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Phase Fatale

Posted on by nr

NR Sound Premiere #10 · Introjection
Release Date · 19.04.24

Artist · Phase Fatale
Album · Love Is Destructive

Introjection

NR presents Track Etymology, the textual corollary to nr.world’s exploration of contemporary soundscapes: A series of short interviews delving in the processes and backstories behind the releases premiered on nr.world’s dedicated platform.

Hello Hayden! It’s a pleasure being in conversation with you. How are you feeling about the release? 

With this record, I pushed forward my techno side reflecting the direction I’ve been heading towards the past few years, where I want to take myself and the label. I explored new production methods like broken beats and using more digital instruments to create a future leaning dance floor sound. 

It seems that lately you have been dedicating yourself a lot to the production-side of your practice. Last year, it had been 5 years since your last solo EP, and now we’re already getting Love is Destructive. What changed? did you feel the need to build more upon your personal take on music and get in a more narrative mood? 

I never really stopped producing. I also released my last album in 2022 and the one previous on Ostgut Ton in 2020, combined with many collabs, VAs, and remixes. So while there was a gap in EPs, there was never a gap in the music. However, I definitely enjoy working on a more dance floor 12” again as it’s more concise and to the point, serving the purpose to work in the club. I feel like I needed to create my take on current techno elements used and push it forward with this EP which makes more sense in this format. 

‘Ambivalence’, ‘Love is destructive’, ‘Introjection’ – Titles of your new production seem to be quite closely thematically linked. How do these titles reflect the conceptual landscape of the album, and what narrative or emotional journey do you aim to guide listeners through with each? 

These titles link to a journey of love lost and love found. I believe uploading the music with meaningful titles combined with the artwork provides a more cohesive package for the record itself. But it’s open to the listener’s interpretation at their will. 

What were the influences and core elements that have shaped your project, and how do they intersect with your journey as a DJ and producer? 

The main influence is the cross-pollination of producers such as Regis, Silent Servant and Function and my roots in guitar music like My Bloody Valentine, Godflesh and The Cure. What I like in these bands is the combination of harsh noise with a musical structure palatable to a larger audience. This balance I also try to achieve in my own music.

“In techno in general, I look for this balance of sonic experimentation and boundary pushing which is all locked in by repetitious and danceable rhythms. The heaviness is subliminally inserted into the music itself.”

The relationship between sound and embodiment has been a recurring theme in your work, with references to the corporeal experience of rhythm and resonance. How do you explore the tactile dimensions of sound in your compositions –What is your relationship with audience perception, and how does your knowledge of audience response to tracks inform your compositional process? 

When producing club music, I always imagine how it works on a dance floor I’m familiar with such as Berghain, and it’s usually inspired by moments performing or dancing there. I look to accentuating different frequencies as means of controlling the body while also keeping the spectrum well-balanced. There is only a finite amount to store within the music, and it’s also important not to overdo it. In terms of composition, I arrange with the notion that the tracks are used within a DJ set. So they are composed in such a way that the changes hit at the right time creating more drama in the mix. 

As an artist deeply embedded in the underground electronic music scene, you occupy a unique position at the intersection of countercultural resistance and mainstream appropriation. How do you navigate the tension between subcultural authenticity and commercial viability, and what strategies do you employ to maintain artistic autonomy while engaging with broader audiences? 

I grew up playing in post-punk and synthwave bands so that’s my background. I always look for new sounds in those worlds and combine them together in my techno sets as well as carry that influence into my production. I think it’s important to still acknowledge how these sometimes seemingly disparate genres are actually very connected since their beginnings and subconsciously weave that notion together in sets. I listen to myself in how I want to approach my music and only work with likeminded labels and artists who I connect with in their approach rather than being influenced by temporary trends that urge others to change their sound at a whim. 

This record is dedicated to Silent Servant, your mentor. Grief finds expression in various artistic forms, including music. In techno, a genre often associated with its pulsating rhythms and immersive sonic landscapes, the exploration of emotions like grief may seem unconventional. However, some artists have managed to infuse their music with a sense of melancholy, loss, and introspection. How do you perceive the role of grief in techno music, and how do you approach incorporating or evoking such emotions in your own compositions? 

Juan made the artwork for this record, and I think it’s probably one of the last ones he made. We never had a chance to talk about the new technique he used for it even. It makes the whole record combined with the titles and images of roses and cold machinery quite mournful. So many steps and movements of my production, DJing and music in general are somehow connected to Juan so it was very heavy to go through with this release to say the least. Even in techno, it’s possible to make room for grief because the genre lends itself to create other worlds and paint a picture of an alternate reality with the use of certain atmospheres and melancholic melodies taking the listener to another dimension to reconcile with it. 

In the era of algorithmic curation and streaming platforms, the role of the DJ as a curator and tastemaker is evolving. How do you perceive the evolving nature of DJ culture, and what strategies do you employ to maintain a distinct artistic voice and ensure your creative output remains innovative and boundary-pushing? 

It’s true that more than ever people look to who the DJ is and what defines them beyond just their music. Which on one hand I understand, as someone more into bands, usually the image (or lack thereof) played a role into how we perceive their music whether that was through artwork, photos, music videos or performances on stage. So I think the same can be applied to techno as it evolves. On the other hand, what should still remain most important is the DJ’s selection and their ability to technically mix them together while reading the vibe of the space they’re in. I’m a musician because it is the creative way to express myself so it inherently stays true to me, while I constantly search for new or old sounds to inspire me and broaden my sonic palette. 

The notion of “genre” in electronic music is both a unifying force and a constraining factor, often shaping audience expectations and critical reception. How do you negotiate the boundaries of genre in your own work, and to what extent do you see yourself as a boundary-crossing artist pushing the limits of categorization? 

Unfortunately, some people like to cast artists into one genre and leave them there, thinking categorically, no matter if they evolve, instead of just listening and updating their preconceptions. I’ve always defined my project as techno but perhaps with different influences, while others try to pigeonhole my sound based on my background or what other artists around me think to play. I think the best way to redefine and push the limits is just to constantly showcase your sound with releases and sets, hence why I’ve been saying ‘techno’ all the time like a broken record. 

Your label BITE has been instrumental in showcasing emerging talent and pushing the boundaries of experimental techno. How do you envision the role of independent labels in shaping the future landscape of electronic music, and what criteria do you use to identify artists who embody the ethos of innovation and experimentation? 

Labels play an important role in defining their own aesthetic in music through the sound as well as its visual concept and the way they present their art to listeners. I want to show my connection to dance music and what I find cool and interesting while hopefully building up new artists in who I believe. When releasing someone, I usually listen if their music is also influenced by genres outside of techno itself and somehow combines it all together into a sound that is definitively them, so that one could tell it’s them in a blind listen. 

I wanted to close on a lighter note..I want to peep a bit behind the curtain: How do you approach the creative process when producing new tracks? Do you have any specific rituals or routines? 

I usually get an idea while DJing or just listening to music for a song I want to make, whether it’s a sequence, rhythm, melody or just a general mood or style. Then I translate that idea in my head to reality with either hardware or software which usually somehow changes or evolves in that process. Because I’m on the road so much now, I’m learning new ways to work on the computer but still retain the spontaneity and rawness of the hardware I’m used to working with all these years. But this learning process is cool because it lends itself to new sounds and methods. The most difficult part is understanding when the track is finally finished, to stop playing around with it, and let it go. That all comes from just doing it over and over again. 

