SECRÉTIVITÉ

House Music Antiquity

noreply@blogger.com (SECRÉTIVITÉ) — Tue, 18 Oct 2011 17:19:00 +0000

"By 1981 they declared that Disco was dead and there
were no more up-tempo dance records. That’s when I
realised I had to start changing things to keep feeding
my dance ﬂoor".

FRANKiE KNUCKLES

Although some house a ﬁcionados will refuse to admit it, the development of house music has much of its success accredited to the rise and fall of disco. As a result, to appreciate the history of house music, we need to look further back than the 1980s and the development of the TR909 and TR808 drum machines; we also need to examine the growth of disco during the 1970s. This is because disco still forms a fundamental part of some of today’s house music and in many instances older disco records have been scrupulously sampled to produce the latest house tracks.

Pinning down an exact point in time where disco ﬁrst appeared is difﬁcult since a majority of the elements that make disco appeared in earlier records. Nonetheless, arguably it is said to have ﬁrst originated in the early 1970s and was derived from the funk music that was popular with black audiences at that time. Some big name producers such as Nile Rodgers, Quincy Jones, Tom Moulton, Giorgio Moroder and Vincent Montana began to move away from recording the self-composed music and started to hire session musicians and produce hits for artists whose only purpose was to supply vocals and become a marketable commodity.

Donna Summer became one of the ﬁrst isco-manufactured success stories with the release of Love to Love You Baby in 1975 and is believed by many to be the ﬁrst disco record to hit and be accepted by the mainstream public. This ‘ new’ form of music was still in its infancy, however, and it took the release of the motion picture Saturday Night Fever in 1977 before it eventually became a widespread phenomenon. Indeed, by the late 1970s, over 200 000 people were attending discotheques in the UK alone and disco records contributed to over 60% of the UK charts.

As with most genres of music that become popular, many artists and record labels jumped on the wave of this new happening vibe and it was soon del- uged with countless disco versions of original songs and other pointless and poorly produced disco records as the genre became commercially bastardized. As a result, disco fell victim to its own success in the late 1970s and early 1980s with the campaign of ‘disco sucks’ growing ever more popular. In fact, in one extreme incident Steve Vahl, a rock DJ who had been against disco from the start, encouraged people to bring their disco collections to a baseball game on the 12th July 1979 for a ritual burning. After the game, a huge bon ﬁre was lit and the fans were asked to throw all their disco vinyl onto the ﬁre.

By 1981, disco was dead but not without ﬁrst changing the entire face of club culture, changing the balance of power between smaller and major labels and preparing the way for a new wave of music. Out of these ashes rose the phoenix that is house, but it had been a large underground movement before this and contrary to the misconceptions that are spread around, it had actually been in very early stages of evolution before disco hit the mainstream.

Although to many Frankie Knuckles is seen as the ‘godfather’ of house, it’s true foundations lie well before and can be traced back to as early as 1970. At this time, Francis Grosso, a resident DJ at a converted church known as the Sanctuary was the ﬁrst ever DJ to mix two early disco records together to pro- duce a continual groove to keep the party goers on the dance ﬂoor. What’s more, he is also believed to be the ﬁrst DJ to mix one record over the top of another, a technique that was to form the very basis of dance music culture.

Drawing inspiration from this new form of mixing, DJ Nicky Siano set up a New York club known as The Gallery and hired Frankie Knuckles and Larry Levan to prepare the club for the night by spiking the drinks with lysergic acid diethylamide (LSD/acid/trips). In return he taught both all about the basics of this new form of mixing records and soon after they moved on to become resi- dent DJs in other clubs. Levan began residency at The Continental Baths while Knuckles began at Better Days, to soon rejoin Levan at The Continental Baths 6 months down the line. The two worked together until 1977 when Levan left the club to start his own and was asked to DJ at a new club named the Warehouse in Chicago. Since Levan was now running his own club, he refused but recom- mended Knuckles who accepted the offer and promptly moved to Chicago. ince this new club had no music policy, Knuckles was free to experiment and show off the techniques he had been taught by Nicky Siano. Word quickly spread about this new form of disco and The Warehouse quickly became the place to be for the predominantly gay crowd. Since no ‘house’ records actually existed at this time, the term house did not refer to any particular music but simply referred to the Warehouse and the style of continual mixing it had adopted. In fact, at this time the word house was used to speak about music, attitude and clothing. If a track was house, it was from a cool club and some- thing that you would never hear on a commercial radio station, whereas if you were house it meant you attended all the cool clubs, wore the ‘right’ clothing and listened to ‘cool’ music.

