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LA2015 Sydney: Beyond Capitalist Surrealism

Eddie Hopely Holly Childs Ivan Lisyak James Parker Jennifer Walshe Anja Kanngieser and Daniel Jenatsch Kate Brown Kraus Kynan Tan Marian Tubbs Mark Brown Monica Monin & Astrid Lorange New Waver Richard Dawson Steph Overs Tom Smith
Wed, 30. Sep 2015
firstdraft
13-17 Riley St
Woolloomooloo, NSW
6pm-10pm
FREE

This year in Melbourne we instigated a program called Capitalist Surrealism. We could have done the same here, but Sydney is even more expensive than Melbourne — more capitalist, and therefore more surreal.

Over three days at Firstdraft, Beyond Capitalist Surrealism will hold an acoustic mirror to the bizarre and mutually-antagonistic forces and formations of contemporary capital. This collective experiment by artists, musicians and others may:

* record the noise of eavesdropping
* rave safe and sound in the peace and quiet of sonic warfare
* flush the human algorhythm’s guiltily machinic ear

Our projections suggest that this should accrue sufficient emotional, symbolic and unconscious capital to bankrupt the fantasy of an infinitely contracting horizon. If the goal of capitalism is the accumulation of capital, this is accumulated capitalist surrealism.

Wednesday September 30

Richard Dawson
Pat Kraus
Kate Brown
Ivan Lisyak
Holly Childs
Monica Monin & Astrid Lorange

Thursday October 1

Jennifer Walshe
James Parker
Jasmine Monique Guffond
Marian Tubbs
Kynan Tan
Mark Brown 
Monica Monin & Astrid Lorange

Friday October 2

New Waver
Anja Kanngieser & Daniel Von Jenatsch
Eddie Hopely
Tom Smith
Stephanie Overs
Mark Brown
Monica Monin and Astrid Lorange

Curators:

Joel Stern
Danni Zuvela
Kusum Normoyle

Artists

Eddie Hopely
(eg a triad of #branding, #recovery, and #evidence corresponding to then cycling through topos CS, WWAFMSL, E)
Holly Childs
the language and emotions of ecological and computational systems
Ivan Lisyak
pop culture appropriation, techno, and heavy industrial aesthetics
James Parker
James Parker is the Director of a research program on Law, Sound and the International at the Institute for International Law and the Humanities (IILAH) at Melbourne Law School.
Jennifer Walshe
Irish Dada-ist, composer and musical conceptualist, socially mediated / meditated performance art
Anja Kanngieser and Daniel Jenatsch
sound and communication are shaped by, and shape, our relations to one another, to the architectures and infrastructures around us, to our larger atmospheres and ecologies, and to the forces of power and governance that we experience and intervene in
Kate Brown
The processes ‘the body’ undergoes during a vocal performance are acknowledged by representing the body as a machinic entity via sound to combine present actions and potential connections within a continuum.
Kraus
I play guitar, drums, a home-made synthesizer, organ, bamboo flute and tape-loops. I live in Auckland, New Zealand. I like medieval and Renaissance music, Japanese traditional music, psychedelic music, electronic music 1950s-70s and rock and pop of the same era. And, etc.
Kynan Tan
What are the implications of being listened to at all times? What is the difference between being listened to by: nobody, somebody, a machine, an intelligent machine?
Marian Tubbs
There is a party at Minerva 4/111 Macleay St, Potts Point this Saturday from 8pm-9:30pm. We hope you can make it. There will be some recording devices at the gallery.
Mark Brown
relentless processes of the dematerialisation of matter despite the human struggle to contain time - the eternal eating machine
Monica Monin & Astrid Lorange
Affective Citations
New Waver
Appropriation of classic rock as a vehicle to examine the trials and tribulations of contemporary life, to the art of Powerpoint.
Richard Dawson
songs both chucklesome and tragic, rooted in a febrile imagination that references worlds held dear and worlds unknown
Steph Overs
Electronic materials recombine and transform in infinite compositions as an experiment in computer aided sound-to-object synesthesia.
Tom Smith
attempts to capture the ludic, depersonalized, uncanny and frustrating moments. Generic interfaces structure behaviour and produce modes of interacting and consuming that place within the privacy of individual devices.

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