موسيقى مغايرة ( معرضي الجديد) صور

Another Music
Mohammed Ali Fadlabi
Luke Fowler
Lemi Ghariokwu
Linder Sterling

Another Music is a group show of work by artists whose practice is
directly concerned with the complex relationship between image
production, music and politics. Mohammed Ali Fadlabi, a painter based in
Oslo now making new work for Kunsthall Oslo, is perhaps best known for
the controversial cover image of the Gatas Parlament record Apocalypso,
showing a Christ-like figure tied to the Norwegian flag. Luke Fowler's
documentaries question the classical concepts of musicianship and
composition, and relate them to political ideologies, particularly in
his case study of Cornelius Cardew's Scratch Orchestra. Lemi Ghariokwu's
painting was brought to world attention during his long collaboration
with Fela Kuti, and his focus remains on an agitational relationship to
the many unsolved questions of the third-world vs the first-world.
Linder Sterling is a Manchester-based artist and musician whose work,
informed by feminist ideas and Dadaist visual strategies, made a key
contribution to the politics of the punk aesthetic, and continues to
test the boundaries of mainstream taste in the interests of a future
erotic egalitarianism.

Afrofuturism is an emergent literary and cultural aesthetic that combines elements of science fiction, historical fiction, fantasy, Afrocentricity, and magic realism with non-Western cosmologies in order to critique not only the present-day dilemmas of people of color, but also to revise, interrogate, and re-examine the historical events of the past. Examples of seminal afrofuturistic works include the novels of Samuel R. Delany and Octavia Butler; the canvases of Jean-Michel Basquiat and the photography of Renée Cox; as well as the extraterrestrial mythos of Parliament-Funkadelic and Sun Ra, and the recombinant sonic texts of DJ Spooky.

The afrofuturist approach to music was first propounded by the late Sun Ra. Born in Alabama, Sun Ra's music coalesced in Chicago in the mid-1950s, when he and his Arkestra began recording music that drew from hard bop and modal sources, but created a new synthesis which also used afrocentric and space-themed titles to reflects Ra's linkage of ancient African culture, specifically Egypt, and the cutting edge of the Space Age. Ra's film Space Is the Place shows the Arkestra in Oakland in the mid-1970s in full space regalia, with a lot of science fiction imagery as well as other comedic and musical material.
Afrofuturist ideas were taken up in 1975 by George Clinton and his bands Parliament and Funkadelic with his magnum opus Mothership Connection and the subsequent The Clones of Dr. Funkenstein, P Funk Earth Tour, Funkentelechy Vs. the Placebo Syndrome, and Motor Booty Affair. In the thematic underpinnings to P-Funk mythology ("pure cloned funk"), Clinton in his alter ego Starchild spoke of "certified Afronauts, capable of funkitizing galaxies."
In the late 1990s a number of cultural critics, notably Mark Dery in his 1995 essay Black to the Future, began to write about the features they saw as common in African-American science fiction, music and art. Dery dubbed this phenomenon “afrofuturism”.
In Black to the Future, Dery writes:
“ Speculative fiction that treats African-American themes and addresses African-American concerns in the context of 20th century technoculture—and, more generally, African-American signification that appropriates images of technology and a prosthetically enhanced future—might, for want of a better term, be called Afrofuturism.
African-American culture is Afrofuturist at its heart, literalizing [the SF novelist William] Gibson’s cyberpunk axiom, “The street finds its own uses for things.” With trickster elan, it retrofits, refunctions, and willfully misuses the technocommodities and science fictions generated by a dominant culture that has always been not only white but a wielder, as well, of instrumental technologies.
”
According to the cultural critic Kodwo Eshun, British journalist Mark Sinker was theorizing a form of Afrofuturism in the pages of The Wire, a British music magazine, as early as 1992.
Afrofuturist ideas were incubated and elaborated on the eponymous list-serve established by Alondra Nelson in 1998. Participants in those conversations include Alexander G. Weheliye, Alondra Nelson, Art McGee, Kali Tal, Nalo Hopkinson, Paul D. Miller, Sheree Thomas, and Ron Eglash.
Guillermo Gómez-Peña is an artist of Mexican descent who also incorporates science fiction and technological themes in his work in a significant way.

The Sacred Fear
Karin Erixon
Ahmed Ghossein
Petter Napstad
Lina Norell
Oscar Qvale
Jon Benjamin Lund Tallerås

Alongside his participation in 'Another Music', Kunsthall Oslo has
invited Mohammed Ali Fadlabi to curate a project outside the gallery
space. 'The Sacred Fear' is an exhibition distributed around the city,
with works on show in a bar, a shop, a club, an office, a gallery and an
art academy. Fadlabi writes 'I never thought I was a curator. I am not
even sure I am an artist yet. And here comes a real institution asking
me to curate a show. Well, for some reason I found myself doing it
anyway. Probably because of my African upbringing. We were taught to
listen and respect those who knew better. Ladies and gentlemen, this is
a very personal show. I have chosen locations I am familiar with in Oslo
and invited friends to show their art.'

Tuesday 18th of January
Oscar Qvale, Kandaka boutique, Markveien 56 C, 17.00
Karin Erixon, Galleri Blå, Brenneriveien 9 C, 18.00
Ahmed Ghossein, Turkish Delight, Torggata 35, 20.00
Thursday 20th of January
Lina Norell, Kirkholm law office, Akersgata 43, 9.00 – 16.00
Petter Napstad, Semikolon, Oslo National Academy of the Arts, Fossveien 24, 17.00
Jon Benjamin Lund Tallerås, One Night Only, UKS, Lakkegata 55 D. 20.01, 20.00