By late 1982 and early 1983, the popularity of the Warehouse began to fall rapidly as the owners began to double the admission price; as it became more commercial, Knuckles decided to leave and start his own club known as the Powerhouse. His devoted followers went with him, but in retaliation the Warehouse was renamed the Music Box and the owners hired a new DJ named Ron Hardy. Although Hardy wasn’t a doctor, he dabbled in numerous pharma- ceuticals and in turn was addicted to most of them but was nevertheless a very talented DJ. While Knuckles kept a fairly clean sound, Hardy pounded out an eclectic mix of beats and grooves mixing euro disco, funk and soul to produce an endless onslaught to keep the crowd up on the ﬂoor. Even to this day, Ron Hardy is viewed by many as the greatest ever DJ.

Simultaneously, WBMX, a local radio station also broadcast late-night mixes made by the Hot Mix Five. The team consisted of Ralphi Rossario, Kenny ‘Jammin’ Jason, Steve ‘Silk’ Hurley, Mickey ‘Mixin’ Oliver and Farley ‘Jackmaster’ Funk. These DJs played a non-stop mixture of British new romantic music ranging from Depeche Mode to Yazoo and Gary Numan, along with the latest music from Kraftwerk, Yello and George Clinton. In fact, so popular was the UK new romantic’s scene that a third of the American charts consisted of UK music. However, it wasn’t just the music that the people tuned in for it was the mixing styles of the ﬁve DJs. Using techniques that have never been heard of before, they would simultaneously play two of the same records to produce phasing effects, perform scratches and back spins and generally produce a perfect mix from a number of different records. Due to the show’s popularity it was soon moved to a daytime slot and kids would skip school just to listen to the latest mixes. In fact, it was so popular that Chicago’s only dance music store, Imports Etc, began to put a notice board up on the window, documenting all the records that had been played the previous day to prevent them from beingoverwhelmed with enquiries.

Meanwhile, Frankie Knuckles was suffering from a lack of new material. The ‘ disco sucks’ campaign had destroyed the industry and all the labels were no longer producing disco. As a result, he had to turn to playing imports from Italy (the only country left that was still producing disco) alongside more dub-in ﬂuenced music. More importantly, for the history of house, though, he also turned to long-time friend Erasmo Rivieria, who was currently study- ing sound engineering, to help him create reworks of the earlier disco records in an attempt to keep his set alive. Using reel-to-reel tape recorders, the duo would record and cut up records, extending the intros and breakbeats and lay- ering new sounds on top of them to create more complex mixes. This was soon pushed further as he began to experiment by placing entirely new rhythms and bass lines underneath familiar tracks. While this undeniably began to form the.basis of house music, no one had yet released a true house record, and in the end it was Jesse Saunders’ release of On and On in 1984 that landmarked the ﬁrst true house music record.

Although some a ﬁcionados may argue that artist Byron Walton (aka Jamie Principle) produced the ﬁrst house record with just a portastudio and a keyboard, the track entitled ‘Your Love’ was only handed to Knuckles for him to play as part of his set. Jesse Saunders, however, released the track commercially under his self- ﬁnanced label ‘Jes Say’ and distributed the track through Chicago’s Imports Etc. The records were pressed, courtesy Musical Products, Chicago’s only pressing plant owned and run by Larry Sherman. Taking an interest in this scene, he investigated its in ﬂuence over the crowds and soon decided to start the ﬁrst- ever house record label ‘Trax’ Simultaneously, however, another label ‘DJ International’ was started by Rocky Jones and the following years involved a battle between the two to release the best house music. Many of these consisted of what are regarded as the most in ﬂuential house records of all time including Music is the Key, Move Your Body, Time to Jack, Get Funky, Jack Your Body, Runaway Girl, Promised Land Washing Machine, House Nation and Acid Trax By 1987 house was in full swing, while still borrowing heavily from 1970s disco, the introduction of the Roland TB303 bass synthesizer along with the TR909, TR808 and the Juno 106 had given house a harder edge as it became disco made by ‘amateur’ producers. The basses and rhythms were no longer live but recreated and sequenced on machines resulting in a host of 303-driven tracks starting to appear.

One of these budding early producers was Larry Heard, who after producing a track entitled Washing Machine released what was to become one of the most poignant records in the history of house. Under the moniker of Mr Fingers he released Can U Feel It, the ﬁrst-ever house record that didn’t borrow its style from earlier disco. Instead, it was in ﬂuenced by soul, jazz and the techno that was simultaneously evolving from Chicago. This introduced a whole idea to the house music scene as artists began to look elsewhere for in ﬂuences. One of these was Todd Terry, a New Yorker and hip-hop DJ, who began to apply the sampling principles of rap into house music. Using samples of previ- ous records, he introduced a much more powerful percussive style to the genre and released 3 Massive Dance Floor House Anthems, which pushed house music in a whole new direction. His subsequent house releases brought him insur- mountable respect from the UK underground scene and has duly been given the title of Todd ‘The God’ Terry.

