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Deconceptual Voicings, vinyl LP 12"

by Stefan Roemer, Marc Matter

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    Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

    bonus item: inner sleeve with all song lyrics
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      €8 EUR  or more

     

1.
a child of pop and movies (Martha Rosler) 3:50 I still need what artists need, Which is space and time In order to have a generosity Toward my own material Is that terribly romantic? Yes So, I am a child of pop and movies I had an idea Idea Art needs to be defined as A set of discursive practices That bring with them The creation of new social subjects Art really can make a difference Idea, idea, idea They go: wait! I would like there to be space and time To do whatever I damn please Yeah, I wanna annoy people I wanna annoy people Wait! The failure of all kinds of male practices To incorporate these softer elements Wait! It’s true They go: wait! What? Wait! The visuality Wait! The visuality It looks like But they’re: Just a look! What? A look! They have either depth or humor It looks like, but it's not I suffer from overload Idea, idea The answer is: everything Idea, idea What? It’s really important to emphasize that for me Conceptual art and feminism both brought The idea of art as an open process of inquiry Idea, idea Art needs to be defined It’s true I am an image What? An image What? I was a post-pop artist Idea My critique of pop was Its paranoic insistence on Naiveté and disconnection From any kind of conceptual critique It’s not existential angst Wait! Idea, idea Wait! They go: Wait! Idea, idea Wait! I’m rushed to be constantly involved in the production, re-production, installation and re-installation of work, and produce text, which I have to write in five minutes, literally, or, you know, in one day
2.
a playground of possibility (Ed Ruscha) 3:33 I had to do, To, to satisfy my curiosity Erik Satie, Erik Satie I had no quest I didn't expect to I had no strategy Erik Satie, Erik Satie I didn't know what to expect I mean especially contemporary art I woke up to the world of art To the world of art, the world of art Not just through painting, sculpture That sort of thing But also through musicians A kind of a zoom That kind of thing (Interlude) I had to do to satisfy my curiosity Leonardo, Michelangelo They eventually are forgotten Aaa-almost forgotten Riemenschneider, you know the wood sculptor I woke up when I saw his work Europe to me was something Brand new and exotic You have to go somewhere else It’s like this cause and reaction Abstract expressionism came along And produced conceptual art Inspired people to do let’s say the opposite Do the opposite of what you are supposed to do Then you will be doing right Do the opposite, let’s say the opposite I think that’s true with most art It’s like cause and reaction And even the driest kind of Conceptual art has amusement (Interlude) I think it just exists in the air Like a playground of possibility This is food for thought, food for the future Food for thought, food for the future Voicing the same words, doing the same things Voicing the same words, doing the same things Playground of possibility Living for the moment Daily activity, artistic activity Conceptual art It’s so abstract this idea I think it just exists in the air Like a playground of possibility
3.
oddly enough (Andrea Fraser) 3:24 Having a project Means something that is larger than A specific practice But it’s an ongoing investigation (Interlude) Many of the symbolic revolutions of art Have been more reproductive than critical Having a project of reflexive critique Different moments of reflexive critique A critique is very, very difficult to accomplish Collectors, trustees, curators Spectacularized, celebritized vision of the artist Collectors, trustees, curators Oddly enough The mechanisms of The production and re-production Of those interests and those fantasies The social magic of institutions is To constitute anything as a legitimate interest Will create a kind of chaos of reflection Will have to do with my own transgression Collectors, trustees, curators Spectacularized, celebritized vision of the artist Collectors, trustees, curators Oddly enough The women’s art movement, feminism and The influence of feminist theory Conceptual art and pop art All problematize the position of the artist Closely linked to Particular economic regimes Closely linked to Spectacularized, celebritized vision of the artist As the free individual Pursuing new forms of freedom and satisfaction Closely linked to A sort of ideological figure of The neo-liberal subject Collectors, trustees, curators Spectacularized, celebritized vision of the artist Collectors, trustees, curators Reflexive critique, reflexive critique, Different moments of reflexive critique Closely linked to A kind of chaos of reflection Closely linked to A reflexive critique Closely linked to A legitimate interest And a specific practice
4.
a serial progression Sol LeWitt 5:19 What I wanted to do was Instead of an art of form An art of content I had the idea, to make a system The first system was a form within a form Then the idea, to make it all Of the possible combinations Which made it into a finite system Art in series, art as an idea Of movement and of content The idea of a serial progression Idea of a serial progression… Of a serial progression… A serial progression… Serial progression… Progression… Gression… Ion… Gression… Progression… Serial progression… A serial progression… Of a serial progression… Idea of a serial progression… The idea of a serial progression What I wanted to do was Instead of an art of form An art of content I had the idea, to make a system The first system was a form within a form Then the idea, to make it all Of the possible combinations Which made it into a finite system Art in series, art as an idea Of movement and of content The idea of a serial progression