Team

Interview · Andrea Bratta
Artwork · Silent Editions
Photography · Shuto
Pre-order the digital album here
Follow Phase Fatale on Instagram and Soundcloud
Follow NR on Instagram and Soundcloud

LOREM

Posted on by nr

NR Video Premiere · SEAGULLS
Artist · LOREM

Directed by · LOREM and Karol Sudolski
Release Date · 11.04.24

SEAGULLS

NR presents Soundsights, Track Etymology’s sister column: An inquiry into the convergence between sound, its visual expressions, investigating music’s intrinsically visual narrative quality.

I wanted to start by delving a bit into the past. As I was researching your work, I found myself amidst an incredible journey down memory lane when I realized you were part of Aucan! I was 14 when Black Rainbow came out, and I remember that record being one the first passages I encountered toward two things: the more experimental side of electronic music and the world of music writing – online reviews, music theory, blogging. It was when I started to be conscious that a discourse around music existed, one beyond “simply” listening to it. At what point in your career did you decide to move towards different mediums, or rather, why did you feel the need to build upon music and annex to it a different, transdisciplinary narrative and experiential dimension?

Haha! I’m glad to hear you listened to Black Rainbow! Aucan was a seminal experience for me – we really shared everything for many years, and developed something which transcended the individual level. After nearly 10 years and over 300 live shows and we finally took a pause, I felt the need to find a place where I could converge various priorities. I studied philosophy, and then arts & design. During that time and along with friends, I co-founded what would become Krisis Publishing. I realized that to discover a new and authentic language, I needed to integrate the diverse, often conflicting, elements I was engaged with. Adopting a multidisciplinary approach to the project thus came naturally.

The pandemic, in a way, further propelled me in this direction. Until then, following Adversarial Feelings (2019), LOREM was predominantly a sonic project. However, the inability to tour for live shows forced me to explore new expressive avenues. I started producing AV live sessions in the studio designed for home viewing, aimed at audiences to experience them as they would a Netflix series—this format seemed most fitting given our confined livelihoods at the time. This shift led me closer to what is now the project’s narrative aspects, which today remains one of my primary interests. It was during this period that I conceived the idea to create several installations, such as the first iteration of Distrust Everything, which I introduced at Graz’s Elevate Festival in 2021.

“The limits of my language mean the limit of my world.” The opener of Wittgenstein tractatus that rings exceptionally true for AI and language models. Musical language and computational language have long been intertwined in LOREM production, and, as your press release states, Time Coils is “imbued with global cultural correspondence and reimagined connections sourced from a wide range of references.” I don’t want to spoil the fun of discovery, but I’m curious to hear from you about some of the influences and central elements behind this project and how they concurred to form its language/world.

The relationship between language and our experience of the world is indeed one of the fundamental aspects I aim to explore with LOREM. Significant influences for Time Coils, as well as for my practice, come from authors like Franco Bifo Berardi, Federico Campagna, Jacques Derrida and Timothy Morton, among others. Today, machine learning provides advanced statistical tools for working on data corpora (texts, images, videos) from an inter linguistic perspective:

“I am interested in building archives of samples (and texts), and interpolating them to examine the interstices… to hear a hybrid sound between a voice and a guitar, to see a face that is also a tree, to read a text that lies between Thomas Pynchon and Franz Kafka.”

This approach was actually the starting point for writing Time Coils. I employed this method both on my samples and on those collected from a wide range of sources. The datasets include traces of soundtracks from early Walt Disney films, old school dubstep tracks, re-synthesized rap acapellas, and Italian prog music. Often the references are completely unrecognizable and become something else, but I like the idea that an attentive listener might discover traces of other works in a completely new form.

Did you have more of a narrative-oriented approach to the record or were you more interested in atmospheres and leaving sonic and visual traces for the listener to follow?

While the narrative dimension has become essential for LOREM, with Time Coils I felt compelled to refocus on purely musical exploration. Working with images and especially texts means that the music must always complement the overall experience. This requirement doesn’t weaken the music per se, but it does confine it within a specific framework. Over the last couple of years, I’ve attempted to differentiate my compositional approach depending on the consumption context. On one side, I am keen on advancing an inquiry into states of consciousness through texts and large-scale audiovisual narratives and installations. On the other, I’ve chosen to pursue a strictly musical path with my audio releases.

“Time Coils, therefore, departs from the concept of crafting a narrative and is instead an opportunity to create a sonic landscape, a sort of auditory swamp that results from a continuous process of self-digestion.”

Back on the AI Language-music adjacency, how do the two processes intertwine in your approach to composition? What do you think composing an algorithm and composing sounds have in common?

I would say that in this case, algorithmic writing is a part of the musical writing project. Perhaps for a “classic” programmer (or should I say a “real” programmer), the code is the true product of creative intervention. In my case, however, the output of the algorithmic processes is never the end result. Ultimately, it’s always me who picks up the pieces, trying to fit them together organically, sometimes without hiding the flaws.

Over the past few years, I’ve been developing methods to integrate machine learning into my musical production processes. These involve sampling, time-stretching, granular synthesis, and recorded instrumental music. I started in 2016 by using simple LSTM (Long Short-Term Memory) systems to generate percussive MIDI files, which reinterpreted beats from my jam session recordings. Later, I began recording the automation I applied on samplers via SysEx to create datasets that would help train other models. Recently, I have also started to focus on audio manipulation, including simulating microphone re-amping, blending completely different types of instruments (such as analog instruments with synths, or percussion with vocals), and generating synthetic rap vocals that I can control with my own voice.

Throughout your work I find that the concept of interaction is a central one: machine-man, man to man, the individual and the group, visual and sonic languages. AI is not only generative but also perceptual, much like ‘real’ audiences. It simulates neural networks through mathematical abstractions in order to perceive inputs and register them. What is your relationship with audience perception, and how does your knowledge of audience response to an art piece or a live exhibition inform your interactions with machines?

Certainly, the hybridization of various disparate elements greatly interests me. I’m not particularly keen on framing AI as a generative tool. It seems much more intriguing to view it as an agent of transformation and hybridization.
When interacting with the audience, however, I generally do not seek a direct exchange.

“In designing live performances and installation, I always aim to create a significant asymmetry between LOREM and the crowd. I want those who listen and observe to be overwhelmed with stimuli, to force them into an experience that allows for only one possible point of view.”

The work of artists like Kurt Hentschläger or, in some way, Sunn O))), is an example of what I mean, I believe. At the same time, I enjoy embedding hidden references, “encrypted” messages, and correlations, to open questions and reflections through ambiguity. This approach can lead to profoundly deep interactions post-experience. Occasionally, an audience member may approach after a show to inquire about an insight they had or to propose new interpretations. For instance, I once spent an entire evening discussing the script of Distrust Everything with a scenographer who had come to see the work, and with whom I have stayed in contact ever since. Those moments are particularly rewarding, as they allow me to connect deeply with people…

Since we’re discussing languages and interactions, I’d like to make a digression. I began this interview by mentioning the early 2010s: a time of peak music media and blogging. I recall reading Deer Waves (shout-out to Italian hipsters worldwide), Pitchfork, and all the usual suspects. Your work is deeply intertwined with technology and the nature of media(s) itself, with music being one of its key components. I’m curious if you’ve ever considered how platforms and the circulation of music actually influence the composition of music itself. Think about “MySpace Bands,” or SALEM and the emergence of Witch House with its Web aesthetics. We’ve witnessed the era of SoundCloud rap, which is self-explanatory, and nowadays, and nowadays TikTok is shaping how mainstream labels function and the pop songs structures. I’d be really curious to pick your brain on this particular matter.

