDM, Goethes Erben, Mona Mur, Alfred 23 Harth or Caspar Brötzmann Massaker and co-created Stein and Gry. He became famous for his particular, self-prepared percussion installations, consisting of a piece of a metal plate, scrap metal and pieces of various equipment, on which he played during the recording sessions and live performances. He still creates solo, composes soundtracks to films and theatre spectacles. The output of this percussion visionary is an unusual sound world, in which the hits of metal on metal, screwdrivers and hammers harmonise with high-end electronics. FM Einheit is one of a kind, unique artist.\r\n\r\nwww.fmeinheit.org', 'FM EINHEIT', '', 'inherit', 'closed', 'closed', '', '67-revision-7', '', '', '2012-07-30 22:16:36', '2012-07-30 20:16:36', '', 67, 'http://avantart.pl/67-revision-7/', 0, 'revision', '', 0), (930, 2, '2012-09-25 22:55:23', '2012-09-25 20:55:23', '\r\n\r\nProdukcja Rita Baum\r\n\r\n„Czytanie w ciemnościach” to projekt polegający na kreowaniu słuchowisk, intermedialnych spektakli odbywających się przed publicznością w mroku lub całkowitych ciemnościach, a więc działających głównie na inne zmysły poza zmysłem wzroku. Ideą przewodnią jest zaprezentowanie literatury w „ciemny”, odmienny sposób. Słowom towarzyszy muzyka, czasami z mroku wyłaniają się obrazy wideo. Ciemność, w której odbywają się spektakle, pozwala „wyrwać” klasyczne czasami teksty ze schematów. Działanie to pozwala na poszerzony odbiór różnych tekstów kultury – uwrażliwia odbiorców na foniczno- wizualne aspekty literatury. Ciemność, w jakiej odbywają się spektakle, jest także istotna ze względu na otwarcie przedsięwzięcia dla osób niewidomych i niedowidzących. Każdy spektakl aranżujemy, by mógł być w pełni odebrany bez udziału wzroku.\r\n\r\nW ciemności buduje się wspólnota pomiędzy tymi, którzy widzą, i tymi, którzy są niewidomi; nic nas wszystkich wtedy nie odróżnia.\r\n\r\nczęść I\r\n\r\nEseistyczny kolaż "Tykanie zaborczej normy" nawiązuje do stęchłej i podszytej niepokojem atmosfery książki Herty Müller „Głód i Jedwab”. Strach Herty Müller wpisuje się w realia dzisiejszej Polski i z pewnością nie jest strachem przed utratą pracy czy niskimi zarobkami. Czego się boimy? Straty dobrego samopoczucia, jaki oferuje nam kapitalistyczny sen, po którym ciężko się przebudzić? A może jest to złowieszczy strach przed powrotem języka PRL-u, który w dzisiejszej Polsce nadal jest przedłużeniem nietolerancji i ksenofobii wielu rodzimych środowisk?\r\n\r\nHerta Müller doświadczona dyktaturami Stalina i Ceausescu, przestrzega przed zbyt pochopnym akceptowaniem łatwych utopii. W neurotycznym XXI wieku, polityczny mrok pod płaszczykiem hellenistycznej wizji ładu i szczęścia, nasiąka z wolna groźnym cieniem. W Polsce ten ciemny społeczny refleks objawia się w postaci dwóch partii, które od wielu lat monopolizują praktyki wyborcze obywateli i są w pewnym sensie rodzajem pseudo - obywatelskiego „all inclusive”. Nie zapominajmy, że liderzy tych partii kolejny rok sprzedają nam pakiet plastikowych usług społecznych, nie biorąc odpowiedzialności za wy[powiedziane] słowa. Warunki pakietu zaleca się zaakceptować w „ciemno”. Grunt, aby za bardzo nie „wychylać się”, nie drążyć i nie zadawać niewygodnych pytań odnośnie tego, co tak naprawdę dzieje się w tej naszej polskiej, coraz bardziej oderwanej od rzeczywistości, turystycznej zonie. Kiedyś takie praktyki nazywano emigracją wewnętrzną.\r\n\r\nZ tego właśnie powodu ważne są zdania Herty Müller dotyczące utopii, ponieważ polska „normalność” pod płaszczykiem estetycznego patriotyzmu oraz rzekomego przywiązania do tradycji, tworzy nowe i dotąd nieznane obywatelowi narzędzie kontroli społecznej.\r\n\r\nczęść II\r\n\r\n„Sercątko” otworzą przed wami trzy kobiety. Jest tam Herta (tak ją nazwaliśmy umownie), jest tam Teresa i Krawcowa. W tym ciężkim, rumuńskim czasie socjalizmu wszystkie trzy zmagają się z opresją dyktatury, bo sięga ona najprostszego, „najmniejszego” człowieka na najdalszej prowincji, ale też robią na co dzień to, co wszystkie kobiety świata. Przesłuchania mieszają się tu z szyciem sukienek, wróżeniem z kart i pracą w fabryce. Jest też mężczyzna, który im towarzyszy i który nie ma lżej od nich. To jego słowami rozpoczyna się „Sercątko”: „ Kiedy milczymy, stajemy się nieprzyjemni, kiedy mówimy – śmieszni”. Dlatego w ciemnościach będzie nieprzyjemnie i śmiesznie.\r\n\r\nReżyseria I części Andrzej Ficowski, reżyseria II części Marcin Czerwiński.\r\n\r\nRedakcja czasopisma „Rita Baum” dziękuje Wydawnictwu „Czarne” za okazaną pomoc w realizacji projektu. \r\n“Reading in the Dark” is a project focused on creating radio plays, inter-media spectacles taking place in front of the audience in the dark or total darkness, thus affecting mainly other senses apart from the sense of sight. The main idea is the presentation of literature in a “dark”, different way. Words are accompanied by music, sometimes video images emerge from the darkness. The mentioned darkness, in which the spectacles take place, allows to “pull” the, at times, classic texts out from the patterns. This activity enables a broader reception of various culture texts – makes the recipients more sensible to the audio-visual aspects of literature.
\r\nIn total darkness we reading excerpts of „Herztier” and „Niederungen”. There is something what connects these both books. In the darkness we will hear voices from lowlands and voice of protagonists gifted by herztier. „Niederungen” really begins in the moment of finishing. It means, we can notice only in the end of the book there is no „heart” without „lowlands”. Without humiliating work in Romanian factory, the writer''s essentional description of the world wouldn''t exist. It is born from pain, abasement and lack of perspectives for better life. It''s just a paradox this nuisance can conjure up this life another time. In the darkness we want first crack at such diagnosis, we want to be faithful to the author and we want to become engrossed in the bueutiful and dark past.
\r\n', 'CZYTANIE W CIEMNOŚCIACH. HERTA MÜLLERREADING IN THE DARK. HERTA MÜLLER', '', 'inherit', 'closed', 'closed', '', '493-revision-14', '', '', '2012-09-25 22:55:23', '2012-09-25 20:55:23', '', 493, 'http://avantart.pl/493-revision-14/', 0, 'revision', '', 0), (931, 2, '2012-09-26 14:14:53', '2012-09-26 12:14:53', '\r\n\r\nProdukcja Rita Baum\r\n\r\n„Czytanie w ciemnościach” to projekt polegający na kreowaniu słuchowisk, intermedialnych spektakli odbywających się przed publicznością w mroku lub całkowitych ciemnościach, a więc działających głównie na inne zmysły poza zmysłem wzroku. Ideą przewodnią jest zaprezentowanie literatury w „ciemny”, odmienny sposób. Słowom towarzyszy muzyka, czasami z mroku wyłaniają się obrazy wideo. Ciemność, w której odbywają się spektakle, pozwala „wyrwać” klasyczne czasami teksty ze schematów. Działanie to pozwala na poszerzony odbiór różnych tekstów kultury – uwrażliwia odbiorców na foniczno- wizualne aspekty literatury. Ciemność, w jakiej odbywają się spektakle, jest także istotna ze względu na otwarcie przedsięwzięcia dla osób niewidomych i niedowidzących. Każdy spektakl aranżujemy, by mógł być w pełni odebrany bez udziału wzroku.\r\n\r\nW ciemności buduje się wspólnota pomiędzy tymi, którzy widzą, i tymi, którzy są niewidomi; nic nas wszystkich wtedy nie odróżnia.\r\n\r\nAKT I. SERCE SERCĄTKA\r\n\r\nAdaptacja wybranych wątków powieści Herty Müller pt. „Sercątko” w tłumaczeniu Alicji Buras\r\n\r\nCzas trwania: 30 minut|\r\nAdaptacja tekstu i reżyseria czytania: Marcin Czerwiński\r\nGłosy: Ołena Cikuj, Michał Szwed, Paulina Walendowska, Martyna Witowska.\r\nDźwięki na żywo: Mateusz Stuczyński\r\n\r\n„Sercątko” otworzą przed wami trzy kobiety. Jest tam Herta (tak ją nazwaliśmy umownie), jest tam Teresa i Krawcowa. W tym ciężkim, rumuńskim czasie socjalizmu wszystkie trzy zmagają się z opresją dyktatury, bo sięga ona najprostszego, „najmniejszego” człowieka na najdalszej prowincji, ale też robią na co dzień to, co wszystkie kobiety świata. Przesłuchania mieszają się tu z szyciem sukienek, wróżeniem z kart i pracą w fabryce. Jest też mężczyzna, który im towarzyszy i który nie ma lżej od nich. To jego słowami rozpoczyna się „Sercątko”: „Kiedy milczymy, stajemy się nieprzyjemni, kiedy mówimy – śmieszni”. Dlatego w ciemnościach będzie nieprzyjemnie i śmiesznie.\r\n\r\nAKT II. TYKANIE ZABORCZEJ NORMALNOŚCI\r\nCzytanie w ciemności fragmentów eseistycznej książki Herty Müller „Głód i Jedwab” w tłumaczeniu Katarzyny Leszczyńskiej.\r\nCzas trwania: 25 minut\r\nKoncepcja i reżyseria czytania: Andrzej Ficowski\r\nAktorzy: Klaudia Waszak, Arkadiusz Cyran\r\nIngerencja dźwiękowa: Jacek Zachodny\r\nDźwięki na żywo: Arkadiusz Cyran, Andrzej Ficowski\r\n\r\nEseistyczny kolaż „Tykanie zaborczej normy” nawiązuje do stęchłej i podszytej niepokojem atmosfery książki „Głód i Jedwab”. Strach Herty Müller wpisuje się w realia dzisiejszej Polski i z pewnością nie jest strachem przed utratą pracy czy niskimi zarobkami. Czego się boimy? Straty dobrego samopoczucia, jaki oferuje nam kapitalistyczny sen, po którym ciężko się przebudzić? A może jest to złowieszczy strach przed powrotem języka PRL-u, który w dzisiejszej Polsce nadal jest przedłużeniem nietolerancji i ksenofobii wielu rodzimych środowisk?\r\n\r\nRedakcja czasopisma „Rita Baum” dziękuje Wydawnictwu „Czarne” za okazaną pomoc w realizacji projektu.\r\n“Reading in the Dark” is a project focused on creating radio plays, inter-media spectacles taking place in front of the audience in the dark or total darkness, thus affecting mainly other senses apart from the sense of sight. The main idea is the presentation of literature in a “dark”, different way. Words are accompanied by music, sometimes video images emerge from the darkness. The mentioned darkness, in which the spectacles take place, allows to “pull” the, at times, classic texts out from the patterns. This activity enables a broader reception of various culture texts – makes the recipients more sensible to the audio-visual aspects of literature.
\r\nIn total darkness we reading excerpts of „Herztier” and „Niederungen”. There is something what connects these both books. In the darkness we will hear voices from lowlands and voice of protagonists gifted by herztier. „Niederungen” really begins in the moment of finishing. It means, we can notice only in the end of the book there is no „heart” without „lowlands”. Without humiliating work in Romanian factory, the writer''s essentional description of the world wouldn''t exist. It is born from pain, abasement and lack of perspectives for better life. It''s just a paradox this nuisance can conjure up this life another time. In the darkness we want first crack at such diagnosis, we want to be faithful to the author and we want to become engrossed in the bueutiful and dark past.
\r\n', 'CZYTANIE W CIEMNOŚCIACH. HERTA MÜLLERREADING IN THE DARK. HERTA MÜLLER', '', 'inherit', 'closed', 'closed', '', '493-revision-15', '', '', '2012-09-26 14:14:53', '2012-09-26 12:14:53', '', 493, 'http://avantart.pl/493-revision-15/', 0, 'revision', '', 0); INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (932, 2, '2012-09-26 14:16:18', '2012-09-26 12:16:18', '\r\n\r\nProdukcja Rita Baum\r\n\r\n„Czytanie w ciemnościach” to projekt polegający na kreowaniu słuchowisk, intermedialnych spektakli odbywających się przed publicznością w mroku lub całkowitych ciemnościach, a więc działających głównie na inne zmysły poza zmysłem wzroku. Ideą przewodnią jest zaprezentowanie literatury w „ciemny”, odmienny sposób. Słowom towarzyszy muzyka, czasami z mroku wyłaniają się obrazy wideo. Ciemność, w której odbywają się spektakle, pozwala „wyrwać” klasyczne czasami teksty ze schematów. Działanie to pozwala na poszerzony odbiór różnych tekstów kultury – uwrażliwia odbiorców na foniczno- wizualne aspekty literatury. Ciemność, w jakiej odbywają się spektakle, jest także istotna ze względu na otwarcie przedsięwzięcia dla osób niewidomych i niedowidzących. Każdy spektakl aranżujemy, by mógł być w pełni odebrany bez udziału wzroku.\r\n\r\nW ciemności buduje się wspólnota pomiędzy tymi, którzy widzą, i tymi, którzy są niewidomi; nic nas wszystkich wtedy nie odróżnia.\r\n\r\nAKT I. SERCE SERCĄTKA\r\n\r\nAdaptacja wybranych wątków powieści Herty Müller pt. „Sercątko” w tłumaczeniu Alicji Buras\r\n\r\nCzas trwania: 30 minut\r\nAdaptacja tekstu i reżyseria czytania: Marcin Czerwiński\r\nGłosy: Ołena Cikuj, Michał Szwed, Paulina Walendowska, Martyna Witowska.\r\nDźwięki na żywo: Mateusz Stuczyński\r\n\r\n„Sercątko” otworzą przed wami trzy kobiety. Jest tam Herta (tak ją nazwaliśmy umownie), jest tam Teresa i Krawcowa. W tym ciężkim, rumuńskim czasie socjalizmu wszystkie trzy zmagają się z opresją dyktatury, bo sięga ona najprostszego, „najmniejszego” człowieka na najdalszej prowincji, ale też robią na co dzień to, co wszystkie kobiety świata. Przesłuchania mieszają się tu z szyciem sukienek, wróżeniem z kart i pracą w fabryce. Jest też mężczyzna, który im towarzyszy i który nie ma lżej od nich. To jego słowami rozpoczyna się „Sercątko”: „Kiedy milczymy, stajemy się nieprzyjemni, kiedy mówimy – śmieszni”. Dlatego w ciemnościach będzie nieprzyjemnie i śmiesznie.\r\n\r\nAKT II. TYKANIE ZABORCZEJ NORMALNOŚCI\r\nCzytanie w ciemności fragmentów eseistycznej książki Herty Müller „Głód i Jedwab” w tłumaczeniu Katarzyny Leszczyńskiej.\r\n\r\nCzas trwania: 25 minut\r\nKoncepcja i reżyseria czytania: Andrzej Ficowski\r\nAktorzy: Klaudia Waszak, Arkadiusz Cyran\r\nIngerencja dźwiękowa: Jacek Zachodny\r\nDźwięki na żywo: Arkadiusz Cyran, Andrzej Ficowski\r\n\r\nEseistyczny kolaż „Tykanie zaborczej normy” nawiązuje do stęchłej i podszytej niepokojem atmosfery książki „Głód i Jedwab”. Strach Herty Müller wpisuje się w realia dzisiejszej Polski i z pewnością nie jest strachem przed utratą pracy czy niskimi zarobkami. Czego się boimy? Straty dobrego samopoczucia, jaki oferuje nam kapitalistyczny sen, po którym ciężko się przebudzić? A może jest to złowieszczy strach przed powrotem języka PRL-u, który w dzisiejszej Polsce nadal jest przedłużeniem nietolerancji i ksenofobii wielu rodzimych środowisk?\r\n\r\nRedakcja czasopisma „Rita Baum” dziękuje Wydawnictwu „Czarne” za okazaną pomoc w realizacji projektu.\r\n“Reading in the Dark” is a project focused on creating radio plays, inter-media spectacles taking place in front of the audience in the dark or total darkness, thus affecting mainly other senses apart from the sense of sight. The main idea is the presentation of literature in a “dark”, different way. Words are accompanied by music, sometimes video images emerge from the darkness. The mentioned darkness, in which the spectacles take place, allows to “pull” the, at times, classic texts out from the patterns. This activity enables a broader reception of various culture texts – makes the recipients more sensible to the audio-visual aspects of literature.
\r\nIn total darkness we reading excerpts of „Herztier” and „Niederungen”. There is something what connects these both books. In the darkness we will hear voices from lowlands and voice of protagonists gifted by herztier. „Niederungen” really begins in the moment of finishing. It means, we can notice only in the end of the book there is no „heart” without „lowlands”. Without humiliating work in Romanian factory, the writer''s essentional description of the world wouldn''t exist. It is born from pain, abasement and lack of perspectives for better life. It''s just a paradox this nuisance can conjure up this life another time. In the darkness we want first crack at such diagnosis, we want to be faithful to the author and we want to become engrossed in the bueutiful and dark past.
\r\n', 'CZYTANIE W CIEMNOŚCIACH. HERTA MÜLLERREADING IN THE DARK. HERTA MÜLLER', '', 'inherit', 'closed', 'closed', '', '493-revision-16', '', '', '2012-09-26 14:16:18', '2012-09-26 12:16:18', '', 493, 'http://avantart.pl/493-revision-16/', 0, 'revision', '', 0), (933, 2, '2012-09-25 19:29:59', '2012-09-25 17:29:59', 'Kontakt dla mediów:\r\nMagda Kotowska | magda.kotowska@highlite.pl, tel. 792 234 779\r\n\r\nKontakt dla mediów:
\r\nMagda Kotowska
\r\nmagda.kotowska@highlite.pl, tel. 792 234 779
\r\n', 'Press Room', '', 'inherit', 'closed', 'closed', '', '26-revision-36', '', '', '2012-09-25 19:29:59', '2012-09-25 17:29:59', '', 26, 'http://avantart.pl/26-revision-36/', 0, 'revision', '', 0), (934, 2, '2012-09-26 22:51:25', '2012-09-26 20:51:25', 'Kontakt dla mediów:\r\nMagda Kotowska | magda.kotowska@highlite.pl, tel. 792 234 779\r\n\r\nKontakt dla mediów:
\r\nMagda Kotowska
\r\nmagda.kotowska@highlite.pl, tel. 792 234 779
\r\n', 'Press Room', '', 'inherit', 'closed', 'closed', '', '26-revision-37', '', '', '2012-09-26 22:51:25', '2012-09-26 20:51:25', '', 26, 'http://avantart.pl/26-revision-37/', 0, 'revision', '', 0), (935, 2, '2012-09-11 22:35:45', '2012-09-11 20:35:45', '\r\n\r\nTo kontynuacja premierowego spektaklu „IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D”- zaprezentowanego podczas ostatniej edycji festiwalu Avant Art jako koprodukcja polsko - szwajcarska. Tym razem w wersji z polskimi artystami, z muzyką na żywo zespołu 2g.\r\n\r\n2g „In / Between“ to projekt muzyczny, ale też szczególnego rodzaju multidyscyplinarna INSTALACJA z elementami żywej muzyki, światła, sztuki video. To artystyczna kooperacja zespołu 2g ze scenografem - artystką sztuk wizualnych Gabrielą Kowalską, która również zaprojektowałą scenografię do „IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D“.\r\n\r\n2g to wieloręki, wieloludzki instrument zespojony w celu muzykowania opartego na głębokim wzajemnym słuchaniu się i przenikaniu brzmień tworzących wielowymiarową, wielowątkową jedność. Muzyka 2g oparta jest na ciężkich, rozrzedzonych i spowolnionych rytmach z bardzo niskim, charakterystycznym basem, osadzonych na ciemnych, płynnie przekształcających się przestrzeniach i fakturach dźwiękowych tworzonych przez inne instrumenty elektryczne, akustyczne oraz głosy wokalistów.\r\n\r\nArtyści: Gabriela Kowalska oraz muzycy 2g: Bartek Kuźniak, Marcin Bijak, Piotr Siemiński, Maciej Polak, Kostas Georgakopulos.\r\n\r\n www.2g.333rec.org\r\nIt is a continuation of the premier spectacle "IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D" - presented during the previous edition of the Avant Art Festival as a Polish-Swiss co-production. This time in a version featuring Polish artists, with live music by the group 2g.
\r\n2g "In / Between" is a music project, but also a particular kind of multidisciplinary INSTALLATION with elements of live music, lights, video art. This is an artistic co-operation of the group 2g with a stage designer - a visual art artist, Gabriela Kowalska, who had also designed the stage design for the needs of "IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D".
\r\n2g is a "multi-limb", multi-personnel instrument binded in order to create music based on a deep sense of listening to one another and penetrating the sounds which create a multidimensional, multithreaded whole. 2g''s music is based on heavy, dispersed and slowed down rhythms with a low, characteristic bass, set in dark, fluently evolving spaces and sound textures created by the other electrical, acoustic instruments and the voices of the vocalists.
\r\nArtists: Gabriela Kowalska and 2g musicians: Bartek Kuźniak, Marcin Bijak, Piotr Siemiński, Maciej Polak, Kostas Georgakopulos.
\r\n\r\n', '2g „In / Between” 2g „In / Between” ', '', 'inherit', 'closed', 'closed', '', '632-revision-7', '', '', '2012-09-11 22:35:45', '2012-09-11 20:35:45', '', 632, 'http://avantart.pl/632-revision-7/', 0, 'revision', '', 0), (936, 2, '2012-09-27 20:30:29', '2012-09-27 18:30:29', '\r\n\r\nTo kontynuacja premierowego spektaklu „IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D”- zaprezentowanego podczas ostatniej edycji festiwalu Avant Art jako koprodukcja polsko - szwajcarska. Tym razem w wersji z polskimi artystami, z muzyką na żywo zespołu 2g.\r\n\r\n2g „In / Between“ to projekt muzyczny, ale też szczególnego rodzaju multidyscyplinarna INSTALACJA z elementami żywej muzyki, światła, sztuki video. To artystyczna kooperacja zespołu 2g ze scenografem - artystką sztuk wizualnych Gabrielą Kowalską, która również zaprojektowałą scenografię do „IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D“.\r\n\r\n2g to wieloręki, wieloludzki instrument zespojony w celu muzykowania opartego na głębokim wzajemnym słuchaniu się i przenikaniu brzmień tworzących wielowymiarową, wielowątkową jedność. Muzyka 2g oparta jest na ciężkich, rozrzedzonych i spowolnionych rytmach z bardzo niskim, charakterystycznym basem, osadzonych na ciemnych, płynnie przekształcających się przestrzeniach i fakturach dźwiękowych tworzonych przez inne instrumenty elektryczne, akustyczne oraz głosy wokalistów.\r\n\r\nArtyści: Gabriela Kowalska oraz muzycy 2g: Bartek Kuźniak, Marcin Bijak, Piotr Siemiński, Maciej Polak, Kostas Georgakopulos.\r\n\r\nwww.2g.333flow.com\r\nIt is a continuation of the premier spectacle "IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D" - presented during the previous edition of the Avant Art Festival as a Polish-Swiss co-production. This time in a version featuring Polish artists, with live music by the group 2g.
\r\n2g "In / Between" is a music project, but also a particular kind of multidisciplinary INSTALLATION with elements of live music, lights, video art. This is an artistic co-operation of the group 2g with a stage designer - a visual art artist, Gabriela Kowalska, who had also designed the stage design for the needs of "IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D".
\r\n2g is a "multi-limb", multi-personnel instrument binded in order to create music based on a deep sense of listening to one another and penetrating the sounds which create a multidimensional, multithreaded whole. 2g''s music is based on heavy, dispersed and slowed down rhythms with a low, characteristic bass, set in dark, fluently evolving spaces and sound textures created by the other electrical, acoustic instruments and the voices of the vocalists.
\r\nArtists: Gabriela Kowalska and 2g musicians: Bartek Kuźniak, Marcin Bijak, Piotr Siemiński, Maciej Polak, Kostas Georgakopulos.
\r\n\r\n', '2g „In / Between” 2g „In / Between” ', '', 'inherit', 'closed', 'closed', '', '632-revision-8', '', '', '2012-09-27 20:30:29', '2012-09-27 18:30:29', '', 632, 'http://avantart.pl/632-revision-8/', 0, 'revision', '', 0), (937, 2, '2012-09-24 21:19:32', '2012-09-24 19:19:32', '\r\n\r\nJuż 6 października podczas AVANT ART FESTIVAL dekadę istnienia świętować będzie prestiżowa niemiecka wytwórnia – Project: Mooncircle. Na obchody dziesięciolecia do Wrocławia przyjadą wielkie gwiazdy: Robot Koch, Rain Dog, Long Arm i Gordon – założyciel wytwórni. Usłyszymy nowoczesny hip hop, niebanalny dubstep, nowatorskie techno czy eksperymentalna dance music. Showcase wytwórni odbędzie się w Przestrzeni Muzycznej PUZZLE.\r\n', 'Dziesięciolecie wytwórni Mooncircle Project na AVANT ART FESTIVAL!', '', 'inherit', 'closed', 'closed', '', '860-revision-6', '', '', '2012-09-24 21:19:32', '2012-09-24 19:19:32', '', 860, 'http://avantart.pl/860-revision-6/', 0, 'revision', '', 0), (938, 2, '2012-09-28 15:09:41', '2012-09-28 13:09:41', '\r\n\r\nJuż 6 października podczas AVANT ART FESTIVAL dekadę istnienia świętować będzie prestiżowa niemiecka wytwórnia – Project: Mooncircle. Na obchody dziesięciolecia do Wrocławia przyjadą wielkie gwiazdy: Robot Koch, Rain Dog, Long Arm i Gordon – założyciel wytwórni. Usłyszymy nowoczesny hip hop, niebanalny dubstep, nowatorskie techno czy eksperymentalna dance music. Showcase wytwórni odbędzie się w Przestrzeni Muzycznej PUZZLE.\r\n\r\n
The newest issue of the Rita Baum magazine was created in co-production with the German Polen+ magazine and will see its premiere on 03.10.2012 on the Avant Art Festival. In the mag we will find an extensive Avant section, with texts published by Rafał Jęczmyk – a curator of the festival, as well as Daniel Brożek and Piotr Nowicki. Apart from that, we will find a theatre, music, poetic, prose section – traditionally in Rita Baum, and a gallery of works by Anna Rymarz. The magazine will be available in Poland and Germany.
\r\n', 'Premiera 25 numeru Rity Baum na Avant Art FestivalPremiere of the 25th issue of Rita Baum at Avant Art Festival', '', 'publish', 'closed', 'closed', '', 'premiera-rity-baum-na-aaf', '', '', '2012-10-01 15:17:15', '2012-10-01 13:17:15', '', 0, 'http://avantart.pl/?p=940', 0, 'post', '', 0), (941, 2, '2012-09-30 19:55:28', '2012-09-30 17:55:28', '', 'pomiedzy_okl._mala', '', 'inherit', 'closed', 'closed', '', 'pomiedzy_okl-_mala', '', '', '2012-09-30 19:55:28', '2012-09-30 17:55:28', '', 940, 'http://avantart.pl/wp-content/uploads/2012/09/pomiedzy_okl._mala.jpg', 0, 'attachment', 'image/jpeg', 0), (942, 2, '2012-09-30 19:55:52', '2012-09-30 17:55:52', 'Najnowszy 25 numer pisma Rita Baum powstał w kooprodukcji z niemieckim pismem Polen+ i będzie miał swoją premierę 3.10.2012 na festiwalu Avant Art. W piśmie obszerny znajdziemy obszerny działa Avant w którym swoje teksty opublikowali Rafał Jęczmyk - kurator festiwalu, a także Daniel Brożek i Piotr Nowicki. Oprócz tego tradycyjnie w Ricie Baum znajdziemy dział teatralny, muzycznt, poetycki, prozatorski oraz galerię prac Anny Rymarz. Pismo można będzie nabyć w Polsce i Niemczech.\n
The newest issue of the Rita Baum magazine was created in co-production with the German Polen+ magazine and will see its premiere on 03.10.2012 on the Avant Art Festival. In the mag we will find an extensive Avant section, with texts published by Rafał Jęczmyk – a curator of the festival, as well as Daniel Brożek and Piotr Nowicki. Apart from that, we will find a theatre, music, poetic, prose section – traditionally in Rita Baum, and a gallery of works by Anna Rymarz. The magazine will be available in Poland and Germany.
\n', 'Premiera 25 numeru Rity Baum na Avant Art FestivalPremiere of the 25th issue of Rita Baum at Avant Art Festival', '', 'inherit', 'closed', 'closed', '', '940-autosave', '', '', '2012-10-01 15:18:18', '2012-10-01 13:18:18', '', 940, 'http://avantart.pl/940-autosave/', 0, 'revision', '', 0), (944, 2, '2012-09-30 19:56:33', '2012-09-30 17:56:33', '\r\n\r\nNajnowszy 25 numer pisma Rita Baum powstał w kooprodukcji z niemieckim pismem Polen+ i będzie miał swoją premierę 3.10.2012 na festiwalu Avant Art. W piśmie obszerny znajdziemy obszerny działa Avant w którym swoje teksty opublikowali Rafał Jęczmyk - kurator festiwalu, a także Daniel Brożek i Piotr Nowicki. Oprócz tego tradycyjnie w Ricie Baum znajdziemy dział teatralny, muzycznt, poetycki, prozatorski oraz galerię prac Anny Rymarz. Pismo można będzie nabyć w Polsce i Niemczech.We invite you to witness the world premieres of Polish-German co-productions, manifestations of the main idea of the festival – an international artistic exchange. The Cologne-Dortmund scene of sound art, experimental music and theatre will be working with a circle of Polish musicians at the Pixel Klänge, whereas the energy of sound and the body will be revealed in a co-operation of Polish dancers with the Cologne-based group, Nanoschlaf. The international recycling project “Social Up Spacing – Przestrzeń dla Odzysku [A Space for Recycling]” will also take place as a part of the Polish-German co-operation.
