ED4M Zine presentation and Screening ‘Making of ED4M’
November 8th, 2024 Screening starts 7 pm
+conversation with the artist with K1NO1 ____________________________________________
Motto – 38 rue du Vertbois – 75003 Paris ____________________________________________
The main character is the electric train type ED4M, one of the most common in Russia since the mid-90s. This small detective story unfolds on newsprint, featuring carriage vestibules, doors, handles, and wanted persons. It immerses the audience in the realm between the living and the dead, accompanied by the sound of wheels clattering, exploring space, ritual, collective recognition, and personal experience. The Tbilisi weekly sports newspaper served as the prototype for this book.
ED4M (Electric train Demikhovsky, type 4) is a series of Russian DC electric trains produced from 1996 to 2016 at the Demikhovsky Machine-Building Plant. The first batch with increased comfort was manufactured for the Moscow Railway between 1999 and 2000. During this period, ED4 and ED4M models became the most significant electric trains for local purposes.
Zine features photographs by Ivan Anisimov taken between 2019 and 2022 before he left Russia. Further shooting was continued by his son Danila, who took four rolls of 35mm film in winter 2023. Zine design by Aeona Melnikova.
Screening is a documentation of the printing process of a zine in a print facility, Tbilisi.
Ivan Anisimov was born in Pereslavl-Zalessky, Russia, in 1988. For more than 10 years, he has been engaged in documentary film and photography, collecting archives from lost photographs and videos. He has carried out several photographic projects and is now based in Paris, France.
The event is organized within the framework of the cinema club and Film Association K1NO1 Paris.
ED4 (Electric train Demikhovsky, type 4) is a series of Russian DC electric trains produced from 1996 to 2016 at the Demikhovsky Machine-Building Plant for the railways of Russia and the states of the republics of the former USSR. In the period from 1999 to 2000, the first batch of electric trains with an increased level of comfort were manufactured. This batch was by order of the Moscow Railway, and was necessary for the implementation of local flights. In 2000, the first set of AC electrical equipment for ED9M electric trains was supplied by Electrosila OJSC. It was from these deliveries that the active introduction of the equipment of this company into production began. During this period, trains of the ED4 and ED4M models were the most significant and widespread electric trains used for local purposes.
The book features photographs by Ivan Anisimov taken between 2019 and 2022 before he left Russia. Further shooting was continued by his son Danila in accordance with the list provided by his father. In total Danila took four rolls of 35mm film in winter 2023.
An’archives are pleased to announce the release of a self-titled album by Tori Kudo & 3C123. A reissue of a cassette that was originally released on Uramado in 2020, this is the first time this live session has appeared on vinyl. The performance, featuring Kudo on piano and 3C123 on clarinet, was recorded on October 18, 2009, at the Uramado venue in Shinjuku. A beautiful and quixotic forty-minute set, it reconnects both Kudo and 3C123 with various musical histories, including those of classical composition and free improvisation.
The performance documented on Tori Kudo & 3C123 is a curious one. While they both appear to slip into improvised ruminations at times, for the most part, Kudo performs pieces by Erik Satie on the piano, over which 3C123 teases an excoriating stream of improvisation from the clarinet. His playing here is wild in its poetry: sometimes lushly nestling alongside Satie’s melodies, elsewhere loosing Ayler-esque squalls from the instrument, it’s a bravura performance that is matched, in an indirect manner, by the poise and pacing of Kudo’s generous, fluent recital.
When asked about the thinking behind the performance documented here, Kudo explains by describing the historical juxtaposition of Satie with Takehisa Kosugi’s improvised violin as “an essence of the Japanese art of collective improvisation.” The playing here, as within Japanese collective improvisation, is about sitting ‘alongside’ each other, not necessarily in direct (or even indirect) reference, but rather sharing the space; “just being there together,” Kudo says, and letting go of the need for performers to engage in interplay.
Tori Kudo & 3C123 is certainly part of that tradition, and this is where its curious poetry resides; in that ‘third space’ that sits in between, but not directly connecting, the two performers. Kudo makes an analogy with Fluxus, which is appropriate. But you can also hear their shared history here, somehow, as Kudo and 3C123 have known each other since the eighties, when they shared a house in Kunitachi City, Tokyo. Their musical paths have been multiple – Kudo, of course, best known perhaps for his Maher Shalal Hash Baz ensemble; 3C123 as a member of Vedda Music Workshop, and with other Japanese musicians like Koichiro Watanabe.
It’s a lovely album that’s as mystifying as it is direct and beautiful.
