Starting from the idea of producing a remix album of Mouse on Mars in book-form, Jan St.Werner and Andi Toma, in conjunction with the Kunsthalle Düsseldorf, asked over 30 artists, musicians, designers and scientists to document their imaginative responses to and associations with Mouse on Mars. They were invited to contribute works for the project without actually generating any sound. Inspired by the music of Mouse on Mars (to be viewed as ‘work in progress’ rather than something striving to be complete), ideas, sketches and designs were originated, which correspond to a fantastical, occasionally formal, but always personal analysis of what it means to experience music.
The exhibition featured works by Heike Baranowsky, Rosa Barba, Laurent Baudoux, Armin Boehm, Michel Carré, Katja Davar, Diango Hernández, Waseem Khan, Matthias Köchling, Dirk Königsfeld, Stefan Kozalla, Simon Lewis, Jean-François Moriceau & Petra Mrzyk, Soulis Moustakidis, Daniel Roth, Constantin Rothkopf, Silke Schatz, Christian Schwarzwald, Alice Stepanek/Steven Maslin, Leif Trenkler, Emmett Williams, Jo Zimmermann.
kunsthalle-duesseldorf.de/
doku/fiction Kunsthalle Düsseldorf
DasArts Open Lab 123 "On Being A Band"
Musical Reading & Workshop by Jan St Werner
October 11th - 23rd 2005
DasArts, Mauritskade 56, 1092 Amsterdam
"By learning with others you can get instant feedback from other creative minds (each bringing to the table different experiences and insights) DURING the learning process. This enables a kind of collective experience that can be drawn upon when internalizing information the first time. I don't believe collective learning is stressed in the west. Performing music in a creative group is collective learning as is playing in a big band of some sort but I'm speaking now of collective learning in the more general and traditional concept of studying and conceptualizing together with others.."
O. Coleman, "An Interview"
"We came together to try out a kind of aesthetics of failure i.e. an aesthetics of the non-ability, of wanting and willing. And this is a very painful aesthetics, it is an aesthetics of embarrassment, blamage and renouncement. But as it is actually all about seizing an emotional affect on the listener and how it naturally feeds back as disgrace and how this embarrassment becomes a play of being taken away and feeling painful... "
Oswald Wiener on the occasion of the Berlin concert of "SELTEN GEHÖRTE MUSIK" 1974
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