\n', 'ŚWIATOWE PRAPREMIERY POLSKO-NIEMIECKICH KOPRODUKCJIWORLD PREMIERES OF POLISH-GERMAN CO-PRODUCTIONS', '', 'inherit', 'closed', 'closed', '', '950-autosave', '', '', '2012-10-01 12:27:43', '2012-10-01 10:27:43', '', 950, 'http://avantart.pl/950-autosave/', 0, 'revision', '', 0), (954, 2, '2012-09-30 20:19:10', '2012-09-30 18:19:10', '\r\n\r\nZapraszamy na światowe prapremiery polsko-niemieckich koprodukcji jako przejawu głównej idei festiwalu – międzynarodowej wymiany artystycznej. Kolońsko-dortmundzka scena sound artu, muzyki eksperymentalnej i teatru współpracować będzie z polskim środowiskiem muzyków w Pixel Klänge, natomiast energia dźwięku i ciała objawi się w kooperacji polskich tancerzy z formacją Nanoschlaf z Kolonii. W ramach współpracy polsko-niemieckiej odbędzie się także międzynarodowy projekt recyklingowy „Social Up Spacing – Przestrzeń dla Odzysku”.\r\n', 'ŚWIATOWE PRAPREMIERY POLSKO-NIEMIECKICH KOPRODUKCJI', '', 'inherit', 'closed', 'closed', '', '950-revision-3', '', '', '2012-09-30 20:19:10', '2012-09-30 18:19:10', '', 950, 'http://avantart.pl/950-revision-3/', 0, 'revision', '', 0), (955, 2, '2012-09-30 21:13:56', '2012-09-30 19:13:56', 'Organizator Debaty / Avant Art Festival i Europejska Stolica Kultury Wrocław 2016\r\nWspółorganizator / Narodowe Centrum Kultury\r\nPartnerzy / Instytut Adama Mickiewicza, Instytut Polski w Düsseldorfie, Helios Nowe Horyzonty i Pop Up 203\r\n\r\nPanel / Nowe Kody Kultury\r\npiątek, 5 października 2012 roku, godz. 12:00-15:00\r\nmiejsce / Helios Nowe Horyzonty\r\nmoderator / Katarzyna Janowska – Dyrektor TVP Kultura\r\n\r\nUczestnicy panelu z Polski i z zagranicy podejmą temat nowych znaczeń kultury oraz genotypu miasta w kontekście Wrocławia jako Europejskiej Stolicy Kultury w roku 2016. Zaproszeni paneliści zastanowią się nad znaczeniem kultury i sztuki w przestrzeni działań społeczno-edukacyjnych.\r\n\r\nWśród uczestników: Krzysztof Czyżewski – Dyrektor Artystyczny Europejskiej Stolicy Kultury Wrocław 2016, Jacek Żakowski – Publicysta, pisarz, wykładowca, Roman Gutek – Dyrektor Międzynarodowego Festiwalu Filmowego T-Mobile Nowe Horyzonty, Prezes Stowarzyszenia Nowe Horyzonty, Radosław Drabik – Dyrektor Stowarzyszenia Nowe Horyzonty, Chris Keulemans – Dyrektor Artystyczny Przestrzeni dla Sztuki i Kultury Tolhuistuin, Dr Albrecht Goetze – Dyrektor Meetingpoint Music Messiaen, Constantin Chiriac – Dyrektor Międzynarodowego Festiwalu Teatralnego Sibiu, Prezes Fundacji „Demokracja poprzez Kulturę”, Prof. dr Andreas Johannes Wiesand – Dyrektor w Europejskim Instytucie Badań Komparatywnych nad Kulturą, Jutta Unger – Koordynator Festiwalu c/o pop & C''n''B Convention, Katarzyna Sokołowska – Dyrektor Instytutu Polskiego w Düsseldorfie.\r\n\r\nPanel / Kooperacja! Koprodukcja! R/ewolucja!?\r\nsobota, 6 października 2012 roku, godz. 12:00-15:00\r\nmiejsce / Galeria Pop Up 203 / Przestrzeń Avant Art Festival 2012\r\nmoderatorzy / Marcin Czerwiński i Przemysław Witkowski - czasopismo artystyczno-literackie „Rita Baum”\r\n\r\nDyskusja gości z różnorodnych środowisk z Polski i z zagranicy dotyczyć będzie współpracy w międzynarodowych projektach kulturalnych. Panel będzie okazją do dyskusji na temat nowych form kooperacji w perspektywie wspólnych projektów w związku z Europejską Stolicą Kultury we Wrocławiu w 2016 roku.\r\n\r\nWśród uczestników: Georg Dietzler – freies rheinland / Kolonia, Sandra Passaro - Stars & Heros / Berlin, Maija Julius – mex – intermediale und experimentelle Musikprojekte / Dortmund, Jan Korbes – Refunc / Dortmund, Nikolaus Schrot – Elefanterrible / Berlin, Szymon Żydek – Fundacja Nowej Kultury „Bęc Zmiana”, Hubert Kostkiewicz – Centrum Reanimacji Kultury.\r\n\r\nDo udziału w Debacie zaproszeni zostali również przedstawiciele organizacji pozarządowych, a także instytucji i organizacji kulturalnych z Wrocławia.\r\n', 'DEBATA O KULTURZE W RAMACH AVANT ART FESTIVAL 2012', '', 'publish', 'closed', 'closed', '', 'debata-o-kulturze-w-ramach-avant-art-festival-2012', '', '', '2012-10-04 13:21:03', '2012-10-04 11:21:03', '', 36, 'http://avantart.pl/?page_id=955', 0, 'page', '', 0); INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (956, 2, '2012-09-30 21:13:08', '2012-09-30 19:13:08', 'Organizator Debaty / Avant Art Festival i Europejska Stolica Kultury Wrocław 2016 Współorganizator / Narodowe Centrum Kultury\nPartnerzy / Instytut Adama Mickiewicza, Instytut Polski w Düsseldorfie, Helios Nowe Horyzonty i Pop Up 203\n\nPanel / Nowe Kody Kultury\npiątek, 5 października 2012 roku, godz. 12:00-15:00\nmiejsce / Helios Nowe Horyzonty\nmoderator / Katarzyna Janowska – Dyrektor TVP Kultura\n\nUczestnicy panelu z Polski i z zagranicy podejmą temat nowych znaczeń kultury oraz genotypu miasta w kontekście Wrocławia jako Europejskiej Stolicy Kultury w roku 2016. Zaproszeni paneliści zastanowią się nad znaczeniem kultury i sztuki w przestrzeni działań społeczno-edukacyjnych.\n\nWśród uczestników: Krzysztof Czyżewski – Dyrektor Artystyczny Europejskiej Stolicy Kultury Wrocław 2016, Jacek Żakowski – Publicysta, pisarz, wykładowca, Roman Gutek – Dyrektor Międzynarodowego Festiwalu Filmowego T-Mobile Nowe Horyzonty, Prezes Stowarzyszenia Nowe Horyzonty, Radosław Drabik – Dyrektor Stowarzyszenia Nowe Horyzonty, Chris Keulemans – Dyrektor Artystyczny Przestrzeni dla Sztuki i Kultury Tolhuistuin, Dr Albrecht Goetze – Dyrektor Meetingpoint Music Messiaen, Constantin Chiriac – Dyrektor Międzynarodowego Festiwalu Teatralnego Sibiu, Prezes Fundacji „Demokracja poprzez Kulturę”, Prof. dr Andreas Johannes Wiesand – Dyrektor w Europejskim Instytucie Badań Komparatywnych nad Kulturą, Jutta Unger – Koordynator Festiwalu c/o pop & C''n''B Convention, Katarzyna Sokołowska – Dyrektor Instytutu Polskiego w Düsseldorfie.\n\npanel / Kooperacja! Koprodukcja! R/ewolucja!?\n\nsobota, 6 października 2012 roku, godz. 12:00-15:00\n\nmiejsce / Galeria Pop Up 203 / Przestrzeń Avant Art Festival 2012\n\n\nmoderator / Artur Celiński – Zastępca redaktora naczelnego „Res Publica Nowa”\n\nDyskusja gości z różnorodnych środowisk z Polski i z zagranicy dotyczyć będzie współpracy w międzynarodowych projektach kulturalnych. Panel będzie okazją do dyskusji na temat nowych form kooperacji w perspektywie wspólnych projektów w związku z Europejską Stolicą Kultury we Wrocławiu w 2016 roku.\n\nWśród uczestników: Georg Dietzler – freies rheinland / Kolonia, Sandra Passaro - Stars & Heros / Berlin, Maija Julius – mex – intermediale und experimentelle Musikprojekte / Dortmund, Jan Korbes – Refunc / Dortmund, Nikolaus Schrot – Elefanterrible / Berlin, przedstawiciele Festiwalu Transmediale & CTM / Berlin, Marcin Czerwiński – czasopismo artystyczno-literackie „Rita Baum”, Szymon Żydek – Fundacja Nowej Kultury „Bęc Zmiana”, Hubert Kostkiewicz – Centrum Reanimacji Kultury.\n\nDo udziału w Debacie zaproszeni zostali również przedstawiciele organizacji pozarządowych, a także instytucji i organizacji kulturalnych z Wrocławia.It is a continuation of the premier spectacle "IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D" - presented during the previous edition of the Avant Art Festival as a Polish-Swiss co-production. This time in a version featuring Polish artists, with live music by the group 2g.
\r\n2g "In / Between" is a music project, but also a particular kind of multidisciplinary INSTALLATION with elements of live music, lights, video art. This is an artistic co-operation of the group 2g with a stage designer - a visual art artist, Gabriela Kowalska, who had also designed the stage design for the needs of "IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D".
\r\n2g is a "multi-limb", multi-personnel instrument binded in order to create music based on a deep sense of listening to one another and penetrating the sounds which create a multidimensional, multithreaded whole. 2g''s music is based on heavy, dispersed and slowed down rhythms with a low, characteristic bass, set in dark, fluently evolving spaces and sound textures created by the other electrical, acoustic instruments and the voices of the vocalists.
\r\nArtists: Gabriela Kowalska and 2g musicians: Bartek Kuźniak, Marcin Bijak, Piotr Siemiński, Maciej Polak, Kostas Georgakopulos.
\r\n\r\n', '2g „In / Between” 2g „In / Between” ', '', 'inherit', 'closed', 'closed', '', '632-revision-9', '', '', '2012-09-27 21:00:35', '2012-09-27 19:00:35', '', 632, 'http://avantart.pl/632-revision-9/', 0, 'revision', '', 0), (970, 2, '2012-09-30 21:31:05', '2012-09-30 19:31:05', '\r\n\r\nTo kontynuacja premierowego spektaklu „IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D”- zaprezentowanego podczas ostatniej edycji festiwalu Avant Art jako koprodukcja polsko - szwajcarska. Tym razem w wersji z polskimi artystami, z muzyką na żywo zespołu 2g.\r\n\r\n2g „In / Between“ to projekt muzyczny, ale też szczególnego rodzaju multidyscyplinarna INSTALACJA z elementami żywej muzyki, światła, sztuki video. To artystyczna kooperacja zespołu 2g ze scenografem - artystką sztuk wizualnych Gabrielą Kowalską, która również zaprojektowałą scenografię do „IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D“.\r\n\r\n2g to wieloręki, wieloludzki instrument zespojony w celu muzykowania opartego na głębokim wzajemnym słuchaniu się i przenikaniu brzmień tworzących wielowymiarową, wielowątkową jedność. Muzyka 2g oparta jest na ciężkich, rozrzedzonych i spowolnionych rytmach z bardzo niskim, charakterystycznym basem, osadzonych na ciemnych, płynnie przekształcających się przestrzeniach i fakturach dźwiękowych tworzonych przez inne instrumenty elektryczne, akustyczne oraz głosy wokalistów.\r\n\r\nArtyści: Gabriela Kowalska oraz muzycy 2g: Bartek Kuźniak, Marcin Bijak, Piotr Siemiński, Maciej Polak, Kostas Georgakopulos.\r\n\r\nwww.2g.333flow.com\r\nIt is a continuation of the premier spectacle "IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D" - presented during the previous edition of the Avant Art Festival as a Polish-Swiss co-production. This time in a version featuring Polish artists, with live music by the group 2g.
\r\n2g "In / Between" is a music project, but also a particular kind of multidisciplinary INSTALLATION with elements of live music, lights, video art. This is an artistic co-operation of the group 2g with a stage designer - a visual art artist, Gabriela Kowalska, who had also designed the stage design for the needs of "IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D".
\r\n2g is a "multi-limb", multi-personnel instrument binded in order to create music based on a deep sense of listening to one another and penetrating the sounds which create a multidimensional, multithreaded whole. 2g''s music is based on heavy, dispersed and slowed down rhythms with a low, characteristic bass, set in dark, fluently evolving spaces and sound textures created by the other electrical, acoustic instruments and the voices of the vocalists.
\r\nArtists: Gabriela Kowalska and 2g musicians: Bartek Kuźniak, Marcin Bijak, Piotr Siemiński, Maciej Polak, Kostas Georgakopulos.
\r\n\r\n', '2g „In / Between” 2g „In / Between” ', '', 'inherit', 'closed', 'closed', '', '632-revision-10', '', '', '2012-09-30 21:31:05', '2012-09-30 19:31:05', '', 632, 'http://avantart.pl/632-revision-10/', 0, 'revision', '', 0); INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (972, 1, '2012-09-30 21:30:09', '2012-09-30 19:30:09', 'Organizator Debaty / Avant Art Festival i Europejska Stolica Kultury Wrocław 2016\r\nWspółorganizator / Narodowe Centrum Kultury\r\nPartnerzy / Instytut Adama Mickiewicza, Instytut Polski w Düsseldorfie, Helios Nowe Horyzonty i Pop Up 203\r\n\r\nPanel / Nowe Kody Kultury\r\npiątek, 5 października 2012 roku, godz. 12:00-15:00\r\nmiejsce / Helios Nowe Horyzonty\r\nmoderator / Katarzyna Janowska – Dyrektor TVP Kultura\r\n\r\nUczestnicy panelu z Polski i z zagranicy podejmą temat nowych znaczeń kultury oraz genotypu miasta w kontekście Wrocławia jako Europejskiej Stolicy Kultury w roku 2016. Zaproszeni paneliści zastanowią się nad znaczeniem kultury i sztuki w przestrzeni działań społeczno-edukacyjnych.\r\n\r\nWśród uczestników: Krzysztof Czyżewski – Dyrektor Artystyczny Europejskiej Stolicy Kultury Wrocław 2016, Jacek Żakowski – Publicysta, pisarz, wykładowca, Roman Gutek – Dyrektor Międzynarodowego Festiwalu Filmowego T-Mobile Nowe Horyzonty, Prezes Stowarzyszenia Nowe Horyzonty, Radosław Drabik – Dyrektor Stowarzyszenia Nowe Horyzonty, Chris Keulemans – Dyrektor Artystyczny Przestrzeni dla Sztuki i Kultury Tolhuistuin, Dr Albrecht Goetze – Dyrektor Meetingpoint Music Messiaen, Constantin Chiriac – Dyrektor Międzynarodowego Festiwalu Teatralnego Sibiu, Prezes Fundacji „Demokracja poprzez Kulturę”, Prof. dr Andreas Johannes Wiesand – Dyrektor w Europejskim Instytucie Badań Komparatywnych nad Kulturą, Jutta Unger – Koordynator Festiwalu c/o pop & C''n''B Convention, Katarzyna Sokołowska – Dyrektor Instytutu Polskiego w Düsseldorfie.\r\n\r\nPanel / Kooperacja! Koprodukcja! R/ewolucja!?\r\nsobota, 6 października 2012 roku, godz. 12:00-15:00\r\nmiejsce / Galeria Pop Up 203 / Przestrzeń Avant Art Festival 2012\r\n\r\nDyskusja gości z różnorodnych środowisk z Polski i z zagranicy dotyczyć będzie współpracy w międzynarodowych projektach kulturalnych. Panel będzie okazją do dyskusji na temat nowych form kooperacji w perspektywie wspólnych projektów w związku z Europejską Stolicą Kultury we Wrocławiu w 2016 roku.\r\n\r\nWśród uczestników: Georg Dietzler – freies rheinland / Kolonia, Sandra Passaro - Stars & Heros / Berlin, Maija Julius – mex – intermediale und experimentelle Musikprojekte / Dortmund, Jan Korbes – Refunc / Dortmund, Nikolaus Schrot – Elefanterrible / Berlin, przedstawiciele Festiwalu Transmediale & CTM / Berlin, Marcin Czerwiński – czasopismo artystyczno-literackie „Rita Baum”, Szymon Żydek – Fundacja Nowej Kultury „Bęc Zmiana”, Hubert Kostkiewicz – Centrum Reanimacji Kultury.\r\n\r\nDo udziału w Debacie zaproszeni zostali również przedstawiciele organizacji pozarządowych, a także instytucji i organizacji kulturalnych z Wrocławia.\r\n', 'DEBATA O KULTURZE W RAMACH AVANT ART FESTIVAL 2012', '', 'inherit', 'closed', 'closed', '', '955-revision-13', '', '', '2012-09-30 21:30:09', '2012-09-30 19:30:09', '', 955, 'http://avantart.pl/955-revision-13/', 0, 'revision', '', 0), (973, 1, '2012-09-25 11:56:05', '2012-09-25 09:56:05', 'The purchase of tickets and whole-festival tickets is possible under the link TICKETS ONLINE, as well as via www.biletin.pl and at Impart box office (Mazowiecka 17, Wrocław, open during the week days from 12:00 to 18:00).
\r\nSoon the sale via www.ticketpro.pl will begin as well. The tickets will also be available on the day of the performance, an hour before the beginning of the event.
\r\nThe ticket prices are very reasonable - and range from 10 to 40 PLN pre-sale. The whole-festival ticket can be purchased for 90 PLN
\r\n', 'BiletyTickets', '', 'inherit', 'closed', 'closed', '', '23-revision-20', '', '', '2012-09-25 22:50:07', '2012-09-25 20:50:07', '', 23, 'http://avantart.pl/23-revision-20/', 0, 'revision', '', 0), (976, 2, '2012-10-01 11:56:21', '2012-10-01 09:56:21', 'Sprzedaż biletów na koncerty i karnetów na wszystkie wydarzenia pod linkiem BILETY ONLINE,\r\na także za pośrednictwem www.billetin.pl, w Imparcie (ul. Mazowiecka 17, Wrocław, w dni powszednie od 12:00 do 18:00) oraz w SieciTicketpro.\r\n\r\nInformacje o punktach sprzedaży na terenie całego kraju dostępne na stronie:\r\nhttp://www.ticketpro.pl/jnp/gdzie-kupic-bilety/index.html\r\n\r\nBilety na filmy i karnet filmowy do nabycia w Helios Nowe Horyzonty (ul. Kazimierza Wielkiego 19a-21, Wrocław) oraz na www.heliosnh.pl .\r\n\r\nBilety dostępne będą także w miejscach festiwalowych na godzinę przed rozpoczęciem wydarzenia.\r\n\r\nKarnet na wszystkie wydarzenia festiwalu: 90 zł\r\nKarnet filmowy: 30 zł\r\n\r\nPobierz program z cenami biletów plik pdf\r\n\r\nThe sale of the performance tickets and whole-festival tickets for all the events under the link BILETY ONLINE and via www.billetin.pl, at the Impart (Mazowiecka Street 17, Wrocław, open on week days from 12:00 to 18:00) and via the Ticketpro ticket sellers.
\r\nInformation about the sale points spread throughout the country can be found on: http://www.ticketpro.pl/jnp/
Film tickets and the film carnet can be bought at the Helios Nowe Horyzonty cinema (Kazimierza Wielkiego street 19a-21, Wrocław) and via www.heliosnh.pl.
\r\nThe tickets will also be available at the day of the event, one hour before its beginning.
\r\nWhole-festival ticket for all festival events: 90 PLN
\r\nFilm carnet: 30 PLN
\r\nFree-of-charge entry:
\r\n1) Reading in the Dark. Herta Müller / a production of RITA BAUM
\r\n2) "Miasta B w Galerii U [B-category cities at the U Gallery]" exhibition
\r\n3) Debate on culture
\r\nContact: bilety@avantart.pl
\r\n', 'BiletyTickets', '', 'inherit', 'closed', 'closed', '', '23-revision-23', '', '', '2012-10-01 11:58:17', '2012-10-01 09:58:17', '', 23, 'http://avantart.pl/23-revision-23/', 0, 'revision', '', 0), (979, 2, '2012-09-20 22:17:02', '2012-09-20 20:17:02', 'Bilety do nabycia w kinie Helios Nowe Horyzonty (Kazimierza Wielkiego 19-21, Wrocław) oraz na www.heliosnh.pl. Pojedyńcze seanse w cenie 8 zł, karnet filmowy 30 zł. Więcej o przeglądzie niemieckich filmów o muzyce.Wernisaż: 03.10.1012, godz. 18:00
\r\nWystawa: 03-07.10.2012, godz. 18:00 - 20:00
Avant Art would like to invite you to a unique exhibition at the Galeria U. A small piece of visual information, present in the space of three cities is hidden under the banner “Miasta B [B-category Cities]”. Posters from the Berliner Kreutzberg, a screen-printed shot from Hackney and a pile of materials recording the last years of the activities of the activist of the Wrocław-based Nadodrze, will fill three rooms of the Galeria U. The exhibition will be open until October 7th, 2012, and will begin with a vernissage on the second day of the festival i.e. on October 3rd. More information\r\n\r\nVernissage: 03.10.2012, 18:00\r\nExhibition: 03-07.10.2012, 18:00-20:00\r\n\r\n ', 'ZAPRASZAMY NA WERNISAŻ WYSTAWY „MIASTA B” W GALERII UWE INVITE YOU TO THE VERNISSAGE OF THE “MIASTA B” EXHIBITION AT THE GALERIA U', '', 'publish', 'closed', 'closed', '', 'zapraszamy-na-wernisaz-wystawy-miasta-b-w-galerii-u', '', '', '2012-10-04 18:21:18', '2012-10-04 16:21:18', '', 0, 'http://avantart.pl/?p=984', 0, 'post', '', 0), (985, 2, '2012-10-01 15:10:53', '2012-10-01 13:10:53', 'Avant Art zaprasza na wyjątkową wystawę w Galerii U. Pod hasłem „Miasta B” kryje się niewielki wycinek informacji wizualnej, obecnej w przestrzeni trzech miast. Plakaty z berlińskiego Kreutzbergu, sitodrukowa migawka z Hackney i stos materiałów rejestrujących ostatnie lata działań aktywistów na wrocławskim Nadodrzu, wypełniać będą trzy sale Galerii U. Wystawa potrwa 7 października 2012 r., a rozpocznie ją wernisaż drugiego dnia festiwalu, tj. 3 października.\nWernisaż: 03.10.1012, g odz. 18:00\nWystawa: 03-07.10.2012, godz. 18:00 - 20:00
\nWernisaż: 03.10.1012, godz. 18:00\r\nWystawa: 03-07.10.2012, godz. 18:00 - 20:00\r\nWięcej info
Wernisaż: 03.10.1012, godz. 18:00\r\nWystawa: 03-07.10.2012, godz. 18:00 - 20:00\r\nWięcej info
\r\n', 'ZAPRASZAMY NA WERNISAŻ WYSTAWY „MIASTA B” W GALERII U', '', 'inherit', 'closed', 'closed', '', '984-revision-3', '', '', '2012-10-01 15:12:16', '2012-10-01 13:12:16', '', 984, 'http://avantart.pl/984-revision-3/', 0, 'revision', '', 0), (988, 2, '2012-10-01 15:12:35', '2012-10-01 13:12:35', 'Avant Art zaprasza na wyjątkową wystawę w Galerii U. Pod hasłem „Miasta B” kryje się niewielki wycinek informacji wizualnej, obecnej w przestrzeni trzech miast. Plakaty z berlińskiego Kreutzbergu, sitodrukowa migawka z Hackney i stos materiałów rejestrujących ostatnie lata działań aktywistów na wrocławskim Nadodrzu, wypełniać będą trzy sale Galerii U. Wystawa potrwa 7 października 2012 r., a rozpocznie ją wernisaż drugiego dnia festiwalu, tj. 3 października.\r\nWernisaż: 03.10.1012, godz. 18:00
\r\nWystawa: 03-07.10.2012, godz. 18:00 - 20:00
\r\n\r\n', 'ZAPRASZAMY NA WERNISAŻ WYSTAWY „MIASTA B” W GALERII U', '', 'inherit', 'closed', 'closed', '', '984-revision-4', '', '', '2012-10-01 15:12:35', '2012-10-01 13:12:35', '', 984, 'http://avantart.pl/984-revision-4/', 0, 'revision', '', 0), (989, 2, '2012-10-01 15:13:35', '2012-10-01 13:13:35', 'Avant Art zaprasza na wyjątkową wystawę w Galerii U. Pod hasłem „Miasta B” kryje się niewielki wycinek informacji wizualnej, obecnej w przestrzeni trzech miast. Plakaty z berlińskiego Kreutzbergu, sitodrukowa migawka z Hackney i stos materiałów rejestrujących ostatnie lata działań aktywistów na wrocławskim Nadodrzu, wypełniać będą trzy sale Galerii U. Wystawa potrwa 7 października 2012 r., a rozpocznie ją wernisaż drugiego dnia festiwalu, tj. 3 października.\r\nWernisaż: 03.10.1012, godz. 18:00\r\nWystawa: 03-07.10.2012, godz. 18:00 - 20:00\r\nWięcej info
\r\n', 'ZAPRASZAMY NA WERNISAŻ WYSTAWY „MIASTA B” W GALERII U', '', 'inherit', 'closed', 'closed', '', '984-revision-5', '', '', '2012-10-01 15:13:35', '2012-10-01 13:13:35', '', 984, 'http://avantart.pl/984-revision-5/', 0, 'revision', '', 0), (990, 2, '2012-10-04 18:22:23', '2012-10-04 16:22:23', 'Avant Art zaprasza na wyjątkową wystawę w Galerii U. Pod hasłem „Miasta B” kryje się niewielki wycinek informacji wizualnej, obecnej w przestrzeni trzech miast. Plakaty z berlińskiego Kreutzbergu, sitodrukowa migawka z Hackney i stos materiałów rejestrujących ostatnie lata działań aktywistów na wrocławskim Nadodrzu, wypełniać będą trzy sale Galerii U. Wystawa potrwa 7 października 2012 r., a rozpocznie ją wernisaż drugiego dnia festiwalu, tj. 3 października. Więcej info\nWernisaż: 03.10.1012, godz. 18:00
\nWystawa: 03-07.10.2012, godz. 18:00 - 20:00
Avant Art would like to invite you to a unique exhibition at the Galeria U. A small piece of visual information, present in the space of three cities is hidden under the banner “Miasta B [B-category Cities]”. Posters from the Berliner Kreutzberg, a screen-printed shot from Hackney and a pile of materials recording the last years of the activities of the activist of the Wrocław-based Nadodrze, will fill three rooms of the Galeria U. The exhibition will be open until October 7th, 2012, and will begin with a vernissage on the second day of the festival i.e. on October 3rd. More information
\nVernissage: 03.10.2012, 18:00
\nExhibition: 03-07.10.2012, 18:00-20:00
Wernisaż: 03.10.1012, godz. 18:00
\r\nWystawa: 03-07.10.2012, godz. 18:00 - 20:00\r\n\r\n
\r\n', 'ZAPRASZAMY NA WERNISAŻ WYSTAWY „MIASTA B” W GALERII U', '', 'inherit', 'closed', 'closed', '', '984-revision-6', '', '', '2012-10-01 15:13:57', '2012-10-01 13:13:57', '', 984, 'http://avantart.pl/984-revision-6/', 0, 'revision', '', 0), (993, 2, '2012-10-01 15:19:20', '2012-10-01 13:19:20', 'Avant Art zaprasza na wyjątkową wystawę w Galerii U. Pod hasłem „Miasta B” kryje się niewielki wycinek informacji wizualnej, obecnej w przestrzeni trzech miast. Plakaty z berlińskiego Kreutzbergu, sitodrukowa migawka z Hackney i stos materiałów rejestrujących ostatnie lata działań aktywistów na wrocławskim Nadodrzu, wypełniać będą trzy sale Galerii U. Wystawa potrwa 7 października 2012 r., a rozpocznie ją wernisaż drugiego dnia festiwalu, tj. 3 października. Więcej info\r\nWernisaż: 03.10.1012, godz. 18:00
\r\nWystawa: 03-07.10.2012, godz. 18:00 - 20:00
\r\n \r\n', 'ZAPRASZAMY NA WERNISAŻ WYSTAWY „MIASTA B” W GALERII U', '', 'inherit', 'closed', 'closed', '', '984-revision-7', '', '', '2012-10-01 15:19:20', '2012-10-01 13:19:20', '', 984, 'http://avantart.pl/984-revision-7/', 0, 'revision', '', 0), (995, 2, '2012-09-25 23:27:23', '2012-09-25 21:27:23', '\r\n\r\nGrający na elektronicznym puzonie Sebastian Smolyn i posługujący się elektroniką jego brat Artur na swoje artystycznej ścieżce wybrali kierunek muzyki improwizowanej. Ich osobiste doświadczenia złożyły się na matrycę dla takiej muzyki, która rządzi się swoimi własnymi prawami i używa wszystkich możliwych środków, by osiągnąć swój cel. Nie ma dla nich stylistyk awangardy, których by nie eksplorowali – ich twórczość jest zainspirowana przez free jazz, nu jazz, noise czy hardcore w wielu różnych postaciach. Po kilku latach wspólnych poszukiwań do ich dźwiękowych wypraw dołączył wyjątkowy perkusista jazzowy Oliver Steidle – tak powstało trio o nazwie Defibrillator, niezwykle energetyczna formacja, której brzmienie silnie zakotwiczone jest w estetykach grindcore i noise. Kolejnym krokiem w ich karierze stało się zaproszenie do współpracy muzyka, który od lat stanowił dla nich ważną inspirację – Petera Brötzmanna, jednego z najważniejszych przedstawicieli światowego free jazzu i muzyki improwizowanej. Młodość i energia w zestawieniu z wieloletnim doświadczeniem na gruncie eksperymentalnych dźwięków – tego właśnie można spodziewać się po nowym projekcie braci Smolyn.\r\n\r\nwww.sebastiansmolyn.com\r\nwww.artursmolyn.com\r\nwww.myspace.com/oliversteidle\r\nwww.peterbroetzmann.com\r\nSebastian Smolyn, playing on the electronic trombone and his brother, Artur, wielding electronics chose the direction of improvised music on their artistic path. Their personal experiences became a template for such music, which is governed by its own rules and uses all possible means in order to achieve its goal. There are no avant-garde stylistics they have not yet explored – their output is inspired by free jazz, nu jazz, noise or hardcore in many different forms. After a few years of searches, Olivier Steidle, a unique jazz drummer, has joined their sound voyages – thus the trio named Defibrillator came to be, a uniquely energetic group, sound of which is heavily rooted in the aesthetic of grindcore and noise. The next step in their career was inviting a musician, who was a major inspiration for them since many years, to a co-operation - Peter Brötzmann, one of the most important representatives of the world’s free jazz and improvised music. Youth and energy in comparison with a many year-long experience on the grounds of experimental sounds – that can be expected from the new project of the Smolyn brother.
\r\n\r\n\r\n\r\n\r\n', 'DEFIBRILLATOR & PETER BRÖTZMANN', '', 'inherit', 'closed', 'closed', '', '44-revision-26', '', '', '2012-09-25 23:27:23', '2012-09-25 21:27:23', '', 44, 'http://avantart.pl/44-revision-26/', 0, 'revision', '', 0); INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (996, 2, '2012-10-02 10:23:21', '2012-10-02 08:23:21', '\r\n\r\nGrający na elektronicznym puzonie Sebastian Smolyn i posługujący się elektroniką jego brat Artur na swoje artystycznej ścieżce wybrali kierunek muzyki improwizowanej. Ich osobiste doświadczenia złożyły się na matrycę dla takiej muzyki, która rządzi się swoimi własnymi prawami i używa wszystkich możliwych środków, by osiągnąć swój cel. Nie ma dla nich stylistyk awangardy, których by nie eksplorowali – ich twórczość jest zainspirowana przez free jazz, nu jazz, noise czy hardcore w wielu różnych postaciach. Po kilku latach wspólnych poszukiwań do ich dźwiękowych wypraw dołączył wyjątkowy perkusista jazzowy Oliver Steidle – tak powstało trio o nazwie Defibrillator, niezwykle energetyczna formacja, której brzmienie silnie zakotwiczone jest w estetykach grindcore i noise. Kolejnym krokiem w ich karierze stało się zaproszenie do współpracy muzyka, który od lat stanowił dla nich ważną inspirację – Petera Brötzmanna, jednego z najważniejszych przedstawicieli światowego free jazzu i muzyki improwizowanej. Młodość i energia w zestawieniu z wieloletnim doświadczeniem na gruncie eksperymentalnych dźwięków – tego właśnie można spodziewać się po nowym projekcie braci Smolyn.\r\n\r\n\r\n\r\nwww.sebastiansmolyn.com\r\nwww.artursmolyn.com\r\nwww.myspace.com/oliversteidle\r\nwww.peterbroetzmann.com\r\nSebastian Smolyn, playing on the electronic trombone and his brother, Artur, wielding electronics chose the direction of improvised music on their artistic path. Their personal experiences became a template for such music, which is governed by its own rules and uses all possible means in order to achieve its goal. There are no avant-garde stylistics they have not yet explored – their output is inspired by free jazz, nu jazz, noise or hardcore in many different forms. After a few years of searches, Olivier Steidle, a unique jazz drummer, has joined their sound voyages – thus the trio named Defibrillator came to be, a uniquely energetic group, sound of which is heavily rooted in the aesthetic of grindcore and noise. The next step in their career was inviting a musician, who was a major inspiration for them since many years, to a co-operation - Peter Brötzmann, one of the most important representatives of the world’s free jazz and improvised music. Youth and energy in comparison with a many year-long experience on the grounds of experimental sounds – that can be expected from the new project of the Smolyn brother.
\r\n\r\n\r\n\r\n\r\n', 'DEFIBRILLATOR & PETER BRÖTZMANN', '', 'inherit', 'closed', 'closed', '', '44-revision-27', '', '', '2012-10-02 10:23:21', '2012-10-02 08:23:21', '', 44, 'http://avantart.pl/44-revision-27/', 0, 'revision', '', 0), (997, 2, '2012-10-02 10:51:09', '2012-10-02 08:51:09', '\r\n\r\nGrający na elektronicznym puzonie Sebastian Smolyn i posługujący się elektroniką jego brat Artur na swoje artystycznej ścieżce wybrali kierunek muzyki improwizowanej. Ich osobiste doświadczenia złożyły się na matrycę dla takiej muzyki, która rządzi się swoimi własnymi prawami i używa wszystkich możliwych środków, by osiągnąć swój cel. Nie ma dla nich stylistyk awangardy, których by nie eksplorowali – ich twórczość jest zainspirowana przez free jazz, nu jazz, noise czy hardcore w wielu różnych postaciach. Po kilku latach wspólnych poszukiwań do ich dźwiękowych wypraw dołączył wyjątkowy perkusista jazzowy Oliver Steidle – tak powstało trio o nazwie Defibrillator, niezwykle energetyczna formacja, której brzmienie silnie zakotwiczone jest w estetykach grindcore i noise. Kolejnym krokiem w ich karierze stało się zaproszenie do współpracy muzyka, który od lat stanowił dla nich ważną inspirację – Petera Brötzmanna, jednego z najważniejszych przedstawicieli światowego free jazzu i muzyki improwizowanej. Młodość i energia w zestawieniu z wieloletnim doświadczeniem na gruncie eksperymentalnych dźwięków – tego właśnie można spodziewać się po nowym projekcie braci Smolyn.\r\n\r\n\r\n\r\nwww.sebastiansmolyn.com\r\nwww.artursmolyn.com\r\nwww.myspace.com/oliversteidle\r\nwww.peterbroetzmann.com\r\nSebastian Smolyn, playing on the electronic trombone and his brother, Artur, wielding electronics chose the direction of improvised music on their artistic path. Their personal experiences became a template for such music, which is governed by its own rules and uses all possible means in order to achieve its goal. There are no avant-garde stylistics they have not yet explored – their output is inspired by free jazz, nu jazz, noise or hardcore in many different forms. After a few years of searches, Olivier Steidle, a unique jazz drummer, has joined their sound voyages – thus the trio named Defibrillator came to be, a uniquely energetic group, sound of which is heavily rooted in the aesthetic of grindcore and noise. The next step in their career was inviting a musician, who was a major inspiration for them since many years, to a co-operation - Peter Brötzmann, one of the most important representatives of the world’s free jazz and improvised music. Youth and energy in comparison with a many year-long experience on the grounds of experimental sounds – that can be expected from the new project of the Smolyn brother.