The latest volume of writing by influential New York–based critic and curator Bob Nickas collects his 2012–14 column for Vice magazine’s Komp-laint Dept. This column unleashed the full omnivorous range of the author’s interests. There are essays on musicians such as Neil Young, Sun Ra, Royal Trux and Lydia Lunch, which look at their biographies and the history of Nickas’ personal relationship with their music; there are lengthy and often very funny “complaints” about, among other things, two different presidents, Jeff Koons, New York architecture, the meeting of fashion and punk, religion in general, nostalgia and the problem with contemporary graffiti. Additionally, there are meditations on filmmakers such as David Cronenberg and Nicolas Refin. The book is rounded out by perhaps the definitive (two-part) examination of how and why Richard Prince uses appropriation.
In 2004, 2/5BZ’s second vinyl EP which featured 3 tracks from his second appearance at Peel Session in 2004 (proposed early 2004, broadcasted in late 2004) together with 3 unreleased tracks has been released under his own label Gözel Records in 2006 and has beed re-pressed many times . 2/5BZ, aka Serhat Köksal, has worked as a multimedia artist with various releases in video, music, and literary formats since 1991 in Istanbul and performed live audiovisual performances under motto “NO Touristik NO Exotik” in 20 countries and 96 cities in clubs, festivals, squats, exhibitions and multimedia perforformances at well-known festivals such as Club Transmediale in Berlin, Sonic Acts in Amsterdam, Donau Festival . 2/5BZ had an interview with John Peel in 1994 for BBC world Service . ” Of all the music I heard in Turkey, I liked 2/5BZ best “, commented John Peel and aired his works two times at Peel Session in BBC Radio 1 with following announcement “ that track is from one of my favourites sessions of the recent past from 2/5BZ from Istanbul.No Touristik No Exotic it is called..” John Peel (2004)
The sound of each individual’s voice is thought to be entirely unique. Like a fingerprint, its composition is distinct, nuanced, and one-of-a-kind. While all this is true, it’s a concept that has been challenged in recent times by the refinement of AI-powered systems which are able to emulate voices to a tee. And not only voices, for that matter, but whole styles and aesthetics: an AI-generated facsimile of Drake and The Weeknd’s voices titled “Heart on My Sleeve” made the rounds this year and was even submitted for Grammy consideration. It’s a legitimate song, and a proposal that does not only keep legal departments busy, but also allows for myriad reflections on originality and, bluntly, the future of music. But as the future of music is a broad and daunting topic to speculate on, we want to hone in on what’s been prefaced above: issue #28 of zweikommasieben centers the voice as means of expression, and wants to expand on what is meant by that: it’s not only what is heard, but also why a voice is used and by whom. This latest edition considers what it means to voice, and its physical, societal and political dimensions.
Truthfully, voices as a topic might be even more daunting to tackle. Its political implications are manifold and have to be considered in seriousness. Voice can’t be separated from reflections on the ingrained power of attitudes, beliefs, and norms that dominate. Exhibit A for these complex entanglements is a conversation Dounia Biedermann had with South Korean artist bela. The musician explains how they use all kinds of different voices other than their recognizable speaking voice to articulate and access deeply felt emotions towards their home country and identity. “Whispering, growling, screeching, and inhaling” help them in disrupting cultural boundaries of power that historically constrain and silence marginalized identities. With this approach, bela finds an ally in Krista Papista: in conversation with Jazmina Figueroa she informs that her latest album was an explicit tribute to the lives of victims of femicide in Cyprus, and the marginalized voices that are not heard within the Cypriot national ideology. By subverting traditional music genres and poetics, both Krista Papista and bela push forward the need to queer history and to reveal longstanding, harmful, national myths.
In a queer history, we are no longer pointed towards dominant and singular voices, but instead expand to a context that is polyvocal—a term we encounter in artist Claudia Pagès’ contribution to this issue: through the tools of light, drums, and text, a different temporality and reading of history is proposed. Tuning out of the prevailing source of authoritarian speech, and tuning in to the voices of many, also leads us to consider the articulation of the collective. In his interview with Helena Julian, artist Tianzhuo Chen points to the shared voice of humankind as a whole, and its yearning for a state of flow and togetherness.
For the latest iteration of the visual column “Formations”, Imane Djamil provides a portfolio of photographs taken in the Moroccan seaside town Tarfaya. In the series, we are confronted with the boundaries that can be imposed on one’s legitimacy to express. We witness glimpses of everyday life, in close proximity to the severely precarious migratory sea passage towards Europe. Hearing the voice of the local community, we equally become aware of whose voice is missing.
