Phill Niblock Nurturing Exhibitions Matière Mémoire 20 enero 2023 Full Track Info Herbal Cooled2 (23:07, 2019) Deborah Walker, cello. The tones were recorded at Marcus Schmickler’s P I E T H O P R A X I S studio in Köln Germany, with Marcus Schmickler engineering and with a Brauner microphone; the construction of the piece was done at Experimental Intermedia in NYC by Phill Niblock, using ProTools software. Born in 1981 in Italy. Deborah Walker is a cellist, a new music performer and improviser based in Paris. Noizzze (23:05, 2020) Ensemble I R E – Kasper Toeplitz, electric bass; Franck Vigroux, electric guitar; Helene Breschard, harp. All Instruments were played acoustically, not amplified. The tones were recorded at the La Muse Studio, near Paris France; the construction of the piece was done at Experimental Intermedia in NYC by Phill Niblock, using ProTools software. The Paris based Ensemble IRE is founded by composers Kasper T. Toeplitz and Franck Vigroux, featuring Helene Breschand, Philippe Foch and Christophe Ruetsch. Poom3 (28:02, 2020) Stephen O’Malley, electric guitar. The tones were recorded at the Trace. Elements Studio in NYC, with Robert Poss engineering; the construction of the piece was done at Experimental Intermedia in NYC by Phill Niblock, using ProTools software. Born in 1974 in USA. Stephen O’Malley is an American guitarist, producer, composer, and visual artist. He has conceptualized and participated in numerous drone doom, death/doom, and experimental music groups, most notably Sunn O))). ExplMaranhaLisbon (23:05, 2020) David Maranha, 4 bowed bass, 4 bells, 6 violins, 6 glass harmonicas, 4 double cane flutes, 4 shruti boxes. The piece was realized by playing from a score by Phill Niblock, realized with assistance by Guy De Bievre; and recorded and mixed in David Maranha’s own studio in Lisbon. Born in 1969 in Portugal. David Maranha is a Portuguese avant garde musician and artist, known for his work with Osso Exotico and his collaborations with Z’ev, Stephan Mathieu, Phill Niblock, David Grubbs, and Akio Suzuki. ExplVoxHumana (23:13, 2021) The Vox Humana Vocal Choir, Soprano: Maiko Inamura, Mikiko Kamiya; Alto: Kiyo Irisawa; Tenor: Seiji Kanazawa, Hatsugai Takashi; Bass: Eitaro Matsui; Founder and Director: Ryuta Nishikawa The piece was realized by singing from a score by Phill Niblock, realized with assistance by Guy De Bievre; recorded in Tokyo, Japan under the supervision of Nao Nishihara, with Miho Miura as recording engineer and mixer. An ensemble organized by Ryuta Nishikawa and other vocalists from Tokyo University of the Arts. Started in 1996, Vox humana has been pursuing the possiblity of new creation by human voice. Their repertoire includes the polyphony music before Renaissance and the contemporary music of the 20th century, which we can enjoy at their periodic concert. Vlada BC (20:01, 2013) Elisabeth Smalt, viola d’amore. The tones were recorded at Marcus Schmickler’s P I E T H O P R A X I S studio in Köln Germany, with Marcus Schmickler engineering and with a Brauner microphone; the construction of the piece was done at Experimental Intermedia in NYC by Phill Niblock, using ProTools software. Born in 1964 in the Netherlands. Elisabeth Smalt is a viola player who works exclusively as a chamber musician, in styles varying from period instrument performance to extremely new music.

 JARDÍN PROHIBIDO

La vida es así, no la he inventado yo

María Natalia Ávila Leubro

Bogotá. Junio de 2023. 30 pp

Es como decía Helena Araujo una se condena a sus mismos fantasmas 

La opción de una identidad múltiple no solo brindará un rompecabezas que tardará algún instante más para llegar a ser entendido para empezar a armarlo sino que dejará a un lado la pulsión masculina de dar respuestas inmediatas para todo organismo vivo multicelular que se antoje de asomarse a la vida planetaria 

No es que lo que sea para cada quien aguardará y esperará y se quedará en quietud lo que irá a pasar es el estrellón con paquetes o de afán o de ira o de repugnancia y una cosa así sucederá solo dos o tres o cuatro veces en la vida

¿La pintura o la escritura o la fotografía o el modelaje o el baile?

Desde el marasmo responsorio de la contradicción al artefacto llamado soledad en sí en una insumisión de identidad 

Desde la incontención de sucesos hasta la valiosa pluralización de la identidad

La huella que queda ¿pero para quién? justo antes de darse la orden de partida ¿cómo es que dicen en el Ulises? "el aceite se está agotando" o para menos ardor en la confusión "él sabe y te llamará en la hora apropiada" 

La función reclamatoria de la soledad en la muerte

¿De qué hablar sobre con quién hablar si no es aposta con cada quien?

Sin título, Gouache sobre basik, 90 X 30 cm 2023