\r\n\r\n\r\n\r\n\r\n', 'DEFIBRILLATOR & PETER BRÖTZMANN', '', 'inherit', 'closed', 'closed', '', '44-revision-28', '', '', '2012-10-02 10:51:09', '2012-10-02 08:51:09', '', 44, 'http://avantart.pl/44-revision-28/', 0, 'revision', '', 0), (998, 2, '2012-10-02 10:52:29', '2012-10-02 08:52:29', '\r\n\r\nGrający na elektronicznym puzonie Sebastian Smolyn i posługujący się elektroniką jego brat Artur na swoje artystycznej ścieżce wybrali kierunek muzyki improwizowanej. Ich osobiste doświadczenia złożyły się na matrycę dla takiej muzyki, która rządzi się swoimi własnymi prawami i używa wszystkich możliwych środków, by osiągnąć swój cel. Nie ma dla nich stylistyk awangardy, których by nie eksplorowali – ich twórczość jest zainspirowana przez free jazz, nu jazz, noise czy hardcore w wielu różnych postaciach. Po kilku latach wspólnych poszukiwań do ich dźwiękowych wypraw dołączył wyjątkowy perkusista jazzowy Oliver Steidle – tak powstało trio o nazwie Defibrillator, niezwykle energetyczna formacja, której brzmienie silnie zakotwiczone jest w estetykach grindcore i noise. Kolejnym krokiem w ich karierze stało się zaproszenie do współpracy muzyka, który od lat stanowił dla nich ważną inspirację – Petera Brötzmanna, jednego z najważniejszych przedstawicieli światowego free jazzu i muzyki improwizowanej. Młodość i energia w zestawieniu z wieloletnim doświadczeniem na gruncie eksperymentalnych dźwięków – tego właśnie można spodziewać się po nowym projekcie braci Smolyn.\r\n\r\n\r\n\r\n\r\n\r\nwww.sebastiansmolyn.com\r\nwww.artursmolyn.com\r\nwww.myspace.com/oliversteidle\r\nwww.peterbroetzmann.com\r\nSebastian Smolyn, playing on the electronic trombone and his brother, Artur, wielding electronics chose the direction of improvised music on their artistic path. Their personal experiences became a template for such music, which is governed by its own rules and uses all possible means in order to achieve its goal. There are no avant-garde stylistics they have not yet explored – their output is inspired by free jazz, nu jazz, noise or hardcore in many different forms. After a few years of searches, Olivier Steidle, a unique jazz drummer, has joined their sound voyages – thus the trio named Defibrillator came to be, a uniquely energetic group, sound of which is heavily rooted in the aesthetic of grindcore and noise. The next step in their career was inviting a musician, who was a major inspiration for them since many years, to a co-operation - Peter Brötzmann, one of the most important representatives of the world’s free jazz and improvised music. Youth and energy in comparison with a many year-long experience on the grounds of experimental sounds – that can be expected from the new project of the Smolyn brother.
\r\n\r\n\r\n\r\n\r\n', 'DEFIBRILLATOR & PETER BRÖTZMANN', '', 'inherit', 'closed', 'closed', '', '44-revision-29', '', '', '2012-10-02 10:52:29', '2012-10-02 08:52:29', '', 44, 'http://avantart.pl/44-revision-29/', 0, 'revision', '', 0), (999, 2, '2012-07-30 22:40:05', '2012-07-30 20:40:05', ' Trudno przecenić wpływ postaci Caspara Brötzmanna na współczesną muzykę gitarową. Ten niesamowity instrumentalista swoim oryginalnym, określanym często mianem neoprymitywnego, stylem gry na gitarze od początków swojej kariery inspirował – i wciąż inspiruje – rzesze nowych muzyków odrzucających skostniały akademizm kompozycyjny i stawiających na wyzwoloną z wszelkich reguł ekspresję. Brötzmann jest porównywany do takich muzycznych osobowości jak Jimi Hendrix (zawdzięcza to podobnemu upodobaniu do ekstremalnej głośności i zręcznej manipulacji przesterami) czy Edgar Varèse, z którym łączy go przenikliwa świadomość znaczenia samej natury dźwięków. Po kilkunastu latach przerwy muzyk powrócił w chwale na sceny ze swoim flagowym projektem – Caspar Brötzmann Massaker – w którego najnowszej inkarnacji wspierają go Eduardo Delgado Lopez na basie i Danny Arnold Lommen na perkusji. Takiej muzyki nie słyszy się na co dzień – w jednym utworze formacji potrafią zdarzyć się minuty ogłuszających ataków dźwiękowych i minuty tak ciche, że usłyszeć można dotknięcia strun o gryf gitary. Psychodeliczne improwizacje łączą się tu z marszowym, masywnym rockiem a radykalny minimalizm z wręcz barokowymi i misternymi pasażami. Jest tu pierwotność i agresja, niespotykane dźwięki, niesamowite budowanie napięcia. To muzyka intuicyjna, naiwna w pozytywnym znaczeniu tego słowa – a przez to szczera i na swój sposób romantyczna. Twórczość Caspar Brötzmann Massaker brzmi jak herezja w świecie zdominowanym przez spokojne i wymuskane samplerowe brzmienia. To czysty, nieskrępowany i uwolniony żywioł. Nie bez powodu Caspar Brötzmann zyskał przydomek Demona Decybeli. www.casparbroetzmannmassaker.com It is difficult to overrate the influence of the figure that is Caspar Brötzmann on modern guitar-based music. This amazing instrumentalist with his unique style of playing guitar, frequently described by the name of neoprimitive, since the beginning of his career has inspired – and still inspires – throngs of new musicians, who reject the stiff compositional academism and chose expression liberated from all the rules. Brötzmann is compared to such musical personalities as Jimi Hendrix (which he owes to a similar fondness for extreme loudness and a skilful manipulations of the distortions) or Edgar Varèse, with whom he is united by a perceptive awareness of the sheer nature of sounds. After a couple of years, the musician has, in glory, returned to the stage with his leading project - Caspar Brötzmann Massaker – with Eduardo Delgado Lopez, on bass, and Danny Arnold Lommen, on drums, who support him in the projects newest incarnation. Such music cannot be heard on a daily basis – one track of the group can feature minutes of deafening sound attacks and minutes so quiet, that one can hear the strings touch the guitar neck. Psychedelic improvisations are combined with march-like, massive rock and radical minimalism with outright meticulous baroque passages. Here one is able to experience primitivism, aggression, unique sounds and extraordinary build-up of tension. This is intuitive music, naive in a positive sense – and thus, sincere and romantic in a way. Caspar Brötzmann Massaker’s output sounds like heresy in a world dominated by mellow and foppish sampler sounds. This is a pure, unrestrained and free element. Not without cause did Caspar Brötzmann receive the nickname of Demon of the Decibels.\r\n\r\nwww.casparbroetzmannmassaker.com', 'CASPAR BRÖTZMANN MASSAKER', '', 'inherit', 'closed', 'closed', '', '60-revision-10', '', '', '2012-07-30 22:40:05', '2012-07-30 20:40:05', '', 60, 'http://avantart.pl/60-revision-10/', 0, 'revision', '', 0), (1000, 2, '2012-10-02 10:54:02', '2012-10-02 08:54:02', ' Trudno przecenić wpływ postaci Caspara Brötzmanna na współczesną muzykę gitarową. Ten niesamowity instrumentalista swoim oryginalnym, określanym często mianem neoprymitywnego, stylem gry na gitarze od początków swojej kariery inspirował – i wciąż inspiruje – rzesze nowych muzyków odrzucających skostniały akademizm kompozycyjny i stawiających na wyzwoloną z wszelkich reguł ekspresję. Brötzmann jest porównywany do takich muzycznych osobowości jak Jimi Hendrix (zawdzięcza to podobnemu upodobaniu do ekstremalnej głośności i zręcznej manipulacji przesterami) czy Edgar Varèse, z którym łączy go przenikliwa świadomość znaczenia samej natury dźwięków. Po kilkunastu latach przerwy muzyk powrócił w chwale na sceny ze swoim flagowym projektem – Caspar Brötzmann Massaker – w którego najnowszej inkarnacji wspierają go Eduardo Delgado Lopez na basie i Danny Arnold Lommen na perkusji. Takiej muzyki nie słyszy się na co dzień – w jednym utworze formacji potrafią zdarzyć się minuty ogłuszających ataków dźwiękowych i minuty tak ciche, że usłyszeć można dotknięcia strun o gryf gitary. Psychodeliczne improwizacje łączą się tu z marszowym, masywnym rockiem a radykalny minimalizm z wręcz barokowymi i misternymi pasażami. Jest tu pierwotność i agresja, niespotykane dźwięki, niesamowite budowanie napięcia. To muzyka intuicyjna, naiwna w pozytywnym znaczeniu tego słowa – a przez to szczera i na swój sposób romantyczna. Twórczość Caspar Brötzmann Massaker brzmi jak herezja w świecie zdominowanym przez spokojne i wymuskane samplerowe brzmienia. To czysty, nieskrępowany i uwolniony żywioł. Nie bez powodu Caspar Brötzmann zyskał przydomek Demona Decybeli.\r\n\r\n\r\n\r\nwww.casparbroetzmannmassaker.com It is difficult to overrate the influence of the figure that is Caspar Brötzmann on modern guitar-based music. This amazing instrumentalist with his unique style of playing guitar, frequently described by the name of neoprimitive, since the beginning of his career has inspired – and still inspires – throngs of new musicians, who reject the stiff compositional academism and chose expression liberated from all the rules. Brötzmann is compared to such musical personalities as Jimi Hendrix (which he owes to a similar fondness for extreme loudness and a skilful manipulations of the distortions) or Edgar Varèse, with whom he is united by a perceptive awareness of the sheer nature of sounds. After a couple of years, the musician has, in glory, returned to the stage with his leading project - Caspar Brötzmann Massaker – with Eduardo Delgado Lopez, on bass, and Danny Arnold Lommen, on drums, who support him in the projects newest incarnation. Such music cannot be heard on a daily basis – one track of the group can feature minutes of deafening sound attacks and minutes so quiet, that one can hear the strings touch the guitar neck. Psychedelic improvisations are combined with march-like, massive rock and radical minimalism with outright meticulous baroque passages. Here one is able to experience primitivism, aggression, unique sounds and extraordinary build-up of tension. This is intuitive music, naive in a positive sense – and thus, sincere and romantic in a way. Caspar Brötzmann Massaker’s output sounds like heresy in a world dominated by mellow and foppish sampler sounds. This is a pure, unrestrained and free element. Not without cause did Caspar Brötzmann receive the nickname of Demon of the Decibels.\r\n\r\nwww.casparbroetzmannmassaker.com', 'CASPAR BRÖTZMANN MASSAKER', '', 'inherit', 'closed', 'closed', '', '60-revision-11', '', '', '2012-10-02 10:54:02', '2012-10-02 08:54:02', '', 60, 'http://avantart.pl/60-revision-11/', 0, 'revision', '', 0), (1001, 2, '2012-09-25 23:31:57', '2012-09-25 21:31:57', ' Moritz von Oswald Trio nie jest zwykłą formacją – w pełni zasługuje ona na miano supergrupy. Pod jej szyldem zebrali się najbardziej zasłużeni pionierzy berlińskiej muzyki elektronicznej wczesnych lat 90-tych XX wieku – Moritz von Oswald, Max Loderbauer i Vladislav Delay – by razem powołać do życia unikalny projekt stworzony specjalnie dla występów na żywo. Ta trójka luminarzy połączyła w jedno swoje osobiste, często odmienne podejścia do tworzenia muzyki, by teraz wspólnie ponownie odkryć możliwości kryjące się w muzycznej elektronice w jej dubowej odmianie. Ten zespół jest eksploracją możliwości tkwiących w kolektywnej koncertowej improwizacji, gdzie Moritz von Oswald zajął się opanowaniem instrumentów elektroakustycznych, Loderbauer korzysta z analogowych syntezatorów, a Vladislav Delay powraca do swoich początków i gra na perkusji. W sercu tej epickiej wyprawy tkwi marzenie o połączeniu w jedną współgrającą całość dorobku klasycznego berlińskiego techno z jazzem Milesa Davisa, krautrockowym szaleństwem geniuszy z Can i neoklasycyzmem Igora Strawińskiego. To przyswajalny lecz nie pozbawiony ambicji i oryginalności fusion jazz przefiltrowany przez historię dub techno. Trzech możnowładców niemieckiej elektroniki stworzyło nowe imperium, na którego tereny zdecydowanie warto się zapuścić. www.vladislavdelay.com/site/?page_id=49\r\nMoritz von Oswald Trio is not your everyday group – it fully deserves the name of super group. The most deserved pioneers of the Berlin-based electronic music scene of the early 90s of the XX c., have gathered under its banner - Moritz von Oswald, Max Loderbauer i Vladislav Delay – this time in order to found a unique project created especially for live performances. The three luminaries have combined their personal, frequently diverse attitudes towards creating music, into one in order to now mutually rediscover the possibilities hidden in electronic music in its dub variety. This group is an exploration of possibilities lurking in a collective live improvisation, where Moritz von Oswald took over the rule of electro-acoustic instruments, Loderbauer uses analogue synthesizers and Vladislav Delay returns to his roots and plays the drums. In the heart of this epic journey lays the dream of combining the output of the classic Berlin techno with the jazz of Miles Davies, krautrock madness of the geniuses of Can and neo-classical Igor Strawiński, into one harmonising whole. This is accessible, but not lacking ambition and originality, fusion jazz filtrated through history of dub techno. Three magnates of the German electronics, have created a new empire, the territory of which is definitely worth venturing into.
\r\nwww.vladislavdelay.com/site/?page_id=49
\r\n', 'MORITZ VON OSWALD TRIO', '', 'inherit', 'closed', 'closed', '', '239-revision-11', '', '', '2012-09-25 23:31:57', '2012-09-25 21:31:57', '', 239, 'http://avantart.pl/239-revision-11/', 0, 'revision', '', 0), (1002, 2, '2012-10-02 10:56:13', '2012-10-02 08:56:13', ' Moritz von Oswald Trio nie jest zwykłą formacją – w pełni zasługuje ona na miano supergrupy. Pod jej szyldem zebrali się najbardziej zasłużeni pionierzy berlińskiej muzyki elektronicznej wczesnych lat 90-tych XX wieku – Moritz von Oswald, Max Loderbauer i Vladislav Delay – by razem powołać do życia unikalny projekt stworzony specjalnie dla występów na żywo. Ta trójka luminarzy połączyła w jedno swoje osobiste, często odmienne podejścia do tworzenia muzyki, by teraz wspólnie ponownie odkryć możliwości kryjące się w muzycznej elektronice w jej dubowej odmianie. Ten zespół jest eksploracją możliwości tkwiących w kolektywnej koncertowej improwizacji, gdzie Moritz von Oswald zajął się opanowaniem instrumentów elektroakustycznych, Loderbauer korzysta z analogowych syntezatorów, a Vladislav Delay powraca do swoich początków i gra na perkusji. W sercu tej epickiej wyprawy tkwi marzenie o połączeniu w jedną współgrającą całość dorobku klasycznego berlińskiego techno z jazzem Milesa Davisa, krautrockowym szaleństwem geniuszy z Can i neoklasycyzmem Igora Strawińskiego. To przyswajalny lecz nie pozbawiony ambicji i oryginalności fusion jazz przefiltrowany przez historię dub techno. Trzech możnowładców niemieckiej elektroniki stworzyło nowe imperium, na którego tereny zdecydowanie warto się zapuścić.\r\n\r\nwww.vladislavdelay.com/site/?page_id=49\r\nMoritz von Oswald Trio is not your everyday group – it fully deserves the name of super group. The most deserved pioneers of the Berlin-based electronic music scene of the early 90s of the XX c., have gathered under its banner - Moritz von Oswald, Max Loderbauer i Vladislav Delay – this time in order to found a unique project created especially for live performances. The three luminaries have combined their personal, frequently diverse attitudes towards creating music, into one in order to now mutually rediscover the possibilities hidden in electronic music in its dub variety. This group is an exploration of possibilities lurking in a collective live improvisation, where Moritz von Oswald took over the rule of electro-acoustic instruments, Loderbauer uses analogue synthesizers and Vladislav Delay returns to his roots and plays the drums. In the heart of this epic journey lays the dream of combining the output of the classic Berlin techno with the jazz of Miles Davies, krautrock madness of the geniuses of Can and neo-classical Igor Strawiński, into one harmonising whole. This is accessible, but not lacking ambition and originality, fusion jazz filtrated through history of dub techno. Three magnates of the German electronics, have created a new empire, the territory of which is definitely worth venturing into.
\r\nwww.vladislavdelay.com/site/?page_id=49
\r\n', 'MORITZ VON OSWALD TRIO', '', 'inherit', 'closed', 'closed', '', '239-revision-12', '', '', '2012-10-02 10:56:13', '2012-10-02 08:56:13', '', 239, 'http://avantart.pl/239-revision-12/', 0, 'revision', '', 0), (1003, 2, '2012-09-25 23:32:49', '2012-09-25 21:32:49', ' Jeżeli kogoś w muzyce interesuje szara, wciąż słabo zbadana strefa pomiędzy wolną improwizacją a post-punkiem, to zespół Denseland powinien spełnić jego oczekiwania. Ich kompozycje, w dużej mierze oparte na tradycyjnych rockowych strukturach, są niezwykle intensywne, buzujące bliską niekontrolowanej erupcji energią, ale jednocześnie nie sposób odmówić im sporej dozy subtelnej selektywności. Niebywale ekspresyjny wokalista David Moss potrafi zredukować swój głos do szeptów, pomruków i zgrzytów, tym indywidualnym językiem komunikując się z kreującym hipnotyczne dźwiękowe panoramy Hannesem Stroblem, odpowiedzialnym w zespole za bas i elektronikę i z Hanno Leichtmannem, który swoim wykorzystaniem instrumentów perkusyjnych i rozmaitych cyfrowych efektów tworzy rytmiczną ramę do wspólnego eksperymentowania. Ich pełna rozmaitych napięć i współgrających przeciwieństw muzyka, wypełniona animalistycznymi i plemiennymi dźwiękami, nigdy nie staje się czymś konkretnym i zdefiniowanym, nigdy nie odnosi się do czegoś. To ciągła ewolucja i ruch. To lekcja improwizacji i oryginalności – kombinacja ciepłych, akustycznych tekstur z bardziej abstrakcyjnymi strukturami. http://www.denseland.de/\r\n
If someone is interested in the grey, still quite obscurely researched sphere between free improvisation and post-punk, the group Danseland should meet his or hers expectations. Their improvisations, to a great extent based on traditional rock structures, are unusually intensive, crackling with soon-to-erupt energy, but at the same time one cannot deny them possessing quite a dose of subtle selectivity. The uniquely expressive vocalist, David Moss, can reduce his voice to mere whispers, murmurs and rasps and with this individual language communicate with Hannese Stoble and Hanno Leichtmann. Stroble, responsible for bass and electronic duties in the band, who creates hypnotic soundscapes, and Liechtmann, who via the usage of percussion instruments and various digital effects, creates a rhythmic frame for the mutual experimentation. Their music, filled with diverse tensions and harmonising with oppositions, full of animalistic and tribal sounds, never becomes anything concrete and defined, never relates to anything. It is constant evolution and movement. It is a lesson in improvisation and originality – a combination of warm, acoustic textures with more abstract structures.
\r\n\r\n', 'DENSELAND', '', 'inherit', 'closed', 'closed', '', '250-revision-11', '', '', '2012-09-25 23:32:49', '2012-09-25 21:32:49', '', 250, 'http://avantart.pl/250-revision-11/', 0, 'revision', '', 0), (1004, 2, '2012-10-02 10:57:03', '2012-10-02 08:57:03', ' Jeżeli kogoś w muzyce interesuje szara, wciąż słabo zbadana strefa pomiędzy wolną improwizacją a post-punkiem, to zespół Denseland powinien spełnić jego oczekiwania. Ich kompozycje, w dużej mierze oparte na tradycyjnych rockowych strukturach, są niezwykle intensywne, buzujące bliską niekontrolowanej erupcji energią, ale jednocześnie nie sposób odmówić im sporej dozy subtelnej selektywności. Niebywale ekspresyjny wokalista David Moss potrafi zredukować swój głos do szeptów, pomruków i zgrzytów, tym indywidualnym językiem komunikując się z kreującym hipnotyczne dźwiękowe panoramy Hannesem Stroblem, odpowiedzialnym w zespole za bas i elektronikę i z Hanno Leichtmannem, który swoim wykorzystaniem instrumentów perkusyjnych i rozmaitych cyfrowych efektów tworzy rytmiczną ramę do wspólnego eksperymentowania. Ich pełna rozmaitych napięć i współgrających przeciwieństw muzyka, wypełniona animalistycznymi i plemiennymi dźwiękami, nigdy nie staje się czymś konkretnym i zdefiniowanym, nigdy nie odnosi się do czegoś. To ciągła ewolucja i ruch. To lekcja improwizacji i oryginalności – kombinacja ciepłych, akustycznych tekstur z bardziej abstrakcyjnymi strukturami. \r\n\r\nhttp://www.denseland.de/\r\n
If someone is interested in the grey, still quite obscurely researched sphere between free improvisation and post-punk, the group Danseland should meet his or hers expectations. Their improvisations, to a great extent based on traditional rock structures, are unusually intensive, crackling with soon-to-erupt energy, but at the same time one cannot deny them possessing quite a dose of subtle selectivity. The uniquely expressive vocalist, David Moss, can reduce his voice to mere whispers, murmurs and rasps and with this individual language communicate with Hannese Stoble and Hanno Leichtmann. Stroble, responsible for bass and electronic duties in the band, who creates hypnotic soundscapes, and Liechtmann, who via the usage of percussion instruments and various digital effects, creates a rhythmic frame for the mutual experimentation. Their music, filled with diverse tensions and harmonising with oppositions, full of animalistic and tribal sounds, never becomes anything concrete and defined, never relates to anything. It is constant evolution and movement. It is a lesson in improvisation and originality – a combination of warm, acoustic textures with more abstract structures.
\r\n\r\n', 'DENSELAND', '', 'inherit', 'closed', 'closed', '', '250-revision-12', '', '', '2012-10-02 10:57:03', '2012-10-02 08:57:03', '', 250, 'http://avantart.pl/250-revision-12/', 0, 'revision', '', 0), (1005, 2, '2012-09-25 23:12:44', '2012-09-25 21:12:44', '\r\n\r\nKażdy, kto podejmuje próby określenia gatunkowej przynależności stacjonującego w Berlinie muzycznego kolektywu Bonaparte, znajduje się w wyjątkowo trudnej sytuacji. Bo jak można określić twórczość zespołu, który w każdym utworze brzmi inaczej? Ten, kto stwierdzi, że Bonaparte gra elektro-rock zainfekowany bluesem będzie miał rację. Ale rację trzeba będzie przyznać też temu, kto stwierdzi, że to elektroniczny punkowy rave. Indie? Oczywiście! Długo by można kłócić się o etykietki – w skrócie należy po prostu stwierdzić, że to rock''n''rollowy cyrk, prowadzony przez ekstrawertycznego nawiedzonego szaleńca Tobiasa Jundta, który zebrał wokół siebie równie zwariowanych muzyków. Nigdy nie wiesz, czego się można po nich spodziewać. W swoich kompozycjach posiedli umiejętność takiego zniekształcania klasycznego brzmienia instrumentów, że ciężko określić, który dźwięk pochodzi z syntezatora, a który z gitary elektrycznej. Bonaparte dalekie jest jednak od chaotyczności – to muzyka pełna melodyjności i tanecznych rytmów, oparta na tradycyjnych gatunkach w rodzaju bluesa czy folku, ale do granic możliwości nasycona miejskimi stylistykami elektro, hip hopu i dubstepu. www.bonaparte.cc\r\nEveryone, who attempts to describe the genre appurtenance of the Berlin-stationed musical collective Bonaparte, finds oneself in a tough spot. How can one describe the output of a group, which sound different with each song? The ones, who say that Bonaparte perform electro-rock infected with blues, will be right. But right will also have to be given to the one, who says it is electronic punk rave. Indie? Of course! We could argue over the labels for a long time – in a nutshell, one just has to state, that it is a rock’n’roll circus, run by an extrovert haunted mental case Tobias Jundt, who has gathered equally crazy musicians around him. You never know what to expect from them. In their tracks they possessed the ability to deform the classical sounds of instruments to such an extent, that it is hard to determine which comes from a synthesizer, and which – an electric guitar. However, Bonaparte is far from being chaotic – it is a music filled with melody and dance rhythms, based on traditional genres in the vein of blues or folk, but saturated to the bounds of possibility with the urban stylistics of electro, hip hop and dubstep.
\r\n\r\n', 'BONAPARTE', '', 'inherit', 'closed', 'closed', '', '130-revision-12', '', '', '2012-09-25 23:12:44', '2012-09-25 21:12:44', '', 130, 'http://avantart.pl/130-revision-12/', 0, 'revision', '', 0), (1006, 2, '2012-10-02 14:09:53', '2012-10-02 12:09:53', '5. AVANT ART FESTIVAL – największe w Polsce święto niemieckiej muzyki i sztuki. Muzyczną część zaczynamy od występu Defibrillator i Petera Brotzmanna – tytana free jazzu. Z kolei o 16:00 zapraszamy na pierwszy obraz w ramach Avant Art Film: WE BUILT THIS CITY. O 18:00 zaś w BWA Wrocław odbędzie się "Czytanie w ciemnośćiach". Do zobaczenia! :)\r\n\r\n\r\nThe 5th AVANT ART FESTIVAL – the biggest celebration of German music and art in Poland. The music part will commence with a performance by Defibrillator and Peter Brotzmanna – the titan of free jazz. While as at 16:00 – we invite you to the first film screening as a part of Avant Art Film: WE BUILT THIS CITY. The “Reading in the Dark” will take place at 18:00 in the BWA Wrocław. See you there! J', 'ACHTUNG! Już dziś, 2 października, we Wrocławiu rusza 5. AVANT ART FESTIVALACHTUNG! Today, October 2nd, in Wrocław begins the 5th AVANT ART FESTIVAL', '', 'publish', 'closed', 'closed', '', 'english-achtung-juz-dzis-2-pazdziernika-we-wroclawiu-rusza-5-avant-art-festival', '', '', '2012-10-04 18:23:34', '2012-10-04 16:23:34', '', 0, 'http://avantart.pl/?p=1006', 0, 'post', '', 0), (1008, 2, '2012-10-02 14:08:16', '2012-10-02 12:08:16', '5. AVANT ART FESTIVAL – największe w Polsce święto niemieckiej muzyki i sztuki. Muzyczną część zaczynamy od występu Defibrillator i Petera Brotzmanna – tytana free jazzu. Z kolei o 16:00 zapraszamy na pierwszy obraz w ramach Avant Art Film: WE BUILT THIS CITY. O 18:00 zaś w BWA Wrocław odbędzie się "Czytanie w ciemnośćiach". Do zobaczenia! :)\n\n \n', 'ACHTUNG! Już dziś, 2 października, we Wrocławiu rusza 5. AVANT ART FESTIVAL', '', 'inherit', 'closed', 'closed', '', '1006-revision', '', '', '2012-10-02 14:08:16', '2012-10-02 12:08:16', '', 1006, 'http://avantart.pl/1006-revision/', 0, 'revision', '', 0), (1009, 2, '2012-10-02 14:09:53', '2012-10-02 12:09:53', '5. AVANT ART FESTIVAL – największe w Polsce święto niemieckiej muzyki i sztuki. Muzyczną część zaczynamy od występu Defibrillator i Petera Brotzmanna – tytana free jazzu. Z kolei o 16:00 zapraszamy na pierwszy obraz w ramach Avant Art Film: WE BUILT THIS CITY. O 18:00 zaś w BWA Wrocław odbędzie się "Czytanie w ciemnośćiach". Do zobaczenia! :)\r\n\r\n \r\n', 'ACHTUNG! Już dziś, 2 października, we Wrocławiu rusza 5. AVANT ART FESTIVAL', '', 'inherit', 'closed', 'closed', '', '1006-revision-2', '', '', '2012-10-02 14:09:53', '2012-10-02 12:09:53', '', 1006, 'http://avantart.pl/1006-revision-2/', 0, 'revision', '', 0), (1010, 2, '2012-10-04 18:24:38', '2012-10-04 16:24:38', '5. AVANT ART FESTIVAL – największe w Polsce święto niemieckiej muzyki i sztuki. Muzyczną część zaczynamy od występu Defibrillator i Petera Brotzmanna – tytana free jazzu. Z kolei o 16:00 zapraszamy na pierwszy obraz w ramach Avant Art Film: WE BUILT THIS CITY. O 18:00 zaś w BWA Wrocław odbędzie się "Czytanie w ciemnośćiach". Do zobaczenia! :)
\n
The 5th AVANT ART FESTIVAL – the biggest celebration of German music and art in Poland. The music part will commence with a performance by Defibrillator and Peter Brotzmanna – the titan of free jazz. While as at 16:00 – we invite you to the first film screening as a part of Avant Art Film: WE BUILT THIS CITY. The “Reading in the Dark” will take place at 18:00 in the BWA Wrocław. See you there! J
\n', 'ACHTUNG! Już dziś, 2 października, we Wrocławiu rusza 5. AVANT ART FESTIVALACHTUNG! Today, October 2nd, in Wrocław begins the 5th AVANT ART FESTIVAL', '', 'inherit', 'closed', 'closed', '', '1006-autosave', '', '', '2012-10-04 18:24:38', '2012-10-04 16:24:38', '', 1006, 'http://avantart.pl/1006-autosave/', 0, 'revision', '', 0), (1011, 2, '2012-09-25 23:37:21', '2012-09-25 21:37:21', ' Knuckleduster, transatlantycka kolaboracja niemieckiego artysty dźwiękowego Roberta Lippoka i rezydującego w Kanadzie indyjskiego multimedialnego twórcy Debashisa Sinhy, rozpoczęła się od obustronnej fascynacji dźwiękiem i jego produkcją. Po dyskusjach prowadzonych podczas spotkań w Berlinie i Toronto oraz za pośrednictwem internetu, obaj muzycy stworzyli podstawy do kreowania wspólnych kompozycji. Lippok, jedna z najważniejszych postaci berlińskiej sceny elektronicznej i założyciel słynnej formacji To Rococo Rot, znany jest przede wszystkim jako osoba, która odnowiła stylistykę post-rocka poprzez włączenie do niego sztuki konceptualnej, instalacji i improwizacji. Sinha, znawca rytmicznych systemów z różnych kultur, w swojej twórczości łączy czysto etniczne dźwięki i tradycyjne techniki z elementami zachodniej improwizacji i elektroniki. Ze zderzenia doświadczeń dwóch tak różnych osobowości muzycznych powstała muzyka, w której nowoczesność spotyka się z archaicznością, tworząc multikulturowy konglomerat brzmieniowy, który potrafi porwać słuchacza w niezwykłą podróż w czasie i przestrzeni. Akustyczne instrumenty i wysoko zaawansowana technologia, ludzki głos i syntetyczne brzmienia, szamanizm i nauka – to wszystko można odnaleźć w kompozycjach i improwizacjach tego oryginalnego duetu. kdmusic.orgKnuckleduster, a transatlantic collaboration of the German sound artist, Robert Lippok, and Debashis Sinhy, a Hindu multimedia creator residing in Canada, began from a mutual fascination with sound and its production. After the discussions conducted during their meetings in Berlin and Toronto, and via the Internet, both musicians created the basis for creating collaborative compositions. Lippok is one of the most important figures of the Berlin electronic scene and founder of the famous To Rococo Rot, renown foremost as a person, who renew the post-rock stylistics by including the conceptual art, installations and improvisation into it. Sinha, an expert of rhythmic systems of different cultures, in his creations combines purely ethnic sounds and traditional techniques with elements of Western improvisation and electronics. Music, in which modernity meets archaism, creating a multicultural sound conglomerate, which can take the listener on a unique journey through time and space, came to be out of the collision of experiences of two such different personalities. Acoustic instruments and highly sophisticated technology, the human voice and synthetic sounds, shamanism and science – it all can be found in the compositions and improvisations of this original duo.