Distribution platforms and modes of consumption undoubtedly play a crucial role in shaping our aesthetic experiences, and they certainly influence artistic languages, probably as they always have. As I mentioned, the experience of the pandemic and the subsequent changes in consumption habits heavily interfered with the evolution of the project. I doubt I would have moved so close to the narrative dimension if we hadn’t all been in lockdown for months.

That being said, I’m uncertain about the direction that the music industry will head in the coming years. Frankly, it looks like a colossal mess… There are numerous factors at play in regards to that: the need for fairer and more inclusive distribution systems, the emergence of new technologies based on decentralization, the critical role of algorithms in shaping musical trends, and the emergence of “instant” platforms like TikTok, as you mentioned, among others.

Speaking of the evolution of media, I recently read about “neural media,” which K Allado-McDowell has theorized as developing out of network media in the mid-2010s amid increasing human-AI interaction. K’s description of neural media’s mechanics posits the concept that our ideas of individuality and identity formation, as well as what itmeans to communicate as a human (among other living beings), are about to be majorly recalibrated. What role do you think audiovisual expression, a language that is already forward-oriented and one you have been experimenting with for years now, plays in such futurable socio-cultural landscapes?

I can’t give you a general answer. What I try to do and what I recognize in the artists that I admire, is an attempt to produce aesthetic experiences that have a strong emotional impact while simultaneously “showing the scars”, so to speak. Their works create a space of ambiguity useful for recognizing the artifice, and without hiding it. This way, to use a phrase by Hal Foster, “…artifice, the Utopian glimmer of fiction, can be placed in the service of the real.”

Why did you choose SEAGULL as one of the two singles anticipating the full-release? What drove you towards the concept of flocks and shared-perception, and how does it relate to the record’s structural narrative?

I began working on the video with Karol Sudolski, a friend and collaborator on the LOREM project from early on in the creation of the Album. Karol is one of the people who inspire me to think of LOREM as a hybrid identity, which sometimes speaks in my voice but other times expresses itself as a collective, a chorus. We simply felt that the track was perfect for the flow of the video, which features a single continuous shot within this swamp of organic and inorganic forms.

Are you thinking of other outlets for the Time Coils narration to be experienced? Something transmedial like what you did for Adversarial Feelings, out on the publishing house you co-run, Krisis.

The first is a large-scale AV installation, ARC, which features a walkable dual-channel large LED wall that displays visualizations of contradictory states of consciousness. I created it with Visioni Parallele, and it will debut on Saturday (April 13th) at the Mattatoio in Rome. The work is based on the idea of intertextuality that I mentioned earlier… here, the question might be, for example: what a morph between excitement and boredom might look like? Perhaps something akin to me scrolling through Instagram on the toilet.


In early May at L.E.V. Festival in Gijon, there will be a new iteration of the Distrust Everything project; an immersive chamber that narrates a speculative dream emerging from Mirek Hardiker’s Dream Report Archive. These projects are in dialogue with the album, in a vague way, because they share the same approach, but they are also related to it as I continue to reuse the same datasets, which keep expanding.

What is Krisis role in the economy of your varied and intersectional practice? Is that a place where you focus more on curating others? Taking a step back from “your” own work and constructing bridges for others?

We founded Krisis Publishing in 2009, and I manage the editorial direction of the project alongside my friend and fellow researcher, Andrea Facchetti. The main focus of our project has always been and remains the politics of representation: we are interested in examining, through various lenses, the impact of media cultures on contemporary societies.

Both of us have academic backgrounds in philosophy and design/arts, which makes Krisis the platform to formalize and disseminate both our research and the works of pivotal authors. We typically handle the editing of the books we publish ourselves, and this has enabled us to connect with artists, theorists, and researchers we respect and admire. Among the notable authors we have published are James Ballard, Timothy Morton, Simon Reynolds, Kate Crawford, Hal Foster, Vladan Joler, Sofia Crespo, and also friends like Silvio Lorusso, Luca Pagan, Filippo Minelli, Corinne Mazzoli, Ryts Monet (just yesterday we launched the pre-order for the book we developed with him).

In recent years, we have begun to move beyond the borders of printed paper. Krisis functions not only as an independent publisher but also as a curatorial platform, producing audiovisual projects, music albums, events, installations, exhibitions, public talks, etc.

Certainly, there are parallels between my research, that of Andrea’s, and the editorial line of Krisis. In recent years, we have intensely explored the theme of the relationship between language, reality, and identity, the political implications of AI’s emergence, and the articulation of ecological perspectives. In a way, Krisis serves to me both as a source of input for LOREM and an opportunity to translate into theoretical language the issues that concern the project.

Last but not least..Nomen Omen. Why LOREM? A nod to unfinished but in-itinere linguistic forms?

Lorem is a model for extracting correlations within corpora of unstructured texts.
When I started working with texts and machine learning to enhance the emergence of intertextual correlations, I began by removing all character names from the literary texts in the datasets. I wanted the machine to confuse the characters, thereby overlapping the information pertaining to each. I have now started to group different types of characters using different letters (L, M, D, etc.), but initially, all characters in my datasets were named LOREM. When it came time to name the project, all these LOREM’s were already there…

Interview · Andrea Bratta
Photography · Omar Golli (ARC Installation)
Time Coils out on 26.04.24 via Krisis Publishing Pre-order the album here.
Follow LOREM on Instagram and Soundcloud
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Menno Aden

Posted on by nr

NR · World
Published · Online

Portfolio Focus · Menno Aden

In order of appearance

  1. Menno Aden, Untitled (Classroom), 2010
  2. Menno Aden, Untitled (Car), 2008
  3. Menno Aden, Untitled (Car III), 2018
  4. Menno Aden, Untitled, 2008
  5. Menno Aden, Untitled, 2010
  6. Menno Aden, Untitled (Box I), 2011
  7. Menno Aden, Untitled (Box VI), 2011
  8. Menno Aden, Untitled (Basement III), 2011
  9. Menno Aden, Untitled (Basement V), 2011
  10. Menno Aden, Untitled (Lift-III), 2011
  11. Menno Aden, Untitled (Lift V), 2017

Credits

All artworks courtesy of Menno Aden

Menno Aden (b. 1972) studied Art and Composition at Bremen University and University of the Arts Bremen in 2000. Aden lives and works in Berlin. 

Exhibitions include Museu Serralves, Deutsches Architektur Museum, Landesmuseum Emden, Kunsthaus Potsdam, The Wandsworth Museum, London, CMU Museum, Chiang Mai, Thailand, Dezer Schauhalle, Miami, Ratchadamnoen Contemporary Art Center, Bangkok, Institut Francais, Yangon, Myanmar, among others. 

Aden was awarded the German Prize for Science Photography, The International Photography Awards, The Accademia Apulia UK Photography Award, The European Award of Architectural Photography, among others. 

His work has been featured in The Guardian, Le Monde Diplomatique, Philosophie Magazine France, Der Tagesspiegel, Washington Post, Financial Times Internazionale, Dezeen, Nowness, Ignant, Deutsche Welle TV, among others. 

His work has been published in several books e.g. Berlin Raum Radar – New Architekture Photography (Hatje Cantz, 2016), European Month of Photography (Catalogue, 2016), Khao Ta Looh (KMITL Fine Art, Bangkok 2018), among others. 