Over the years, house music mutated, multiplied and diversi ﬁed into a whole number of different subgenres, each with its own name its and production eth- ics. In fact, to date there are over 14 different subgenres of house consisting of progressive house, hard house, deep house, dark house, acid house, Chicago house, UK house, US house, euro house, French house, tech house, vocal house, micro house and disco house…and I’ve probably missed some too.

Written By Rick Snoman, Dance Music Manual

Anton Unai Interview

noreply@blogger.com (SECRÉTIVITÉ) — Wed, 06 Jul 2011 02:47:00 +0000

“Silver Surfer, Ghost Rider Go!!!” | MADE VOV

Anton Unai is a funny character. In a good way. Not only is this Spanish born man one of Berlin’s most acclaimed young artists, but he also blasts out 100% sympathy. Anton is a self-taught artist who mainly uses materials from the streets that reflect the urban landscape and has exhibited many of his work at acclaimed art shows such as Volta6 Art Fair Basel and Urban Affairs.

Team MADE sat down with him to get an insight into his way of working, his life, the deepness of his work and how it feels to be in Berlin as a foreign artist.

DEVIANT LITTLE GENIUS 2008: four colour silkscreen with handmade elements, edition of 100, signed and numbered (without frame) 70 x 50 cm

PURCHASE AT: www.circleculture-gallery.com

Anton Unai (1974) ist die Personifizierung einer kreativen Philosophie, die im Erbe eines Joseph Beuys verwurzelt sein könnte: ein tiefer Glaube an die Heiligkeit der Spontaneität, die Poetik des Chaos und die Ablehnung des traditionellen akademischen Ansatzes. In Anton Unais autodidaktischer Kunst sind die Installationen oft Ergebnis wochenlanger „Aktionen”, improvisiert und vor Ort kreiert. Dabei benutzt er zumeist Fundstücke oder „goldenen Müll”, aufgesammelt in den Straßen von Berlin.

Anton Unai wurde in Spanien geboren und lebte in zahlreichen europäischen Ländern, bevor er nach Berlin kam. Seine Arbeiten werden international ausgestellt.

Anton Unai personifies the creative philosophy represented by Joseph Beuys’ legacy: a profound belief in the sanctity of spontaneity, the poetry of chaos, and the rejection of traditional academia. A self-taught artist, Unai’s installations are often the result of weeklong “actions,” improvised and created on-site using mostly found objects, or “golden garbage,” salvaged from the streets of Berlin.

Using materials that reflect the urban landscape, ordinary detritus like rusty sheet metal or yesterday’s newspaper, Unai’s work resurrects and reinvents the discarded relics of the modern masses. His art is at once rough and delicate, exposing sentimental and vulnerable humanity through violent gestures, provocative irony and messy compositions that defy traditional aesthetic boundaries. Meta-narratives, pop and subculture artifacts, religious iconography and a wide breadth of literary references are all present in his multifaceted installations, as well as allusions to art historical antecedents ranging from Basquiat’s urban poetry to Sir Howard Hodgkin’s abstract paintings as sculptural objects to Jonathan Meese’s theatrical symbolism.

Anton Unai was born in 1974 in Spain and lived in several European countries before moving to Berlin. His work has been exhibited internationally.

SELECTED EXHIBITIONS AT: www.circleculture-gallery.com

Leonardo da Vinci: Portrait of Isabella d'Este

noreply@blogger.com (SECRÉTIVITÉ) — Tue, 07 Dec 2010 21:00:00 +0000

Florence, 1452 - Château de Cloux, near Amboise, 1519
1499-1500, Red and black chalks and stumping ocher chalk,
white highlights; H. 61 cm; W. 46.5 cm

Isabella d’Este’s Studiolo

Paris, Musée du Louvre, dép. des Arts graphiques, MI 753

The fashion of studioli, or private studies, small rooms reserved for intellectual activities, spread in the 15th century in the Italian courts, bathed in Humanist culture.

Isabella d’Este, who married Francesco II in 1490, rapidly decided to create a studiolo in a tower of the old Castello di San Giorgio. The work on this project lasted more than twenty years.

She entrusted Mantegna with the first two canvases of the cycle, Parnassus (1497) and Minerva (1502), but considering his work out-of-date, she turned to the most famous painters of the new generation. In vain she solicited Giovanni Bellini, Leonardo da Vinci and Francesco Francia but, in 1505, she obtained only the disappointing painting by Perugino. Lorenzo Costa, appointed court painter at Mantegna’s death (1506), completed the decoration with two canvases delivered between 1506 and 1511.

The Parnassus and Minerva were painted by Mantegna to be placed opposite each other, as demonstrated by the fact that the light comes from the left in the first painting and from the right in the second.

A year after her husband’s death (1519), Isabella transferred her studiolo to the ground floor of the Corte Vecchia. In her new apartment, she added two Allegories executed circa 1530 by Correggio to the old series of paintings.