\r\n\r\n', 'KNUCKLEDUSTER', '', 'inherit', 'closed', 'closed', '', '52-revision-13', '', '', '2012-09-25 23:37:21', '2012-09-25 21:37:21', '', 52, 'http://avantart.pl/52-revision-13/', 0, 'revision', '', 0); INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (1012, 2, '2012-09-25 23:36:18', '2012-09-25 21:36:18', ' Założona wiosną 2003 roku formacja Dÿse została nazwana na cześć motelu Dysecatmotel w Amsterdanie, w którym po raz pierwszy spotkali się jej muzycy. To, co początkowo miało być tylko pobocznym, powołanym do życia dla zabawy projektem dla grających już w innych składach gitarzysty i wokalisty Andre Dietricha i perkusisty Jari Rebeleina, wkrótce stało się pełnoprawnym zespołem, w którym jego założyciele mogli próbować wszystkiego co nowe, komponując utwory bez zwracania uwagi na jakiekolwiek ograniczenia czy oczekiwania od innych. Ich muzyka, z braku lepszego określenia, wrzucana jest do dość pojemnego worka opatrzonego etykietką noise rocka – jest to raczej prostolinijny rock''n''roll naładowany młodzieńczym gniewem, entuzjazmem i energią, dopełniony sporą dozą awangardowości i takich dźwięków, które najlepiej opisuje słowo bizarre. Ich twórczość jest głęboko zakorzeniona w latach 90-tych XX wieku, a jej ojcami chrzestnymi można nazwać takie zespoły jak Sonic Youth, Fugazi czy Refused. Tu brzęczące gitarowe riffy wspierane przez prostą rytmikę perkusji i wokal, który w jednej chwili potrafi przejść od szeptu do dzikiego krzyku, to nowa wersja metalu, który jednak potrafi wyjść poza swoje ramy gatunkowe i odważnie wkroczyć na terytoria jazzu i funku. www.dyse.info\r\nThe group Dÿse, founded in the Spring of 2003, was named in honour of the Amsterdam motel Dysecatmotel, where the musicians first met. That, which initially was supposed to be a side-project, founded just for fun by guitarist and vocalist, Andre Dietrich, and drummer Jari Rebelein, both of whom already performed with some other acts, soon became a full-fledged band, where its founders could try out everything what is new, compose songs without paying attention to any restrictions and expectations of others. Their music, due to the lack of a better name, is frequently put on the quite spacious shelf labelled noise rock – it is rather straightforward rock’n’roll filled with youth anger, enthusiasm and energy, completed by quite a dose of ‘avant-gardeness’ and sounds with are best described by the word bizarre. Their output is heavily rooted in the 90s of the XX c., and such bands like Sonic Youth, Fugazi and Refused can be called Dÿse’s godfathers. Here buzzing guitar riffs, supported by a simple rhythmic of the drums and vocal, which can alternate from a whisper to a savage scream, are a new version of metal music, which in the end can surpass its genre boarders and courageously enter new territories of jazz and funk.
\r\n\r\n', 'DŸSE', '', 'inherit', 'closed', 'closed', '', '65-revision-8', '', '', '2012-09-25 23:36:18', '2012-09-25 21:36:18', '', 65, 'http://avantart.pl/65-revision-8/', 0, 'revision', '', 0), (1013, 2, '2012-10-02 14:47:34', '2012-10-02 12:47:34', ' Założona wiosną 2003 roku formacja Dÿse została nazwana na cześć motelu Dysecatmotel w Amsterdanie, w którym po raz pierwszy spotkali się jej muzycy. To, co początkowo miało być tylko pobocznym, powołanym do życia dla zabawy projektem dla grających już w innych składach gitarzysty i wokalisty Andre Dietricha i perkusisty Jari Rebeleina, wkrótce stało się pełnoprawnym zespołem, w którym jego założyciele mogli próbować wszystkiego co nowe, komponując utwory bez zwracania uwagi na jakiekolwiek ograniczenia czy oczekiwania od innych. Ich muzyka, z braku lepszego określenia, wrzucana jest do dość pojemnego worka opatrzonego etykietką noise rocka – jest to raczej prostolinijny rock''n''roll naładowany młodzieńczym gniewem, entuzjazmem i energią, dopełniony sporą dozą awangardowości i takich dźwięków, które najlepiej opisuje słowo bizarre. Ich twórczość jest głęboko zakorzeniona w latach 90-tych XX wieku, a jej ojcami chrzestnymi można nazwać takie zespoły jak Sonic Youth, Fugazi czy Refused. Tu brzęczące gitarowe riffy wspierane przez prostą rytmikę perkusji i wokal, który w jednej chwili potrafi przejść od szeptu do dzikiego krzyku, to nowa wersja metalu, który jednak potrafi wyjść poza swoje ramy gatunkowe i odważnie wkroczyć na terytoria jazzu i funku. \r\n\r\nwww.dyse.info\r\nThe group Dÿse, founded in the Spring of 2003, was named in honour of the Amsterdam motel Dysecatmotel, where the musicians first met. That, which initially was supposed to be a side-project, founded just for fun by guitarist and vocalist, Andre Dietrich, and drummer Jari Rebelein, both of whom already performed with some other acts, soon became a full-fledged band, where its founders could try out everything what is new, compose songs without paying attention to any restrictions and expectations of others. Their music, due to the lack of a better name, is frequently put on the quite spacious shelf labelled noise rock – it is rather straightforward rock’n’roll filled with youth anger, enthusiasm and energy, completed by quite a dose of ‘avant-gardeness’ and sounds with are best described by the word bizarre. Their output is heavily rooted in the 90s of the XX c., and such bands like Sonic Youth, Fugazi and Refused can be called Dÿse’s godfathers. Here buzzing guitar riffs, supported by a simple rhythmic of the drums and vocal, which can alternate from a whisper to a savage scream, are a new version of metal music, which in the end can surpass its genre boarders and courageously enter new territories of jazz and funk.
\r\n\r\n', 'DŸSE', '', 'inherit', 'closed', 'closed', '', '65-revision-9', '', '', '2012-10-02 14:47:34', '2012-10-02 12:47:34', '', 65, 'http://avantart.pl/65-revision-9/', 0, 'revision', '', 0), (1014, 2, '2012-10-02 14:48:42', '2012-10-02 12:48:42', ' Założona wiosną 2003 roku formacja Dÿse została nazwana na cześć motelu Dysecatmotel w Amsterdanie, w którym po raz pierwszy spotkali się jej muzycy. To, co początkowo miało być tylko pobocznym, powołanym do życia dla zabawy projektem dla grających już w innych składach gitarzysty i wokalisty Andre Dietricha i perkusisty Jari Rebeleina, wkrótce stało się pełnoprawnym zespołem, w którym jego założyciele mogli próbować wszystkiego co nowe, komponując utwory bez zwracania uwagi na jakiekolwiek ograniczenia czy oczekiwania od innych. Ich muzyka, z braku lepszego określenia, wrzucana jest do dość pojemnego worka opatrzonego etykietką noise rocka – jest to raczej prostolinijny rock''n''roll naładowany młodzieńczym gniewem, entuzjazmem i energią, dopełniony sporą dozą awangardowości i takich dźwięków, które najlepiej opisuje słowo bizarre. Ich twórczość jest głęboko zakorzeniona w latach 90-tych XX wieku, a jej ojcami chrzestnymi można nazwać takie zespoły jak Sonic Youth, Fugazi czy Refused. Tu brzęczące gitarowe riffy wspierane przez prostą rytmikę perkusji i wokal, który w jednej chwili potrafi przejść od szeptu do dzikiego krzyku, to nowa wersja metalu, który jednak potrafi wyjść poza swoje ramy gatunkowe i odważnie wkroczyć na terytoria jazzu i funku. \r\n\r\n \r\n\r\nwww.dyse.info\r\nThe group Dÿse, founded in the Spring of 2003, was named in honour of the Amsterdam motel Dysecatmotel, where the musicians first met. That, which initially was supposed to be a side-project, founded just for fun by guitarist and vocalist, Andre Dietrich, and drummer Jari Rebelein, both of whom already performed with some other acts, soon became a full-fledged band, where its founders could try out everything what is new, compose songs without paying attention to any restrictions and expectations of others. Their music, due to the lack of a better name, is frequently put on the quite spacious shelf labelled noise rock – it is rather straightforward rock’n’roll filled with youth anger, enthusiasm and energy, completed by quite a dose of ‘avant-gardeness’ and sounds with are best described by the word bizarre. Their output is heavily rooted in the 90s of the XX c., and such bands like Sonic Youth, Fugazi and Refused can be called Dÿse’s godfathers. Here buzzing guitar riffs, supported by a simple rhythmic of the drums and vocal, which can alternate from a whisper to a savage scream, are a new version of metal music, which in the end can surpass its genre boarders and courageously enter new territories of jazz and funk.
\r\n\r\n', 'DŸSE', '', 'inherit', 'closed', 'closed', '', '65-revision-10', '', '', '2012-10-02 14:48:42', '2012-10-02 12:48:42', '', 65, 'http://avantart.pl/65-revision-10/', 0, 'revision', '', 0), (1015, 2, '2012-09-25 23:21:01', '2012-09-25 21:21:01', '\r\n Są zespoły, których twórczość z definicji jest niedefiniowalna – taką grupą z pewnością jest stacjonujący w Berlinie duet o nazwie Tannhäuser Sterben & das Tod. Po prostu nie da się jednoznacznie sklasyfikować wręcz monstrualnego eklektyzmu tej formacji, prowadzonej przez Thomasa Mahmouda, znanego z takich projektów jak Eine Oliver Twist Kooperation, A**ro Cologne, Ives#1 czy Von Spar oraz udzielającego się w Mediengruppe Telekommander Geralda Mandla. Ich wspólne eksperymenty dźwiękowe tworzone są za pomocą zapętlonych głosów, basu, syntezatorów, field recording, samplerów, manipulacji w czasie rzeczywistym całą gamą przeróżnych cyfrowych i analogowych efektów i brzmień wykreowanych przez programy komputerowe. Ich muzyczny język zainspirowany jest przede wszystkim stylistykami ambientu, post-rocka, dubu, krautrocka, elektroakustyki i minimalizmu. Nie ma dla nich żadnych granic, których nie można przekroczyć i żadnych barier, których nie da się złamać. To pełen pomysłowości soniczny kolaż, w ramach którego artyści potrafią dowolną muzyczną tkankę i jakikolwiek dźwiękowy pomysł pociąć, posklejać, wywrócić na nice i zbudować na nowo w zupełnie nowym kształcie. Tannhäuser Sterben & das Tod to eksplozja niczym nieskrępowanej twórczej wyobraźni, w której wszystko jest możliwe i gdzie słuchacza czeka wiele niespodzianek. www.myspace.com/unddastod\r\n
There are groups which output is, out of definition, undefinable – the residing in Berlin duo carrying the name Tannhäuser Sterben & das Tod is certainly such a group. It is just impossible to simply classify the act’s basically monstrous eclecticism, led by Thomas Mahmoud, known from such projects as Eine Oliver Twist Kooperation, A**ro Cologne, Ives#1 or Von Spa and contributing to Gerald Mandl’s Mediengruppe Telekommander. Their collaborative sound experiments created with the help of looped voices, bass, synthesizers, field recordings, samplers, real-time manipulations of a wide range of various digital and analogue effects and sounds created by computer programmes. Their musical language is, foremost, inspired by the stylistics of ambient, post-rock, dub, krautrock, electro-acoustics and minimalism. There are no borders for them, no borders which cannot be crossed and no barriers, which cannot be broken. This is a sonic collage filled with innovation, and the musicians are able to cut, paste, turn inside out any musical tissue and idea, and build it anew into an entirely new shape as a part of the collage. Tannhäuser Sterben & das Tod is an explosion of unrestricted creative imagination, in which everything is possible and where the listener is awaited by a lot of surprises.
\r\n\r\n', 'TANNHÄUSER STERBEN UND DAS TOD', '', 'inherit', 'closed', 'closed', '', '245-revision-8', '', '', '2012-09-25 23:21:01', '2012-09-25 21:21:01', '', 245, 'http://avantart.pl/245-revision-8/', 0, 'revision', '', 0), (1016, 1, '2012-10-01 09:57:45', '2012-10-01 07:57:45', 'The group Dÿse, founded in the Spring of 2003, was named in honour of the Amsterdam motel Dysecatmotel, where the musicians first met. That, which initially was supposed to be a side-project, founded just for fun by guitarist and vocalist, Andre Dietrich, and drummer Jari Rebelein, both of whom already performed with some other acts, soon became a full-fledged band, where its founders could try out everything what is new, compose songs without paying attention to any restrictions and expectations of others. Their music, due to the lack of a better name, is frequently put on the quite spacious shelf labelled noise rock – it is rather straightforward rock’n’roll filled with youth anger, enthusiasm and energy, completed by quite a dose of ‘avant-gardeness’ and sounds with are best described by the word bizarre. Their output is heavily rooted in the 90s of the XX c., and such bands like Sonic Youth, Fugazi and Refused can be called Dÿse’s godfathers. Here buzzing guitar riffs, supported by a simple rhythmic of the drums and vocal, which can alternate from a whisper to a savage scream, are a new version of metal music, which in the end can surpass its genre boarders and courageously enter new territories of jazz and funk.
\r\n\r\n', 'DŸSE', '', 'inherit', 'closed', 'closed', '', '65-revision-11', '', '', '2012-10-02 14:52:47', '2012-10-02 12:52:47', '', 65, 'http://avantart.pl/65-revision-11/', 0, 'revision', '', 0), (1023, 2, '2012-10-03 15:49:36', '2012-10-03 13:49:36', ' Założona wiosną 2003 roku formacja Dÿse została nazwana na cześć motelu Dysecatmotel w Amsterdanie, w którym po raz pierwszy spotkali się jej muzycy. To, co początkowo miało być tylko pobocznym, powołanym do życia dla zabawy projektem dla grających już w innych składach gitarzysty i wokalisty Andre Dietricha i perkusisty Jari Rebeleina, wkrótce stało się pełnoprawnym zespołem, w którym jego założyciele mogli próbować wszystkiego co nowe, komponując utwory bez zwracania uwagi na jakiekolwiek ograniczenia czy oczekiwania od innych. Ich muzyka, z braku lepszego określenia, wrzucana jest do dość pojemnego worka opatrzonego etykietką noise rocka – jest to raczej prostolinijny rock''n''roll naładowany młodzieńczym gniewem, entuzjazmem i energią, dopełniony sporą dozą awangardowości i takich dźwięków, które najlepiej opisuje słowo bizarre. Ich twórczość jest głęboko zakorzeniona w latach 90-tych XX wieku, a jej ojcami chrzestnymi można nazwać takie zespoły jak Sonic Youth, Fugazi czy Refused. Tu brzęczące gitarowe riffy wspierane przez prostą rytmikę perkusji i wokal, który w jednej chwili potrafi przejść od szeptu do dzikiego krzyku, to nowa wersja metalu, który jednak potrafi wyjść poza swoje ramy gatunkowe i odważnie wkroczyć na terytoria jazzu i funku. \r\nSpecjalnie na AVANT ART Dÿse wystąpi z polskimi muzykami - akordeonistą Arkadiuszem Rejdą i trębaczem Tadeuszem Kulasem.\r\n\r\n\r\n\r\n\r\n\r\nwww.dyse.info\r\nThe group Dÿse, founded in the Spring of 2003, was named in honour of the Amsterdam motel Dysecatmotel, where the musicians first met. That, which initially was supposed to be a side-project, founded just for fun by guitarist and vocalist, Andre Dietrich, and drummer Jari Rebelein, both of whom already performed with some other acts, soon became a full-fledged band, where its founders could try out everything what is new, compose songs without paying attention to any restrictions and expectations of others. Their music, due to the lack of a better name, is frequently put on the quite spacious shelf labelled noise rock – it is rather straightforward rock’n’roll filled with youth anger, enthusiasm and energy, completed by quite a dose of ‘avant-gardeness’ and sounds with are best described by the word bizarre. Their output is heavily rooted in the 90s of the XX c., and such bands like Sonic Youth, Fugazi and Refused can be called Dÿse’s godfathers. Here buzzing guitar riffs, supported by a simple rhythmic of the drums and vocal, which can alternate from a whisper to a savage scream, are a new version of metal music, which in the end can surpass its genre boarders and courageously enter new territories of jazz and funk.
\r\n\r\n', 'DŸSE', '', 'inherit', 'closed', 'closed', '', '65-revision-12', '', '', '2012-10-03 15:49:36', '2012-10-03 13:49:36', '', 65, 'http://avantart.pl/65-revision-12/', 0, 'revision', '', 0), (1024, 2, '2012-10-03 15:50:28', '2012-10-03 13:50:28', ' Założona wiosną 2003 roku formacja Dÿse została nazwana na cześć motelu Dysecatmotel w Amsterdanie, w którym po raz pierwszy spotkali się jej muzycy. To, co początkowo miało być tylko pobocznym, powołanym do życia dla zabawy projektem dla grających już w innych składach gitarzysty i wokalisty Andre Dietricha i perkusisty Jari Rebeleina, wkrótce stało się pełnoprawnym zespołem, w którym jego założyciele mogli próbować wszystkiego co nowe, komponując utwory bez zwracania uwagi na jakiekolwiek ograniczenia czy oczekiwania od innych. Ich muzyka, z braku lepszego określenia, wrzucana jest do dość pojemnego worka opatrzonego etykietką noise rocka – jest to raczej prostolinijny rock''n''roll naładowany młodzieńczym gniewem, entuzjazmem i energią, dopełniony sporą dozą awangardowości i takich dźwięków, które najlepiej opisuje słowo bizarre. Ich twórczość jest głęboko zakorzeniona w latach 90-tych XX wieku, a jej ojcami chrzestnymi można nazwać takie zespoły jak Sonic Youth, Fugazi czy Refused. Tu brzęczące gitarowe riffy wspierane przez prostą rytmikę perkusji i wokal, który w jednej chwili potrafi przejść od szeptu do dzikiego krzyku, to nowa wersja metalu, który jednak potrafi wyjść poza swoje ramy gatunkowe i odważnie wkroczyć na terytoria jazzu i funku. \r\nSpecjalnie na AVANT ART Dÿse wystąpi z polskimi muzykami - akordeonistą Arkadiuszem Rejdą i trębaczem Tadeuszem Kulasem.\r\n\r\n\r\n\r\n\r\n\r\nwww.dyse.info\r\nThe group Dÿse, founded in the Spring of 2003, was named in honour of the Amsterdam motel Dysecatmotel, where the musicians first met. That, which initially was supposed to be a side-project, founded just for fun by guitarist and vocalist, Andre Dietrich, and drummer Jari Rebelein, both of whom already performed with some other acts, soon became a full-fledged band, where its founders could try out everything what is new, compose songs without paying attention to any restrictions and expectations of others. Their music, due to the lack of a better name, is frequently put on the quite spacious shelf labelled noise rock – it is rather straightforward rock’n’roll filled with youth anger, enthusiasm and energy, completed by quite a dose of ‘avant-gardeness’ and sounds with are best described by the word bizarre. Their output is heavily rooted in the 90s of the XX c., and such bands like Sonic Youth, Fugazi and Refused can be called Dÿse’s godfathers. Here buzzing guitar riffs, supported by a simple rhythmic of the drums and vocal, which can alternate from a whisper to a savage scream, are a new version of metal music, which in the end can surpass its genre boarders and courageously enter new territories of jazz and funk.
\r\n\r\n', 'DŸSE', '', 'inherit', 'closed', 'closed', '', '65-revision-13', '', '', '2012-10-03 15:50:28', '2012-10-03 13:50:28', '', 65, 'http://avantart.pl/65-revision-13/', 0, 'revision', '', 0), (1025, 2, '2012-10-03 16:08:25', '2012-10-03 14:08:25', ' Założona wiosną 2003 roku formacja Dÿse została nazwana na cześć motelu Dysecatmotel w Amsterdanie, w którym po raz pierwszy spotkali się jej muzycy. To, co początkowo miało być tylko pobocznym, powołanym do życia dla zabawy projektem dla grających już w innych składach gitarzysty i wokalisty Andre Dietricha i perkusisty Jari Rebeleina, wkrótce stało się pełnoprawnym zespołem, w którym jego założyciele mogli próbować wszystkiego co nowe, komponując utwory bez zwracania uwagi na jakiekolwiek ograniczenia czy oczekiwania od innych. Ich muzyka, z braku lepszego określenia, wrzucana jest do dość pojemnego worka opatrzonego etykietką noise rocka – jest to raczej prostolinijny rock''n''roll naładowany młodzieńczym gniewem, entuzjazmem i energią, dopełniony sporą dozą awangardowości i takich dźwięków, które najlepiej opisuje słowo bizarre. Ich twórczość jest głęboko zakorzeniona w latach 90-tych XX wieku, a jej ojcami chrzestnymi można nazwać takie zespoły jak Sonic Youth, Fugazi czy Refused. Tu brzęczące gitarowe riffy wspierane przez prostą rytmikę perkusji i wokal, który w jednej chwili potrafi przejść od szeptu do dzikiego krzyku, to nowa wersja metalu, który jednak potrafi wyjść poza swoje ramy gatunkowe i odważnie wkroczyć na terytoria jazzu i funku.\r\nSpecjalnie na AVANT ART Dÿse wystąpi z polskimi muzykami - akordeonistą Arkadiuszem Rejdą i trębaczem Tadeuszem Kulasem.\r\n\r\n\r\n\r\n\r\nThe group Dÿse, founded in the Spring of 2003, was named in honour of the Amsterdam motel Dysecatmotel, where the musicians first met. That, which initially was supposed to be a side-project, founded just for fun by guitarist and vocalist, Andre Dietrich, and drummer Jari Rebelein, both of whom already performed with some other acts, soon became a full-fledged band, where its founders could try out everything what is new, compose songs without paying attention to any restrictions and expectations of others. Their music, due to the lack of a better name, is frequently put on the quite spacious shelf labelled noise rock – it is rather straightforward rock’n’roll filled with youth anger, enthusiasm and energy, completed by quite a dose of ‘avant-gardeness’ and sounds with are best described by the word bizarre. Their output is heavily rooted in the 90s of the XX c., and such bands like Sonic Youth, Fugazi and Refused can be called Dÿse’s godfathers. Here buzzing guitar riffs, supported by a simple rhythmic of the drums and vocal, which can alternate from a whisper to a savage scream, are a new version of metal music, which in the end can surpass its genre boarders and courageously enter new territories of jazz and funk.
\r\n\r\n', 'DŸSE', '', 'inherit', 'closed', 'closed', '', '65-revision-14', '', '', '2012-10-03 16:08:25', '2012-10-03 14:08:25', '', 65, 'http://avantart.pl/65-revision-14/', 0, 'revision', '', 0), (1026, 2, '2012-10-03 16:23:09', '2012-10-03 14:23:09', ' Założona wiosną 2003 roku formacja Dÿse została nazwana na cześć motelu Dysecatmotel w Amsterdanie, w którym po raz pierwszy spotkali się jej muzycy. To, co początkowo miało być tylko pobocznym, powołanym do życia dla zabawy projektem dla grających już w innych składach gitarzysty i wokalisty Andre Dietricha i perkusisty Jari Rebeleina, wkrótce stało się pełnoprawnym zespołem, w którym jego założyciele mogli próbować wszystkiego co nowe, komponując utwory bez zwracania uwagi na jakiekolwiek ograniczenia czy oczekiwania od innych. Ich muzyka, z braku lepszego określenia, wrzucana jest do dość pojemnego worka opatrzonego etykietką noise rocka – jest to raczej prostolinijny rock''n''roll naładowany młodzieńczym gniewem, entuzjazmem i energią, dopełniony sporą dozą awangardowości i takich dźwięków, które najlepiej opisuje słowo bizarre. Ich twórczość jest głęboko zakorzeniona w latach 90-tych XX wieku, a jej ojcami chrzestnymi można nazwać takie zespoły jak Sonic Youth, Fugazi czy Refused. Tu brzęczące gitarowe riffy wspierane przez prostą rytmikę perkusji i wokal, który w jednej chwili potrafi przejść od szeptu do dzikiego krzyku, to nowa wersja metalu, który jednak potrafi wyjść poza swoje ramy gatunkowe i odważnie wkroczyć na terytoria jazzu i funku.\r\nSpecjalnie na AVANT ART Dÿse wystąpi z polskimi muzykami - akordeonistą Arkadiuszem Rejdą i trębaczem Tadeuszem Kulasem.\r\n\r\n\r\n\r\n\r\nThe group Dÿse, founded in the Spring of 2003, was named in honour of the Amsterdam motel Dysecatmotel, where the musicians first met. That, which initially was supposed to be a side-project, founded just for fun by guitarist and vocalist, Andre Dietrich, and drummer Jari Rebelein, both of whom already performed with some other acts, soon became a full-fledged band, where its founders could try out everything what is new, compose songs without paying attention to any restrictions and expectations of others. Their music, due to the lack of a better name, is frequently put on the quite spacious shelf labelled noise rock – it is rather straightforward rock’n’roll filled with youth anger, enthusiasm and energy, completed by quite a dose of ‘avant-gardeness’ and sounds with are best described by the word bizarre. Their output is heavily rooted in the 90s of the XX c., and such bands like Sonic Youth, Fugazi and Refused can be called Dÿse’s godfathers. Here buzzing guitar riffs, supported by a simple rhythmic of the drums and vocal, which can alternate from a whisper to a savage scream, are a new version of metal music, which in the end can surpass its genre boarders and courageously enter new territories of jazz and funk.
\r\n\r\n', 'DŸSE', '', 'inherit', 'closed', 'closed', '', '65-revision-15', '', '', '2012-10-03 16:23:09', '2012-10-03 14:23:09', '', 65, 'http://avantart.pl/65-revision-15/', 0, 'revision', '', 0); INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (1027, 2, '2012-10-03 16:23:32', '2012-10-03 14:23:32', ' Założona wiosną 2003 roku formacja Dÿse została nazwana na cześć motelu Dysecatmotel w Amsterdanie, w którym po raz pierwszy spotkali się jej muzycy. To, co początkowo miało być tylko pobocznym, powołanym do życia dla zabawy projektem dla grających już w innych składach gitarzysty i wokalisty Andre Dietricha i perkusisty Jari Rebeleina, wkrótce stało się pełnoprawnym zespołem, w którym jego założyciele mogli próbować wszystkiego co nowe, komponując utwory bez zwracania uwagi na jakiekolwiek ograniczenia czy oczekiwania od innych. Ich muzyka, z braku lepszego określenia, wrzucana jest do dość pojemnego worka opatrzonego etykietką noise rocka – jest to raczej prostolinijny rock''n''roll naładowany młodzieńczym gniewem, entuzjazmem i energią, dopełniony sporą dozą awangardowości i takich dźwięków, które najlepiej opisuje słowo bizarre. Ich twórczość jest głęboko zakorzeniona w latach 90-tych XX wieku, a jej ojcami chrzestnymi można nazwać takie zespoły jak Sonic Youth, Fugazi czy Refused. Tu brzęczące gitarowe riffy wspierane przez prostą rytmikę perkusji i wokal, który w jednej chwili potrafi przejść od szeptu do dzikiego krzyku, to nowa wersja metalu, który jednak potrafi wyjść poza swoje ramy gatunkowe i odważnie wkroczyć na terytoria jazzu i funku.\r\nSpecjalnie na AVANT ART Dÿse wystąpi z polskimi muzykami - akordeonistą Arkadiuszem Rejdą i trębaczem Tadeuszem Kulasem.\r\n\r\n\r\n\r\n\r\nThe group Dÿse, founded in the Spring of 2003, was named in honour of the Amsterdam motel Dysecatmotel, where the musicians first met. That, which initially was supposed to be a side-project, founded just for fun by guitarist and vocalist, Andre Dietrich, and drummer Jari Rebelein, both of whom already performed with some other acts, soon became a full-fledged band, where its founders could try out everything what is new, compose songs without paying attention to any restrictions and expectations of others. Their music, due to the lack of a better name, is frequently put on the quite spacious shelf labelled noise rock – it is rather straightforward rock’n’roll filled with youth anger, enthusiasm and energy, completed by quite a dose of ‘avant-gardeness’ and sounds with are best described by the word bizarre. Their output is heavily rooted in the 90s of the XX c., and such bands like Sonic Youth, Fugazi and Refused can be called Dÿse’s godfathers. Here buzzing guitar riffs, supported by a simple rhythmic of the drums and vocal, which can alternate from a whisper to a savage scream, are a new version of metal music, which in the end can surpass its genre boarders and courageously enter new territories of jazz and funk.
\r\n\r\n\r\n\r\n\r\n', 'DŸSE', '', 'inherit', 'closed', 'closed', '', '65-revision-16', '', '', '2012-10-03 16:23:32', '2012-10-03 14:23:32', '', 65, 'http://avantart.pl/65-revision-16/', 0, 'revision', '', 0), (1028, 2, '2012-09-25 23:39:36', '2012-09-25 21:39:36', ' Frank Martin Strauss, lepiej znany pod swoim artystycznym pseudonimem FM Einheit, to postać której znaczenia dla niemieckiej muzyki eksperymentalnej nie da się przecenić. Swoje pierwsze kroki muzyczne stawiał w legendarnej eksperymentalno-punkowej formacji Abwärts i w post-punkowym objawieniu kontynentalnej Europy Palais Schaumburg, by zaraz potem przyjąć posadę „głównego operatora maszynerii” – perkusisty jednego z najważniejszych i najbardziej wpływowych zespołów w dziejach muzyki, awangardzistów industrialu Einstürzende Neubauten. Te trzy zespoły były dopiero początkiem jego bogatej kariery muzycznej – w dalszych latach współpracował między innymi z takimi zespołami i artystami jak KMFDM, Goethes Erben, Mona Mur, Alfred 23 Harth czy Caspar Brötzmann Massaker i współtworzył projekty Stein i Gry. Stał się sławny dzięki swoistym, przygotowanym przez niego samego perkusyjnym instalacjom, złożonym z kawałków blachy, złomu i części rozmaitych urządzeń, na których grał podczas nagrań i występów na żywo. Cały czas udziela się solowo, komponując ścieżki dźwiękowe do filmów i spektakli teatralnych. Twórczość tego wizjonera perkusjonaliów to niezwykle unikalny dźwiękowy świat, w którym uderzenia metalu o metal, wiertarki i młoty współgrają z wysokiej jakości elektroniką. FM Einheit jest jedynym w swoim rodzaju, unikalnym artystą. www.fmeinheit.org\r\nFrank Martin Strauss, better known under the artistic pseudonym FM Einheit, is a figure whose significance for the German experimental scene cannot be overrated. He made his first musical steps in the legendary experimental-punk group Abwärts and in the post-punk revelation of continental Europe, Palais Schamburg, in order to accept the post of “the main machinery operator” – the drummer of one of the most important and most influential bands in the history of music, the industrial avant-gardist Einstürzende Neubauten. These three bands where just the beginning of his rich music career – in the following years he co-operated with, among others, such bands and artists like KMFDM, Goethes Erben, Mona Mur, Alfred 23 Harth or Caspar Brötzmann Massaker and co-created Stein and Gry. He became famous for his particular, self-prepared percussion installations, consisting of a piece of a metal plate, scrap metal and pieces of various equipment, on which he played during the recording sessions and live performances. He still creates solo, composes soundtracks to films and theatre spectacles. The output of this percussion visionary is an unusual sound world, in which the hits of metal on metal, screwdrivers and hammers harmonise with high-end electronics. FM Einheit is one of a kind, unique artist.