5.
the west thinks you imitate (Shilpa Gupta) 2:47 I think The aim is experience I, I ,I think Working with ready-made stuff People back home think you are imitating the west And the West thinks you imitate There is a certain hierarchy Which is always built-in Hey, you’ve copied from the West Hey, you‘ve picked up You have been influenced Therefore you are not so good I think It is a struggle to negotiate I ,I ,I think Blablabla Doing avant-garde art Or doing net art Or doing something with conceptualism Or blablabla You have been influenced Therefore you are not so good This whole business of having -isms How strong are the paradigms Walter Benjamin, “Art in the Age of Mass Reproduction“ How strong are the paradigms It just doesn’t work How strong are the paradigms It just doesn’t It just doesn’t It just doesn’t work I think The in-between thing I, I, I think Conceptualism Or blablabla I really don’t want To fit into any of these brackets You want to make something “in“ Because you want to make something “out“ It has to do with making fashion And making fashion is To make something “in“ I think The aim is experience I think It is a struggle to negotiate I think The in-between thing I, I, I think Conceptualism Or blablabla A lot of people brand me as a conceptual artist It just doesn’t work
6.
a grumpy adornoishness (Art & Language: Michael Baldwin, Mel Ramsden) 4:45 MB: Cynisme ou subversion Of the universityfication As artists we were full of imposture Ludicrous imposture Sense of imposture, full of imposture Ludicrous imposture MR: And you can't do anything about this past It just gets bigger and bigger MB: A grumpy Adornoishness seems to me In many ways preferable to The fraudulent democracies It’s connected and it’s plugged into that system MR: And you can't do anything about this MB: Certainly, a grumpy adornoishness MR: Art & Language MB: Art & Language and télos (Interlude) MR: In the mid-60s there was plenty Plenty of mad art around Plenty, plenty of mad art MB: Is it possible to be subversive? To think of a great deal of art Has been the dream work of The triumph of global capital Is there a way that we can imagine Resisting that co-option? Is it possible to be subversive Or is it mainly necessary to be cynical? (Interlude) MR: You didn’t know where it belonged Did it belong in a book, did it belong on a wall? Was it his, was it mine? MB: An identity, it still does not Constitute anything Like an identity that could be purified An identity, to be subversive, to be cynical MR: Was it his, was it mine? MB: To be cynical? An identity MR: Was it his, was it mine? MB: Identity, subversive, cynical MR: Was it his, was it mine? MB: This is Art & Language (Interlude) MB: It was a tactical move, yeah yeah Tactical move It’s often a quite interesting Gedankenexperiment MR: It’s this great kind of whoa Judd, Morris, Robert Smithson, Their writings as well as their work Writings work, writings work Is this great kind of whoa MB: This is Art & Language (Interlude) MR: Aesthetics and beauty and contemplation Start thinking in terms of Epistemology, ontology, indexing MB: You can’t have the mainstream and A nervous breakdown simultaneously MR: No MB: Except you want to MR: This is a seriously worrying thing MB: You can say I’m an artist who works with that Or you can say, okay, get my Adorno done I say, fuck it The Pollock-model of the artist Fuck it, oh Fuck MR: And it was never called conceptual art MR: How to work with the wreckage MB: The naiveties of dematerialization Ultra-minimalism tending to become absurd MR: After modernism’s nervous breakdown How to work with the wreckage Discursive vividness MB: Basically it‘s what we do MR: Discursive vividness MB: This is Art & Language If we stopped, it would be as if we’d never begun.
7.
to objectify desire (Lawrence Weiner) 3:38 A “the” to a “a” It’s the changing of A “the” to a “a” I’m very involved in trying To objectify desire How can you objectify desire? And what does that constitute? – in a non-romantic manner Objectify desire In a non-romantic manner Objectify desire It’s the changing Of a “the” to a “a” And how to take the universal and turn the universal into a specific Which in fact is ambiance… (noise: gallery space) The language of art is material Objectify desire, objectify desire It’s the changing of the status of the plinth If I make a mistake I make a mistake – mea culpa And remember I’m not a doctor writing a script, I’m not a pilot with people Dependent upon my life To control the mise-en-scène I decided not to explain A “the” to a “a” A “the” to a “a” Objectify desire In a non-romantic manner Objectify desire In a non-romantic manner But to speak about the authenticity Is making a sales pitch To play the artist Is again trying to set up some sort of a position That people can read I accept this to a “a” to a “a” to a “a” to a “a” And as most things it might be complicated to begin with, but it’s pretty simple in the end
8.
using, subverting and utilizing conventions (Yvonne Rainer) 5:00 Gender… Gender really enters, Gender really enters in the `80s Yah, gender and race Gender and race issues Race… My work has gone from dance to film Back to dance, to gallery installation Certainly not a single aim I’m still involved in using and subverting and Utilizing conventions of narrative cinema More and more, my films took stronger political Positions in relation to current, topical issues Work… My goal is to reinvigorate Reactivate the spectators‘ critical faculties I’m always assessing Whether I am pushing y’away or drawing you in Pushing y’away Drawing you in Body… (endless)