The layout of the exhibition, while inverting the direction of the itinerary, reproduces the exact layout of Isabella’s second studiolo.

Mantegna and the themes of the Studiolo

The five canvases of the first Studiolo, in the Castello di San Giorgio, all treat the theme of the Victory of Virtues over Vices, but we ignore whether they were part of a general iconographical program fixed from the beginning.

The first picture, commissioned by the Marchesa and completed in 1497, already contains in embryonic form the themes to be developed in the other paintings, namely the triumph of spiritual over earthly love and the celebration of the Arts at the Court of Mantua. The evocation of the amorous relationship of Mars and Venus could be interpreted as an allusion to the couple formed by Francesco II and Isabella, patron and protector of the Muses.

The fact that the second painting, Minerva Expelling the Vices from the Garden of Virtue, completed in 1502, contains ideas and motifs that had obsessed the artist from his beginnings, nonetheless leads one to consider that the artist played a determining role in its conception: the theme of Ignorance as enemy of Virtue, numerous inscriptions in different alphabets, clouds and a tree in human form, or the grotesque personifications of the Vices, chased by the dynamic and majestic warrior goddess.

www.louvre.fr

Trentemøller: Silver Surfer, Ghost Rider Go!

noreply@blogger.com (SECRÉTIVITÉ) — Mon, 08 Nov 2010 22:39:00 +0000

“Silver Surfer, Ghost Rider Go!!!” is the third single taken from Trentemøller’s acclaimed new album “Into The Great Wide Yonder”. With its thrilling guitars and blazing guitars “Silver Surfer, Ghost Rider Go!!!" is the rockiest track of the album and comes with remixes by Trentemøller hiself, Andrew Weatherall and Lulu Rouge (DJ T.O.M. and Buda).

The fantastic live-video has been recorded at the main stage of the Roskilde festival in summer 2009. Trentemøller was invited to arrange a special show for the biggest Eur opean summer festival which led to an extraoerdinary and unique performance which remains unforgotten by “50.000 people floating 10 cm above the ground”. The show featured Trentemøller DJing as well as performing tracks from his debut album “The Last Resort” as well as the still to be released album “Into The Great Wide Yonder” in a full band setup. Directed by Katja Boom Philip the show included an outstanding light show and gorgeous dance performances in spectacular costumes by designer Henrik Vibskov.

The music video which has been included in the limited edition of the album is now available alongside the new video captures one of the most magic moments from the show.

www.hfn-music.com/inmyroom
www.myspace.com/inmyroomrec
www.facebook.com/pages/In-My-Room

Coco Chanel and Igor Stravinsky

noreply@blogger.com (SECRÉTIVITÉ) — Tue, 02 Nov 2010 04:04:00 +0000

Paris 1913. At the Theatre Des Champs—Elysées, Igor Stravinsky premieres his The Rite Of Spring. Coco Chanel attends the premiere and is mesmerized…But the revolutionary work is too modern, too radical: the enraged audience boos and jeers. A near riot ensues. Stravinsky is inconsolable. Seven years later, now rich, respected and successful, Coco Chanel meets Stravinsky again — a penniless refugee living in exile in Paris after the Russian Revolution. The attraction between them is immediate and electric. Coco offers Stravinsky the use of her villa in Garches so that he will be able to work, and he moves in straight away, with his children and consumptive wife. And so a passionate, intense love affair between two creative giants begins...

Director: Jan Kounen

Cast: Mads Mikkelsen, Anna Mouglalis

www.sonyclassics.com/cocochanelandigorstravinsky

Maurizio Cattelan Interview Magazine

noreply@blogger.com (SECRÉTIVITÉ) — Sun, 26 Sep 2010 00:50:00 +0000

Best known for his facetious art productions, which are as surprising as they are unsettling, Maurizio Cattelan is the ultimate sideliner artist, poking holes in art, art history, monumentality, and nationalism. Take, for instance, Daddy Daddy (2008), the sculpture that Cattelan exhibited last winter at the Guggenheim in New York. A life-size, 3-D version of Disney’s Pinocchio floats face down in the museum’s rotunda pool and, in one gesture, seems to mock the forced optimism of the art world and the authoritative status of the museum. Of course, the 49-year-old Italian artist, who currently lives in New York, has been up to his tricks for quite a while. He described his co-curation of the 2006 Berlin Biennale, which involved looking at 700 artist entries, as an experience akin to “having a gun pointed to your head and smiling while waiting for someone to pull the trigger.” Cattelan speaks here about why the current political and economic climates could surprisingly turn into an opportunity for artists to reclaim their destiny. Read Maurizio Cattelan interview below

MICHELE ROBECCHI: It seems like we’re living in a time where it’s essential to develop a strategy for survival. What’s yours?