Aden is represented in private collections in USA, Europe, and Asia, including Novartis Collection Basel, KPMG Collection London, Sanovis Collection Munich, Lisser Art Museum, among other national and international private collections. 


Jalal Sepehr

Posted on by nr

NR · World
Published · Online

Portfolio Focus · Jalal Sepehr

Credits

All images courtesy of Jalal Sepehr from the Knot (2011) and Water & Persian Rugs (2004) series.

Jalal Sepehr (b. 1968) is a Tehran based self-taught  photographer who has been doing photography since 1994. He is known as a fine art photographer locally and internationally. His photos has been featured in many prestigious publications. He has been founding member of  the Fanoos website whose aim was promoting contemporary Iranian photography (2003-2007). He is an active member of Virtual Arts of Iran Association and Advertising & Industrial Photography Association of Iran.


Mumdance

Posted on by nr

NR Sound Premiere #8 · In Love Again
Release Date · 04.03.24

Artist · Mumdance
Album · MD002

In Love Again

NR presents Track Etymology, the textual corollary to nr.world’s exploration of contemporary soundscapes: A series of short interviews delving in the processes and backstories behind the releases premiered on nr.world’s dedicated platform.

In Love Again and Five Years feel quintessential Mumdance but at the same time headed towards new territories. Listening to the tracks I had two reactions: Bobbing my head as a timid attempt to dance in the studio I was in, and reflecting on how the UK sound continuum, something you have been rightfully associated with, is intrinsically hybrid and continuously moving. You are now almost 15 years in the game, a veteran, if I might say so, but you continue to experiment and evolve your body of work. You have been close to it in so many ways throughout more than a decade: What would a Mumdance definition of the UK sound be?

I’m happy you enjoyed the music. It’s actually been quite a challenge to wrap my head around how to make happier, more optimistic tracks and incorporate them into something that matches my aesthetic. But that is part of the journey – I’m glad you picked up on the fact that I have always tried to evolve and challenge myself with every release. I’ve never really sat down and thought about the reason why, apart from it just always felt like the natural thing to do. But as I sit here and think deeply about it, it amuses me to realise it’s actually something that I latched onto at a very young age from my parents talking about Madonna and how she always reinvented herself, which as an idea fascinated me. I think constantly experimenting with my sound has been something that overall has created challenges  career-wise, as a lot of people haven’t really known where to ‘place’ me. But at the same time, I feel happy that in my own small way I have broken some new ground, added to the canon, and helped to slightly shift the paradigm and allow newer artists to be able to express themselves more freely with their sounds.

In terms of defining the ‘UK sound,’ it’s an impossible task to encapsulate a whole country’s sound and musical heritage into a few sentences. The UK sound which I enjoy exploring, is underlined by lots of sub-bass and weight in the low end, engineered to play on a big sound system, with complex rhythms, and more often than not, a dark, futuristic mood. Other than that, it’s actually quite a puzzle to define, as the very nature of the hardcore continuum (and the very nature of life itself, in fact) is that it is constantly changing. I could list 500 tracks which encapsulate the UK sound, but as I only have a few paragraphs, I’m going to say ‘Swarm‘ by Doc Scott and ‘I Luv U‘ by Dizzee Rascal are two tracks which sprang directly to mind for me when I read the question.

During the very recent club ‘history’ (perhaps we need more quotation marks as I’m referring to the last couple of years), the idea of a defined musical scene mutated, evolving past geography toward a form of digital ubiquity. The continuous hybridization of sounds and the increasingly international profile of electronic music made things more diverse and, at the same time, more standardized. How do you navigate this paradox?

I don’t think this is a new thing, although I definitely agree it’s been accelerated. Nothing exists in a vacuum. In my mind, the core of any culture is shared meanings; then a lot of the time, further innovation comes from the conversations between one culture being exposed to another, between countries, cities, between people. Baltimore Club is an example that I have always found really interesting, as the first wave of artists like DJ Technics were all sampling breaks from imported rave records from the UK, which in turn were breakbeats that the UK had sampled from imported hip-hop records from the US, processing them and speeding them up. So, it’s this interesting symbiotic feedback loop which created something entirely new and innovative at many different stages of its cycle. This is just a quick example which sprang to mind as I write this, but once you start to recognise it, conversations between cultures play a big part in many innovations in art and music. It really interests me as an idea and is one of the main reasons why in the past I have done a lot of collaborations with artists from around the world and a lot of back-to-back DJ sets with people who are specialists in different genres to me. 

In terms of where we are today with technology and culture, increased connectivity has increased conversations and the volume of art being created, which, like anything, has a plethora of consequences that could be deemed ‘good’ and ‘bad’.

“I love being able to send my music all over the world at the click of a button and am fascinated by technological innovation, but I think one downside of the digitisation of culture and the rate at which people digest it today is that a lot of the time, scenes and localised sounds don’t get enough of an incubation period to develop properly.”

In the past, a lot of the UK scenes – hardcore, jungle, drum and bass, garage, grime, dubstep – for better or worse, were all time-limited by the production process of pressing physical vinyl. This had its upsides and downsides, but a by-product was it naturally made things operate at a certain pace, which I think led to a much deeper exploration of sound and embedding of the music within our collective consciousness.

I guess with regard to navigating my own work, although I am very in tune with what is happening in music, art, and the various zeitgeists, I try my best to not focus at all on what my peers are doing, instead just following my interests and focusing on music which provokes a reaction within me, be it emotional, physical, or cerebral. That’s the key to it.

Usually, the jargon associated with musical cross-pollination feels somewhat…violent, almost. The formulation often goes something like ‘Genres bleed into each other.’ However, in your new record, the sounds don’t seem to bleed; rather, they play with each other. I understand that this might sound like mere semantics to you, but due to my professional inclination, I can’t help but fixate on language. This is your second record after a three-year hiatus marked by significant introspection. Are these more joyful, welcoming sounds a reflection of a new era for you? How much of your feelings are imbued in your music?

Yes, I definitely feel like the MD series marks the start of a new era for me – ‘Mumdance 3.0’. I have always referred to my musical activity in waves/eras. The first wave of Mumdance was from 2008 to 2011 when I first emerged and was working a lot with artists such as Jammer & Diplo. I think this was epitomised by my ‘Mum Decent EP‘ and ‘Different Circles – The Mixtape‘ (Both released in 2010). During this time, I was putting out music which had a foundation in grime & the UK hardcore continuum but was strongly influenced by regional music from around the world, especially what was going on in Mexico & Brazil at the time.

The second ‘wave’ of Mumdance started in 2013 after a 2-year hiatus with the ‘Twists and Turns‘ mixtape and was a lot more UK-centric and introspective, focusing on all the sounds which I grew up with: hardcore, jungle, drum & bass, shoegaze, and cross-pollinating it with ideas from my more contemporary interests; techno, and musique concrète – which is the sound which most people today know me for. The idea with that was to completely invert where my influences came from; instead of looking outwards around the world, I looked inward to my upbringing.

With this emerging third wave, as my last wave was very dark in mood, I made a conscious decision to do the completely opposite and try to make some ‘happy’ music and operate within genre boundaries with which I wouldn’t normally be associated, such as filter house. As I said above, it has been a real challenge, but I realise more and more that art is about the process, and this is how I like to spend my time.

In answer to your question, my feelings and outlook on life are definitely reflected in the music I make; they by their very nature are a sum of my experience. MD001 was a transitional record for me, just finding my feet again in the studio, but MD002 definitely feels like something new. For ‘Five Years’, I wanted to make a track which joyously celebrated half a decade of sobriety and the work I have done on myself in that period. ‘In Love Again’ references being back in love with music after a long time away and signals in my mind a return to form – that track really feels like an amalgamation of the ideas from the first wave mixed with the ideas from the second wave.