about

Artists: Marc Matter & Stefan Römer
Title: Deconceptual Voicings
Format: 12 inch black vinyl LP (33,3 rpm) with printed innersleeve containig all lyrics
published by: Mount Analogue (MAA004) and Slimvolume (Slimvolume#10)
ISBN: 978-1-910516-09-6 (Slimvolume)
ISBN 978-91-983195-7-6 (Mount Analogue)
Distribution: Cornerhouse (UK) and A-Musik (GER)
www.cornerhousepublications.org/publications/deconceptual-voicings/
www.a-musik.com/artist/matter-marc-stefan-roemer.html
2019
Edition of 500

A 12" vinyl record of musical compositions from interviews with influential conceptual artists — Martha Rosler, Ed Ruscha, Andrea Fraser, Sol LeWitt, Shilpa Gupta, Art and Language, Lawrence Weiner, and Yvonne Rainer.
Selected statements were transformed into musical compositions, the audio material (field recordings) was turned into songs. Speech fragments, syllables and consonants were processed into rhythmic patterns, while slogans, statements and text passages were sampled into sprechgesang.
This is a homage to all the artists involved. Deconceptual Voicings suggests a global polyphony of positions and sounds.

Good ideas should be amplified.

watch: www.youtube.com/watch?v=aYzmo3JFa98
___________________________
The project is based on an idea by Stefan Römer and Marc Matter (concept and composition), assisted by Lizzie Davis (sound engineering) and Dirk Lebahn (graphic design).

The sampled interviews with the artists primarily recorded for the film essay Conceptual Paradise (2006) by Stefan Römer:
www.conceptual-paradise.com

black-white photography at Barboncino_Golden Pudel Club: Claudia Höhne

credits

released November 15, 2019

Gefördert vom Musikfonds e.V. aus Mitteln der Beauftragten der Bundesregierung für Kultur und Medien.

Cover Artwork using the drawing by Ed Ruscha: SCREAM, 1964 (D.1964.09), tempera and pencil on paper, 34.9 x 30.50 cm

Marc Matter (Bad Säckingen)
Artist, Lecturer and Author, founding member of the collective Institut für Feinmotorik. Member of the clubmusic group The Durian Brothers. Since 2004 resident-DJ at Salon des Amateurs. Since a few years focusing on artistic research, Sound Poetry and acoustic literature, commissioned works for radio-broadcast (SWR, WDR, DLR Kultur).

Stefan Römer (Berlin)
works de-conceptual with images, films, sound and texts. He founded the activist artist collective »FrischmacherInnen (fresh-makers)« (1992); his essay film »conceptual paradise« (2006) on post-minimalist and three generations of conceptual art was internationally screened; his book »inter-esse« appeared at merve pub. in 2014. Band project: Stan Back & The Noise Glam; ADKV award for art criticism 2000.

Elizabeth Davis (New York, Berlin)
Musician and researcher working with sound and electronics. BA in »German Studies« and »Modern Culture & Media«, Brown University 2016. Currently working on her MA degree in the ›Sound Studies & Sonic Arts‹ program at UdK Berlin; composer in residence at Elektronmusikstudion (EMS) in Stockholm/Sweden in 2018 and regularly performs and presents work under her own name and the Wilted Woman alias »https://ww.virtual-slap.net/«. Radio producer with ties to WFMU, WBSR, and Cashmere Radio.

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