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Label & Cat.Number: and/OAR and/40
Release Year: 2012
Note: DVD with two soundart-films: "Sound Aspects of Material Elements" (57 min.) and "Mimema" (24+ min), sounds were made with the help of PATRICK Mc. GINLEY (MURMER), JIM HAYNES, HITOSHI KOJO (SPIRACLE), etc..
Price (incl. 19% VAT): €14.00
More Info"and/OAR, Maaheli Editions and Paleosol Edition are extremely pleased to present two films by sound artist John Grzinich.'Sound Aspects Of Material Elements', Black & White, 57 minutes HD, 16:9 Aspect Ratio. Concept, sound, camera, editing: John Grzinich. Equipment and support: MoKS - Center for Art and Social Practice, Mooste, Estonia. Collaborative recordings made with: Patrick McGinley, Jim Haynes, Toomas Thetlof, Maksims Shentelevs, Kaspars Kalninsh, Eamon Sprod, Hitoshi Kojo, and Evelyn Müürsepp. 'Mimema' Color, 24:38 minutes, HD 16:9 Aspect Ratio. Concept, sound, camera, editing: John Grzinich. Equipment and support: MoKS - Center for Art and Social Practice, Mooste Estonia. Format: DVD (All Region NTSC). John Grzinich has been conducting his own forms of sound research for over 15 years, including field recording, kinetic sculptures, electro-acoustic composition, performance, videography, group workshops and exercises in listening. Currently he lives in Estonia and works as a program and technical coordinator for MoKS, a non-profit artist-run center. He has published CDs of his sound works on international labels such as: SIRR, Mystery Sea, Staalplaat, Erewhon, Intransitive, Cut, Elevator Bath, Invisible Birds, Semper Florens and others." [label info]
"The label Alluvial Recordings is apparently no more - I am not sure why - but now there is Paleosol Edition, and this first release is done in collaboration with And/oar (catalogue number on the spine being 49, on the disc itself 50) and is a DVD of two films of composer John Grzinich, which I think is an interesting thing. Just what would it be? Animation stuff, a documentary, a concert or, as it in fact turns out to be, a film that displays the field recordings being recorded. We see someone (perhaps Grzinich himself?) beating a pole, a campfire, electrical wire in a field, someone scraping large empty metal containers, and sometimes no human interference at all, like a stream and what seems to be a wire inside. All of this is short movements in 'Sound Aspects Of Material Elements', which lasts some fifty-six minutes. Sometimes I think I am being fooled and I see something but believe that I hear something else. That's always a great thing I should think, but perhaps I like this sort of illusions very much. The nice thing about this film is that following every segment the screen blacks out and we hear what's coming next, but yet not see it, so your mind starts guessing - I was wrong in almost of all these cases. Shot in austere black and white, this one is great. The other film is much shorter and called 'Mimema'. Here I don't think its about the action to generate material, but a more poetic film with people floating in water set against a great piece of drone music. Maybe this is all about hearing 'below the surface'? I am not sure, but it looks and sounds great. More poetic, less documentary like than the other one. Two quite different approaches to film, but both work quite nice." [FdW/Vital Weekly]
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