MAURIZIO CATTELAN: I don’t think that the big crunch should be seen as a menace, but rather as an opportunity. It’s one of these times in -history—and we have plenty of examples from the past—where it’s possible to really make a difference. And if art is serious about claiming a central role in today’s society and culture, this is the best chance it’s had in ages. The current climate doesn’t represent a threat to the production of art but to the market. I think it’s time for artists to get over auction houses, galleries, and high-production-value exhibitions and start using our voices again.

ROBECCHI: Now, when you say exhibitions and galleries . . .

CATTELAN: I’m not talking about the intrinsic value of exhibitions. I’m criticizing the way they are perceived. I was going through a book of Marina Abramovic and Ulay’s 1970s performance work the other day. These people did two, even three Documentas or Venice Biennales over the course of a decade without any fuss. They would just treat it as any of their other engagements, with the same level of dignity and commitment they’d reserve for a one-day event in a small gallery on the Austrian mountains. Today, large-scale exhibitions are overrated. I’m not saying the 1970s was a golden age—I don’t believe such a thing exists in art . . . It would be like talking about a golden age of science. But it’s true that those were slightly more ideological times, and the relevance of artists wasn’t established by their CVs but by their work.

ROBECCHI: I agree about the market becoming too predominant, but at the same time, don’t you think artists could be partially responsible for this? After all, it takes two to tango. If the system was so rotten, you could have refused to play the game a long time ago.

CATTELAN: Part of the blame can be put at the artists’ door, too—no question. But I see our involvement more as a consequence. When there is too much money at stake, the whole system gets corrupted. Artists can be very vulnerable to these mechanisms.

ROBECCHI: Why?

CATTELAN: It’s in our nature. If you are a plumber, there is an objective way to establish whether you put together a great piping system or not. Art is a bit more slippery than that. So, when you fill a gallery with dirt and someone comes along waving wads of bills, it’s difficult not to take them because they become a tangible acknowledgement that what you’ve been doing actually makes sense.

ROBECCHI: Do you see this vulnerability as a relatively recent phenomenon? Or is it something in artists’ DNA? Continuereading full interviw at Interview Magazine

www.interviewmagazine.com

dsquared2

noreply@blogger.com (SECRÉTIVITÉ) — Thu, 23 Sep 2010 03:32:00 +0000

CANADIAN TWIN BROTHERS DEAN AND DAN CATEN HAVE OPERATED IN THE INTERNATIONAL FASHION BUSINESS SINCE 1984. AFTER ATTENDING THE PARSONS SCHOOL OF DESIGN THEY MOVED TO ITALY, LAUNCHING A SUCCESSION OF RUNWAY SHOWS THAT HAVE CAPTURED ATTENTION FOR THEIR COMBINATION OF FASHION, MUSIC AND THEATER. THE MIX OF IRREVERENT CANADIAN WIT AND REFINED ITALIAN TAILORING ARE THE FOUNDATION OF TODAYS DSQUARED2 PHILOSOPHY. "BORN IN CANADA, LIVING IN LONDON, MADE IN ITALY".

www.dsquared2.com

David Leventi: Bjoerling's Larynx

noreply@blogger.com (SECRÉTIVITÉ) — Fri, 27 Aug 2010 19:15:00 +0000

World Famous Opera Houses

www.davidleventi.com

Bjoerling’s Larynx records the interiors of world-famous opera houses, all photographed with 4x5” and 8x10” Arca-Swiss cameras to maximize detail. Architecturally meticulous, this body of work serves to historically document these national and cultural landmarks. The project is titled after Jussi Björling, a Swedish operatic tenor and arguably the best singer of the century – known for his technique, feeling and the range of his voice. Bjoerling debuted at the Royal Swedish Opera in Stockholm and eventually became a principal at the Metropolitan Opera in New York. These two spaces – and the others that I have photographed thus far – are the spaces in which my grandfather, Anton Gutman, never got the chance to perform. Gutman was a cantor trained right after World War II by Helge Rosvaenge, a famous Danish operatic tenor who sang regularly with the State Operas in Berlin and Vienna. While Gutman was interned in a prisoner-of-war camp in the Soviet Union, he performed for prisoners and officers. Nearly a half-century later, I grew up listening to him sing while he walked around our living room. As the son of two architects, I experience an almost religious feeling walking into a grand space such as an opera house...