\r\n\r\n', 'FM EINHEIT', '', 'inherit', 'closed', 'closed', '', '67-revision-8', '', '', '2012-09-25 23:39:36', '2012-09-25 21:39:36', '', 67, 'http://avantart.pl/67-revision-8/', 0, 'revision', '', 0), (1029, 2, '2012-09-25 23:14:45', '2012-09-25 21:14:45', '\r\n\r\nŻywiołowy taniec i zaduma nad artyzmem, wpadająca w ucho melodyjność i surowość wykorzystanych środków, najnowsza technologia i sentymentalna wycieczka w przeszłość muzyki – tak w skrócie można opisać muzykę Byetone, jednego z najważniejszych projektów ze stajni niemieckiej wytwórni Raster-Noton. To muzyka pełna nawracających fraz, wielowymiarowych warstw dźwięku, gęstości i energii zaprezentowanych z melodyjnością i wręcz inżynieryjną finezją. Utwory Olafa Bendera – bo tak nazywa się muzyk skrywający się pod pseudonimem Byetone – wręcz opalizują dzięki licznym zmianom i seriom kulminacji – tempo zmienia się w nich często, na przemian zwalniając i przyspieszając, a polirytmiczne frazy wirują wokół prostych bitów. Muzyka projektu pozornie kojarzyć się może z minimalnym techno z wczesnych lat dziewięćdziesiątych XX wieku, lecz jest od niego znacznie bogatsza. Naukowe zainteresowanie artysty procesami rządzącymi ludzką pamięcią odciska piętno na jego muzyce, która będąc na wskroś nowoczesna, jest jednocześnie gęsto nasycona cytatami z przeróżnych stylistyk rocka i popu, jednak zręcznie unika zbytniego osadzenia w przeszłości – dzięki temu żadnej z jego kompozycji nie da się opisać sztywną definicją jakiegokolwiek z gatunków. Byetone zabiera słuchaczy do alternatywnej dźwiękowej rzeczywistości, gdzie nie obowiązują zasady fizycznego świata i w której rządzi nieodparty impuls do tańca. To bity, które pompują do serca nie krew, ale chemikalia.\r\n\r\nwww.raster-noton.net \r\nImpetuous dance and deep thoughts over artistry, a melodicity catching the ear and the rawness of means, the most recent technology and a sentimental journey into the past of music – that is how one can describe Byetone’s music in a nutshell; Byetone – one of the most important projects of the German label Raster-Noton. It is music filled with repeated phrases, the multidimensionality of the sound layers, density and energy presented together with melodicity and a downright engineer-like finesse. The tracks by Olaf Bender – as that is the name of the musician hiding behind the pseudonym of Byetone – simply opalesce thanks to numerous shifts and series of culminations – the tempo undergoes frequent changes, decelerating and accelerating by turns with the polyrhythmic phrases twirling around simple beats. The music of the projects can, on the surface, bring to mind minimal techno from the early 90s of the XX c., however it is much richer from the mentioned. The scientific interests of the artist, with processes governing the human memory, make a clear imprint on his music, which although being modern, is at the same time densely filled with citations from various stylistics of rock and pop, but skilfully manages not to be placed in the past too much – thanks to that none of his compositions can be described with a rigid definition of any of the genres. Byetone takes the listeners to an alternative sound reality, where no rules of the physical world are in force and which is ruled by an irresistible impulse to dance. These are beats, which do not pump blood into one’s heart – they pump chemicals.
\r\n\r\n', 'BYETONE', '', 'inherit', 'closed', 'closed', '', '56-revision-19', '', '', '2012-09-25 23:14:45', '2012-09-25 21:14:45', '', 56, 'http://avantart.pl/56-revision-19/', 0, 'revision', '', 0), (1030, 2, '2012-09-25 23:18:27', '2012-09-25 21:18:27', ' Frank Bretschneider – obok Olafa Bendera i Carstena Nicolaia jeden z trzech ojców-założycieli wytwórni Raster-Noton – w przeciwieństwie do wielu zanurzonych w samouwielbieniu artystów nie sili się na dorabianie specjalnej filozofii do swojej twórczości. Nie ma dla niej osobnej definicji, a tworzone przez siebie dźwięki określa jako muzykę praktycznie w całości wykreowaną przy pomocy komputera, która w równej mierze jest zainspirowana muzycznym akademizmem i popkulturą, a także nauką i sztuką. Ta artystyczna skromność przekłada się na niezwykle wysoką jakość jego twórczości we wszystkich sferach, w których się udziela – zarówno jako muzyka, jak i kompozytora i artysty wizualnego. Jego utwory wyróżniają się bardzo precyzyjnym cyzelowaniem dźwięków, kompleksowymi, splatającymi się strukturami rytmicznymi i specyficznym, minimalistycznym podejściem do całego procesu tworzenia. Jego muzyka jest w różnoraki sposób opisywana – jako abstrakcyjny analogowy puentylizm, jako kompozycje przyszłości, które powinny wypełniać futurystyczne poczekalnie i hale portów kosmicznych czy też jako nowatorskie, pełne organiczności techno – i w każdym z tych określeń jest sporo prawdy. Jego twórczość można usytuować w królestwie awangardy, nie pozbawionej jednak pewnej formy popowej wrażliwości – i dlatego jego muzyka nadaje się zarówno do tańczenia w klubach, jak i do słuchania w słuchawkach w domowych warunkach na wysokiej klasy audiofilskim sprzęcie. www.frankbretschneider.com\r\nFrank Bretschneider – one of the three founding-fathers of the Raster-Noton label, beside Olaf Bender and Carsten Nicolai – in opposition to numerous artists engulfed in self-admiration, he does not try to assign a special philosophy to his creations. He does not have a separate definition for it, and describes the sounds created by himself as music, practically, entirely created with the help of a computer, which is equally inspired by musical academism and pop culture, as well as science and art. This artistic modesty is translated into an extremely high quality of his creations in all spheres, in which he contributes – both as a musician, as well as composer and visual artist. His compositions are characterised by a very precise craftsmanship of sounds, complex, intertwining rhythmic structures and a particular, minimalistic approach towards the entire process of creation. His music is described in various different ways – as an abstract analogue pointillism, as compositions of the future, which should fill out futuristic waiting rooms and space port halls or as innovative organic techno – and there is a lot of truth in each and every of these descriptions. His creation can be situated in the kingdom of avant-garde, however one which does not lack a certain form of poppy sensibility – and that is why his music is suited for, both, dancing in clubs, as well as listening to back home with headphones on, on high quality audiophile equipment.
\r\n\r\n', 'FRANK BRETSCHNEIDER', '', 'inherit', 'closed', 'closed', '', '46-revision-10', '', '', '2012-09-25 23:18:27', '2012-09-25 21:18:27', '', 46, 'http://avantart.pl/46-revision-10/', 0, 'revision', '', 0), (1031, 2, '2012-10-03 16:29:10', '2012-10-03 14:29:10', ' Frank Bretschneider – obok Olafa Bendera i Carstena Nicolaia jeden z trzech ojców-założycieli wytwórni Raster-Noton – w przeciwieństwie do wielu zanurzonych w samouwielbieniu artystów nie sili się na dorabianie specjalnej filozofii do swojej twórczości. Nie ma dla niej osobnej definicji, a tworzone przez siebie dźwięki określa jako muzykę praktycznie w całości wykreowaną przy pomocy komputera, która w równej mierze jest zainspirowana muzycznym akademizmem i popkulturą, a także nauką i sztuką. Ta artystyczna skromność przekłada się na niezwykle wysoką jakość jego twórczości we wszystkich sferach, w których się udziela – zarówno jako muzyka, jak i kompozytora i artysty wizualnego. Jego utwory wyróżniają się bardzo precyzyjnym cyzelowaniem dźwięków, kompleksowymi, splatającymi się strukturami rytmicznymi i specyficznym, minimalistycznym podejściem do całego procesu tworzenia. Jego muzyka jest w różnoraki sposób opisywana – jako abstrakcyjny analogowy puentylizm, jako kompozycje przyszłości, które powinny wypełniać futurystyczne poczekalnie i hale portów kosmicznych czy też jako nowatorskie, pełne organiczności techno – i w każdym z tych określeń jest sporo prawdy. Jego twórczość można usytuować w królestwie awangardy, nie pozbawionej jednak pewnej formy popowej wrażliwości – i dlatego jego muzyka nadaje się zarówno do tańczenia w klubach, jak i do słuchania w słuchawkach w domowych warunkach na wysokiej klasy audiofilskim sprzęcie.\r\nFrank Bretschneider (live at Berghain Kantine, Berlin) from mediateletipos on Vimeo.
\r\n www.frankbretschneider.com\r\nFrank Bretschneider – one of the three founding-fathers of the Raster-Noton label, beside Olaf Bender and Carsten Nicolai – in opposition to numerous artists engulfed in self-admiration, he does not try to assign a special philosophy to his creations. He does not have a separate definition for it, and describes the sounds created by himself as music, practically, entirely created with the help of a computer, which is equally inspired by musical academism and pop culture, as well as science and art. This artistic modesty is translated into an extremely high quality of his creations in all spheres, in which he contributes – both as a musician, as well as composer and visual artist. His compositions are characterised by a very precise craftsmanship of sounds, complex, intertwining rhythmic structures and a particular, minimalistic approach towards the entire process of creation. His music is described in various different ways – as an abstract analogue pointillism, as compositions of the future, which should fill out futuristic waiting rooms and space port halls or as innovative organic techno – and there is a lot of truth in each and every of these descriptions. His creation can be situated in the kingdom of avant-garde, however one which does not lack a certain form of poppy sensibility – and that is why his music is suited for, both, dancing in clubs, as well as listening to back home with headphones on, on high quality audiophile equipment.
\r\n\r\nFrank Bretschneider (live at Berghain Kantine, Berlin) from mediateletipos on Vimeo.
\r\n\r\n', 'FRANK BRETSCHNEIDER', '', 'inherit', 'closed', 'closed', '', '46-revision-11', '', '', '2012-10-03 16:29:10', '2012-10-03 14:29:10', '', 46, 'http://avantart.pl/46-revision-11/', 0, 'revision', '', 0), (1032, 2, '2012-09-25 23:16:40', '2012-09-25 21:16:40', ' Wydawanie płyt w prestiżowej wytwórni Raster-Noton jest synonimem wysokiej jakości muzycznej – i to właśnie można powiedzieć o dźwiękach tworzonych przez Davida Letelliera, osiadłego w Berlinie francuskiego muzyka, znanego jednak całemu środowisku fanów niebanalnej elektroniki pod pseudonimem Kangding Ray. Artysta w umiejętny sposób potrafi połączyć brzmienie elektronicznych urządzeń z żywymi instrumentami i tak tworzyć subtelne i rytmiczne suity, w których współgrają ze sobą glitche, ściany przesterowanych dźwięków, masywne ścieżki basowe, ludzkie głosy i nagrania terenowe. Wynikiem jest mieszanka głębokich, tanecznych bitów i mrocznej atmosfery – a całość możemy opisać jako „abstrakcyjną muzykę basową”. To dźwięki pełne chłodnych prądów, melodii zakamuflowanych w rytmie i eleganckich bitów wycyzelowanych ze spartańskim rygorem. To rzadko spotykana eksplozja unikalnej wrażliwości nałożonej na totalnie zdyscyplinowaną, pełną ukrytych detali odmianę muzyki stworzonej przy pomocy komputera. Kangding Ray proponuje nam imprezę taneczną, na jakiej jeszcze nie dane nam było być. Jego muzykę możemy określić jako muzykę pogranicza – zręcznie balansuje ona z jednej strony na krawędzi eksperymentu i awangardy, z drugiej jest przystępna dla wszystkich zwolenników kultury klubowej. www.kangdingray.comReleasing albums in the prestigious Raster-Noton label is synonymous for a high musical quality – exactly that can be said about the sounds created by David Letellier, a French musician residing in Berlin, known to the entire circle of fans of non-trivial electronics under the moniker of Kangding Ray. The artist can skilfully combine the sound of electronic equipment with living instruments and thus create subtle and rhythmic suites, in which glitches harmonise with walls of distorted sounds, massive bass tracks, human voices and field recordings. The result is a mix of deep, dance beats and a dark atmosphere – and the whole can be described as “abstract bass music”. These are sounds full of cold currents, melodies camouflaged in rhythm and elegant beats crafted under a Spartan discipline. It is a rarely encountered explosion of unique sensibility applied on an entirely disciplined music, filled with hidden details, created with the help of a computer. Kangding Ray proposes a dance party we have never been to before. We can describe his music as the music of the borderland – it skilfully balances on, one hand, the border of experiment and avant-garde, and on the other – it is accessible to all the supporters of the club culture.
\r\n\r\n', 'KANGDING RAY', '', 'inherit', 'closed', 'closed', '', '48-revision-12', '', '', '2012-09-25 23:16:40', '2012-09-25 21:16:40', '', 48, 'http://avantart.pl/48-revision-12/', 0, 'revision', '', 0), (1033, 2, '2012-09-25 23:24:58', '2012-09-25 21:24:58', ' DAF – czyli Deutsch-Amerikanische Freundschaft – to żywa legenda. Niewiele jest równie wpływowych formacji w dziejach muzyki niż właśnie ta, powołana do życia w 1978 roku przez Gabiego Delgado Lopeza i Roberta Görla – dwóch zapaleńców zdecydowanych, by stworzyć coś zupełnie nowego, co nieuchronnie wstrząśnie posadami przyszłej muzyki. Bez DAF nie byłoby Nowej Niemieckiej Fali w formie, jaką dzisiaj znamy, słynny promotor John Peel nazwał ich dziadkami muzyki techno, są właściwymi pionierami electropunka i podstawową inspiracją dla całej rzeszy twórców synthpopowych. Bez ich wkładu nie powstałby zupełnie nowy gatunek, łączący w sobie cechy muzyki industrialnej i punka czyli EBM. DAF to zespół, który wybiegł daleko w przyszłość, będąc bezpośrednim ogniwem łączącym awangardowy punk i muzykę elektroniczną. Stylu DAF zwyczajnie nie da się podrobić – pulsująca syntezatorowa muzyka, operująca podobnym ładunkiem energii jak najlepsze zespoły punkrockowe, niepokojąca rytmiczność i specyficzne gęste brzmienie w połączeniu z oryginalnymi tekstami stały się znakiem rozpoznawczym grupy i niedoścignionym wzorem dla wielu innych muzyków. Bez dwóch zdań – DAF to jeden z najważniejszych zespołów powstałych na fali punkowej rebelii, który nawet w nowym stuleciu potrafi nas zaskoczyć swoim świeżym i mocnym brzmieniem. www.myspace.com/officialdaf www.deutschamerikanischefreundschaft.de\r\nDAF – i.e. Deutsch-Amerikanische Freundschaft – are a living legend. There are not many so influential groups in the history of music like this particular one, brought to life in 1978 by Gabi Delgado Lopez and Robert Görl – two hotheads set on creating something entirely new, which will inevitably shake the foundations of future music. There would not be the New German Wave, in the form as we know it today, without DAF; the famous British promoter, John Peel, called them the grandfathers of techno; they are the real pioneers of electropunk and the main inspiration for an entire throng of synthpop composers. The all new genre, EBM, combining the characteristics of industrial music and punk, would not come to existence without them. DAF is a band, which forerun way into the future, is a direct link combining avant-garde punk and electronic music. DAF’s style just cannot be copied – pulsating synthesizer music, operating with an energy load resembling the one operated by the best punkrock bands, disturbing rhythmic and a characteristic dense sound combined with unique lyrics became the trademarks of the group and unrivalled example for numerous other artists. Without a doubt – DAF is one of the most important bands founded on the wave of the punk rebellion, which can surprise us with its fresh and powerful sound even in the new century.
\r\nwww.myspace.com/officialdaf
\r\nwww.deutschamerikanischefreundschaft.de
The Berlin-based label Project: Mooncircle specializes in combining
\r\nelectronic and organic music. In just ten years of existence it gained
\r\nprestige and became a renown brand and a synonym of high quality on stage.
\r\nProject: Mooncircle together with its diverse vocalists and producers is an
\r\ninteresting experience, for everyone who looks for something unique in music.
\r\nAs a part of Project: Mooncircle 10th anniversary showcase Robot Koch, Rain Dog, Long Arm and Gordon will perform.
\r\n\r\nsoundcloud.com/projectmooncircle/tracks
\r\n', ' PROJECT: MOONCIRCLE 10th anniversary showcase PROJECT: MOONCIRCLE 10th anniversary showcase', '', 'inherit', 'closed', 'closed', '', '691-revision-18', '', '', '2012-09-25 14:32:55', '2012-09-25 12:32:55', '', 691, 'http://avantart.pl/691-revision-18/', 0, 'revision', '', 0), (1035, 2, '2012-09-30 21:31:14', '2012-09-30 19:31:14', '\r\n\r\nTo kontynuacja premierowego spektaklu „IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D”- zaprezentowanego podczas ostatniej edycji festiwalu Avant Art jako koprodukcja polsko - szwajcarska. Tym razem w wersji z polskimi artystami, z muzyką na żywo zespołu 2g.\r\n\r\n2g „In / Between“ to projekt muzyczny, ale też szczególnego rodzaju multidyscyplinarna INSTALACJA z elementami żywej muzyki, światła, sztuki video. To artystyczna kooperacja zespołu 2g ze scenografem - artystką sztuk wizualnych Gabrielą Kowalską, która również zaprojektowałą scenografię do „IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D“.\r\n\r\n2g to wieloręki, wieloludzki instrument zespojony w celu muzykowania opartego na głębokim wzajemnym słuchaniu się i przenikaniu brzmień tworzących wielowymiarową, wielowątkową jedność. Muzyka 2g oparta jest na ciężkich, rozrzedzonych i spowolnionych rytmach z bardzo niskim, charakterystycznym basem, osadzonych na ciemnych, płynnie przekształcających się przestrzeniach i fakturach dźwiękowych tworzonych przez inne instrumenty elektryczne, akustyczne oraz głosy wokalistów.\r\n\r\nArtyści: Gabriela Kowalska oraz muzycy 2g: Bartek Kuźniak, Marcin Bijak, Piotr Siemiński, Maciej Polak, Kostas Georgakopulos.\r\n\r\nwww.2g.333flow.com\r\nIt is a continuation of the premier spectacle "IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D" - presented during the previous edition of the Avant Art Festival as a Polish-Swiss co-production. This time in a version featuring Polish artists, with live music by the group 2g.
\r\n2g "In / Between" is a music project, but also a particular kind of multidisciplinary INSTALLATION with elements of live music, lights, video art. This is an artistic co-operation of the group 2g with a stage designer - a visual art artist, Gabriela Kowalska, who had also designed the stage design for the needs of "IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D".
\r\n2g is a "multi-limb", multi-personnel instrument binded in order to create music based on a deep sense of listening to one another and penetrating the sounds which create a multidimensional, multithreaded whole. 2g''s music is based on heavy, dispersed and slowed down rhythms with a low, characteristic bass, set in dark, fluently evolving spaces and sound textures created by the other electrical, acoustic instruments and the voices of the vocalists.
\r\nArtists: Gabriela Kowalska and 2g musicians: Bartek Kuźniak, Marcin Bijak, Piotr Siemiński, Maciej Polak, Kostas Georgakopulos.
\r\n\r\n', '2g „In / Between” 2g „In / Between” ', '', 'inherit', 'closed', 'closed', '', '632-revision-11', '', '', '2012-09-30 21:31:14', '2012-09-30 19:31:14', '', 632, 'http://avantart.pl/632-revision-11/', 0, 'revision', '', 0), (1036, 2, '2012-10-03 16:36:52', '2012-10-03 14:36:52', '\r\n\r\nTo kontynuacja premierowego spektaklu „IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D”- zaprezentowanego podczas ostatniej edycji festiwalu Avant Art jako koprodukcja polsko - szwajcarska. Tym razem w wersji z polskimi artystami, z muzyką na żywo zespołu 2g.\r\n\r\n2g „In / Between“ to projekt muzyczny, ale też szczególnego rodzaju multidyscyplinarna INSTALACJA z elementami żywej muzyki, światła, sztuki video. To artystyczna kooperacja zespołu 2g ze scenografem - artystką sztuk wizualnych Gabrielą Kowalską, która również zaprojektowałą scenografię do „IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D“.\r\n\r\n2g to wieloręki, wieloludzki instrument zespojony w celu muzykowania opartego na głębokim wzajemnym słuchaniu się i przenikaniu brzmień tworzących wielowymiarową, wielowątkową jedność. Muzyka 2g oparta jest na ciężkich, rozrzedzonych i spowolnionych rytmach z bardzo niskim, charakterystycznym basem, osadzonych na ciemnych, płynnie przekształcających się przestrzeniach i fakturach dźwiękowych tworzonych przez inne instrumenty elektryczne, akustyczne oraz głosy wokalistów.\r\n\r\nArtyści: Gabriela Kowalska oraz muzycy 2g: Bartek Kuźniak, Marcin Bijak, Piotr Siemiński, Maciej Polak, Kostas Georgakopulos.\r\n\r\n\r\n\r\nwww.2g.333flow.com\r\nIt is a continuation of the premier spectacle "IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D" - presented during the previous edition of the Avant Art Festival as a Polish-Swiss co-production. This time in a version featuring Polish artists, with live music by the group 2g.
\r\n2g "In / Between" is a music project, but also a particular kind of multidisciplinary INSTALLATION with elements of live music, lights, video art. This is an artistic co-operation of the group 2g with a stage designer - a visual art artist, Gabriela Kowalska, who had also designed the stage design for the needs of "IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D".
\r\n2g is a "multi-limb", multi-personnel instrument binded in order to create music based on a deep sense of listening to one another and penetrating the sounds which create a multidimensional, multithreaded whole. 2g''s music is based on heavy, dispersed and slowed down rhythms with a low, characteristic bass, set in dark, fluently evolving spaces and sound textures created by the other electrical, acoustic instruments and the voices of the vocalists.
\r\nArtists: Gabriela Kowalska and 2g musicians: Bartek Kuźniak, Marcin Bijak, Piotr Siemiński, Maciej Polak, Kostas Georgakopulos.
\r\n\r\n\r\n\r\n', '2g „In / Between” 2g „In / Between” ', '', 'inherit', 'closed', 'closed', '', '632-revision-12', '', '', '2012-10-03 16:36:52', '2012-10-03 14:36:52', '', 632, 'http://avantart.pl/632-revision-12/', 0, 'revision', '', 0), (1037, 2, '2012-10-03 16:37:44', '2012-10-03 14:37:44', '\r\n\r\nTo kontynuacja premierowego spektaklu „IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D”- zaprezentowanego podczas ostatniej edycji festiwalu Avant Art jako koprodukcja polsko - szwajcarska. Tym razem w wersji z polskimi artystami, z muzyką na żywo zespołu 2g.\r\n\r\n2g „In / Between“ to projekt muzyczny, ale też szczególnego rodzaju multidyscyplinarna INSTALACJA z elementami żywej muzyki, światła, sztuki video. To artystyczna kooperacja zespołu 2g ze scenografem - artystką sztuk wizualnych Gabrielą Kowalską, która również zaprojektowałą scenografię do „IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D“.\r\n\r\n2g to wieloręki, wieloludzki instrument zespojony w celu muzykowania opartego na głębokim wzajemnym słuchaniu się i przenikaniu brzmień tworzących wielowymiarową, wielowątkową jedność. Muzyka 2g oparta jest na ciężkich, rozrzedzonych i spowolnionych rytmach z bardzo niskim, charakterystycznym basem, osadzonych na ciemnych, płynnie przekształcających się przestrzeniach i fakturach dźwiękowych tworzonych przez inne instrumenty elektryczne, akustyczne oraz głosy wokalistów.\r\n\r\nArtyści: Gabriela Kowalska oraz muzycy 2g: Bartek Kuźniak, Marcin Bijak, Piotr Siemiński, Maciej Polak, Kostas Georgakopulos.\r\n\r\n\r\n\r\nwww.2g.333flow.com\r\nIt is a continuation of the premier spectacle "IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D" - presented during the previous edition of the Avant Art Festival as a Polish-Swiss co-production. This time in a version featuring Polish artists, with live music by the group 2g.
\r\n2g "In / Between" is a music project, but also a particular kind of multidisciplinary INSTALLATION with elements of live music, lights, video art. This is an artistic co-operation of the group 2g with a stage designer - a visual art artist, Gabriela Kowalska, who had also designed the stage design for the needs of "IN BETWEEN, Dance And Music destroyer - man born out of M.A.D.D".
\r\n2g is a "multi-limb", multi-personnel instrument binded in order to create music based on a deep sense of listening to one another and penetrating the sounds which create a multidimensional, multithreaded whole. 2g''s music is based on heavy, dispersed and slowed down rhythms with a low, characteristic bass, set in dark, fluently evolving spaces and sound textures created by the other electrical, acoustic instruments and the voices of the vocalists.
\r\nArtists: Gabriela Kowalska and 2g musicians: Bartek Kuźniak, Marcin Bijak, Piotr Siemiński, Maciej Polak, Kostas Georgakopulos.
\r\n\r\n\r\nwww.2g.333flow.com\r\n', '2g „In / Between” 2g „In / Between” ', '', 'inherit', 'closed', 'closed', '', '632-revision-13', '', '', '2012-10-03 16:37:44', '2012-10-03 14:37:44', '', 632, 'http://avantart.pl/632-revision-13/', 0, 'revision', '', 0), (1038, 2, '2012-09-25 23:02:17', '2012-09-25 21:02:17', '\r\n\r\n Koprodukcja Avant Art Fesival, Wrocław; mex – experimentelle und intermediale Musikprojekte e.V., Dortmund and gerngesehen, Köln\r\n\r\nMex Gerngesehen Avant Art Project to premierowa realizacja muzyczno-performatywna, będąca koprodukcją wrocławskiego festiwalu Avant Art, dortmundzkiej organizacji Mex – intermediale und experimentelle Musikprojekte i Gerngesehen z Kolonii. To kooperacja kompozytorów, performerów i muzyków skupionych wokół kolońskiej sceny sound artu, muzyki eksperymentalnej i teatru z polskim środowiskiem muzyków tworzących w szeroko rozumianym idiomie muzyki współczesnej oraz improwizowanej. Rozszerzone techniki wokalne i performatywne używane przez kompozytorkę i performerkę Betine Wenzel, język ruchu oraz współczesny performance duetu „cri du coeur“ prowadzonego przez Fine Kwiatkowski i Willehada Grafenhorsta, obiekty dźwiękowe i sound art hansa w. kocha, synteza modularna, circuit-bending i synth-design w MAX/MSP Jokera Niesa, instrumenty dęte, saksofony oraz generatory fal Gerarda Lebika, preparowany fortepian i trąbka Piotra Damasiewicza, symfoniczne instrumenty perkusyjne z grupy idiofonów stosowane przez Wojtka Romanowskiego – to wszystko to elementy składowe, źródła dźwięku i techniki użyte w intermedialnych poszukiwaniach nad nieprzewidywalnością we wszystkich płaszczyznach kompozycji powstającej w ramach pierwszej współpracy artystów na tegorocznym Avant Art Festival.\r\n\r\nArtyści:\r\nNoGo by duo „cri du coeur“\r\nFine Kwiatkowski / Willehad Grafenhorst\r\ncrossing borders\r\nGerard Lebik / Piotr Damasiewicz / Wojciech Romanowski\r\nBettina Wenzel / hans w. koch / Joker Nies\r\n\r\nKuratorzy: Kostas Georgakopulos / Avant Art Festival; Olimpia Swist / [ su:p];\r\nMaija Julius /mex und Georg Dietzler / gerngesehen\r\n\r\nKoprodukcja wspierana przez: Ministerium für Familie, Kinder, Jugend, Kultur und Sport des Landes Nordrhein-Westfalen, NRW KULTURsekretariat, Polnisches Institut Berlin & Düsseldorf, Wrocław / Europejska Stolica Kultury 2016, Urząd Marszałkowski Dolnego śląska, Ministerstwo Kultury i Dziedzictwa Narodowego/Warszawa, Auswärtiges Amt der Bundesrepublik Deutschland, Goethe Institut\r\n\r\n\r\n\r\ngerardlebik.com/Mex_Gerngesehen_Avant_Art_Project_.html\r\nCo-production: Avant Art Fesival, Wrocław; mex – experimentelle und intermediale Musikprojekte e.V., Dortmund and gerngesehen, Köln
\r\nPixel Klänge is a premiere hybrid arts co-production of the Wrocław festival Avant Art and the Dortmund organisation Mex – intermediale und experimentelle Musikprojekte and Gerngesehen from Koln. This is a co-operation ( of composers, performers and musicians focused around the Koln-based scene of sound art, experimental music and theatre with the Polish circle of musicians creating in the broadly understood idiom of contemporary and improvised music. The expanded vocal and performative techniques used by the performer Betina Wenzel, the language of movement and modern performance of the duo „cri du coeur“, led by Fina Kwiatkowski and Willehad Grafenhorst, sound objects and art of hans w koch, modular synthesis, circuit-bending and synth-design in MAX/MSP of Joker Nies, wind instruments, saxophone and wave generators of Gerard Lebik, self-prepared piano and trumpet of Piotr Damasiewicz, symphonic percussion instruments from the idiophone group used by Wojtek Romanowski – it all are components, sound sources and techniques used in the intermedial searches of the unpredictability on all planes of a composition, being created as part of the first encounter of artists at this year’s Avant Art Festival.
\r\nArtists:
\r\nNoGo by duo „cri du coeur“
\r\nFine Kwiatkowski / Willehad Grafenhorst
\r\ncrossing borders
\r\nGerard Lebik / Piotr Damasiewicz / Wojciech Romanowski
\r\nBettina Wenzel / hans w. koch / Joker Nies
\r\nCurators: Kostas Georgakopulos / Avant Art Festival; Olimpia Swist / [ su:p]; Maija Julius / mex; Georg Dietzler / gerngesehen
\r\nCo-production supported by: Ministerium für Familie, Kinder, Jugend, Kultur und Sport des Landes Nordrhein-Westfalen, NRW KULTURsekretariat, Polnisches Institut Berlin & Düsseldorf, Wrocław / Europejska Stolica Kultury 2016, Urząd Marszałkowski Dolnego śląska, Ministerstwo Kultury i Dziedzictwa Narodowego/Warszawa, Auswärtiges Amt der Bundesrepublik Deutschland, Goethe Institut
\r\ngerardlebik.com/Mex_Gerngesehen_Avant_Art_Project_.html
\r\n', 'PIXEL KLÄNGEPIXEL KLÄNGE', '', 'inherit', 'closed', 'closed', '', '69-revision-21', '', '', '2012-09-25 23:02:17', '2012-09-25 21:02:17', '', 69, 'http://avantart.pl/69-revision-21/', 0, 'revision', '', 0); INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (1039, 2, '2012-10-04 12:56:40', '2012-10-04 10:56:40', 'Już jutro zapraszamy na otwartą Debatę o Kulturze w ramach festiwalu AVANT ART. Odbędą się dwa panele dyskusyjne. W trakcie piątkowego pt. „Nowe Kody Kultury” w Helios Nowe Horyzonty publicysta Jacek Żakowski podczas rozmowy z Dyrektorem Artystycznym Europejskiej Stolicy Kultury 2016 we Wrocławiu Krzysztofem Czyżewskim podejmie temat nowych znaczeń kultury oraz genotypu miasta w kontekście Wrocławia jako Europejskiej Stolicy Kultury w roku 2016. W dyskusji wezmą udział także goście z zagranicy. Z kolei sobotni panel „Kooperacja! Koprodukcja! R/ewolucja!?” dotyczyć będzie możliwości współpracy w projektach kulturalnych, zwłaszcza tych o zasięgu międzynarodowym.Tomorrow we invite you to an open Debate on Culture as a part of the AVANT ART FESTIVAL. Two discussion panels will take place: during the Friday panel entitled “New Codes of Culture” at the Helios Nowe Horyzonty, the publicist Jacek Żakowski, during his dialogue with the Artistic Director of the European Culture Capital 2016 in Wrocław, Krzysztof Czyżewki, will take up the topic of new meanings of culture and the genotype of the city in the context of Wrocław as the European Culture Capital in the year 2016. The discussion will also be attended by guests from abroad. While as the panel held on Saturday “Co-operation! Co-production! R/evolution!” will touch upon the possibilities of co-operation in regards to cultural projects, especially the ones of an international scale.', 'OTWARTA DEBATA O KULTURZE NA AVANT ART FESTIVALAN OPEN DEBATE ON CULTURE AT AVANT ART FESTIVAL', '', 'publish', 'closed', 'closed', '', 'otwarta-debata-o-kulturze-na-avant-art-festival', '', '', '2012-10-18 13:18:50', '2012-10-18 11:18:50', '', 0, 'http://avantart.pl/?p=1039', 0, 'post', '', 0), (1040, 2, '2012-10-04 12:55:57', '2012-10-04 10:55:57', 'Już jutro zapraszamy na otwartą Debatę o Kulturze w ramach festiwalu AVANT ART. Odbędą się dwa panele dyskusyjne. W trakcie piątkowego pt. „Nowe Kody Kultury” w Helios Nowe Horyzonty publicysta Jacek Żakowski podczas rozmowy z Dyrektorem Artystycznym Europejskiej Stolicy Kultury 2016 we Wrocławiu Krzysztofem Czyżewskim podejmie temat nowych znaczeń kultury oraz genotypu miasta w kontekście Wrocławia jako Europejskiej Stolicy Kultury w roku 2016. W dyskusji wezmą udział także goście z zagranicy. Z kolei sobotni panel „Kooperacja! Koprodukcja! R/ewolucja!?” dotyczyć będzie możliwości współpracy w projektach kulturalnych, zwłaszcza tych o zasięgu międzynarodowym.Co-production: Avant Art Fesival, Wrocław; mex – experimentelle und intermediale Musikprojekte e.V., Dortmund and gerngesehen, Köln
\r\nPixel Klänge is a premiere hybrid arts co-production of the Wrocław festival Avant Art and the Dortmund organisation Mex – intermediale und experimentelle Musikprojekte and Gerngesehen from Koln. This is a co-operation ( of composers, performers and musicians focused around the Koln-based scene of sound art, experimental music and theatre with the Polish circle of musicians creating in the broadly understood idiom of contemporary and improvised music. The expanded vocal and performative techniques used by the performer Betina Wenzel, the language of movement and modern performance of the duo „cri du coeur“, led by Fina Kwiatkowski and Willehad Grafenhorst, sound objects and art of hans w koch, modular synthesis, circuit-bending and synth-design in MAX/MSP of Joker Nies, wind instruments, saxophone and wave generators of Gerard Lebik, self-prepared piano and trumpet of Piotr Damasiewicz, symphonic percussion instruments from the idiophone group used by Wojtek Romanowski – it all are components, sound sources and techniques used in the intermedial searches of the unpredictability on all planes of a composition, being created as part of the first encounter of artists at this year’s Avant Art Festival.