The Mumdance Archive is impressive. It stands as a testament to how, throughout your career, you have witnessed the evolution of the clubbing world and evolved alongside it. You have worked as a sound engineer in commercial settings, curated parties and events, delved into the purest underground scenes, and navigated more mainstream waters. After a hiatus, you are now 1 year back and seemingly fresher than ever. What did clubbing and electronic music mean to you then, and what do they mean to you now?

I’m very proud of the MD Archive; it took me a long, long time to put together, maybe like 18 months – it was my pandemic project. All my work was so disorganised and spread out across a number of old computers and hard drives, all in different locations. It was a very long and tedious project to go through everything and make sense of it, but at the same time, it was very timely for me as it was a period when I was feeling very lost. It helped me remember who I was, where I came from, and what I had achieved.

What I like about the archive is that when you see everything all together – the mixes, music, and interviews – you can see the progression in my sound and the progression of me as a person and artist. Also the aforementioned waves which have come and gone, and the themes that have stayed present throughout. I think a lot of people think I just play and create music randomly from disparate scenes, but there is a lot of thinking behind it and there are moods and themes which run through it all. Having everything in one place, you can really see it.

Another reason I put the archive together was trying to take power back from social media companies and big tech; so much digital culture has been completely lost over the past 20 years due to websites and hosting services going down or out of business. Which is both sad and scary. 

An amazing thing about the archive is that it has evolved to become a platform from which I can broadcast radio. As a result of that and in tandem with Discord, a whole community has organically sprung up. When I do radio broadcasts, all the listeners meet up in the discord and there is a really buzzing live chat which has developed a new level of interactivity between artist and audience which I honestly have not seen anywhere else. There was one time where I hadn’t had any dinner, so listeners sent a pizza over to my studio live on air so I could stay and do a longer show & another time where when I got to the studio the CDJs weren’t there, so listeners just sent me their music live on air & we just all listened to each others music for a couple of hours; there have been some really beautiful experiences & I can comfortably say that the MD Discord is one of the friendliest places on the internet. Everyone is so kind, funny and helpful there. Social media always just upsets me, and the discord server is a complete antidote to that.

Electronic music still means as much to me today as it always has, I’ve accepted that I am here for life. I’m not out clubbing every weekend like I was when I was younger, but I stay connected and if something is interesting to me I will make an effort to go and experience it first hand, even if it means saving up and traveling to another country, which is something I have always tried to do throughout my life;

“I’m a firm believer that you can’t form a proper opinion on something unless you have experienced it first hand.”

I want to give a big shout out to my friend Chris Yaxley who gave a lot of his time and energy helping me code the archive. He is one of my best friends from childhood; we started DJing and buying records together when we were 12, so it was really nice to revisit all this with him.

5MD002 is out on your new label, MD Dubs. How does MD Dubs differ from Different Circles? Why did you feel the need for a different outlet?

MD Dubs serves as an outlet solely for releasing my own music with a relatively short turnaround time, whereas Different Circles functions as a highly curated platform for showcasing other people’s music. I believe MD Dubs also signifies a general levelling up at every stage of my production process. I can honestly say that the tracks on MD001 and MD002 represent the best music I could have possibly made, utilising the best equipment available to me at that specific moment in time. The tracks are mastered at Abbey Road by Alex Gordon, who truly understands my vision and possesses an amazing ear. Recently, I’ve begun sharing my studio with a mix engineer named Alex Evans, and we’ve naturally started collaborating. As someone solely focused on mixing as a career, he is a master of his craft and adds a dimension that I could never achieve on my own, teaching me so much in the process. In previous stages of my career, I handled everything myself, but this time around, I’m trying to explore a different approach.

Whenever I start doubting myself and if my output is good enough (which is quite a common occurance), I remind myself that I spent countless hours working on it, revising and refining it to the best of my ability within the time frame allotted. It’s been mixed by a Grammy-nominated mix engineer and mastered at Abbey Road. It truly represents the best I could achieve at every stage of the process. 

“As I wrote the shoutouts for MD002, I was struck by how many people played a part in bringing the EP to life and creating the visual world around it. I think thats a beautiful thing.”

You stated that each MD Dubs release will be accompanied by a Sholto Blissett painting. You always referenced a wide plethora of extra-musical elements in your work, one of the most dear to me being William Gibson. Besides musical influences, what drives and inspires your ethos as a creative the most?

I’m really happy to be collaborating with Sholto Blissett; His paintings remind me of a mixture of Fredric Edwin-Church and Giorgio de Chirico, they resonated with me from the very first moment I saw them. I always make it a point to attend graduate art shows to see what the new generation is creating each year, and that’s where I first encountered his work, pre-pandemic. A few months later, during the pandemic, his art was still on my mind, so I decided to commission a painting from him. He cycled over and personally dropped it off, and we’ve stayed in touch since then. When I thought about what I wanted to do with the MD series, I thought of his artwork immediately. I believe it really complements and encapsulates what I’m trying to achieve with the series. Working with him has felt natural and organic, and I love that each artwork actually exists in the real world. It’s been amazing to see his career blossom, and I am certain it will continue to do so.

Of course as a musician I get very inspired by other musicians, which is part of the reason why Logos and I wrote the track “Teachers” – to express our gratitude to those who have influenced us. Outside of music, I draw inspiration from various sources; books and literature are definitely among them. Reading a book is like ‘updating your software’ and expanding your worldview. There are authors who have been highly influential to my work as an artist. William Gibson, for sure, and more recently Jorge Luis Borges (I’ve literally read everything he ever wrote), Gabriel García Márquez, and, on a deeper level, Thich Nhat Hahn. Reading is akin to travel and art; it exposes you to someone else’s way of thinking and doing things.

Visual art and art theory are very influential to my work on a conceptual basis. Minimalism is a core theme that runs through all of my discography. I come from a working class background and have no formal education in art (or in music, for that matter), I’m completely self-taught through reading and experiencing as much as possible firsthand. Conceptually, El Lissitzky, Kazimir Malevich, and Agnes Martin have influenced my music by embodying abstract minimal art stripped back to its core, often without any sort of reference to the real world. This influence extends to the graphic designers I work with. I spend a long time discussing art and design Alex Gross and Lucy Wilson at All Purpose studio, who handle all my design work & have become good friends. This time around, there was a conscious decision to convey a lighter mood with the graphic design while still keeping it super minimal to reflect the music. If you look at the artwork for Radio Mumdance Season 03 series, you’ll see the influence from Lissitzky and Malevich is very apparent.

I believe that while conceptualising, theorising and engaging with art in its various forms is enjoyable, there has definitely been an over intellectualisation of dance music in recent years, which can become tedious. I admit that I’ve been guilty of this at times, but I always prioritise keeping things fun above all else.

“I want my work to represent a collision of high and low brow culture.”

DJing is a somewhat conversational discipline. On one end of the club there is you, your taste, your sound, on the other there’s the audience, with their vibes and moods: Different audiences lead to different conversations –DJing happens in between. Does your experience as DJs and these conversational elements of the discipline inform your music production, or is producing the space where you reclaim total autonomy for where you want your sound to go?

