Sur l’onde calme et noire où dorment les étoiles La blanche Ophélia flotte comme un grand lys, Flotte très lentement, couchée en ses longs voiles… – On entend dans les bois lointains des hallalis. Voici plus de mille ans que la triste Ophélie Passe, fantôme blanc, sur le long fleuve noir Voici plus de mille ans que sa douce folie Murmure sa romance à la brise du soir Le vent baise ses seins et déploie en corolle Ses grands voiles bercés mollement par les eaux ; Les saules frissonnants pleurent sur son épaule, Sur son grand front rêveur s’inclinent les roseaux. Les nénuphars froissés soupirent autour d’elle ; Elle éveille parfois, dans un aune qui dort, Quelque nid, d’où s’échappe un petit frisson d’aile : – Un chant mystérieux tombe des astres d’or
LP Original Artwork Numbered & signed edition of 25 ex. d’or043 Date of Release: July 5, 2020
A thin belly. A belly of fine powder and as in a picture. At the foot of the belly, a burst grenade. The grenade deploys a flaky circulation which rises in tongues of fire, a cold fire. The circulation takes the belly and turns it over. But the belly does not rotate. They are veins of vinous blood, of blood mixed with saffron and sulfur, but of a sulfur sweetened with water. Above the belly breasts are visible. And higher, and more deep, but on another plane of the mind, a sun burns, but in such a way that it is thought that it is the breast that is burning. And at the foot of the grenade, a bird. The sun is like a gaze. But a gaze that seems to gaze at the sun. The gaze is a cone that spills over at the sun. And all the air is like frozen music, but vast, profound music, well built and secret, and full of icy ramifications. And all this, put together with columns, and a kind of architect’s drawing which connects the stomach with reality. The canvas is hollow and multi-layered. The painting is well enclosed in the canvas. It is like a closed circle, a sort of abyss which turns, and doubles in the middle. It is like a spirit that sees itself and hollows itself out, it is malaxed and worked endlessly by the clenched hands of the spirit. However, the spirit sows its phosphor. The mind is safe. He stands well with a foot in the world. The pomegranate, the belly, the breasts are like witness testimonies of reality. There is a dead bird, there’s a bud out of columns. The air is full of pencil strokes, pencil strokes like knife strokes, like streaks of a magic nail. The air has returned sufficiently. And here he disposes himself in cells where grows a seed of unreality. The cells are each placed in their place, spreading around the belly, in front of the sun, beyond the bird, and around this circulation of sulfur water. But the architecture is indifferent to the cells, it sustains and does not speak. Each cell carries an egg, where shines which germ? In each cell an egg is suddenly born. In each there is an inhuman but clear swarming, the stratifications of a fixed universe. Each cell carries its egg well and offers it to us; but it matters little to the egg to be chosen or rejected. Not all cells carry eggs. In some, a spiral is born. And in the air a bigger spiral hangs, but as sulfurous as if already of phosphor and enveloped in unreality. And this spiral has all the importance of the most powerful thought. The belly evokes surgery and the Morgue, building site, public square and operating table. The corpse of the belly appears to be made of granite, or marble, or plaster, but than hardened plaster. There is a case for a mountain. The foam of the sky makes the mountain a ring, translucent and fresh. The air around the mountain is sonorous, pious, legendary, forbidden. Access to the mountain is prohibited. The mountain has its place in the soul. She is the horizon of something that is constantly receding. She gives the sensation of the eternal horizon. In this, I feel my thought unfold as in an ideal, absolute space, but a space that would have a form which can be introduced into reality.
I fall from the sky.
And each of my fibers opens and finds their place in their designated boxes. I go back up to it as at my source.
LP Original Artwork by Timo van Luijk Numbered & signed edition of 25 ex. d’or040 Date of Release: June 20, 2020
Asra, La Poupée Délirante… is the epiphany of Asra, La Poupée Dilettante… while dreaming of existing as La Poupée Vivante… She has never really existed… Nor will she ever… Asra, she lives in a dream, undreamed by no-one. She is the all-forgotten… The non-sensical, incapable of being sensed. She lurks somewhere in lightness. Só light, it can’t be spotted. She radiates a beautiful smell, só nice, it can’t be smelled. That is, here, where you are… Where I am… I have never seen her… But I have met her… In a moment só intense, it can’t be remembered. A moment where I no longer was me. Where there were no memories and which moment could never be remembered. I have forgotten about her.