Continure reading at David Leventi statement at www.davidleventi.com

Nicolai Howalt

noreply@blogger.com (SECRÉTIVITÉ) — Wed, 28 Jul 2010 17:25:00 +0000

Allowing "Car Crash" Series Speak 4 Themselves

www.nicolaihowalt.com | NICOLAI HOWALT'S TURNS DENTED METAL INTO HIGH-DEFINITION ABSTRACT ART - AND MAKES ROAD WRECKS LOOK MORE APPEALING THAN EVER BEFORE | www.ssense.com

Laura Villa Baroncelli & Manuele Geronimi

noreply@blogger.com (SECRÉTIVITÉ) — Thu, 15 Jul 2010 16:41:00 +0000

Top by Roberta Furlanetto, vintage skirt

Dress by Christopher Kane

Shirt by Roberta Furlanetto, shorts by Pringle of Scotland

Top & shorts by Sophia Kokosalaki

CREDITS/

Photography by Laura Villa Baroncelli & Manuele Geronimi @ Victoria’s Agency

Styling by Giulia Bassi @ Victoria’s Agency

Makeup by Augusto Picerni @ Victoria’s Agency

Hair by Giuseppe Lorusso @ Victoria’s Agency

Model Milou van Groesen @ Next Milan

Special Thanks to Luisella @ Victoria’s Agency

www.theones2watch.com

Unkle - Follow Me Down

noreply@blogger.com (SECRÉTIVITÉ) — Thu, 13 May 2010 21:26:00 +0000

UNKLE - FOLLOW ME DOWN from Velizar in the mix on Vimeo. Directed by Warren du Preez and Nick Thornton Jones and featuring super model Liberty Ross, the video is an extension of the artwork from “Where Did The Night Fall”. Where Did The Night Fall album is out NOW in the UK and Europe and tomorrow in North America! Grab your copy today via UNKLE’s online stores in North America or the Rest of the World, iTunes or your local store.
www.UNKLE.com

Cadenza@Pacha, Ibiza, Sundays: Jun 6 - Sept 26

noreply@blogger.com (SECRÉTIVITÉ) — Fri, 07 May 2010 00:50:00 +0000

V A G A B U N D O S

LUCIANO, REBOOT, HENRIK SCHWARZ live, MOODYMANN, THEO PARRISH, DJ KOZE, MICHEL CLEIS, CARL CRAIG live, GUILLAUME & THE COUTU DUMONTS live, MARTINEZ, DANTON EEPROM live, dOP live, ROBAG WRUHME, MATHIAS KADEN, LUCIEN-N-LUCIANO live, ROBERT DIETZ, MOUNTAIN PEOPLE , STIMMING live, CESAR MERVEILLE, DARIA, DANIEL STEFANIK, MIRKO LOKO, TOBIAS. live, STACEY PULLEN, MARC ANTONA live, LOSOUL, ALEX PICONE, KIKI, LEE VAN DOWSKI, MIKE SHANNON, ERNESTO FERREYRA, DANDY JACK live, MAAYAN NIDAM, GAVIN HERLIHY, PABLO CAHN-SPEYER, CHIC MINIATURE live, SETY, SONJA MOONEAR, LOS UPDATES, DANI CASARANO, RYAN CROSSON, DIGITALINE live, MARKUS FIX.

cadenzarecords.com | twitter.com/CadenzaPacha

Velizar? Exclusive SECRÉTIVITÉ Dj Set

noreply@blogger.com (SECRÉTIVITÉ) — Sat, 24 Apr 2010 03:56:00 +0000

Download

VELIZAR LINKS: SOUNDCLOUD.COM | MAG.VELIZAR.NET | TWITTER.COM | MYSPACE.COM | RESIDENTADVISOR.NET

Alexander McQueen Final Collections

noreply@blogger.com (SECRÉTIVITÉ) — Fri, 02 Apr 2010 00:39:00 +0000

R.I.P. Alexander McQueen...

Alexander McQueen's unconventional and dramatic sensibility made him the "enfant terrible" of the fashion world, a one-of-a-kind artist with a spectacular vision. SSENSE is proud to present the final collections of a designer who will be fondly remembered and sorely missed.

Charlie Isoe At The Circle Culture Gallery

noreply@blogger.com (SECRÉTIVITÉ) — Sat, 27 Mar 2010 04:48:00 +0000

Meet Charlie Isoe. He departed the land Down Under when he was in high school, foregoing formal education, in search of a world beyond books and graded papers. Clutching brushes, with a skateboard tucked under his arm, Isoe began navigating the path that has led him from delinquent to today.

His work speaks for itself; rich with color and character, rife with risk and daring. His subject matter as well as his selected medium run the gamut; an oil on canvas painting of a young woman just waking up, the droopy face of an older gentleman drawn across a concrete wall and countless more.

Hand in hand with this fascination of art at all levels, is an additional preoccupation with modern society and humanity in general. Isoe views the world with an open mind, ingesting his surroundings and regurgitating his interpretations of our planet and its inhabitants. Whether he depicts our species – and others – as gruesomely nightmarish or worthy of reverence depends on the day. Read on to hear it from the horse’s mouth.