Nine times out of ten, I create music with a focus on the club in some shape or form. I always ensure my tracks are highly functional and easy to mix, with DJ-friendly intros and outros. However, everything in between is always centred on innovation and communicating something in a unique way. I try to take the accepted paradigm and bend it into a strange shape, so it’s recognisable yet feels alien. I’ve mentioned in past interviews that I try to make my tracks like firework displays for a sound system. I think this ethos is particularly evident in ‘In Love Again”.

In terms of DJing, lately I’ve been focusing on 4-deck extended sets. When I began DJing, I only did one-hour sets with two decks, but now I prefer longer sets—five, six, eight, even ten hours. I have a lot of music I want to share and a lot to communicate, so longer sets make more sense for me. It’s also very gratifying to soundtrack an entire evening for people who are strapped in and committed to the journey. Learning to use four decks has been very enjoyable as well. If you listen to my DJ or radio sets, you’ll know I don’t use any sort of syncing. (Let it be known that I have no problem with people who do; I just find syncing more confusing than enabling) However, I also enjoy the fact that at any moment, my set can fall apart in quite a dramatic fashion—and quite often it does.

“But that’s what’s human about it, and I’ve learned that the human element is what everyone truly appreciates the most.”

Last question: What more do you have in store for 2024? Something you are particularly excited about?

In the past, one of my weaknesses has been inconsistency. I tended to work in frantic bursts, and then burn out completely. This time around, I’m aiming for a calm and consistent output of good music. A marathon rather than a sprint. I plan to release four MD Dubs releases this year, one every three months. Additionally, I’ve been collaborating with an immensely talented choreographer named Zoi Tatopoulos We have some very interesting projects in the pipeline…

Finally, I’m pleased to announce that Different Circles will be returning in 2024. We are in the process of putting together a compilation called ‘Ping Volume One,’ which originated from an in-joke with the Discord community. This joke evolved into an episode of ‘Radio Mumdance called “The Ping Report” and now it’s blossoming into a conceptual compilation, marking a new chapter in the label’s lineage.

Interview · Andrea Bratta
Artwork · Sholto Blissett
Photography · Sam Hiscox
Pre-order the digital album here
Follow Mumdance on Instagram and Soundcloud
Follow NR on Instagram and Soundcloud

Angel D’lite

Posted on by nr

NR Sound Premiere #7 · Cloud 69
Album · Enchanted EP
Release Date · 01.03.24

Artist · Angel D’lite
Label · Goddezz

Cloud 69

NR presents Track Etymology, the textual corollary to nr.world’s exploration of contemporary soundscapes: A series of short interviews delving in the processes and backstories behind the releases premiered on nr.world’s dedicated platform.

Hello to both! Hope you had a great start of the week and thank you for doing this! The EP is sick! My first question is a pretty straightforward one, the textual equivalent of a warm-up: What brought you together on this collaborative journey?

Angel: My memory is actually a little hazy, as we started this project over a year ago, but Oli [Goddezz] had asked me if I wanted to work on something for Goddezz, and I had this idea to do a split EP with Lucy, a really good friend and an incredible producer. When our friendship was blossoming we were both in the early stages of production, always sending each other WIPS, encouraging and inspiring each other, so it’s super cute to have worked on this project together.. a full 360 moment. It’s been amazing to see and hear Lucy’s musical journey and how she’s grown as an artist and a composer, watch this space! 

LUXE: I feel as though Sadie and I have been talking about writing / working on some music together for a long while… We’ve always been close on eachothers production journeys – it feels really nostalgic and emotional to think back to our flurries of texts hyping eachother in our early days of production. Sadie was the first person to hear some of the first tracks I ever made and her infectious energy and encouragement helped me find confidence in what I was doing – I feel so grateful. Seeing her trajectory makes me so unbelievably proud and i’m so excited to see how life continues to unfold.

What were the elements of your respective sounds that you felt clicked together best and complemented each other? Additionally, what differences in your approaches did you feel add interesting twists to the tracks’ layout?

A: I LOVED working on the remix for Lucy, I loved hearing the wubby, textural sounds she used to make ‘Dance Enchantress’ . It’s really both of our worlds merging, with both the remixes and I think you can hear both of us in both remixes too! We are very different as producers and DJs, but I’d say we have a crossover of very UK bass kinda sounds within our productions and I think you can hear that in both the tracks and our remixes. 

L: I had so much fun working with Sadie’s stems, her gorgeous take on old skool nostalgia / euphoria was so refreshing to work with. I adore how both remixes turned out, I’m literally obsessed with sadie’s remix of my track!!! I love how we’ve created this common ground in our sound and production styles. 

If I were to put a label on the EP, I’d say it’s a UKG record, at least in its sonic backbone. UKG is a genre which elements are filtered into much of Y2K pop music, a current, if we can call it that, which has seen a big resurgence recently, almost to the point of saturation, as every trend deserving of that title should. Your EP strips the UKG resurgence back to the nostalgia and the pop-adjacency and brings it back to its roots: the club, dubstep influences, grimey sounds, a ravey funk. What were some of the influences behind this record?

L: Enchanted captures a really wide range of influences across the tracks, which are reflective of the ways in which mine and Sadie’s sounds crossover in our productions and sets. I honestly wanted to indulge in making something that doesn’t take itself too seriously and is a nice melding of some of my main influences, trancey and bassy with a hint of garage swing. Dance Enchantress felt like a fitting name with the alluring little vocal chop.

A: I was actually really inspired by a tune from Lobec – 5am Nostalgia, a beautiful, euphoric end of the night dancefloor tear jerker. Cloud 69 is a Poundland knock off, but it does the job I suppose! 

The remixes move the record away from familiar territory, slightly more at a distance from UK sounds, while remaining coherent with the vibe of the EP. How did you select them?

A: It was actually Oli’s [Goddezz] idea to get some remixes (I think, as I say it has been a long time in the works!) Each remix is very special in their own ways. I admire all the artists so much and I’m so grateful to have them all together on this.

I’ve been a big fan of Baraka (as people and artists) for a while now and that was really exciting for me to get them on this project, as it’s also their 1st remix! They have such a unique sound that spans sexy naughties-esque downtempo, 90s gabber, modern trance and techno, but always ravey and sexy, there’s a mindblowing Baraka track for every time of the day or night. I had no idea what they would make for us, but I really couldn’t be happier with what they’ve done! 

Both FAFF and Local group are good friends of mine, I knew FAFF would bring their silly, camp, sexy energy to this release, and it’s totally exceeded any expectations, actually becoming my favourite FAFF production, it’s all of the above, fun and funky fresh. I knew whatever Local Group would make would be a dancefloor destroyer, everything they put out is an instant bassbin hit. It means a lot to me to have them on this, we have remixed each other before, but this track is really next level. 

L: I think once we’d got the 4 tracks done of 2 originals and 2 remixes between Sadie and I we were speaking with Oli (Goddezz Daddy) and thought we may as well develop things further by curating a selection of remixes. The selection of artists was important – we thought it would be fun to cover all the sounds we love and the genres and spaces that influence us. Local group, and FAFF are close London contemporaries, incredible DJs and Producers,  who Sadie especially has known for years. Baraka we thought would be an amazing addition to the remixes, we didn’t really know what direction it would go in and it turned out to be this incredible trip-hop ethereal 90s concoction!! Mabel I was really keen to get on as I’ve been obsessed with her deep bassy psychedelic trance fueled productions and have loved seeing her trajectory. I love her flip of my original. What’s key here is that the remixes have created a perfect storm of genre mashup influences which feels very central to the whole project – the remixes made the sound world feel complete.