Rayastre, Timo van Luijk
Artwork description: Artwork on Covers by Timo van Luijk. Front: Black etchings. Back: handstamped letters. Drawings on Vinyl Records by Rayastre. Some records contain normal handwriting without drawings.
LP Original Artwork by Edward Ka-spel Numbered edition of 40 ex. d’or039 Date of Release: February 17, 2020
Edward Ka-Spel (born Edward Francis Sharp, 23 January 1954 in London) is an English singer/songwriter and musician. He is best known for his work with the band The Legendary Pink Dots, which he co-founded in 1980. He has a discography of over 80 solo-titles and 118 published works with The Legendary Pink Dots. His work spans a wide terrain from psychedelic underground popmusic to more serious electronic music, but always in a highly distinguishable style.
A Spoken Word Piece by Edward Ka-spel.
ON THE REBOUND
I looked in the mirror and saw healthy colour in my cheeks. Even the wrinkles seemed to be disappearing although those laugh lines stuck around for a while. “It gets better,” they all said. And it did until the first problem appeared in the form of a letter from someone called Rosemary. This Rosemary accused me of cheating her out of her precious possessions and threatened me with a lawyer. I would have written her off as a lunatic if the handwriting hadn’t seemed so worryingly familiar. Rosemary….Rosemary….the name nagged me as the letters increased in number and ferocity. Then, one day, Rosemary turned up on the doorstep with suitcases, and scowled at me as she stormed upstairs before emptying her things all over my bed. I just accepted it too. Wordlessly, like a puppy I moved downstairs and did my best to avoid her, though this became harder and harder as time passed. Sometimes Jake and a rather beautiful young lady named Amber, who was apparently my daughter, would come to visit. Jake would talk to me about compromise and communication while Amber tended to ignore me at first, preferring to talk to Rosemary upstairs. The odd thing is that I began to connect to Rosemary after a while. Her anger seemed to subside, and I began to wish for a surprise meeting in the kitchen.
Edward Ka-spel ~ On The Rebound
LP Original Artwork
Artwork Description: Digitally designed Text-Collages by Edward Ka-spel
LP Gatefold Cover with Artwork by Ragnar Grippe. Signed by Ragnar Grippe Numbered edition of 25 ex. d’or038 Date of Release: February 17, 2020
Ragnar Grippe is a Swedish composer, born October 15, 1951 in Stockholm. He has studied at one of the first electronic music studio’s, the legendary GRM studio’s in Paris in the 1970’s and has worked in other early electronic studio’s where he has composed numerous pioneering works in the avantgarde / electronic domain. Besides his autonomous work he makes music for dance theatre, film and television.
Unpublished Work from the 80’s by Ragnar Grippe
Tamis was composed 1980 at the Electronic Music Studio EMS in Stockholm at its original address Kungsgatan 8 in Stockholm.
The Buchla synthesizer and voice are the only sources to the composition. EMS had at this time just recently installed a 24 track tape deck and mixing console which allowed the layering of many tracks on top of each other, This new method of work did also change the compositional process; here we can hear a more instrumental approach to the material than in earlier compositions by Grippe.
T A M I S Choreography S U S AN BUIRGE
friend Philip Glass composed for her the music
for Enallantdel’ouestàl’est (1976).
She then commissioned musics from Ragnar Grippe
for Lapse (1978), Restes (1979), Tamis (1980)
and DesSites (1983);
from Jean-Yves Bosseur for ChargeAlaire (1982,
presented at the Aix-Les Milles aerodrome); from Luc Ferrari
for LesyeuxdeMathieu (1984,
a film for La Sept); from Steve Lacy and his sextet
for Artémis (1988,
Grande Halle de la Villette); from Marian S. Kouzan
for GrandExil (1990);
from Patrick Marcland for Lejourd’avant(1999)
and Lejourd’après (2000),
and from Jean-François Laporte (L’œildelaforêt,
2002). She also collaborated with Tomihisa Hida for an adaptation of
Gagaku music for the four pieces of LeCycledesSaisons (1994
Horst, composer who taught dance composition at the Juilliard School,
had helped Susan Buirge to make the decision to leave Juilliard and
to follow her desire to study with Nikolais by saying, “Do what you
have to do and everything will fall into place.”
