http://www.youtube.com/watch?v=gtqEPnqSvLs
This video captures a performance of Blowjob, a experimental exploration of controlled feedback.
If you’re in London, you may want to check out the Dec 12 IMT performance, which will feature Wojciech Kosma’s recent compositions, Headfuck and Blowjob, a composition by Berlin based artist Oliver Laric, and an appearance by Polish new-media artist Jan Simon.
Is this music? Art? Exploitation?
Let me know what you think in the comments.
And if you can’t decide, there are more performances of this particular piece that may help you make up your mind.
Here are the details on the Dec 12 IMT performance:
IMT is proud to present an evening of innovative contemporary music performed by the Wrong Ensemble, an experimental music group established in 2008 by Polish visual artist and composer Wojciech Kosma. Wrong Ensemble is dedicated to performing musical and music theatre works by non-musical artists. For this performance the London based group of amateur and professional classical musicians will consist of Phil D’Aroso, John Bingham-Hall, Nicole Kearey, Kate Lush, Wojciech Pucilowski, Thom Tew, Chris White and others.
Wojciech Kosma lives between Berlin and London, working between art and composition. His artworks and performances are often spatial, sonic, obliquely interactive and poetic, creating speculative aesthetic interventions in public and gallery space. He has exhibited, undertaken commissions and residencies and performed widely in a variety of institutions and arts organisations, as well as informal networks of cultural producers. Most recently in MOMA Warsaw and Whitney Museum of American Art in New York. He is currently research student at Goldsmiths University in London. www.wojciechkosma.com
Oliver Laric studied at the University of Applied Arts Vienna and, together with Aleksandra Domanovic, Christoph Priglinger and Georg Schnitzer, is one of the co-founders of the platform VVORK. His recent exhibitions include ‘50 50 2008 ? ? TOUCH MY BODY’, Seventeen, London, ‘I love the Horizon’, Le Magasin-Centre National d’art Contemporain, Grenoble, ‘Montage: Unmonumental Online’, New Museum of Contemporary Art, New York, and ‘Becks Fusions’, ICA, London.oliverlaric.com
Jan Simon studied psychology and sociology at the Jagiellonian University, Krakow. He works chiefly with films and interactive installations, which make use of motifs from computer games. His works were exhibited at a number of group shows, both in Poland and abroad. In 2006 he was nominated for the “Passport of Polityka” award.
via Muff Wiggler
Gosh! I hate to say it but that was truly boring – even from an Avant-Garde perspective Now if she’d applied some over-driven analog delay effects layered with some tastefully applied bit reduction and wave shaping this could have been interesting.
Not being a mic expert, I wonder if the mic was a stock hypercardoid or was in any way set up to be responsive to the feedback resonances set up by the performer’s oral contact/mouth formants (think: talk box).
Some neat variations in resonance seemed to be there, but not so much as to invite the player to play them (in addition to the basic theatrics of simulating oral sex). Maybe it was the room, the PA setup, sound absorbtion by the crowded spectators, or other variables that dampened things.
I hate to admit it, but that was slightly hot! I mean, not only is it a cool little experiment in sound, but it’s a hot chick deep throating!!!
My question: How do you know when the performance is over?
I’ll say the same thing as I did on Boing Boing- I don’t see how this is art. Can you just call anything done intentionally to be out of the ordinary ‘art’?
I found it most interesting watching the people in the back
Meh…okay, visuals aside, I get that it's described as "a [sic] experimental exploration of controlled feedback" but it really doesn't do much beyond that. No pun intended, but it doesn't go far enough as a "avant garde music" performance…as "performance art" okay, but not as "music" …
Too much of a gimmick.
(But honestly, what a brilliant possibility for acoustic/aural experimentation…the same three dimensionality that one might obtain from a theremin…so I guess it just strikes me as a wasted opportunity)