\r\nArtists:
\r\nNoGo by duo „cri du coeur“
\r\nFine Kwiatkowski / Willehad Grafenhorst
\r\ncrossing borders
\r\nGerard Lebik / Piotr Damasiewicz / Wojciech Romanowski
\r\nBettina Wenzel / hans w. koch / Joker Nies
\r\nCurators: Kostas Georgakopulos / Avant Art Festival; Olimpia Swist / [ su:p]; Maija Julius / mex; Georg Dietzler / gerngesehen
\r\nCo-production supported by: Ministerium für Familie, Kinder, Jugend, Kultur und Sport des Landes Nordrhein-Westfalen, NRW KULTURsekretariat, Polnisches Institut Berlin & Düsseldorf, Wrocław / Europejska Stolica Kultury 2016, Urząd Marszałkowski Dolnego śląska, Ministerstwo Kultury i Dziedzictwa Narodowego/Warszawa, Auswärtiges Amt der Bundesrepublik Deutschland, Goethe Institut
\r\n\r\n\r\nwww.fine-k.de
\r\ngerardlebik.com/Mex_Gerngesehen_Avant_Art_Project_.html
\r\n
Co-production: Avant Art Fesival, Wrocław; mex – experimentelle und intermediale Musikprojekte e.V., Dortmund and gerngesehen, Köln
\r\nPixel Klänge is a premiere hybrid arts co-production of the Wrocław festival Avant Art and the Dortmund organisation Mex – intermediale und experimentelle Musikprojekte and Gerngesehen from Koln. This is a co-operation ( of composers, performers and musicians focused around the Koln-based scene of sound art, experimental music and theatre with the Polish circle of musicians creating in the broadly understood idiom of contemporary and improvised music. The expanded vocal and performative techniques used by the performer Betina Wenzel, the language of movement and modern performance of the duo „cri du coeur“, led by Fina Kwiatkowski and Willehad Grafenhorst, sound objects and art of hans w koch, modular synthesis, circuit-bending and synth-design in MAX/MSP of Joker Nies, wind instruments, saxophone and wave generators of Gerard Lebik, self-prepared piano and trumpet of Piotr Damasiewicz, symphonic percussion instruments from the idiophone group used by Wojtek Romanowski – it all are components, sound sources and techniques used in the intermedial searches of the unpredictability on all planes of a composition, being created as part of the first encounter of artists at this year’s Avant Art Festival.
\r\nArtists:
\r\nNoGo by duo „cri du coeur“
\r\nFine Kwiatkowski / Willehad Grafenhorst
\r\ncrossing borders
\r\nGerard Lebik / Piotr Damasiewicz / Wojciech Romanowski
\r\nBettina Wenzel / hans w. koch / Joker Nies
\r\nCurators: Kostas Georgakopulos / Avant Art Festival; Olimpia Swist / [ su:p]; Maija Julius / mex; Georg Dietzler / gerngesehen
\r\nCo-production supported by: Ministerium für Familie, Kinder, Jugend, Kultur und Sport des Landes Nordrhein-Westfalen, NRW KULTURsekretariat, Polnisches Institut Berlin & Düsseldorf, Wrocław / Europejska Stolica Kultury 2016, Urząd Marszałkowski Dolnego śląska, Ministerstwo Kultury i Dziedzictwa Narodowego/Warszawa, Auswärtiges Amt der Bundesrepublik Deutschland, Goethe Institut
\r\n\r\n\r\nwww.fine-k.de
\r\ngerardlebik.com/Mex_Gerngesehen_Avant_Art_Project_.html
\r\n
Co-production: Avant Art Fesival, Wrocław; mex – experimentelle und intermediale Musikprojekte e.V., Dortmund and gerngesehen, Köln
\r\nPixel Klänge is a premiere hybrid arts co-production of the Wrocław festival Avant Art and the Dortmund organisation Mex – intermediale und experimentelle Musikprojekte and Gerngesehen from Koln. This is a co-operation ( of composers, performers and musicians focused around the Koln-based scene of sound art, experimental music and theatre with the Polish circle of musicians creating in the broadly understood idiom of contemporary and improvised music. The expanded vocal and performative techniques used by the performer Betina Wenzel, the language of movement and modern performance of the duo „cri du coeur“, led by Fina Kwiatkowski and Willehad Grafenhorst, sound objects and art of hans w koch, modular synthesis, circuit-bending and synth-design in MAX/MSP of Joker Nies, wind instruments, saxophone and wave generators of Gerard Lebik, self-prepared piano and trumpet of Piotr Damasiewicz, symphonic percussion instruments from the idiophone group used by Wojtek Romanowski – it all are components, sound sources and techniques used in the intermedial searches of the unpredictability on all planes of a composition, being created as part of the first encounter of artists at this year’s Avant Art Festival.
\r\nArtists:
\r\nNoGo by duo „cri du coeur“
\r\nFine Kwiatkowski / Willehad Grafenhorst
\r\ncrossing borders
\r\nGerard Lebik / Piotr Damasiewicz / Wojciech Romanowski
\r\nBettina Wenzel / hans w. koch / Joker Nies
\r\nCurators: Kostas Georgakopulos / Avant Art Festival; Olimpia Swist / [ su:p]; Maija Julius / mex; Georg Dietzler / gerngesehen
\r\nCo-production supported by: Ministerium für Familie, Kinder, Jugend, Kultur und Sport des Landes Nordrhein-Westfalen, NRW KULTURsekretariat, Polnisches Institut Berlin & Düsseldorf, Wrocław / Europejska Stolica Kultury 2016, Urząd Marszałkowski Dolnego śląska, Ministerstwo Kultury i Dziedzictwa Narodowego/Warszawa, Auswärtiges Amt der Bundesrepublik Deutschland, Goethe Institut
\r\n\r\n\r\n\r\ngerardlebik.com/Mex_Gerngesehen_Avant_Art_Project_.html
\r\n\r\n', 'PIXEL KLÄNGEPIXEL KLÄNGE', '', 'inherit', 'closed', 'closed', '', '69-revision-25', '', '', '2012-10-04 17:47:34', '2012-10-04 15:47:34', '', 69, 'http://avantart.pl/69-revision-25/', 0, 'revision', '', 0), (1054, 2, '2012-10-04 18:05:00', '2012-10-04 16:05:00', '\r\n\r\nZbliża się najważniejszy weekend piątej edycji AVANT ART FESTIVAL. Od piątku do niedzieli (5-7 października) we Wrocławiu wystąpią gwiazdy niemieckiej sceny muzycznej. Usłyszymy ekscentryczną formację Bonaparte, aż trzech artystów wytwórni Raster-Noton, w tym Kangding Ray. Po raz pierwszy w Polsce wystąpią DAF - dziadkowie techno i pionierzy electropunka. Na obchody 10-lecia wytwórni Project: Mooncircle do Wrocławia przyjadą m.in. Gordon i Robot Koch. Finał weekendu to koncert Moritz Von Oswald Trio - trzech możnowładców niemieckiej elektroniki, z doskonałym Vladislavem Delayem. Muzyczną ucztę dopełnią Denseland i FM Einheit.\r\nThe most important weekend of the fifth edition of AVANT ART FESTIVAL is getting closer and closer. From Friday till Sunday (October 5-7) the stars of the German music scene will perform in Wrocław. We will have a chance to hear the eccentric group Bonaparte, three artists from the Raster-Noton label, inc. Kangding Ray. We will witness the first Polish performance of DAF – the grandfathers of techno and pioneers of electropunk. The celebrations of the 10th anniversary of Project: Mooncircle in Wrocław will be attended by, among others, Gordon and Robot Koch. The grand finale of the weekend will be a performance by Moritz Von Oswald Trio – three magnates of the German electronics, with the excellent Vladislav Delay. The musical feast will be completed by Denseland and FM Einheit.
\r\n', 'Bonaparte, Raster-Noton, DAF, Robot Koch, Moritz Von Oswald Trio w weekend na AAFBonaparte, Raster-Noton, DAF, Robot Koch, Moritz Von Oswald Trio during the weekend at AAF', '', 'publish', 'closed', 'closed', '', 'bonaparte-raster-noton-daf-robot-koch-moritz-von-oswald-trio-w-weekend-na-aaf', '', '', '2012-10-18 13:18:29', '2012-10-18 11:18:29', '', 0, 'http://avantart.pl/?p=1054', 0, 'post', '', 0), (1055, 2, '2012-10-04 18:04:31', '2012-10-04 16:04:31', 'Zbliża się najważniejszy weekend piątej edycji AVANT ART FESTIVAL. Od piątku do niedzieli (5-7 października) we Wrocławiu wystąpią gwiazdy niemieckiej sceny muzycznej. Usłyszymy ekscentryczną formację Bonaparte, aż trzech artystów wytwórni Raster-Noton, w tym Kangding Ray. Po raz pierwszy w Polsce wystąpią DAF - dziadkowie techno i pionierzy electropunka. Na obchody 10-lecia wytwórni Project: Mooncircle do Wrocławia przyjadą m.in. Gordon i Robot Koch. Finał weekendu to koncert Moritz Von Oswald Trio - trzech możnowładców niemieckiej elektroniki, z doskonałym Vladislavem Delayem. Muzyczną ucztę dopełnią Denseland i FM Einheit.Wernisaż: 03.10.1012, godz. 18:00
\r\nWystawa: 03-07.10.2012, godz. 18:00 - 20:00
\r\n', 'ZAPRASZAMY NA WERNISAŻ WYSTAWY „MIASTA B” W GALERII U', '', 'inherit', 'closed', 'closed', '', '984-revision-8', '', '', '2012-10-01 18:01:08', '2012-10-01 16:01:08', '', 984, 'http://avantart.pl/984-revision-8/', 0, 'revision', '', 0), (1061, 2, '2012-10-02 14:10:34', '2012-10-02 12:10:34', '5. AVANT ART FESTIVAL – największe w Polsce święto niemieckiej muzyki i sztuki. Muzyczną część zaczynamy od występu Defibrillator i Petera Brotzmanna – tytana free jazzu. Z kolei o 16:00 zapraszamy na pierwszy obraz w ramach Avant Art Film: WE BUILT THIS CITY. O 18:00 zaś w BWA Wrocław odbędzie się "Czytanie w ciemnośćiach". Do zobaczenia! :)', 'ACHTUNG! Już dziś, 2 października, we Wrocławiu rusza 5. AVANT ART FESTIVAL', '', 'inherit', 'closed', 'closed', '', '1006-revision-3', '', '', '2012-10-02 14:10:34', '2012-10-02 12:10:34', '', 1006, 'http://avantart.pl/1006-revision-3/', 0, 'revision', '', 0), (1068, 2, '2012-10-08 11:29:40', '2012-10-08 09:29:40', '', 'fot. Andrzej Olechnowski', '', 'inherit', 'closed', 'closed', '', 'pixel-klange', '', '', '2012-10-08 11:29:40', '2012-10-08 09:29:40', '', 69, 'http://avantart.pl/wp-content/uploads/2012/07/pixel-klange.jpg', 0, 'attachment', 'image/jpeg', 0), (1069, 2, '2012-10-08 11:30:53', '2012-10-08 09:30:53', '', 'pixel-klange', '', 'inherit', 'closed', 'closed', '', 'pixel-klange-2', '', '', '2012-10-08 11:30:53', '2012-10-08 09:30:53', '', 69, 'http://avantart.pl/wp-content/uploads/2012/07/pixel-klange1.jpg', 0, 'attachment', 'image/jpeg', 0), (1070, 2, '2012-10-04 17:48:08', '2012-10-04 15:48:08', '\r\n\r\n Koprodukcja Avant Art Fesival, Wrocław; mex – experimentelle und intermediale Musikprojekte e.V., Dortmund and gerngesehen, Köln\r\n\r\nMex Gerngesehen Avant Art Project to premierowa realizacja muzyczno-performatywna, będąca koprodukcją wrocławskiego festiwalu Avant Art, dortmundzkiej organizacji Mex – intermediale und experimentelle Musikprojekte i Gerngesehen z Kolonii. To kooperacja kompozytorów, performerów i muzyków skupionych wokół kolońskiej sceny sound artu, muzyki eksperymentalnej i teatru z polskim środowiskiem muzyków tworzących w szeroko rozumianym idiomie muzyki współczesnej oraz improwizowanej. Rozszerzone techniki wokalne i performatywne używane przez kompozytorkę i performerkę Betine Wenzel, język ruchu oraz współczesny performance duetu „cri du coeur“ prowadzonego przez Fine Kwiatkowski i Willehada Grafenhorsta, obiekty dźwiękowe i sound art hansa w. kocha, synteza modularna, circuit-bending i synth-design w MAX/MSP Jokera Niesa, instrumenty dęte, saksofony oraz generatory fal Gerarda Lebika, preparowany fortepian i trąbka Piotra Damasiewicza, symfoniczne instrumenty perkusyjne z grupy idiofonów stosowane przez Wojtka Romanowskiego – to wszystko to elementy składowe, źródła dźwięku i techniki użyte w intermedialnych poszukiwaniach nad nieprzewidywalnością we wszystkich płaszczyznach kompozycji powstającej w ramach pierwszej współpracy artystów na tegorocznym Avant Art Festival.\r\n\r\nArtyści:\r\nNoGo by duo „cri du coeur“\r\nFine Kwiatkowski / Willehad Grafenhorst\r\ncrossing borders\r\nGerard Lebik / Piotr Damasiewicz / Wojciech Romanowski\r\nBettina Wenzel / hans w. koch / Joker Nies\r\n\r\nKuratorzy: Kostas Georgakopulos / Avant Art Festival; Olimpia Swist / [ su:p];\r\nMaija Julius /mex und Georg Dietzler / gerngesehen\r\n\r\nKoprodukcja wspierana przez: Ministerium für Familie, Kinder, Jugend, Kultur und Sport des Landes Nordrhein-Westfalen, NRW KULTURsekretariat, Polnisches Institut Berlin & Düsseldorf, Wrocław / Europejska Stolica Kultury 2016, Urząd Marszałkowski Dolnego śląska, Ministerstwo Kultury i Dziedzictwa Narodowego/Warszawa, Auswärtiges Amt der Bundesrepublik Deutschland, Goethe Institut\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\nwww.mexappeal.de\r\n\r\ngerardlebik.com/Mex_Gerngesehen_Avant_Art_Project_.html\r\n\r\nCo-production: Avant Art Fesival, Wrocław; mex – experimentelle und intermediale Musikprojekte e.V., Dortmund and gerngesehen, Köln\r\n\r\nPixel Klänge is a premiere hybrid arts co-production of the Wrocław festival Avant Art and the Dortmund organisation Mex – intermediale und experimentelle Musikprojekte and Gerngesehen from Koln. This is a co-operation ( of composers, performers and musicians focused around the Koln-based scene of sound art, experimental music and theatre with the Polish circle of musicians creating in the broadly understood idiom of contemporary and improvised music. The expanded vocal and performative techniques used by the performer Betina Wenzel, the language of movement and modern performance of the duo „cri du coeur“, led by Fina Kwiatkowski and Willehad Grafenhorst, sound objects and art of hans w koch, modular synthesis, circuit-bending and synth-design in MAX/MSP of Joker Nies, wind instruments, saxophone and wave generators of Gerard Lebik, self-prepared piano and trumpet of Piotr Damasiewicz, symphonic percussion instruments from the idiophone group used by Wojtek Romanowski – it all are components, sound sources and techniques used in the intermedial searches of the unpredictability on all planes of a composition, being created as part of the first encounter of artists at this year’s Avant Art Festival.\r\n\r\nArtists:\r\n\r\nNoGo by duo „cri du coeur“\r\n\r\nFine Kwiatkowski / Willehad Grafenhorst\r\n\r\ncrossing borders\r\n\r\nGerard Lebik / Piotr Damasiewicz / Wojciech Romanowski\r\n\r\nBettina Wenzel / hans w. koch / Joker Nies\r\n\r\nCurators: Kostas Georgakopulos / Avant Art Festival; Olimpia Swist / [ su:p]; Maija Julius / mex; Georg Dietzler / gerngesehen\r\n\r\nCo-production supported by: Ministerium für Familie, Kinder, Jugend, Kultur und Sport des Landes Nordrhein-Westfalen, NRW KULTURsekretariat, Polnisches Institut Berlin & Düsseldorf, Wrocław / Europejska Stolica Kultury 2016, Urząd Marszałkowski Dolnego śląska, Ministerstwo Kultury i Dziedzictwa Narodowego/Warszawa, Auswärtiges Amt der Bundesrepublik Deutschland, Goethe Institut\r\n\r\n\r\n\r\n\r\n\r\nwww.mexappeal.de\r\n\r\ngerardlebik.com/Mex_Gerngesehen_Avant_Art_Project_.html\r\n\r\n ', 'PIXEL KLÄNGEPIXEL KLÄNGE', '', 'inherit', 'closed', 'closed', '', '69-revision-26', '', '', '2012-10-04 17:48:08', '2012-10-04 15:48:08', '', 69, 'http://avantart.pl/69-revision-26/', 0, 'revision', '', 0), (1071, 2, '2012-09-26 23:07:38', '2012-09-26 21:07:38', 'Kontakt dla mediów:\r\nMagda Kotowska | magda.kotowska@highlite.pl, tel. 792 234 779\r\n\r\nKontakt dla mediów:
\r\nMagda Kotowska
\r\nmagda.kotowska@highlite.pl, tel. 792 234 779
\r\n', 'Press Room', '', 'inherit', 'closed', 'closed', '', '26-revision-38', '', '', '2012-09-26 23:07:38', '2012-09-26 21:07:38', '', 26, 'http://avantart.pl/26-revision-38/', 0, 'revision', '', 0), (1072, 2, '2012-10-09 13:20:29', '2012-10-09 11:20:29', 'Kontakt dla mediów:\r\nMagda Kotowska | magda.kotowska@highlite.pl, tel. 792 234 779\r\n\r\nKontakt dla mediów:
\r\nMagda Kotowska
\r\nmagda.kotowska@highlite.pl, tel. 792 234 779
\r\n', 'Press Room', '', 'inherit', 'closed', 'closed', '', '26-revision-39', '', '', '2012-10-09 13:20:29', '2012-10-09 11:20:29', '', 26, 'http://avantart.pl/26-revision-39/', 0, 'revision', '', 0), (1073, 2, '2012-10-09 13:22:21', '2012-10-09 11:22:21', 'Kontakt dla mediów:\r\nMagda Kotowska | magda.kotowska@highlite.pl, tel. 792 234 779\r\n\r\nKontakt dla mediów:
\r\nMagda Kotowska
\r\nmagda.kotowska@highlite.pl, tel. 792 234 779
\r\n', 'Press Room', '', 'inherit', 'closed', 'closed', '', '26-revision-40', '', '', '2012-10-09 13:22:21', '2012-10-09 11:22:21', '', 26, 'http://avantart.pl/26-revision-40/', 0, 'revision', '', 0), (1074, 2, '2012-10-09 13:29:00', '2012-10-09 11:29:00', 'Kontakt dla mediów:\r\nMagda Kotowska | magda.kotowska@highlite.pl, tel. 792 234 779\r\n\r\nKontakt dla mediów:
\r\nMagda Kotowska
\r\nmagda.kotowska@highlite.pl, tel. 792 234 779
\r\n', 'Press Room', '', 'inherit', 'closed', 'closed', '', '26-revision-41', '', '', '2012-10-09 13:29:00', '2012-10-09 11:29:00', '', 26, 'http://avantart.pl/26-revision-41/', 0, 'revision', '', 0), (1075, 2, '2012-10-09 13:42:30', '2012-10-09 11:42:30', 'Kontakt dla mediów:\r\nMagda Kotowska | magda.kotowska@highlite.pl, tel. 792 234 779\r\n\r\nKontakt dla mediów:
\r\nMagda Kotowska
\r\nmagda.kotowska@highlite.pl, tel. 792 234 779
\r\n', 'Press Room', '', 'inherit', 'closed', 'closed', '', '26-revision-42', '', '', '2012-10-09 13:42:30', '2012-10-09 11:42:30', '', 26, 'http://avantart.pl/26-revision-42/', 0, 'revision', '', 0); INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (1076, 2, '2012-10-09 13:45:47', '2012-10-09 11:45:47', 'Kontakt dla mediów:\r\nMagda Kotowska | magda.kotowska@highlite.pl, tel. 792 234 779\r\n\r\nKontakt dla mediów:
\r\nMagda Kotowska
\r\nmagda.kotowska@highlite.pl, tel. 792 234 779
\r\n', 'Press Room', '', 'inherit', 'closed', 'closed', '', '26-revision-43', '', '', '2012-10-09 13:45:47', '2012-10-09 11:45:47', '', 26, 'http://avantart.pl/26-revision-43/', 0, 'revision', '', 0), (1077, 2, '2012-10-09 13:46:33', '2012-10-09 11:46:33', 'Kontakt dla mediów:\r\nMagda Kotowska | magda.kotowska@highlite.pl, tel. 792 234 779\r\n\r\nKontakt dla mediów:
\r\nMagda Kotowska
\r\nmagda.kotowska@highlite.pl, tel. 792 234 779
\r\n', 'Press Room', '', 'inherit', 'closed', 'closed', '', '26-revision-44', '', '', '2012-10-09 13:46:33', '2012-10-09 11:46:33', '', 26, 'http://avantart.pl/26-revision-44/', 0, 'revision', '', 0), (1078, 2, '2012-10-09 13:47:25', '2012-10-09 11:47:25', 'Kontakt dla mediów:\r\nMagda Kotowska | magda.kotowska@highlite.pl, tel. 792 234 779\r\n\r\nKontakt dla mediów:
\r\nMagda Kotowska
\r\nmagda.kotowska@highlite.pl, tel. 792 234 779
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\r\nThe experimental music group Nanoschlaf from Cologne meets the Polish dancers, David Lorenc, Filip Szatarski and Radek Hewelt. This inter-disciplinary meeting of improvised music and improvised dance is one of the premiere co-production projects of the fifth edition of the festival, presenting German art in a wider scope. Nanoschlaf specialize in merging acoustic and electronic music together, both, sound-wise and structural-wise. All the members of the group, who move somewhere between new music, electronic avant-garde and improvised music, are characterized by great passion and joy of experimenting with unknown sounds, structures or spaces. Also the dancers Lorenc/Szatarski/Hewelt tirelessly seek out new challenges, since quite a long time surpass the borders of their profession. The centre of their attention is focused on, both, fathoming the musicality of the body, the transformation of the musical merging of the body and mind, leading to a better quality of the movement, as well as investigating the dynamics in space. The dancers, using the body as a sensor, which receives and sends out information during the performance, will allow the organic and compositional structures to come to be. The structures and co-relations created between the artists will be consolidated, will undergo transformation, in order to fall apart, and all that in order to unravel the hidden tension via the accumulated energy of sound and body in a few moments.
\r\nArtists:
\r\nMatthias Muche – trombone
\r\nPhilip Zoubek – piano
\r\nSven Hahne – laptop, electronics
\r\nAchim Tang – double bass
\r\nChristian Thomé – drums, laptop
\r\nDawid Lorenc – dancer, choreographer
\r\nRadek Hewelt – dancer, choreographer
\r\nFilip Szatarski – dancer, choreographer
\r\nAnna Moser – project curator
\r\nCurator: Anna Moser /Avant Art Festival
\r\nCo-production supported by: SK Stiftung Kultur, ON Netzwerk Neue Musik Köln, Ministerium für Familie, Kinder, Jugend, Kultur und Sport des Landes Nordrhein-Westfalen, NRW KULTURsekretariat, Kunststiftung NRW, Polnisches Institut Berlin & Düsseldorf, Stiftung für deutsch-polnische Zusammenarbeit, Wrocław / European Culture Capital 2016, Lower Silesian Marshall Office, the Ministry of Culture and National Heritage / Warsaw, Auswärtiges Amt der Bundesrepublik Deutschland, Goethe Institut
\r\n\r\n', ' Nanoschlaf meets Lorenc/Szatarski/ Hewelt Nanoschlaf meets Lorenc/Szatarski/ Hewelt', '', 'inherit', 'closed', 'closed', '', '481-revision-16', '', '', '2012-09-25 10:31:50', '2012-09-25 08:31:50', '', 481, 'http://avantart.pl/481-revision-16/', 0, 'revision', '', 0), (1084, 2, '2012-10-10 13:19:54', '2012-10-10 11:19:54', '\r\n\r\nKoprodukcja Avant Art Festival & TIMEART\r\n\r\nEksperymentalna formacja muzyczna Nanoschlaf z Kolonii spotka się z polskimi tancerzami Dawidem Lorencem, Filipem Szatarskim i Radkiem Heweltem. To interdyscyplinarne spotkanie improwizowanej muzyki i improwizowanego tańca jest jednym z premierowych koprodukcyjnych projektów w ramach piątej edycji festiwalu, prezentującej w szerokim wymiarze niemiecką sztukę. Nanoschlaf specjalizuje się w zarówno dźwiękowym, jak i strukturalnym stapianiu ze sobą muzyki akustycznej i elektronicznej. Wszystkich członków formacji poruszających się gdzieś między nową muzyką, elektroniczną awangardą i muzyką improwizowaną, charakteryzuje ogromna pasja i radość eksperymentowania z nieznanymi dźwiękami, strukturami czy przestrzeniami. Także niestrudzenie poszukujący nowych wyzwań tancerze Lorenc/Szatarski/Hewelt już od dłuższego czasu przekraczają interdyscyplinarnie ramy swej profesji. Centrum ich uwagi skupia się zarówno na zgłębianiu muzykalności ciała, transformacji muzycznego połączenia ciała i umysłu, prowadzącej ku lepszej jakości ruchu, jak i badania dynamiki w przestrzeni. Tancerze, posługując się ciałem jako czujnikiem, który w trakcie performansu odbiera i wysyła informacje, pozwolą zaistnieć organicznym i kompozycyjnym strukturom. Powstające między artystami struktury i korelacje będą się utwierdzać, ulegną transformacji, aby się rozpaść, a wszystko po to, by za chwilę zdemaskować ukryte napięcie poprzez skumulowaną energię dźwięku i ciała.\r\n\r\nArtyści:\r\nMatthias Muche - puzon\r\nPhilip Zoubek - fortepian\r\nSven Hahne - laptop, elektronika\r\nAchim Tang - kontrabas\r\nChristian Thomé - perkusja, laptop\r\nDawid Lorenc – tancerz, choreograf\r\nRadek Hewelt - tancerz, choreograf\r\nFilip Szatarski - tancerz, choreograf\r\nAnna Moser – kurator projektu\r\n\r\nKurator: Anna Moser /Avant Art Festival\r\n\r\nKoprodukcja wspierana przez: SK Stiftung Kultur, ON Netzwerk Neue Musik Köln, Ministerium für Familie, Kinder, Jugend, Kultur und Sport des Landes Nordrhein-Westfalen, NRW KULTURsekretariat, Kunststiftung NRW, Polnisches Institut Berlin & Düsseldorf, Stiftung für deutsch-polnische Zusammenarbeit, Wrocław / Europejska Stolica Kultury 2016, Urząd Marszałkowski Dolnego śląska, Ministerstwo Kultury i Dziedzictwa Narodowego/Warszawa, Auswärtiges Amt der Bundesrepublik Deutschland, Goethe Institut\r\n\r\nwww.zeitkunst.eu\r\nA Co-production of Avant Art Festival & TIMEART
\r\nThe experimental music group Nanoschlaf from Cologne meets the Polish dancers, David Lorenc, Filip Szatarski and Radek Hewelt. This inter-disciplinary meeting of improvised music and improvised dance is one of the premiere co-production projects of the fifth edition of the festival, presenting German art in a wider scope. Nanoschlaf specialize in merging acoustic and electronic music together, both, sound-wise and structural-wise. All the members of the group, who move somewhere between new music, electronic avant-garde and improvised music, are characterized by great passion and joy of experimenting with unknown sounds, structures or spaces. Also the dancers Lorenc/Szatarski/Hewelt tirelessly seek out new challenges, since quite a long time surpass the borders of their profession. The centre of their attention is focused on, both, fathoming the musicality of the body, the transformation of the musical merging of the body and mind, leading to a better quality of the movement, as well as investigating the dynamics in space. The dancers, using the body as a sensor, which receives and sends out information during the performance, will allow the organic and compositional structures to come to be. The structures and co-relations created between the artists will be consolidated, will undergo transformation, in order to fall apart, and all that in order to unravel the hidden tension via the accumulated energy of sound and body in a few moments.