And, if you’re in Berlin, run, don’t walk, to take in his arresting artwork, housed at the
Circle Culture Gallery. Mid-February marked the launch of his first solo-exhibition in Europe, a stepping-stone show that will grace gallery walls through mid-April. Continue reading full interview with Charlie Isoe at Formatmag.com

Supplement Facts Sunset Cruise

noreply@blogger.com (SECRÉTIVITÉ) — Sun, 21 Mar 2010 23:43:00 +0000

Friday 26th , March 2010
Join Supplemental Facts, Clandestine Artists and Embrace Productions as we sail into the suset aboard the Luxury Yacht Aqua to the sounds of Guy Gerber (live) dOP (live) Seth Troxler

Docked at: 301 NE Biscayne Blvd, Miami, FL 33132
Boarding: 4PM / Sailing: 5PM to 10:30PM / 21+ EVENT

PASSENGERS MUST BRING A VALID ID OR PASSPORT TO BOARD THE BOAT

Cash Bar, AQUA LUXURY YACHT

Get Tickets Now

Tino Sehgal at Guggenheim

noreply@blogger.com (SECRÉTIVITÉ) — Tue, 02 Mar 2010 17:43:00 +0000

January 29–March 10, 2010 www.guggenheim.org

Tino Sehgal (b. 1976, London) constructs situations that defy the traditional context of museum and gallery environments, focusing on the fleeting gestures and social subtleties of lived experience rather than on material objects. Relying exclusively on the human voice, bodily movement, and social interaction, Sehgal’s works nevertheless fulfill all the parameters of a traditional artwork with the exception of its inanimate materiality. They are presented continuously during the operating hours of the museum, they can be bought and sold, and, by virtue of being repeatable, they can persist over time.

Sehgal’s singular practice has been shaped by his formative studies in dance and economics, while using the museum and related institutions—galleries, art fairs, and private collections—as its arena. He considers visual art to be a microcosm of our economic reality, as both center on identical conditions: the production of goods and their subsequent circulation. Sehgal seeks to reconfigure these conditions by producing meaning and value through a transformation of actions rather than solid materials. Consequently, throughout his works he explores social processes, cultural conventions, and the allocation of roles, thereby not only redefining art production but also reconsidering fundamental values of our social system, including sustainability, originality, and ownership.

The fact that Sehgal’s works are produced in this way elicits a different kind of viewer: a visitor is no longer only a passive spectator, but one who bears a responsibility to shape and at times to even contribute to the actual realization of the piece. The work may ask visitors what they think, but, more importantly, it underscores an individual’s own agency in the museum environment. Regardless of whether they call for direct action or address the viewer in a more subtle sense, Sehgal’s works always evoke questions of responsibility within an interpersonal relationship.

Presented as part of the Guggenheim’s 50th Anniversary celebrations, Sehgal’s exhibition comprises a mise-en-scène that occupies the entire Frank Lloyd Wright–designed rotunda. In dialogue with Wright’s all-encompassing aesthetic, Sehgal fills the rotunda floor and the spiraling ramps with two major works that encapsulate the poles of his practice: conversational and choreographic. To create the context for the exhibition, the entire Guggenheim rotunda is cleared of art objects for the first time in the museum’s history.

Tino Sehgal is made possible by the International Director’s Council of the Solomon R. Guggenheim Museum. Additional funding is provided by the Institut für Auslandsbeziehungen, the Juliet Lea Hillman Simonds Foundation, and the Consulate General of the Federal Republic of Germany. The Leadership Committee for Tino Sehgal, with founding support from Marian Goodman Gallery, is gratefully acknowledged.

Obituary/ Alexander McQueen

noreply@blogger.com (SECRÉTIVITÉ) — Fri, 12 Feb 2010 17:32:00 +0000

"Death sometimes initiates hyperbole of praise. This is not one of those times. Alexander McQueen was an artist. That distinction makes him a rare breed in fashion, one of only a handful of modern designers whose names even make it into the discussion.

Yet while identifying him as an artist, it is essential as well to celebrate McQueen as an extraordinary designer of fashion, one who not only could, but did, make beautiful clothes for women to wear. His career-long struggle to succeed commercially involved numerous factors, but definitely not on the list was a lack of interest in, or the inability to create, clothes for life beyond the runway." www.wwd.com

A LOOK AT THE MAJOR THEMES THROUGHOUT MCQUEEN'S CAREER

Touch Yello Virtually

noreply@blogger.com (SECRÉTIVITÉ) — Thu, 07 Jan 2010 04:26:00 +0000

Exemplarily pushing the envelope, Yello manifests compatibility with past, present, and future

Vanessa Beecroft

noreply@blogger.com (SECRÉTIVITÉ) — Tue, 29 Dec 2009 20:47:00 +0000

www.vanessabeecroft.com

Letter From The White Office

noreply@blogger.com (SECRÉTIVITÉ) — Tue, 29 Dec 2009 18:18:00 +0000

Dear friends,

one year ago we had a simple idea:

Providing a personal, relaxed and cosy environment for everyone who worked in the clubs on new years, or simply didn’t go out at all, because new years is never the real deal in Berlin. The clubs are expensive, crowded, and everybody is trying to hunt the hotspot for the night and ends up never finding it. So that is why most locals concentrate more and more on the New Years Day for partying.