Naturally, the voice is also an instrument that is shaped by its limitations. Although, still today, it seems to have preeminence above all other forms of human expression. The full width of the use of voice and sounds produced by individuals is further explored in an essay by Dagmar Bosma. The artist and writer muses on the act and appearances of different forms of stimming, which is a verb that originates from the neurodivergent community. Bosma highlights the sonic dimension of stimming with its vocalizations and repetitions of sounds and rhythms, as a way to equally express and soothe.
A recurring interest of zweikommasieben is, to speak with Claudia Pagès, to be polyvocal. Previous issues tried to achieve this by highlighting all the different people involved in bringing a magazine to life (in issue #22) or allowing authors, translators, photographers, and designers to make additional editorial notes (in issue #23). This time around, the graphic designers Kaj Lehmann and Raphael Schoen are using typographic matter to create a similar effect: different cuts of the same font (which was designed by Lehmann and previously used in issue #17) are applied to choral effect.
One could argue that for a voice to exist, it needs to be heard. In this 28th edition, we wish to offer exactly that. In the next pages, you will perceive a multitude of voices—from roars to whispers—, sometimes out of tune or out of time, with the intention to be recognised by those who dare to listen.
‘Une idée du temps’ rend hommage à Éliane Radigue, pionnière de la musique électronique à 92 ans. Avec son ARP 2500, elle a créé un son distinctif basé sur sa vision audacieuse et son sens unique de l’acoustique, du temps et de la durée. Le livre présente des portraits et des photos de son ARP 2500 prises entre 1955 et 1972, avec une introduction de Joseph Ghosn en anglais et français. Premier tirage limité à 300 exemplaires.
Black Cassette Tape, handmade printed fabric case, riso printed paper cover, DL code. Limited to 40 copies.
1st self-released EP of Tot Onyx, T.O.1 is a collection of fragments of Onyx’s live performances from recent years (mainly 2023), recorded in her studio as part of her creative process during the preparations. While her albums are highly conceptual and revolve around specific subjects, this EP serves more as her annual report, in which she aims to share with the public how her thoughts are shaped by time through the practice of performing live. credits released February 2, 2024
Recorded and mixed by Tot Onyx in Berlin, DE. Mastered by Koshiro Hino in Osaka, JP. Artwork by Tot Onyx.
was made during – and is the result of – confinement it is a film without images, it is a home-made film, and my home is Berlin, it is the soundtrack of a period during which some activities were stopped and in the silence left behind, have given way to other sounds, other machines, animals too, many animals.. and then events, news, in short a generalized feverishness. And as it is written somewhere on the sleeve : no story no movie no credits released May 30, 2023
master by rashad Becker lacquer-mastercut by andreas (LUPO) Lubich featurings: claudius, dorit Chrysler, thomas Jocher label: Loud Loud
intro/nitropeu 00:54
restructured / part 1 01:28
restructured / part 2 (he wants, she doesn’t) 02:04
interlude – Martinville 1860 03:14
une taille 40 une taille 41 c’est moderne 02:12
snake Plissken 04:05
A4 02:39
underground nostalgia 05:45
does music imitate or speak to wolves? 03:37
[— _ _ [birds]] 02:48
skipping billie 03:12
exhale exhale 01:27
polyuréthane 02 13:09
polyuréthane 03 10:22
the comet Rosetta is speaking loud and clear to some frogs in India 05:50
1.kuru 01:36 2.hedge 02:03 3.le départ 01:13 4.lagno 01:02 5.machine sex 01:05 6.surge 02:51 7.anthropophage 01:38 8.scherben 03:10 9.happier than the morning sun 02:04 10.glasmensch 05:20 11.vanishing twin 00:48 12.brume 01:53 13.candor,my tepid friend 03:29 14.uruk 01:53 15.hinken 02:05 16.kiki watt 02:42 17.topor 01:13 18.tiqqun 02:47 19.day is done 01:24 20.daliah 02:08 21.restructured II 02:53 22.decapitated forms 02:57 23.lidschlag 01:55 24.second coming 01:26 25.gehende berge 01:09 26.metanoia / k-hole 03:10 27.leisesprecher 02:28 28.detruire 02:06 29.fear of heights 01:44 30.vapeur 04:32 31.nissodia 01:18 32.zufall und notwendigkeit 01:03 33.hekatombaion 01:04 34.niurgun bootor 02:35 35.last dream 02:35 36.owl 02:01 37.purge 02:26 38.the sun goes down 01:24 39.mars bar 96 nyc live 04:32 40.kauai’O’o 01:25 41.body doubles 04:10
released December 25, 2023
all tracks claudius 2023 cover art by edgar degas featuring franckDavid on restructured II lazara rosell albear plays sheng on glasmensch recorded and mastered at e12 studios berlin