\r\nArtists:
\r\nMatthias Muche – trombone
\r\nPhilip Zoubek – piano
\r\nSven Hahne – laptop, electronics
\r\nAchim Tang – double bass
\r\nChristian Thomé – drums, laptop
\r\nDawid Lorenc – dancer, choreographer
\r\nRadek Hewelt – dancer, choreographer
\r\nFilip Szatarski – dancer, choreographer
\r\nAnna Moser – project curator
\r\nCurator: Anna Moser /Avant Art Festival
\r\nCo-production supported by: SK Stiftung Kultur, ON Netzwerk Neue Musik Köln, Ministerium für Familie, Kinder, Jugend, Kultur und Sport des Landes Nordrhein-Westfalen, NRW KULTURsekretariat, Kunststiftung NRW, Polnisches Institut Berlin & Düsseldorf, Stiftung für deutsch-polnische Zusammenarbeit, Wrocław / European Culture Capital 2016, Lower Silesian Marshall Office, the Ministry of Culture and National Heritage / Warsaw, Auswärtiges Amt der Bundesrepublik Deutschland, Goethe Institut
\r\n\r\n', ' Nanoschlaf meets Lorenc/Szatarski/ Hewelt Nanoschlaf meets Lorenc/Szatarski/ Hewelt', '', 'inherit', 'closed', 'closed', '', '481-revision-17', '', '', '2012-10-10 13:19:54', '2012-10-10 11:19:54', '', 481, 'http://avantart.pl/481-revision-17/', 0, 'revision', '', 0), (1085, 2, '2012-10-10 13:20:52', '2012-10-10 11:20:52', '\r\n\r\nKoprodukcja Avant Art Festival & TIMEART\r\n\r\nEksperymentalna formacja muzyczna Nanoschlaf z Kolonii spotka się z polskimi tancerzami Dawidem Lorencem, Filipem Szatarskim i Radkiem Heweltem. To interdyscyplinarne spotkanie improwizowanej muzyki i improwizowanego tańca jest jednym z premierowych koprodukcyjnych projektów w ramach piątej edycji festiwalu, prezentującej w szerokim wymiarze niemiecką sztukę. Nanoschlaf specjalizuje się w zarówno dźwiękowym, jak i strukturalnym stapianiu ze sobą muzyki akustycznej i elektronicznej. Wszystkich członków formacji poruszających się gdzieś między nową muzyką, elektroniczną awangardą i muzyką improwizowaną, charakteryzuje ogromna pasja i radość eksperymentowania z nieznanymi dźwiękami, strukturami czy przestrzeniami. Także niestrudzenie poszukujący nowych wyzwań tancerze Lorenc/Szatarski/Hewelt już od dłuższego czasu przekraczają interdyscyplinarnie ramy swej profesji. Centrum ich uwagi skupia się zarówno na zgłębianiu muzykalności ciała, transformacji muzycznego połączenia ciała i umysłu, prowadzącej ku lepszej jakości ruchu, jak i badania dynamiki w przestrzeni. Tancerze, posługując się ciałem jako czujnikiem, który w trakcie performansu odbiera i wysyła informacje, pozwolą zaistnieć organicznym i kompozycyjnym strukturom. Powstające między artystami struktury i korelacje będą się utwierdzać, ulegną transformacji, aby się rozpaść, a wszystko po to, by za chwilę zdemaskować ukryte napięcie poprzez skumulowaną energię dźwięku i ciała.\r\n\r\nArtyści:\r\nMatthias Muche - puzon\r\nPhilip Zoubek - fortepian\r\nSven Hahne - laptop, elektronika\r\nAchim Tang - kontrabas\r\nChristian Thomé - perkusja, laptop\r\nDawid Lorenc – tancerz, choreograf\r\nRadek Hewelt - tancerz, choreograf\r\nFilip Szatarski - tancerz, choreograf\r\nAnna Moser – kurator projektu\r\n\r\nKurator: Anna Moser /Avant Art Festival\r\n\r\nKoprodukcja wspierana przez: SK Stiftung Kultur, ON Netzwerk Neue Musik Köln, Ministerium für Familie, Kinder, Jugend, Kultur und Sport des Landes Nordrhein-Westfalen, NRW KULTURsekretariat, Kunststiftung NRW, Polnisches Institut Berlin & Düsseldorf, Stiftung für deutsch-polnische Zusammenarbeit, Wrocław / Europejska Stolica Kultury 2016, Urząd Marszałkowski Dolnego śląska, Ministerstwo Kultury i Dziedzictwa Narodowego/Warszawa, Auswärtiges Amt der Bundesrepublik Deutschland, Goethe Institut\r\n\r\nwww.zeitkunst.eu\r\n\r\nA Co-production of Avant Art Festival & TIMEART\r\n\r\nThe experimental music group Nanoschlaf from Cologne meets the Polish dancers, David Lorenc, Filip Szatarski and Radek Hewelt. This inter-disciplinary meeting of improvised music and improvised dance is one of the premiere co-production projects of the fifth edition of the festival, presenting German art in a wider scope. Nanoschlaf specialize in merging acoustic and electronic music together, both, sound-wise and structural-wise. All the members of the group, who move somewhere between new music, electronic avant-garde and improvised music, are characterized by great passion and joy of experimenting with unknown sounds, structures or spaces. Also the dancers Lorenc/Szatarski/Hewelt tirelessly seek out new challenges, since quite a long time surpass the borders of their profession. The centre of their attention is focused on, both, fathoming the musicality of the body, the transformation of the musical merging of the body and mind, leading to a better quality of the movement, as well as investigating the dynamics in space. The dancers, using the body as a sensor, which receives and sends out information during the performance, will allow the organic and compositional structures to come to be. The structures and co-relations created between the artists will be consolidated, will undergo transformation, in order to fall apart, and all that in order to unravel the hidden tension via the accumulated energy of sound and body in a few moments.\r\n\r\nArtists:\r\n\r\nMatthias Muche – trombone\r\n\r\nPhilip Zoubek – piano\r\n\r\nSven Hahne – laptop, electronics\r\n\r\nAchim Tang – double bass\r\n\r\nChristian Thomé – drums, laptop\r\n\r\nDawid Lorenc – dancer, choreographer\r\n\r\nRadek Hewelt – dancer, choreographer\r\n\r\nFilip Szatarski – dancer, choreographer\r\n\r\nAnna Moser – project curator\r\n\r\nCurator: Anna Moser /Avant Art Festival\r\n\r\nCo-production supported by: SK Stiftung Kultur, ON Netzwerk Neue Musik Köln, Ministerium für Familie, Kinder, Jugend, Kultur und Sport des Landes Nordrhein-Westfalen, NRW KULTURsekretariat, Kunststiftung NRW, Polnisches Institut Berlin & Düsseldorf, Stiftung für deutsch-polnische Zusammenarbeit, Wrocław / European Culture Capital 2016, Lower Silesian Marshall Office, the Ministry of Culture and National Heritage / Warsaw, Auswärtiges Amt der Bundesrepublik Deutschland, Goethe Institut\r\n\r\nwww.zeitkunst.eu', ' Nanoschlaf meets Lorenc/Szatarski/ Hewelt Nanoschlaf meets Lorenc/Szatarski/ Hewelt', '', 'inherit', 'closed', 'closed', '', '481-revision-18', '', '', '2012-10-10 13:20:52', '2012-10-10 11:20:52', '', 481, 'http://avantart.pl/481-revision-18/', 0, 'revision', '', 0), (1087, 1, '2012-10-10 16:10:13', '2012-10-10 14:10:13', 'DEFIBRILLATOR PETER BRÖTZMANN\r\n', 'GaleriaGallery', '', 'publish', 'closed', 'closed', '', 'galeria', '', '', '2012-10-10 16:19:22', '2012-10-10 14:19:22', '', 12, 'http://avantart.pl/?page_id=1087', 0, 'page', '', 0), (1088, 1, '2012-10-10 16:09:32', '2012-10-10 14:09:32', '', 'GaleriaGallery', '', 'inherit', 'closed', 'closed', '', '1087-revision', '', '', '2012-10-10 16:09:32', '2012-10-10 14:09:32', '', 1087, 'http://avantart.pl/1087-revision/', 0, 'revision', '', 0), (1089, 1, '2012-10-10 16:12:30', '2012-10-10 14:12:30', 'fot. Joanna Stoga\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n', 'DEFIBRILLATOR PETER BRÖTZMANNDEFIBRILLATOR PETER BRÖTZMANN', '', 'publish', 'closed', 'closed', '', 'defibrillator-peter-brotzmann', '', '', '2012-10-17 09:22:01', '2012-10-17 07:22:01', '', 1087, 'http://avantart.pl/?page_id=1089', 0, 'page', '', 0), (1090, 1, '2012-10-10 16:12:16', '2012-10-10 14:12:16', 'fot. Joanna Stoga\n\nThe 5th edition of AVANT ART FESTIVAL is already behind us. The biggest celebration of German music and art took place between October 2-7 in Wrocław; the celebration which included performances by, among others, the music legend – DAF, Moritz von Oswald trio, Denseland or the Raster-Noton and Project: Mooncircle label artists. However, this is not the end. Avant Art crosses the country borders for the first time. After the September presentation during the Berlin Music Week, this time it will present its showcases in Berlin (16.10) and Cologne (18, 19.10). The presentations of the festival abroad are a part of the “Avant Art Festival Polen – Niemcy” project, which is aimed at promoting Polish-German co-productions which were created especially against the order of the Avant Art foundation.
\r\n', 'Showcase’y Avant Art Festival w Berlinie i Kolonii!Avant Art Festival showcases in Berlin and Cologne!', '', 'publish', 'closed', 'closed', '', 'showcasey-avant-art-festival-w-berlinie-i-kolonii', '', '', '2012-10-19 13:13:42', '2012-10-19 11:13:42', '', 0, 'http://avantart.pl/?p=1100', 0, 'post', '', 0), (1101, 2, '2012-10-12 12:53:07', '2012-10-12 10:53:07', 'Za nami 5. edycja AVANT ART FESTIVAL. W dniach 2- 7 października we Wrocławiu odbyło się największe święto niemieckiej muzyki i sztuki, podczas którego wystąpili m.in. legenda muzyki – DAF, Moritz von Oswald Trio, Denseland czy artyści wytwórni Raster-Noton i Project: Mooncircle. Na tym jednak nie koniec. Avant Art po raz pierwszy wychodzi za granicę. Po wrześniowej prezentacji na Berlin Music Week, tym razem pokaże swoje showcase’y w Berlinie (16.10) i w Kolonii (18, 19.10). Prezentacje festiwalu za granicą to część projektu „Avant Art Festival Polen – Niemcy”, który ma celu promocję polsko – niemieckich koprodukcji powstałych specjalnie na zamówienie fundacji Avant Art.The main assumption of the Avant Art Festival Polen-Niemcy 2012 project is the presentation and promotion of Polish-German performative arts projects, produced especially against order of the Avant Art Foundation. These productions are key elements of the programme, created especially for the needs of the Avant Art Festival, which will take place in Wrocław between October 2nd-7th, 2012. They are innovative productions of modern art with contribution from the stars of the German performative scene; each production is a premiere. A vital assumption is the common creative process which results with the premiere, Polish-German co-productions.
\n\nPROGRAMME
\nBERLIN:
\nOctober 16th
\nLocation: Kesselhaus – KulturBrauere, Berlin
\nhttp://www.kesselhaus-berlin.de/main.php
\n20.00 o’clock
\n“Pixel Klänge”
\ncrossing borders und NoGo by duo “cri du coeur “
\nA co-production of AVANT ART FESTVAL, MEX i GERNGESEHEN
\n"Nanoschlaf meets Lorenc/Szatarski/Hewelt "
\nA co-production of AVANT ART i TIMEART
KÖLN:
\nOctober 18th
\nLocation: Stadtgarten Koeln, Venloer Str. 40, Köln
\nhttp://www.stadtgarten.de
\n20:30 o’clock
\n"Nanoschlaf meets Lorenc/Szatarski/Hewelt "
\nA co-production of AVANT ART i TIMEART
October 19th
\n1. Location: Hochschule für Musik und Tanz / ZZT , Turmstrasse Str. 3-5 Köln
\nhttp://zzt.hfmt-koeln.de/
\n14.30 - 18.30
\nA workshop conducted by Kölner Experimental-Band "Nanoschlaf” and Polish dancers: David Lorenc, Filip Szatarski and Radek Hewelt
\n2. Location: Alte Feuerwache, Melchiorstr. 3,Köln
\nhttp://www.altefeuerwachekoeln.de/index.php
\n20.00 o’clock
\n2g "in/between"
\nA production of AVANT ART FESTVAL
\n“Pixel Klänge”
\ncrossing borders und NoGo by duo “cri du coeur “
\nA co-production of AVANT ART FESTVAL, MEX i GERNGESEHEN
The 5th edition of AVANT ART FESTIVAL is already behind us. The biggest celebration of German music and art took place between October 2-7 in Wrocław; the celebration which included performances by, among others, the music legend – DAF, Moritz von Oswald trio, Denseland or the Raster-Noton and Project: Mooncircle label artists. However, this is not the end. Avant Art crosses the country borders for the first time. After the September presentation during the Berlin Music Week, this time it will present its showcases in Berlin (16.10) and Cologne (18, 19.10). The presentations of the festival abroad are a part of the “Avant Art Festival Polen – Niemcy” project, which is aimed at promoting Polish-German co-productions which were created especially against the order of the Avant Art foundation.
\n', 'Showcase’y Avant Art Festival w Berlinie i Kolonii!Avant Art Festival showcases in Berlin and Cologne!', '', 'inherit', 'closed', 'closed', '', '1100-autosave', '', '', '2012-10-19 11:49:32', '2012-10-19 09:49:32', '', 1100, 'http://avantart.pl/1100-autosave/', 0, 'revision', '', 0), (1149, 2, '2012-10-12 13:19:39', '2012-10-12 11:19:39', '\r\n\r\nZa nami 5. edycja AVANT ART FESTIVAL. W dniach 2- 7 października we Wrocławiu odbyło się największe święto niemieckiej muzyki i sztuki, podczas którego wystąpili m.in. legenda muzyki – DAF, Moritz von Oswald Trio, Denseland czy artyści wytwórni Raster-Noton i Project: Mooncircle. Na tym jednak nie koniec. Avant Art po raz pierwszy wychodzi za granicę. Po wrześniowej prezentacji na Berlin Music Week, tym razem pokaże swoje showcase’y w Berlinie (16.10) i w Kolonii (18, 19.10). Prezentacje festiwalu za granicą to część projektu „Avant Art Festival Polen – Niemcy”, który ma celu promocję polsko – niemieckich koprodukcji powstałych specjalnie na zamówienie fundacji Avant Art. \r\n', 'Showcase’y Avant Art Festival w Berlinie i Kolonii!', '', 'inherit', 'closed', 'closed', '', '1100-revision-3', '', '', '2012-10-12 13:19:39', '2012-10-12 11:19:39', '', 1100, 'http://avantart.pl/1100-revision-3/', 0, 'revision', '', 0), (1150, 2, '2012-10-18 13:30:11', '2012-10-18 11:30:11', '(…) Avant Art - festiwal, który wagą swojego tegorocznego line-upu, bije na łeb na szyję inne - zapatrzone w aktualność - inicjatywy tego typu; wydarzenia, którego części składowe składają się na pełną i do głębi przemyślaną panoramę współczesnej muzyki niemieckiej (…)\r\nFilip Kalinowski, Aktivist\r\n\r\nWiecej\r\n', '5. AVANT ART „Niemcy” – pierwsze relacje z festiwalu', '', 'publish', 'closed', 'closed', '', '5-avant-art-niemcy-pierwsze-relacje-z-festiwalu', '', '', '2012-10-18 13:39:32', '2012-10-18 11:39:32', '', 0, 'http://avantart.pl/?p=1150', 0, 'post', '', 0), (1151, 2, '2012-10-18 13:27:56', '2012-10-18 11:27:56', '(…) Avant Art - festiwal, który wagą swojego tegorocznego line-upu, bije na łeb na szyję inne - zapatrzone w aktualność - inicjatywy tego typu; wydarzenia, którego części składowe składają się na pełną i do głębi przemyślaną panoramę współczesnej muzyki niemieckiej (…) Więcej\nFilip Kalinowski, Aktivist\n\nOrganizatorzy przygotowali jednak crème de la crème na weekend. Showcase Raster-Noton, czy kończący festiwal występ Moritz von Oswald Trio było czymś na co czekałem od samego początku. Więcej\nJakub Kempiński, VICE \nThe 5th edition of AVANT ART FESTIVAL is already behind us. The biggest celebration of German music and art took place between October 2-7 in Wrocław; the celebration which included performances by, among others, the music legend – DAF, Moritz von Oswald trio, Denseland or the Raster-Noton and Project: Mooncircle label artists. However, this is not the end. Avant Art crosses the country borders for the first time. After the September presentation during the Berlin Music Week, this time it will present its showcases in Berlin (16.10) and Cologne (18, 19.10). The presentations of the festival abroad are a part of the “Avant Art Festival Polen – Niemcy” project, which is aimed at promoting Polish-German co-productions which were created especially against the order of the Avant Art foundation.
\r\n', 'Showcase’y Avant Art Festival w Berlinie i Kolonii!Avant Art Festival showcases in Berlin and Cologne!', '', 'inherit', 'closed', 'closed', '', '1100-revision-6', '', '', '2012-10-19 11:28:16', '2012-10-19 09:28:16', '', 1100, 'http://avantart.pl/1100-revision-6/', 0, 'revision', '', 0), (1171, 2, '2012-10-19 11:48:29', '2012-10-19 09:48:29', '\r\n\r\nZa nami 5. edycja AVANT ART FESTIVAL. W dniach 2- 7 października we Wrocławiu odbyło się największe święto niemieckiej muzyki i sztuki, podczas którego wystąpili m.in. legenda muzyki – DAF, Moritz von Oswald Trio, Denseland czy artyści wytwórni Raster-Noton i Project: Mooncircle. Na tym jednak nie koniec. Avant Art po raz pierwszy wychodzi za granicę. Po wrześniowej prezentacji na Berlin Music Week, tym razem pokaże swoje showcase’y w Berlinie (16.10) i w Kolonii (18, 19.10). Prezentacje festiwalu za granicą to część projektu „Avant Art Festival Polen – Niemcy”, który ma celu promocję polsko – niemieckich koprodukcji powstałych specjalnie na zamówienie fundacji Avant Art. \r\nThe 5th edition of AVANT ART FESTIVAL is already behind us. The biggest celebration of German music and art took place between October 2-7 in Wrocław; the celebration which included performances by, among others, the music legend – DAF, Moritz von Oswald trio, Denseland or the Raster-Noton and Project: Mooncircle label artists. However, this is not the end. Avant Art crosses the country borders for the first time. After the September presentation during the Berlin Music Week, this time it will present its showcases in Berlin (16.10) and Cologne (18, 19.10). The presentations of the festival abroad are a part of the “Avant Art Festival Polen – Niemcy” project, which is aimed at promoting Polish-German co-productions which were created especially against the order of the Avant Art foundation.
\r\n', 'Showcase’y Avant Art Festival w Berlinie i Kolonii!Avant Art Festival showcases in Berlin and Cologne!', '', 'inherit', 'closed', 'closed', '', '1100-revision-7', '', '', '2012-10-19 11:48:29', '2012-10-19 09:48:29', '', 1100, 'http://avantart.pl/1100-revision-7/', 0, 'revision', '', 0), (1173, 2, '2012-11-12 23:35:00', '2012-11-12 22:35:00', '22-24.11.2012 / Klub Firlej / ul. Grabiszyńska 56\r\nWstęp na zasadzie „pay as you wish”, czyli płacisz, ile chcesz!\r\n\r\nALPENGLOW III / Graz & Styria meets Wrocław to międzynarodowe spotkanie 24 muzyków sceny improwizowanej, elektroakustycznej i awangardowej z Austrii (Graz) i Polski (Wrocław / Warszawa). To również swoisty projekt edukacyjny, mający na celu przedstawienie pracy warsztatowej muzyków pochodzących nie tylko z różnych krajów, ale także z różnych środowisk artystycznych.\r\n\r\nBędzie to trzecia odsłona projektu ALPENGLOW, który wcześniej był już realizowany w Kolonii (2009) i Londynie (2010). Dla fundacji Avant Art szczególnie ważna jest kolaboracja z muzykami kolońskimi, gdyż nawiązuje do współpracy ze sceną kolońską, jaka miała miejsce w ramach projektów Pixel Klange i Timeart podczas tegorocznego Avant Art Festival.\r\n\r\nKoncerty odbywać się będą w Klubie Firlej od 22 do 24 listopada. Muzycy, którzy nigdy nie występowali razem na jednej scenie, po raz pierwszy staną na niej wszyscy, by stworzyć projekt nieprzewidywalny w skutkach. W czwartek i piątek będzie można posłuchać improwizacji w sekstetach. W sobotę natomiast będzie mieć miejsce finał, podczas którego pod nazwą The Big Wrocław-Styrian Orchestra zagrają wspólnie wszyscy, czyli 24 muzyków biorących udział w ALPENGLOW.\r\n\r\nTen niezwykły w skali Polski i Europy projekt będzie też miał swoją kontynuację w kwietniu podczas V:NM Festival w Grazu.\r\n\r\n22.11.2012 / godz. 20:00\r\n\r\n1 / Gernot Tutner (elektronika), Bartłomiej Kuźniak (gitara basowa), Piotr Damasiewicz (trąbka), Seppo Gruendler (gitara, elektronika), Heimo Puschingg (fortepian), Franz Schmuck (perkusja)\r\n\r\n2 / Cezary Duchnowski (fortepian, elektronika), Mia Zabelka (skrzypce), Annette Giesriegl (wokal), Anna Zaradny (saksofon altowy, elektronika), Manfred Stern (flet), Zbigniew Kozera (kontrabas)\r\n\r\n23.11.2012 / godz. 20:00\r\n\r\n1 / Henrik Sande (fortepian, gitara), Denovaire (esraj), Wacław Zimpel (klarnet, klarnet basowy), Paweł Romańczuk (małe instrumenty), Katharina Klement (fortepian, elektronika), Martin Zrost (reeds, elektronika)\r\n\r\n2 / Elisabeth Harnik (fortepian), Michael Pinter (elektronika), Gerard Lebik (reeds, elektronika), Armin Pokorn (gitara), Kostas Georgakopulos (wokal, syntezator), Josef Klammer (perkusja, elektronika)\r\n\r\n24.11.2012 / godz. 22:00\r\n\r\nThe Big Wrocław-Styrian Orchestra / Koncert wszystkich 24 muzyków projektu!\r\n\r\nWięcej o muzykach...\r\n\r\nOrganizatorzy: V: NM / fundacja Avant Art / Klub Firlej\r\nPartner główny: Instytut Polski Wiedeń\r\nPartnerzy: ESK 2016, Kultur Steiermark, Graz Kultur, Jazztopad\r\nKurator: Anna Moser – Instytut Polski Wiedeń\r\nDyrektorzy artystyczni: Josef Klammer – V: NM / Kostas Georgakopulos – Fundacja Avant Art\r\nProducent: Robert Chmielewski – Klub Firlej\r\n\r\nwww.vnm.mur.at / www.avantart.pl / www.firlej.wroc.pl\r\n\r\n22–24.11.2012 / Firlej Club / ul. Grabiszyńska 56
\r\nEntrance: pay as you wish!
ALPENGLOW III / Graz & Styria meets Wrocław is an international improvised music summit mixing leading players from Styria in Austria with a wide range of top-draw musicians from Wrocław / Poland. Embracing a true spirit of experimentation, this extended weekend of performance will mix many artists who, until now, have never shared a stage together to create unexpected and unpredictable results.
\r\n22.11.2012 / 8:00 PM
\r\n1 / Gernot Tutner (electronics), Bartłomiej Kuźniak (bass), Piotr Damasiewicz (trumpet), Seppo
\r\nGruendler (guitar, electronics), Heimo Puschingg (piano), Franz Schmuck (drums)
2 / Cezary Duchnowski (piano, electronics), Mia Zabelka (violin), Annette Giesriegl (vocals), Anna Zaradny (alto saxophone, electronics), Manfred Stern (flute), Zbigniew Kozera (double bass)
\r\n23.11.2012 / 8:00 PM
\r\n1 / Henrik Sande (piano, guitar), Denovaire (esraj), Wacław Zimpel (clarinet, bass clarinet), Paweł Romańczuk (small instruments), Katharina Klement (piano, electronics), Martin Zrost (reeds, electronics)
\r\n2 / Elisabeth Harnik (piano), Michael Pinter (electronics), Gerard Lebik (reeds, electronics), Armin Pokorn (guitar), Kostas Georgakopulos (vocals, synthsizer), Josef Klammer (drums, electronics)
\r\n24.11.2012 / 10:00 PM
\r\nThe Big Wroclaw-Styrian Orchestra / Concert of all 24 musicians
\r\n\r\n', 'Fundacja Avant Art, Klub Firlej oraz V:MN (Graz) zapraszają!ALPENGLOW III / Graz & Styria meets Wrocław', '', 'publish', 'closed', 'closed', '', 'alpenglow-iii-graz-styria-meets-wroclaw', '', '', '2012-11-18 22:08:27', '2012-11-18 21:08:27', '', 0, 'http://avantart.pl/?page_id=1173', 0, 'page', '', 0), (1174, 2, '2012-11-12 23:34:52', '2012-11-12 22:34:52', '22-24.11.2012 / Klub Firlej / ul. Grabiszyńska 56\nWstęp na zasadzie „pay as you wish”, czyli płacisz, ile chcesz!\n\nALPENGLOW III / Graz & Styria meets Wrocław to międzynarodowe spotkanie 24 muzyków sceny improwizowanej, elektroakustycznej i awangardowej z Austrii (Graz) i Polski (Wrocław / Warszawa). To również swoisty projekt edukacyjny, mający na celu przedstawienie pracy warsztatowej muzyków pochodzących nie tylko z różnych krajów, ale także z różnych środowisk artystycznych.\n\nBędzie to trzecia odsłona projektu ALPENGLOW, który wcześniej był już realizowany w Kolonii (2009) i Londynie (2010). Dla Fundacji Avant Art szczególnie ważna jest kolaboracja z muzykami kolońskimi, gdyż nawiązuje do współpracy ze sceną kolońską, jaka miała miejsce w ramach projektów Pixel Klange i Timeart podczas tegorocznego Avant Art Festival.\n\nKoncerty odbywać się będą w Klubie Firlej od 22 do 24 listopada. Muzycy, którzy nigdy nie występowali razem na jednej scenie, po raz pierwszy staną na niej wszyscy, by stworzyć projekt nieprzewidywalny w skutkach. W czwartek i piątek będzie można posłuchać improwizacji w sekstetach. W sobotę natomiast będzie mieć miejsce finał, podczas którego pod nazwą The Big Wrocław-Styrian Orchestra zagrają wspólnie wszyscy, czyli 24 muzyków biorących udział w ALPENGLOW.\n\nTen niezwykły w skali Polski i Europy projekt będzie też miał swoją kontynuację w kwietniu podczas V:NM Festival w Grazu.\n\n22.11.2012 / godz. 20:00\n\n1 / Gernot Tutner (elektronika), Bartłomiej Kuźniak (gitara basowa), Piotr Damasiewicz (trąbka), Seppo Gruendler (gitara, elektronika), Heimo Puschingg (fortepian), Franz Schmuck (perkusja)\n\n2 / Cezary Duchnowski (fortepian, elektronika), Mia Zabelka (skrzypce), Annette Giesriegl (wokal), Anna Zaradny (saksofon altowy, elektronika), Manfred Stern (flet), Zbigniew Kozera (kontrabas)\n\n23.11.2012 / godz. 20:00\n\n1 / Henrik Sande (fortepian, gitara), Denovaire (esraj), Wacław Zimpel (klarnet, klarnet basowy), Paweł Romańczuk (małe instrumenty), Katharina Klement (fortepian, elektronika), Martin Zrost (reeds, elektronika)\n\n2 / Elisabeth Harnik (fortepian), Michael Pinter (elektronika), Gerard Lebik (reeds, elektronika), Armin Pokorn (gitara), Kostas Georgakopulos (wokal, syntezator), Josef Klammer (perkusja, elektronika)\n\n24.11.2012 / godz. 22:00\n\nThe Big Wrocław-Styrian Orchestra / Koncert wszystkich 24 muzyków projektu!\n\nOrganizatorzy: V: NM / Fundacja Avant Art / Klub Firlej\nPartner główny: Polski Instytut w Wiedniu\nPartnerzy: ESK 2016, Kultur Steiermark, Graz Kultur, Jazztopad\nKurator: Anna Moser – Polski Instytut w Wiedniu\nDyrektorzy artystyczni: Josef Klammer – V: NM / Kostas Georgakopulos – Fundacja Avant Art\nProducent: Robert Chmielewski – Klub Firlej\n\nwww.vnm.mur.at / www.avantart.pl / www.firlej.wroc.pl22–24.11.2012 / Firlej Club / ul. Grabiszyńska 56
\nEntrance: pay as you wish!
ALPENGLOW III / Graz & Styria meets Wrocław is an international improvised music summit mixing leading players from Styria in Austria with a wide range of top-draw musicians from Wrocław / Poland. Embracing a true spirit of experimentation, this extended weekend of performance will mix many artists who, until now, have never shared a stage together to create unexpected and unpredictable results.
\n22.11.2012 / 8:00 PM
\n1 / Gernot Tutner (electronics), Bartłomiej Kuźniak (bass), Piotr Damasiewicz (trumpet), Seppo
\nGruendler (guitar, electronics), Heimo Puschingg (piano), Franz Schmuck (drums)
2 / Cezary Duchnowski (piano, electronics), Mia Zabelka (violin), Annette Giesriegl (vocals), Anna Zaradny (alto saxophone, electronics), Manfred Stern (flute), Zbigniew Kozera (double bass)
\n23.11.2012 / 8:00 PM
\n1 / Henrik Sande (piano, guitar), Denovaire (esraj), Wacław Zimpel (clarinet, bass clarinet), Paweł Romańczuk (small instruments), Katharina Klement (piano, electronics), Martin Zrost (reeds, electronics)
\n2 / Elisabeth Harnik (piano), Michael Pinter (electronics), Gerard Lebik (reeds, electronics), Armin Pokorn (guitar), Kostas Georgakopulos (vocals, synthsizer), Josef Klammer (drums, electronics)
\n24.11.2012 / 10:00 PM
\nThe Big Wroclaw-Styrian Orchestra / Concert of all 24 musicians
\n\n', 'Fundacja Avant Art, Klub Firlej oraz V:MN (Graz) zapraszają!ALPENGLOW III / Graz & Styria meets Wrocław', '', 'inherit', 'closed', 'closed', '', '1173-autosave', '', '', '2012-11-18 22:07:52', '2012-11-18 21:07:52', '', 1173, 'http://avantart.pl/1173-autosave/', 0, 'revision', '', 0), (1176, 2, '2012-11-12 23:35:00', '2012-11-12 22:35:00', '22-24.11.2012 / Klub Firlej / ul. Grabiszyńska 56\r\nWstęp na zasadzie „pay as you wish”, czyli płacisz, ile chcesz!\r\n\r\nALPENGLOW III / Graz & Styria meets Wrocław to międzynarodowe spotkanie 24 muzyków sceny improwizowanej, elektroakustycznej i awangardowej z Austrii (Graz) i Polski (Wrocław / Warszawa). To również swoisty projekt edukacyjny, mający na celu przedstawienie pracy warsztatowej muzyków pochodzących nie tylko z różnych krajów, ale także z różnych środowisk artystycznych.\r\n\r\nBędzie to trzecia odsłona projektu ALPENGLOW, który wcześniej był już realizowany w Kolonii (2009) i Londynie (2010). Dla Fundacji Avant Art szczególnie ważna jest kolaboracja z muzykami kolońskimi, gdyż nawiązuje do współpracy ze sceną kolońską, jaka miała miejsce w ramach projektów Pixel Klange i Timeart podczas tegorocznego Avant Art Festival.\r\n\r\nKoncerty odbywać się będą w Klubie Firlej od 22 do 24 listopada. Muzycy, którzy nigdy nie występowali razem na jednej scenie, po raz pierwszy staną na niej wszyscy, by stworzyć projekt nieprzewidywalny w skutkach. W czwartek i piątek będzie można posłuchać improwizacji w sekstetach. W sobotę natomiast będzie mieć miejsce finał, podczas którego pod nazwą The Big Wrocław-Styrian Orchestra zagrają wspólnie wszyscy, czyli 24 muzyków biorących udział w ALPENGLOW.\r\n\r\nTen niezwykły w skali Polski i Europy projekt będzie też miał swoją kontynuację w kwietniu podczas V:NM Festival w Grazu.\r\n\r\n22.11.2012 / godz. 20:00\r\n\r\n1 / Gernot Tutner (elektronika), Bartłomiej Kuźniak (gitara basowa), Piotr Damasiewicz (trąbka), Seppo Gruendler (gitara, elektronika), Heimo Puschingg (fortepian), Franz Schmuck (perkusja)\r\n\r\n2 / Cezary Duchnowski (fortepian, elektronika), Mia Zabelka (skrzypce), Annette Giesriegl (wokal), Anna Zaradny (saksofon altowy, elektronika), Manfred Stern (flet), Zbigniew Kozera (kontrabas)\r\n\r\n23.11.2012 / godz. 20:00\r\n\r\n1 / Henrik Sande (fortepian, gitara), Denovaire (esraj), Wacław Zimpel (klarnet, klarnet basowy), Paweł Romańczuk (małe instrumenty), Katharina Klement (fortepian, elektronika), Martin Zrost (reeds, elektronika)\r\n\r\n2 / Elisabeth Harnik (fortepian), Michael Pinter (elektronika), Gerard Lebik (reeds, elektronika), Armin Pokorn (gitara), Kostas Georgakopulos (wokal, syntezator), Josef Klammer (perkusja, elektronika)\r\n\r\n24.11.2012 / godz. 22:00\r\n\r\nThe Big Wrocław-Styrian Orchestra / Koncert wszystkich 24 muzyków projektu!\r\n\r\nOrganizatorzy: V: NM / Fundacja Avant Art / Klub Firlej\r\nPartner główny: Polski Instytut w Wiedniu\r\nPartnerzy: ESK 2016, Kultur Steiermark, Graz Kultur, Jazztopad\r\nKurator: Anna Moser – Polski Instytut w Wiedniu\r\nDyrektorzy artystyczni: Josef Klammer – V: NM / Kostas Georgakopulos – Fundacja Avant Art\r\nProducent: Robert Chmielewski – Klub Firlej\r\n\r\nwww.vnm.mur.at / www.avantart.pl / www.firlej.wroc.plALPENGLOW III / Graz & Styria meets Wrocław is an international improvised music summit mixing leading players from Styria in Austria with a wide range of top-draw musicians from Wrocław / Poland. Embracing a true spirit of experimentation, this extended weekend of performance will mix many artists who, until now, have never shared a stage together to create unexpected and unpredictable results. More...
\n', 'Fundacja Avant Art, Klub Firlej oraz V:MN (Graz) zapraszają!ALPENGLOW III / Graz & Styria meets Wrocław', '', 'inherit', 'closed', 'closed', '', '1186-autosave', '', '', '2012-11-13 12:51:23', '2012-11-13 11:51:23', '', 1186, 'http://avantart.pl/1186-autosave/', 0, 'revision', '', 0), (1191, 2, '2012-11-13 12:21:54', '2012-11-13 11:21:54', '\r\n\r\nALPENGLOW III / Graz & Styria meets Wrocław to międzynarodowe spotkanie 24 muzyków sceny improwizowanej, elektroakustycznej i awangardowej z Austrii (Graz) i Polski (Wrocław / Warszawa). To również swoisty projekt edukacyjny, mający na celu przedstawienie pracy warsztatowej muzyków pochodzących nie tylko z różnych krajów, ale także z różnych środowisk artystycznych.\r\n\r\nKoncerty odbywać się będą w Klubie Firlej od 22 do 24 listopada. Muzycy, którzy nigdy nie występowali razem na jednej scenie, po raz pierwszy staną na niej wszyscy, by stworzyć projekt nieprzewidywalny w skutkach. We czwartek i piątek będzie można posłuchać improwizacji w sekstetach. W sobotę natomiast będzie mieć miejsce finał, podczas którego pod nazwą The Big Wrocław-Styrian Orchestra zagrają wspólnie wszyscy, czyli 24 muzyków biorących udział w ALPENGLOW. Więcej...22–24.11.2012 / Firlej Club / ul. Grabiszyńska 56
\r\nEntrance: pay as you wish!
ALPENGLOW III / Graz & Styria meets Wrocław is an international improvised music summit mixing leading players from Styria in Austria with a wide range of top-draw musicians from Wrocław / Poland. Embracing a true spirit of experimentation, this extended weekend of performance will mix many artists who, until now, have never shared a stage together to create unexpected and unpredictable results.