And that’s when the Weisse Hasen Party at Kino International will take place… :)

Also we have a new 12Inch coming up... finally! It is from Oskar Offermann and there will be a slight artwork change... check it out!

all the best*

yours WHITE Office.

1. WEISSE HASEN

Fr. 01.01.10 | 22h

KINO INTERNATIONAL, Karl-Marx-Allee 33

Daniel Bell (ELEVATE / ACCELERATE)

Move D (SOURCE / WORKSHOP / PHILPOT)

Quarion + Session Victim (DRUMPOET COMMUNITY / RETREAT)

Christopher Rau & Jacques Bon (SMALLVILLE / LAID)

Saap (BRONTOSAURUS)

Map.ache + Sevensol aka. Manamana (KANN)

Dor (LAID / DIAL)

Marc Schneider (WORDANDSOUND)

Jan Krueger (HELLO REPEAT)

Edward & Oskar Offermann (WHITE)

Tristen (WHITE)

Kettenkarusell (live) (GIEGLING)

Moomin (WHITE)

Marc FM (TAPE)

Spunky (BACKSTOCK REC)

Jason Anger (WHITE)

MOJUBA Special Surprise Guest!

FACEBOOK:

http://www.facebook.com/event.php?eid=215265627447&index=1

RESIDENT ADVISOR:

http://www.residentadvisor.net/event.aspx?133106

MYPACE:

http://event.myspace.com/index.cfm?fuseaction=events.detail&eventID=519774.51636

2. WHITE 008

Artists: Oskar Offermann
Title: Apple Crumble Beneath My Feet
Cat. No.: WHITE 008-6
Format: 12”
Distribution: Intergroove
Release Date: Jan 06th 2010

Pre-listen:
http://www.myspace.com/depuke

Season's Greetings

noreply@blogger.com (SECRÉTIVITÉ) — Fri, 25 Dec 2009 21:26:00 +0000

Bpitch Controls Emotions!

noreply@blogger.com (SECRÉTIVITÉ) — Sun, 06 Dec 2009 00:35:00 +0000

Kiki - Immortal feat. Prica, Holger Zilske Remix, Bpitch Control

Unexpected coincidences lead to the most wonderful encounters when one moves through the world with perked ears and opened eyes. in this case, it resulted in kikis second hit,"immortal," from his album, kaiku. the surprising reunion with a friendly cellist from kiki's hometown of helsinki, enlightens the piece with a wonderful, intensive atmosphere, which is rarely found on a dance floor track. kiki's venice festival encounter with singer and harpist, pirica is likewise fortuitous as she takes "immortal" through a whole new dimension. Read more at bpitch

www.bpitchcontrol.com

Secrétivité, New York, Dec. 11, 2009

noreply@blogger.com (SECRÉTIVITÉ) — Fri, 04 Dec 2009 19:56:00 +0000

featuring Velizar w/ Ward aka Dj Pep

10PM - 4AM

Friday, Dec. 11, 2009

4 Directions email secretivite@gmail.com

Letter From The White Office

noreply@blogger.com (SECRÉTIVITÉ) — Fri, 20 Nov 2009 18:59:00 +0000

WHITE SPARKLE IN HER EYES with Erobique (live) & Kann Rec

Dear Friends,

This time we invited a very special guest named “EROBIQUE”.

This guy is a part of DJ Koze’s boygroup INTERNATIONAL PONY, but also without his partners in crime, he is an outstanding performer and musician you certainly don’t wanna miss! Expect some crazy one-man piano show in true Hamburg style… with heavy disco influences!

Also we like to welcome our brothers from different mothers, THE MANAMANA DJ TEAM, also know as MAP.ACHE & SEVENSOL from KANN REC.

These charismatic guys are always fun to listen to. The masterminds behind the beloved label KANN are playing a brighter variety of dance music than most DJs do, but always with an eye for the deep! And “mostly” centered around house...:)

And of course there will be a WHITE support, too: TRISTEN. Lately he has done a beautiful mix for the Keep It Deep Website. Now is your chance to check him out in the club!

Hope to C U around*

Yours,

WHITE Crew

Sat. 21.11. | 00h

HORST KRZBRG, Tempelhofer Ufer 1

Erobique (INTERNATIONAL PONY)

Sevensol (KANN)

Map.ache (KANN)

Tristen (WHITE)

RA: http://www.residentadvisor.net/event.aspx?125465

FB: http://www.facebook.com/home.php?#/event.php?eid=176430348770&ref=ts

http://www.whitelovesyou.com

http://www.myspace.com/whitethelabel