Last question: Are you planning some special B2B dates following the EP release?

Keep your eyes peeled

Interview · Andrea Bratta
Pre-order the digital album here
Follow LUXE on Instagram and Soundcloud
Follow Angel D’lite on Instagram and Soundcloud
Follow GODDEZZ on Instagram and Soundcloud
Follow NR on Instagram and Soundcloud

Luna Lopez

Posted on by nr

NR · World
Published · Online

Portfolio Focus · Luna Lopez

Through staged photography, Luna Lopez works with the emotional, the psychological and the erotic. Lopez infuses her photographs with contradictory elements, which makes her work both unsettling and arousing at the same time. She explores the dynamics of intimacy and violence, the calm and aggressive, as well as the strength that exists within the vulnerable and uncomfortable. Lopez stages and constructs photographs that don’t provide any fixed reading, but only hints about what’s beneath the seemingly obvious.

The underlying erotism that recurs in her pictures, manifests itself in what is not shown. Lopez interest in human connection is not only apparent in how she presents her work to the viewer, but also in how she identifies the nuances in a face expression or the gesture of the body when photographing.

Whether it’s a feeling of emptiness or a spirit of connection, Lopez captures these moments for her viewer to play part in. With the artisanal skill of darkroom printing and an acute eye for shape, texture and color, she has managed to create her own visual atmosphere, one imbued with a highly-attuned sense of tension and composition.

In order of appearance

  1. Untitled (Arched Woman)
  2. The Practitioner
  3. Attachment and Separation
  4. Brush of Censorship
  5. Metallic Object I
  6. The Spot (Eternity)

All images courtesy of Luna Lopez

Luna Lopez (b. 1996) is a Danish-born artist, currently living in Gothenburg, Sweden. Lopez completed her BFA in photography at the University of Gothenburg in 2021 and graduated from Fatamorgana, the Danish School of Art Photography in 2015.
Her work has been shown at Oblong, Copenhagen (2023), Oslo Negativ with MELK gallery, Oslo (2023), Göteborgs Konsthall, Gothenburg (2023), Galleri Thomassen, Gothenburg (2023), Galleri Cora Hillebrand, Gothenburg (2022), MELK gallery, Oslo (2022), Gallery Steinsland Berliner, Stockholm (2022), Röda Sten Konsthall, Gothenburg (2021), The Print Space, London (2019) and Copenhagen Photo Festival, (2018).


iagö

Posted on by nr

NR Video Premiere #1 · Chemical Wedding
Artist · iagö
Release Date · 24.01.24

Creative Direction · Theodore Ian Iagö
Directed by · Dom Sesto
Production · PRETTYBIRD

Chemical Wedding

NR is excited to announce the premiere of ‘Chemical Wedding’, a music video by multidisciplinary artist iagö. The lead track and namesake song features North London rapper Tommy Saint. iagö is known for merging his tracks and the visual arts in a process that focuses on the artwork as a whole rather than just the sound he produces.

‘Chemical Wedding’ was directed by Dom Sesto with iagö taking the lead on the creative direction of the project produced by PRETTYBIRD. With its distinctive fusion of musical styles, and the heady hypnotic choreography of the video ‘Chemical Wedding’ transports you into a new space where you can fully immerse yourself in the sound and the visuals that iagö has created. NR joins the artist in conversation.  

 Where do you get your inspiration for your music from? 

As I come to think of it, I have to acknowledge my childhood. Growing up there’s such an increased level of sensitivity to certain things, from emotions to characteristics, visuals and sound. The likes of Jean-Michel Jarre to Joy Division, come to mind. 

The exposure to these different sonic and visual languages, certainly set the foundation for why I’m drawn to certain worlds, even if subconsciously. 

Presently though, the strive to create is really rooted within a conceptual framework. The idea is to develop a narrative in which I can begin to conduct a story through sound. This latest project “The Chemical Wedding” really acts as a testament to my love for the early works of Philip K. Dick and Fitz Lang’s ‘Metropolis’. This was the catalyst to “Chemical Wedding” and the birth of the project as a whole, a reference to the first sci-fi novel written in 1616.  

Did you have any challenges when working on “Chemical Wedding” and if so how did you overcome them? 

As with most creative pursuits, there are always moments where either absurdity or self-deprecation creeps in. I’m surprised we’re even talking, and the project has cemented itself into reality. Sorry, I digress…

The narrative which was set before I began recording really acts as a soundboard during the writing and production process – the safe house, if things take a turn – and a place for inspiration.

The record really expresses where my head’s been at.

“There’s truthfulness, integrity and sincerity.”

How did the collaboration with Tommy Saint come about?

“Chemical Wedding” was the first thing I recorded for the project, so I really aimed for it to be that pivotal moment in the story, the crescendo in which the plot shifts. Tommy really acted as the main antagonist.

The collaboration itself grew through a relationship I had with a previous collaborator. I knew from Tommy’s work that he’d depict the angst and energy that was necessary.

There is a lot of focus on the body and movement of the body in this work, what was the creative motivation behind this?

The influence from “The Chymical Wedding of Christian Rosenkreutz” – which is believed to be the first sci-fi novel – really played into this notion. In essence, the story depicts the symbolic representation of birth, survival and death; life is represented as a circle because it’s a constant loop. People are constantly born and constantly dying.

There’s a spiritual element to this circle, however: the end of one’s existence is not necessarily the end of life altogether. An invitation for the viewer to pull their own meaning.

What advice do you have for young creatives who are looking to work in the music industry? 

Remain honest and pure with your intentions, both in terms of your creative output and in who you are.

“There will be moments of insanity but also euphoric joy as you fly through the seventh heaven at 6 AM. It’ll be ok…”

Although, I’m still figuring it out…

Interview · Nicola Barrett
Photography · Angelo Domenic Sesto
Styling · Harry Crum
iagö wears trousers and boots BOTTEGA VENETA, vest PATRICK MATAMOROS and gloves 0HIDE

Follow iagö on Instagram and Soundcloud

spazioSERRA

Posted on by nr

NR 18 Personal Investigation · Autumn Winter 2023
Published · Online

Feature · spazioSERRA
Words · Lorenzo Ottone

Found in Transition

Since 2017, spazioSERRA has been subverting the paradigms of art curation in Milan. The unique exhibition space occupies a formerly dismissed aedicula within the Milano Lancetti train station, a site of commuting, certainly not catered for the arts.

However, over the last five years, spazioSERRA has grown into one of the most distinguished curatorial realities of the city, adopting a grassroots and collaborative ethos that revolves around a multidisciplinary collective of young personalities. They are not afraid to challenge the artistic status quo and try to democratise arts, making it a daily experience for passersby.

Its curatorial practice speaks to the present, moving within sculpture, performance and mixed media, with the now not so utopian aim of sparking a discourse on arts, culture and beauty in a suburban setting that, traditionally, was only seen for its pragmatic and structural means. 

Defying labels and refusing the conformist definition of gallery, spazioSERRA is busy narrowing the gap between art and the public sphere, growing seamlessly with the local community.

We sat in conversation with the team behind spazioSERRA.

Lorenzo Ottone: spazioSERRA aims to promote contemporary art in a suburban context. Howimportant but also challenging it is, within that specific social context, to establish adialogue with such a broad community, made of both locals and commuters, whichmay not be necessarily exposed to nor interested in art and culture and who mayhappen to find themselves by the space for other purposes? 

spazioSERRA: spazioSERRA was established to specifically cater to this audience. Our unwavering mission revolves around fostering an authentic and meaningful dialogue with the community, rendering it a matter of great significance to us. Our ultimate aim is to democratise art, liberating it from constraints both literal and metaphorical, thereby fostering accessibility, openness, and transparency. 