\r\n22.11.2012 / 8:00 PM
\r\n1 / Gernot Tutner (electronics), Bartłomiej Kuźniak (bass), Piotr Damasiewicz (trumpet), Seppo
\r\nGruendler (guitar, electronics), Heimo Puschingg (piano), Franz Schmuck (drums)
2 / Cezary Duchnowski (piano, electronics), Mia Zabelka (violin), Annette Giesriegl (vocals), Anna Zaradny (alto saxophone, electronics), Manfred Stern (flute), Zbigniew Kozera (double bass)
\r\n23.11.2012 / 8:00 PM
\r\n1 / Henrik Sande (piano, guitar), Denovaire (esraj), Wacław Zimpel (clarinet, bass clarinet), Paweł Romańczuk (small instruments), Katharina Klement (piano, electronics), Martin Zrost (reeds, electronics)
\r\n2 / Elisabeth Harnik (piano), Michael Pinter (electronics), Gerard Lebik (reeds, electronics), Armin Pokorn (guitar), Kostas Georgakopulos (vocals, synthsizer), Josef Klammer (drums, electronics)
\r\n24.11.2012 / 10:00 PM
\r\nThe Big Wroclaw-Styrian Orchestra / Concert of all 24 musicians
\r\n\r\n', 'Fundacja Avant Art, Klub Firlej oraz V:MN (Graz) zapraszają!ALPENGLOW III / Graz & Styria meets Wrocław', '', 'inherit', 'closed', 'closed', '', '1173-revision-14', '', '', '2012-11-18 22:08:20', '2012-11-18 21:08:20', '', 1173, 'http://avantart.pl/1173-revision-14/', 0, 'revision', '', 0), (1209, 2, '2012-11-19 23:18:59', '2012-11-19 22:18:59', '', 'alpen', '', 'inherit', 'closed', 'closed', '', 'alpen', '', '', '2012-11-19 23:18:59', '2012-11-19 22:18:59', '', 0, 'http://avantart.pl/wp-content/uploads/2012/11/alpen.jpg', 0, 'attachment', 'image/jpeg', 0), (1211, 2, '2012-10-09 13:56:42', '2012-10-09 11:56:42', 'Kontakt dla mediów:\r\nMagda Kotowska | magda.kotowska@highlite.pl, tel. 792 234 779\r\n\r\nKontakt dla mediów:
\r\nMagda Kotowska
\r\nmagda.kotowska@highlite.pl, tel. 792 234 779
\r\n', 'Press Room', '', 'inherit', 'closed', 'closed', '', '26-revision-46', '', '', '2012-10-09 13:56:42', '2012-10-09 11:56:42', '', 26, 'http://avantart.pl/26-revision-46/', 0, 'revision', '', 0), (1212, 2, '2012-11-21 12:19:14', '2012-11-21 11:19:14', 'Kontakt dla mediów:\r\nMagda Kotowska | magda.kotowska@highlite.pl, tel. 792 234 779\r\n\r\nKontakt dla mediów:
\r\nMagda Kotowska
\r\nmagda.kotowska@highlite.pl, tel. 792 234 779
\r\n', 'Press Room', '', 'inherit', 'closed', 'closed', '', '26-revision-47', '', '', '2012-11-21 12:19:14', '2012-11-21 11:19:14', '', 26, 'http://avantart.pl/26-revision-47/', 0, 'revision', '', 0); INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (1213, 2, '2012-11-21 12:20:14', '2012-11-21 11:20:14', 'Kontakt dla mediów:\r\nMagda Kotowska | magda.kotowska@highlite.pl, tel. 792 234 779\r\n\r\nKontakt dla mediów:
\r\nMagda Kotowska
\r\nmagda.kotowska@highlite.pl, tel. 792 234 779
\r\n', 'Press Room', '', 'inherit', 'closed', 'closed', '', '26-revision-48', '', '', '2012-11-21 12:20:14', '2012-11-21 11:20:14', '', 26, 'http://avantart.pl/26-revision-48/', 0, 'revision', '', 0), (1214, 2, '2012-11-21 12:20:43', '2012-11-21 11:20:43', 'Kontakt dla mediów:\r\nMagda Kotowska | magda.kotowska@highlite.pl, tel. 792 234 779\r\n\r\nKontakt dla mediów:
\r\nMagda Kotowska
\r\nmagda.kotowska@highlite.pl, tel. 792 234 779
\r\n', 'Press Room', '', 'inherit', 'closed', 'closed', '', '26-revision-49', '', '', '2012-11-21 12:20:43', '2012-11-21 11:20:43', '', 26, 'http://avantart.pl/26-revision-49/', 0, 'revision', '', 0), (1215, 2, '2012-11-22 10:28:35', '2012-11-22 09:28:35', '\r\n\r\nDzień odkryć europejskiego jazzu:\r\nJazzPlaysEurope: Laboratory 4\r\n Take Five: Europe\r\n\r\nW ramach Jazztopad Festival.\r\n24 listopada (sobota), 19:00 / Wrocławski Teatr Współczesny - Duża Scena\r\nWięcej informacji\r\n\r\nDiscover European jazz of today:\r\nJazzPlaysEurope: Laboratory 4\r\n Take Five: Europe\r\n\r\n24 November (Sat), 7pm / Wrocławski Teatr Współczesny - Duża Scena\r\nMore', 'Avant Art poleca! Avant Art recommends!', '', 'publish', 'closed', 'closed', '', 'avant-art-poleca', '', '', '2012-11-22 10:35:45', '2012-11-22 09:35:45', '', 0, 'http://avantart.pl/?p=1215', 0, 'post', '', 0), (1216, 2, '2012-11-22 10:23:01', '2012-11-22 09:23:01', '', 'jazzplayseurope', '', 'inherit', 'closed', 'closed', '', 'jazzplayseurope', '', '', '2012-11-22 10:23:01', '2012-11-22 09:23:01', '', 1215, 'http://avantart.pl/wp-content/uploads/2012/11/jazzplayseurope.jpg', 0, 'attachment', 'image/jpeg', 0), (1217, 2, '2012-11-22 10:27:49', '2012-11-22 09:27:49', '\nDiscover European jazz of today:
\nJazzPlaysEurope: Laboratory 4
\n Take Five: Europe
24 November (Sat), 7pm / Wrocławski Teatr Współczesny - Duża Scena
\nMore
Like each year, the main character of the Avant Art Festival is music – music in all density variations, all forms and contexts. Standalone music and music combining diverse branches of art. One will have a chance to see unique artists during six days (from October 2nd to October 7th, 2012) on the festival stages; artists who search, blaze new trails and, like each year, eclecticism, originality and innovation will rule.
\r\nThis year’s edition will take place under the sign of Germany – a country uniquely rich with interesting artists. German artists lead in creating new trends and aesthetics, which conquer the stages of the world with their freshness and inventiveness, since many years. Both renown creators – pioneers of genres, who enjoy popularity throughout the whole world since years, and young artists – reformers, who are a driving force of the music with their fresh blood and talent, will perform during the festival. DAF – one of the most important groups of the 80s of the XXc., who laid down the basis for such genres as electro or EBM with their output, will appear in Wrocław. Apart from them one will have a chance to hear Caspar Brötzmann Massaker – something for the enthusiasts of brutal and dirty guitar-based sounds, based on pure and unrestrained expression, improvisation and a free-to-roam creative passion. The combination of the most up-to-date technologies with new techniques of creating sounds will be presented by the musicians of the famous label Raster-Noton - Frank Bretschneider, Byetone and Kangding Ray. Moritz Von Oswald Trio will present their own vision of melting such remote stylistics like techno, jazz and dub into a single entity. FM Einheit, once a member of the influential industrial group Einstürzende Neubeuten, will prove how to create multi-layered and rich music with, at first glance, non-musical instrumentarium. The Berlin nutcases of Bonaparte will prove, that a concert can be not only a mere presentation of sounds, but a unique and expressive spectacle as well. Youth will play with year-long experience in a single team in the form of a collaborative project of the young Polish musicians from the Defibrillator ensemble together with the titan of free jazz Peter Brötzmann. Artists of Danseland will skilfully combine post-punk with free improvisation on the stage, and the formation Dÿse will present their own, rich with various references, version of noise rock. The intercontinental, Canadian-German project Knuckleduster will build a bridge between world music, post-rock and electronics, and Tannhäuser Sterben & das Tod will turn all music stylistics known so far inside out. The dance-side of experimentation with sound will be revealed to the audience by projects from the prestigious Berlin-based label Project: Mooncircle, and during the show by the Time Art Ensemble one will have a chance to engulf oneself in the worlds created from avant-garde sounds and visualisations. Mex Gerngesehen Avant Art Project, a collaboration of German and Polish musicians especially founded for this edition of the festival, will showcase that, what is most important in the modern experimental trends.
\r\nThis year, Avant Art leaves the concert halls and goes out into the streets in the form of the Social Up Spacing project – a common initiative of Polish and German musicians and artists, who will present their recycling installations in the open municipal space. A very important fulfilment of the programme will be screenings of documentaries and films regarding the German music scene in the Helios cinema; these will complete the music stage of the festival in a visual manner, and putting it in a social and historical context. Numerous workshops, discussion panels and meetings with literature will take place as well. The fifth Avant Art Festival will leave Wrocław for the first time – particular shows and presentations will take place in Berlin and Koln as well.
\r\nSearches for something new in the field of art never stop. It is worth taking a look at new artists, fresh trends and newly originated notions. And once again, the criterion of selecting the artists invited to the festival is not limited by any particular genre, trend or aesthetic – their originality, resulting from breaking the fixed barriers in art, the skill of combining diverse forms into a coherent whole, experimental or even avant-garde attitude to the matter of sound, movement and image. Avant Art Festival is, out of assumption, a holiday of artistic eclecticism, which is visible on numerous planes. One can expect everything from Avant Art Festival – we wish to surprise and to amaze, put the spectator in a position opposite to the established schematics and a classical attitude towards art. Here rejection of traditions is the tradition, breaking canons is the canon, non-conventionality is the convention. We aim at diversity, multitude of genres and are open towards anything that is original.
\r\n', 'O festiwaluAbout the festival', '', 'inherit', 'closed', 'closed', '', '12-revision-12', '', '', '2012-09-10 11:06:03', '2012-09-10 09:06:03', '', 12, 'http://avantart.pl/12-revision-12/', 0, 'revision', '', 0), (1241, 2, '2013-01-14 22:26:42', '2013-01-14 21:26:42', 'Like each year, the main character of the Avant Art Festival is music – music in all density variations, all forms and contexts. Standalone music and music combining diverse branches of art. One will have a chance to see unique artists during six days (from October 2nd to October 7th, 2012) on the festival stages; artists who search, blaze new trails and, like each year, eclecticism, originality and innovation will rule.
\r\nThis year’s edition will take place under the sign of Germany – a country uniquely rich with interesting artists. German artists lead in creating new trends and aesthetics, which conquer the stages of the world with their freshness and inventiveness, since many years. Both renown creators – pioneers of genres, who enjoy popularity throughout the whole world since years, and young artists – reformers, who are a driving force of the music with their fresh blood and talent, will perform during the festival. DAF – one of the most important groups of the 80s of the XXc., who laid down the basis for such genres as electro or EBM with their output, will appear in Wrocław. Apart from them one will have a chance to hear Caspar Brötzmann Massaker – something for the enthusiasts of brutal and dirty guitar-based sounds, based on pure and unrestrained expression, improvisation and a free-to-roam creative passion. The combination of the most up-to-date technologies with new techniques of creating sounds will be presented by the musicians of the famous label Raster-Noton - Frank Bretschneider, Byetone and Kangding Ray. Moritz Von Oswald Trio will present their own vision of melting such remote stylistics like techno, jazz and dub into a single entity. FM Einheit, once a member of the influential industrial group Einstürzende Neubeuten, will prove how to create multi-layered and rich music with, at first glance, non-musical instrumentarium. The Berlin nutcases of Bonaparte will prove, that a concert can be not only a mere presentation of sounds, but a unique and expressive spectacle as well. Youth will play with year-long experience in a single team in the form of a collaborative project of the young Polish musicians from the Defibrillator ensemble together with the titan of free jazz Peter Brötzmann. Artists of Danseland will skilfully combine post-punk with free improvisation on the stage, and the formation Dÿse will present their own, rich with various references, version of noise rock. The intercontinental, Canadian-German project Knuckleduster will build a bridge between world music, post-rock and electronics, and Tannhäuser Sterben & das Tod will turn all music stylistics known so far inside out. The dance-side of experimentation with sound will be revealed to the audience by projects from the prestigious Berlin-based label Project: Mooncircle, and during the show by the Time Art Ensemble one will have a chance to engulf oneself in the worlds created from avant-garde sounds and visualisations. Mex Gerngesehen Avant Art Project, a collaboration of German and Polish musicians especially founded for this edition of the festival, will showcase that, what is most important in the modern experimental trends.
\r\nThis year, Avant Art leaves the concert halls and goes out into the streets in the form of the Social Up Spacing project – a common initiative of Polish and German musicians and artists, who will present their recycling installations in the open municipal space. A very important fulfilment of the programme will be screenings of documentaries and films regarding the German music scene in the Helios cinema; these will complete the music stage of the festival in a visual manner, and putting it in a social and historical context. Numerous workshops, discussion panels and meetings with literature will take place as well. The fifth Avant Art Festival will leave Wrocław for the first time – particular shows and presentations will take place in Berlin and Koln as well.
\r\nSearches for something new in the field of art never stop. It is worth taking a look at new artists, fresh trends and newly originated notions. And once again, the criterion of selecting the artists invited to the festival is not limited by any particular genre, trend or aesthetic – their originality, resulting from breaking the fixed barriers in art, the skill of combining diverse forms into a coherent whole, experimental or even avant-garde attitude to the matter of sound, movement and image. Avant Art Festival is, out of assumption, a holiday of artistic eclecticism, which is visible on numerous planes. One can expect everything from Avant Art Festival – we wish to surprise and to amaze, put the spectator in a position opposite to the established schematics and a classical attitude towards art. Here rejection of traditions is the tradition, breaking canons is the canon, non-conventionality is the convention. We aim at diversity, multitude of genres and are open towards anything that is original.
\r\n', 'O festiwaluAbout the festival', '', 'inherit', 'closed', 'closed', '', '12-revision-13', '', '', '2013-01-14 22:26:42', '2013-01-14 21:26:42', '', 12, 'http://avantart.pl/12-revision-13/', 0, 'revision', '', 0), (1243, 2, '2013-01-11 00:25:40', '2013-01-10 23:25:40', 'Znamy już daty i kraj przewodni szóstej edycji AVANT ART FESTIVAL – międzynarodowych prezentacji niebanalnej muzyki, filmu i sztuki. Kolejna odsłona AVANT ART odbędzie się w dniach 4-13 października 2013 roku we Wrocławiu pod hasłem „Rosja”. \r\n\r\nPo doskonałej edycji niemieckiej przyszedł czas na artystów rosyjskich. W trakcie szóstej odsłony AVANT ART zaprezentowane zostają najciekawsze projekty z Rosji. Będzie można również usłyszeć i zobaczyć kilka projektów z Polski i Europy.W Warszawie trwa festiwal „ДА! ДА! ДА! - pierwsza od lat tak szeroka prezentacja współczesnego teatru rosyjskiego w Polsce. Jego celem jest zaprezentowanie nowych zjawisk i trendów w rosyjskiej inscenizacji, dramaturgii i sztuce aktorskiej oraz przybliżenie polskiemu odbiorcy postaci ważnych twórców rosyjskiej sceny. Więcej informacji o „ДА! ДА! ДА” na www.culture.pl/dadada
\r\nSwoje miejsce w przestrzeni festiwalu będzie miał również Avant Art, którego tegoroczna, 6. już., edycja poświęcona będzie sztuce rosyjskiej. Zapraszamy na prezentację Avant Art Festival „Rosja”, która odbędzie się 2 czerwca o godz. 14 w Klubie Festiwalowym (BAR STUDIO przy Teatrze Studio w Pałacu Kultury i Nauki, pl. Defilad 1). O Avant Art i programie tegorocznej edycji opowie dyrektor festiwalu - Kostas Georgakopulos.\r\n', 'Avant Art na warszawskim festiwalu „ДА! ДА! ДА”! | 2.06.2013, 14:00', '', 'publish', 'closed', 'closed', '', 'avant-art-na-warszawskim-festiwalu-%d0%b4%d0%b0-%d0%b4%d0%b0-%d0%b4%d0%b0-2-06-2013-1400', '', '', '2013-05-29 21:17:06', '2013-05-29 19:17:06', '', 0, 'http://avantart.pl/?p=1251', 0, 'post', '', 0), (1252, 2, '2013-05-29 13:48:02', '2013-05-29 11:48:02', '', 'warexpo-programowy-1', '', 'inherit', 'closed', 'closed', '', 'warexpo-programowy-1', '', '', '2013-05-29 13:48:02', '2013-05-29 11:48:02', '', 1251, 'http://avantart.pl/wp-content/uploads/2013/05/warexpo-programowy-1.jpg', 0, 'attachment', 'image/jpeg', 0), (1253, 2, '2013-05-29 13:48:35', '2013-05-29 11:48:35', 'W Warszawie trwa festiwal „ДА! ДА! ДА! - pierwsza od lat tak szeroka prezentacja współczesnego teatru rosyjskiego w Polsce. Jego celem jest zaprezentowanie nowych zjawisk i trendów w rosyjskiej inscenizacji, dramaturgii i sztuce aktorskiej oraz przybliżenie polskiemu odbiorcy postaci ważnych twórców rosyjskiej sceny. Więcej informacji o „ДА! ДА! ДА” na http://www.culture.pl/dadada
\n\nSwoje miejsce w przestrzeni festiwalu będzie miał również Avant Art, którego tegoroczna, 6. już., edycja poświęcona będzie sztuce rosyjskiej. Zapraszamy na prezentację Avant Art Festival „Rosja”, która odbędzie się 2 czerwca o godz. 14 w Klubie Festiwalowym (BAR STUDIO przy Teatrze Studio w Pałacu Kultury i Nauki, pl. Defilad 1). O Avant Art i programie tegorocznej edycji opowie dyrektor festiwalu - Kostas Georgakopulos. \n', 'Avant Art na warszawskim festiwalu „ДА! ДА! ДА”! | 2.06.2013, 14:00', '', 'inherit', 'closed', 'closed', '', '1251-revision-2', '', '', '2013-05-29 21:14:12', '2013-05-29 19:14:12', '', 1251, 'http://avantart.pl/1251-revision-2/', 0, 'revision', '', 0), (1255, 2, '2013-05-29 21:14:42', '2013-05-29 19:14:42', '\r\nW Warszawie trwa festiwal „ДА! ДА! ДА! - pierwsza od lat tak szeroka prezentacja współczesnego teatru rosyjskiego w Polsce. Jego celem jest zaprezentowanie nowych zjawisk i trendów w rosyjskiej inscenizacji, dramaturgii i sztuce aktorskiej oraz przybliżenie polskiemu odbiorcy postaci ważnych twórców rosyjskiej sceny. Więcej informacji o „ДА! ДА! ДА” na http://www.culture.pl/dadada
\r\n\r\nSwoje miejsce w przestrzeni festiwalu będzie miał również Avant Art, którego tegoroczna, 6. już., edycja poświęcona będzie sztuce rosyjskiej. Zapraszamy na prezentację Avant Art Festival „Rosja”, która odbędzie się 2 czerwca o godz. 14 w Klubie Festiwalowym (BAR STUDIO przy Teatrze Studio w Pałacu Kultury i Nauki, pl. Defilad 1). O Avant Art i programie tegorocznej edycji opowie dyrektor festiwalu - Kostas Georgakopulos. \r\n', 'Avant Art na warszawskim festiwalu „ДА! ДА! ДА”! | 2.06.2013, 14:00', '', 'inherit', 'closed', 'closed', '', '1251-revision-3', '', '', '2013-05-29 21:14:42', '2013-05-29 19:14:42', '', 1251, 'http://avantart.pl/1251-revision-3/', 0, 'revision', '', 0), (1256, 2, '2013-05-29 21:14:55', '2013-05-29 19:14:55', '\r\nW Warszawie trwa festiwal „ДА! ДА! ДА! - pierwsza od lat tak szeroka prezentacja współczesnego teatru rosyjskiego w Polsce. Jego celem jest zaprezentowanie nowych zjawisk i trendów w rosyjskiej inscenizacji, dramaturgii i sztuce aktorskiej oraz przybliżenie polskiemu odbiorcy postaci ważnych twórców rosyjskiej sceny. Więcej informacji o „ДА! ДА! ДА” na http://www.culture.pl/dadada
\r\nSwoje miejsce w przestrzeni festiwalu będzie miał również Avant Art, którego tegoroczna, 6. już., edycja poświęcona będzie sztuce rosyjskiej. Zapraszamy na prezentację Avant Art Festival „Rosja”, która odbędzie się 2 czerwca o godz. 14 w Klubie Festiwalowym (BAR STUDIO przy Teatrze Studio w Pałacu Kultury i Nauki, pl. Defilad 1). O Avant Art i programie tegorocznej edycji opowie dyrektor festiwalu - Kostas Georgakopulos. \r\n', 'Avant Art na warszawskim festiwalu „ДА! ДА! ДА”! | 2.06.2013, 14:00', '', 'inherit', 'closed', 'closed', '', '1251-revision-4', '', '', '2013-05-29 21:14:55', '2013-05-29 19:14:55', '', 1251, 'http://avantart.pl/1251-revision-4/', 0, 'revision', '', 0), (1257, 2, '2013-05-29 21:15:55', '2013-05-29 19:15:55', '\r\nW Warszawie trwa festiwal „ДА! ДА! ДА! - pierwsza od lat tak szeroka prezentacja współczesnego teatru rosyjskiego w Polsce. Jego celem jest zaprezentowanie nowych zjawisk i trendów w rosyjskiej inscenizacji, dramaturgii i sztuce aktorskiej oraz przybliżenie polskiemu odbiorcy postaci ważnych twórców rosyjskiej sceny. Więcej informacji o „ДА! ДА! ДА” na http://www.culture.pl/dadada
\r\nSwoje miejsce w przestrzeni festiwalu będzie miał również Avant Art, którego tegoroczna, 6. już., edycja poświęcona będzie sztuce rosyjskiej. Zapraszamy na prezentację Avant Art Festival „Rosja”, która odbędzie się 2 czerwca o godz. 14 w Klubie Festiwalowym (BAR STUDIO przy Teatrze Studio w Pałacu Kultury i Nauki, pl. Defilad 1). O Avant Art i programie tegorocznej edycji opowie dyrektor festiwalu - Kostas Georgakopulos.\r\n', 'Avant Art na warszawskim festiwalu „ДА! ДА! ДА”! | 2.06.2013, 14:00', '', 'inherit', 'closed', 'closed', '', '1251-revision-5', '', '', '2013-05-29 21:15:55', '2013-05-29 19:15:55', '', 1251, 'http://avantart.pl/1251-revision-5/', 0, 'revision', '', 0), (1258, 2, '2013-05-29 21:16:48', '2013-05-29 19:16:48', '\r\nW Warszawie trwa festiwal „ДА! ДА! ДА! - pierwsza od lat tak szeroka prezentacja współczesnego teatru rosyjskiego w Polsce. Jego celem jest zaprezentowanie nowych zjawisk i trendów w rosyjskiej inscenizacji, dramaturgii i sztuce aktorskiej oraz przybliżenie polskiemu odbiorcy postaci ważnych twórców rosyjskiej sceny. Więcej informacji o „ДА! ДА! ДА” na www.culture.pl/dadada
\r\nSwoje miejsce w przestrzeni festiwalu będzie miał również Avant Art, którego tegoroczna, 6. już., edycja poświęcona będzie sztuce rosyjskiej. Zapraszamy na prezentację Avant Art Festival „Rosja”, która odbędzie się 2 czerwca o godz. 14 w Klubie Festiwalowym (BAR STUDIO przy Teatrze Studio w Pałacu Kultury i Nauki, pl. Defilad 1). O Avant Art i programie tegorocznej edycji opowie dyrektor festiwalu - Kostas Georgakopulos.\r\n', 'Avant Art na warszawskim festiwalu „ДА! ДА! ДА”! | 2.06.2013, 14:00', '', 'inherit', 'closed', 'closed', '', '1251-revision-6', '', '', '2013-05-29 21:16:48', '2013-05-29 19:16:48', '', 1251, 'http://avantart.pl/1251-revision-6/', 0, 'revision', '', 0); INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (1259, 2, '2013-05-29 21:18:07', '2013-05-29 19:18:07', '\nW Warszawie trwa festiwal „ДА! ДА! ДА! - pierwsza od lat tak szeroka prezentacja współczesnego teatru rosyjskiego w Polsce. Jego celem jest zaprezentowanie nowych zjawisk i trendów w rosyjskiej inscenizacji, dramaturgii i sztuce aktorskiej oraz przybliżenie polskiemu odbiorcy postaci ważnych twórców rosyjskiej sceny. Więcej informacji o „ДА! ДА! ДА” na www.culture.pl/dadada
\nSwoje miejsce w przestrzeni festiwalu będzie miał również Avant Art, którego tegoroczna, 6. już., edycja poświęcona będzie sztuce rosyjskiej. Zapraszamy na prezentację Avant Art Festival „Rosja”, która odbędzie się 2 czerwca o godz. 14 w Klubie Festiwalowym (BAR STUDIO przy Teatrze Studio w Pałacu Kultury i Nauki, pl. Defilad 1). O Avant Art i programie tegorocznej edycji opowie dyrektor festiwalu - Kostas Georgakopulos.\n', 'Avant Art na warszawskim festiwalu „ДА! ДА! ДА”! | 2.06.2013, 14:00', '', 'inherit', 'closed', 'closed', '', '1251-autosave', '', '', '2013-05-29 21:18:07', '2013-05-29 19:18:07', '', 1251, 'http://avantart.pl/1251-autosave/', 0, 'revision', '', 0), (1262, 2, '2012-11-22 12:49:06', '2012-11-22 11:49:06', 'Znamy już daty i kraj przewodni szóstej edycji AVANT ART FESTIVAL – międzynarodowych prezentacji niebanalnej muzyki, filmu i sztuki. Kolejna odsłona AVANT ART odbędzie się w dniach 1-6 października 2013 roku we Wrocławiu pod hasłem „Rosja”. \r\n\r\nPo doskonałej edycji niemieckiej przyszedł czas na artystów rosyjskich. W trakcie szóstej odsłony AVANT ART zaprezentowane zostają najciekawsze projekty z Rosji. Będzie można również usłyszeć i zobaczyć kilka projektów z Polski i Europy.\r\n\r\nJesteśmy w trakcie przesłuchiwania zespołów rosyjskich. Sprawdziliśmy już około 300 projektów, z których kilka bardzo dobrze się zapowiada. A to dopiero początek. Jak zwykle chcemy pokazać nieznane dotąd oblicze muzyki i zaskoczyć odbiorcę nową jakością. Rosyjska scena muzyczna i dla nas jest ciekawym odkryciem i wyzwaniem. Prócz muzyki z tego kraju pokażemy również filmy oraz projekty performatywne. Pracujemy także nad koprodukcjami polsko-rosyjskimi – mówi Kostas Georgakopulos, dyrektor AVANT ART.\r\n\r\nAVANT ART od czterech lat konsekwentnie kieruje się tym samym kluczem programowym – co roku na festiwal zapraszani są artyści konkretnego regionu. Od 2008 roku były to kolejno: Węgry, Norwegia, Szwajcaria i Niemcy.\r\n\r\nDo tej pory na AVANT ART zagrali wybitni artyści, eksploratorzy nowych obszarów muzyki i performance’u jak Radian, OffOnOff, Maja Ratkje, Arve Henriksen, FM Einheit, The Bug, a także DAF - żywa legenda techno i EBM. Swoje showcase’y miały prestiżowe wytwórnie niemiecke: Raster-Noton i Project: Mooncircle, solo występował także Alva Noto.\r\n\r\nTegoroczna edycja zwiększyła zasięg oddziaływania na inne, poza muzyką, przestrzenie dla kultury. Odbyła się pierwsza edycja AVANT ART FILM we współpracy z Helios Nowe Horyzonty. Zrealizowany został także międzynarodowy projekt recyklingowy, odbyły się wystawa i debata o kulturze.\r\n\r\nMuzyka pozostaje rdzeniem festiwalu, ale liczą się dla nas także inne obszary oddziaływania jak film czy sztuka, dyskusje społeczne i warsztaty. Niezwykle istotne są koprodukcje z krajem partnerskim. Chcemy tworzyć wspólnie nową jakość, międzynarodową mieszankę talentów, wizji i doświadczenia. Najnowszy projekt koprodukcyjny pokażemy jeszcze w listopadzie tego roku – zapowiada Kostas Georgakopulos.\r\n', 'Rosja na AVANT ART FESTIVAL 2013!', '', 'inherit', 'closed', 'closed', '', '1224-revision-6', '', '', '2012-11-22 12:49:06', '2012-11-22 11:49:06', '', 1224, 'http://avantart.pl/1224-revision-6/', 0, 'revision', '', 0), (1263, 2, '2013-06-21 13:46:38', '2013-06-21 11:46:38', 'Znamy już daty i kraj przewodni szóstej edycji AVANT ART FESTIVAL – międzynarodowych prezentacji niebanalnej muzyki, filmu i sztuki. Kolejna odsłona AVANT ART odbędzie się w dniach 4-13 października 2013 roku we Wrocławiu pod hasłem „Rosja”. \r\n\r\nPo doskonałej edycji niemieckiej przyszedł czas na artystów rosyjskich. W trakcie szóstej odsłony AVANT ART zaprezentowane zostają najciekawsze projekty z Rosji. Będzie można również usłyszeć i zobaczyć kilka projektów z Polski i Europy.\r\n\r\nJesteśmy w trakcie przesłuchiwania zespołów rosyjskich. Sprawdziliśmy już około 300 projektów, z których kilka bardzo dobrze się zapowiada. A to dopiero początek. Jak zwykle chcemy pokazać nieznane dotąd oblicze muzyki i zaskoczyć odbiorcę nową jakością. Rosyjska scena muzyczna i dla nas jest ciekawym odkryciem i wyzwaniem. Prócz muzyki z tego kraju pokażemy również filmy oraz projekty performatywne. Pracujemy także nad koprodukcjami polsko-rosyjskimi – mówi Kostas Georgakopulos, dyrektor AVANT ART.\r\n\r\nAVANT ART od czterech lat konsekwentnie kieruje się tym samym kluczem programowym – co roku na festiwal zapraszani są artyści konkretnego regionu. Od 2008 roku były to kolejno: Węgry, Norwegia, Szwajcaria i Niemcy.\r\n\r\nDo tej pory na AVANT ART zagrali wybitni artyści, eksploratorzy nowych obszarów muzyki i performance’u jak Radian, OffOnOff, Maja Ratkje, Arve Henriksen, FM Einheit, The Bug, a także DAF - żywa legenda techno i EBM. Swoje showcase’y miały prestiżowe wytwórnie niemiecke: Raster-Noton i Project: Mooncircle, solo występował także Alva Noto.\r\n\r\nTegoroczna edycja zwiększyła zasięg oddziaływania na inne, poza muzyką, przestrzenie dla kultury. Odbyła się pierwsza edycja AVANT ART FILM we współpracy z Helios Nowe Horyzonty. Zrealizowany został także międzynarodowy projekt recyklingowy, odbyły się wystawa i debata o kulturze.\r\n\r\nMuzyka pozostaje rdzeniem festiwalu, ale liczą się dla nas także inne obszary oddziaływania jak film czy sztuka, dyskusje społeczne i warsztaty. Niezwykle istotne są koprodukcje z krajem partnerskim. Chcemy tworzyć wspólnie nową jakość, międzynarodową mieszankę talentów, wizji i doświadczenia. Najnowszy projekt koprodukcyjny pokażemy jeszcze w listopadzie tego roku – zapowiada Kostas Georgakopulos.\r\n', 'Rosja na AVANT ART FESTIVAL 2013!', '', 'inherit', 'closed', 'closed', '', '1224-revision-7', '', '', '2013-06-21 13:46:38', '2013-06-21 11:46:38', '', 1224, 'http://avantart.pl/1224-revision-7/', 0, 'revision', '', 0); -- -------------------------------------------------------- -- -- Struktura tabeli dla tabeli `wp_terms` -- CREATE TABLE IF NOT EXISTS `wp_terms` ( `term_id` bigint(20) unsigned NOT NULL AUTO_INCREMENT, `name` varchar(200) NOT NULL DEFAULT '', `slug` varchar(200) NOT NULL DEFAULT '', `term_group` bigint(10) NOT NULL DEFAULT '0', PRIMARY KEY (`term_id`), UNIQUE KEY `slug` (`slug`), KEY `name` (`name`) ) ENGINE=InnoDB DEFAULT CHARSET=utf8 AUTO_INCREMENT=5 ; -- -- Zrzut danych tabeli `wp_terms` -- INSERT INTO `wp_terms` (`term_id`, `name`, `slug`, `term_group`) VALUES (1, 'Uncategorized', 'uncategorized', 0), (2, 'Blogroll', 'blogroll', 0), (3, 'post-format-aside', 'post-format-aside', 0), (4, 'News', 'news', 0); 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