“There is a kind of knowledge that strips whatever you do of weight and scope: for such knowledge, everything is without basis except itself. Pure to the point of abhorring even the notion of an object, it translates that extreme science according to which doing or not doing something comes down to the same thing and is accompanied by an equally extreme satisfaction: that of being able to rehearse, each time, the discovery that any gesture performed is not worth defending, that nothing is enhanced by the merest vestige of substance, that “reality” falls within the province of lunacy. Such knowledge deserves to be called posthumous: it functions as if the knower were alive and not alive, a being and the memory of a being. “It’s already in the past,” he says about all he achieves, even as he achieves it, thereby forever destitute of present.”
— E.M. Cioran, The Trouble with Being Born
A new release constructed by Jason Corder? Always going to hit the spot. Jason’s work has been with me since my late teens since his early netlabel days and every single release just gets better and better. With exquisite ‘Ambient’ material as Offthesky on the likes of Hibernate, Dronarivm and Home Normal, it is with the latter label that Jason has chosen as home for his new project ‘Juxta Phona‘.
We Will Not Be Silence sees Jason pick up his old pastime of creating glitched out semi beat-driven pieces, literally littered with detail upon detail. For me, it straight away recalls one of his earliest works on Thinner – Microcosmos. This is an all-time netlabel classic for me, with Jason using lots of tiny fragments of sound to sculpt a soundtrack which fits loosely into a Deep House framework.
As Juxta Phona, Jason slows…
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Modest, casual, crude, playful, mercurial, unpredictable, unfinished, enigmatic, chaotic, subversive–these are just some of the adjectives that have been used to describe Sigmar Polke’s art. The alternately complimentary and critical connotations of these words are equally applicable to the paintings for which he is best known and to the photographs that play an increasingly important role in his work.
Born in 1941 in the eastern German town of Oels (now Olesnica, Poland), Polke moved to West Germany in 1953. Having sketched constantly as a child, he began an apprenticeship in a stained-glass factory at age eighteen. Two years later, he was accepted into the Düsseldorf Art Academy where he continued to study until 1967. Together with classmate Gerhard Richter, he launched Capitalist Realism, an art movement that, like Pop Art in the United States, mined popular culture and advertising for visual language. Borrowing subject matter and techniques from a wide variety of sources and layering them in unconventional ways, Polke quickly gained recognition as one of the most influential artists in postwar Germany. Resisting easy categorization by theme, medium, or style, his paintings expanded viewers’ appreciation for the expressive potential of materials.
Polke took up photography in the mid-1960s. Guided by curiosity about the medium’s optical and chemical properties, he experimented with printing techniques in the darkroom to transform the raw material of the negative through the alchemy of black-and-white photochemistry. Travel to Paris, New York, Afghanistan, and Brazil in the 1970s, as well as daily life in Hamburg, where he taught from 1977 to 1991, and in Cologne, provided rich subject matter for his photographs.