The challenge lies in the undeniable reality that the passersby, intentionally or fortuitously interacting with our space, constitute an immensely diverse collective. Certain exhibitions possess the power to ignite the curiosity of specific visitors, while others engender intrigue in an entirely distinct set of observers. We aspire for the passersby, who traverse the Lancetti railway station on their daily commutes, to discover something within our space that can transcend their routine, infusing it with curiosity and a touch of liveliness. 

Furthermore, cultivating a dialogue with the community holds paramount importance. The irrefutable truth remains that spazioSERRA derives its essence and purpose from this very collective. As an integral part of a bustling urban ecosystem, nestled within a public space of a train station, it finds itself intricately interwoven with the broader social fabric. Failure to maintain this vital connection would invariably result in the gradual erosion of its significance and eventual obsolescence. 

Lorenzo Ottone: The exhibitions you promote range widely, from performances to sculpture and mixedmedia. Can you please guide us throughout your curatorial approach? Within an artworld that is quite multi-faceted and fragmented, what stimulates you the most rightnow? 

spazioSERRA: We actually acknowledge and embrace the diverse and expansive nature of artistic  expression in the present era and ever-evolving landscape. We try not to confine contemporary art into a singular definition or medium and instead we aim to promote art that addresses pertinent societal issues and provokes meaningful conversations. Works that challenge established norms, promote inclusivity, and shed light on underrepresented voices resonate strongly with us. We are committed to providing a platform for artists whose practices embody social consciousness, cultural diversity, and critical discourse. We recognize that different perspectives, cultural backgrounds, and social contexts influence artistic expression. It allows for the exploration of unconventional materials, interdisciplinary collaborations, boundary-pushing artistic experiments, and the fusion of traditional and contemporary techniques. 

Ultimately, our curatorial approach is driven by facilitating meaningful connections between artists, audiences, and the broader cultural landscape. Our curatorial collective is formed by multidisciplinary individuals with diverse backgrounds, expertise, and walks of life. So we try our best to curate exhibitions that both inspire and engage, inviting visitors to embark on a thought-provoking journey through the rich tapestry of contemporary art. Over the years, our curatorial approach has evolved significantly, and we anticipate that it will continue to evolve in the future. 

Lorenzo Ottone: At the moment we are noticing an increasing attention towards archive culture.Whereas a spazioSERRA is located in an environment that unfolds at the speed ofsound, dictated by the passing of time and trains. How can art capture the presentand the zeitgeist when there seems to be so much emphasis on the past? 

spazioSERRA: Art, with its innate versatility and capacity for interpretation, possesses the remarkable ability to bridge the gap between past, present, and future. While archive culture may be rooted in preserving and revisiting historical records, art can infuse the present moment with vitality, relevance, and contemporary resonance. Rather than being constrained by the weight of the past, art can engage with history as a source of inspiration and reflection. Artists can draw upon archival materials, cultural artifacts, and collective memory to create works that explore the contemporary human experience. By recontextualizing historical narratives, art can shed light on the enduring themes, struggles, and aspirations that shape our current reality. 

Moreover, art can serve as a catalyst for dialogue and critical examination of the present. It has the power to evoke emotions and provoke thoughtful contemplation. Artists can respond to the pressing issues, complexities, and transformations of the modern world, using their creative expression to capture the zeitgeist and stimulate collective consciousness. Moreover, the immediacy of art’s impact lies in its ability to engage with the viewer on an emotional and visceral level by creating moments of connection and reflection that go beyond the barriers of time. Through these dynamic and experiential approaches, art can vividly reflect the spirit of the present, surpassing the perceived emphasis on the past and artists can evoke a profound sense of connection to the ever-evolving world around us. In short, art’s capacity to transcend temporal boundaries and its potential to explore historical narratives in a contemporary context enable it to capture the present and embody the zeitgeist.

Lorenzo Ottone: You work with young, up and coming artists. Even your own definition of collective issomething that often hails from youth and underground culture. How is the collectiveand social dimension of spazioSERRA shaping your identity? 

spazioSERRA: The majority of the artists we have worked with are in fact relatively young and emerging; we also had the chance to work with artists who are well established and belong to a different generation. We do want to provide a platform for emerging artists to showcase their talent, share their perspectives, and gain exposure within a supportive community. It is truly needed in the current art world. 

By embracing the essence of youth and underground culture, we shape our identity. We also find our distinct character and purpose through our commitment to fostering a collective spirit and creating a vibrant social space. The social dimension of spazioSERRA is equally significant. Our space is designed as a gathering place, where diverse individuals can converge, engage, and experience art in an inclusive and dynamic environment. By facilitating interactions and dialogue between artists, visitors, and the community, we cultivate a sense of shared ownership and participation. Our identity is driven by the collaborative energy that permeates spazioSERRA while fostering a sense of belonging. We strive to remain receptive to emerging trends, societal changes, and the ever-changing landscape of contemporary art. By engaging in ongoing dialogues, we ensure that our identity remains relevant, vibrant, and in tune with the aspirations of our artists and audience. 

Lorenzo Ottone: Last year, your call for artists was titled “Un posto impossibile”, an impossible place,which is what a gallery within an underground railway station may look like at first sight.Have you found an answer to your question? How utopian is spazioSERRA’s visionnow, 5 years after its opening? 

spazioSERRA: It depends on the question to be answered. Our aim is not to necessarily provide answers but more so to create an environment that could potentially generate questions. Every visitor can have their own answer or simply reflect on the questions they personally perceive. spazioSERRA is a peculiar place situated in an underground train station but it is not really a gallery and this is why the expectations from a space like this can be somehow unusual but certainly not entirely impossible. We never set out to have a utopian nor a dystopian vision. While our vision continues to evolve, we find that spazioSERRA’s essence remains firmly rooted in serving the community. The journey of the past five years has allowed us to realize that the vision itself is an ongoing pursuit—a continual exploration of possibilities and a quest to defy limitations. By seamlessly integrating art into this dynamic urban environment, we seek to reduce the boundaries that traditionally separate art from the general public sphere. Yet, we acknowledge that the road to achieving our vision is ever-unfinished. As we navigate the complexities of operating within a train station and engaging with diverse audiences, we continuously adapt, learn, and refine our approach. We try to promote art as an integral part of people’s daily lives. Art has a transformative power. The diverse voices that have graced our space, and the connections forged between artists, visitors, and the broader community determine spazioSERRA’s impact as an exhibition space. The fulfillment of the vision also depends on its ability to sustain its operations over time. These factors can shape the overall vision and determine the extent to which it aligns with the initial starting point.

Shauna Summers

Posted on by nr

Secret Sunshine

Team

Production · Shabatura
Photographer · Shauna Summers
Photographer assistant · Julia Lee Goodwin
Fashion stylist and art director · Camille Naomi Franke
Fashion assistant · Antonio Chiocca
Creative producer · Yelyzaveta Krysachenko
Production assistant · Samo Wong
Hair · Peggy Kurka using Oribe
Hair assistant · Fabienne Hoppe
Makeup stylist · Susanna Jonas
Models · Eline Bocxtaele via Ulla Models and Loni Landua via SMC management
Casting · Hien Le via Dillerglobal
Set designer · Matthew Bianchi
Nail · Oksana Zavora
Retoucher · Cristina Farrarons


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