R A G N A R G R I P P E lives in Stockholm Sweden and lived in Paris between 1972 and 1994.
in electronic music, chamber music, instrumental music and film music
besides his many collaborations with choreographers.
interesting part is that Grippe’s electronic music has to a great
extent dealt with virtual acoustics in the electronic music,
something which was in Buirge’s choreography defined as space,
time, shape and motion.
“All pieces we collaborated on were based on a mutual understanding for each other’s work, where the liberty given to me as a composer was essential for the completion of the collaboration.” (Ragnar Grippe)
Onesided LP Original Paintings by Leigh Barbier Numbered edition of 25 ex. d’or037 Date of Release: February 17, 2020
The Residents are an American art collective, active since end 1960’s. Between 1973 and now the group has issued around 140 titles. The group has in their 50 years existence never disclosed their true identities, which has lead to much speculation. Their style of music is perhaps best described as avantgarde rock with a high sense for experiment and a love for the strange. They were pioneers in including art, poetry, theatre performance and music in a truly original form.
A Spoken Word Piece by The Residents.
THE HEALER AND THE ARCHER
A Fable of Love and Loss by The Residents
Sweet like the smell of honeysuckle in the summer sun… sweet like the taste of rock candy crushed between the teeth… sweet like the touch of a baby’s skin beneath your fingertips. Yes, the Archer’s life was sweet. Never was the aim of his arrow more true, his sense of direction more succinct, his adoration more complete, but… something was missing. An empty spot existing just outside his line of sight, unspoken, intangible and roaming the edges of his essence. Like an itch that wasn’t there, with no specific connection to his otherwise well ordered life, it lingered… always present but never quite real.
The Residents ~ The Healer And The Archer
LP Original Paintings, Mixed Media
Artwork Description: Two Tableau’s, consisting of a Painting and a Collage. Tableau 1: Acrylic Paint on Cardboard. Tableau 2: Acrylic Paint, Stamps, Stickers, Collage on Cardboard. Size: 31,5-31,5 CM. Back of Tableau 1: Numbered and dated. Signed on Front Tableau 1: LB. (Leigh Barbier)
LP Original Artwork by Raymond Dijkstra / Louise Landes Levi Numbered edition of 25 ex. d’or036 Date of Release: 8 september 2019
Louise Landes Levi is a poet/performer-translator/traveler and a founding member of Daniel Moore’s Floating Lotus Magic Opera Company, America’s first fusion orchestra. After receiving a BA, with Honors, from UC-Berkeley, and studying at Mills College with the sarangi-master Pandit Ram Narayan, she traveled alone overland to Afghanistan in the late 1960s and to India, via Istanbul, Tabriz, Mashed, Herat, Khandahar, Kabul, Peshawar, Rawalpundi and Lahore, to research North Indian sangeet (classical music) and its poetic tradition. Several translations followed: Rene Daumal’s classic study of Indian Aesthetics, RASA (New Directions, 1982); from the Middle Hindi of Mira Bai, an archetypal singer-saint of the 16th century, Sweet On My Lips: The Love Poems of Mira Bai (Cool Grove Press, 1997, 2003 & 2016); and Henri Michaux’s Toward Totality: Selected Poems (Shivastan, 2006). She has published more than a dozen books of poetry and autobiographical prose, including most recently: Love Cantos, 1-5 (Jack In Your Box, 2011); The Book L (Cool Grove Press, 2010); Tower 2/Tara or dc-x (Il Bagatto, 2009); Banana Baby, with facing Italian translations by Alessandro Tuoni (Super Nova, 2006); and Avenue A & Ninth Street (Shivastan, 2004). Her electronic chapbooks may be found at the website Big Bridge. Her recordings include most recently: From the Ming Oracle (Sloowax, 2014), an instrumental and spoken word compilation of her works from the late sixties to the near present; City of Delirium (Sloow Tapes, 2011); Colloidal Love Poem (AudioMER.); Poetry Reading (Astres d’Or, 2018); Bombay Lunatic Asylum (Astres d’Or 2018). John Giorno writes: “Her poems sing in the mind and dance through the heart and throat, and arms & legs, w. great clarity and bliss. Louise is Saranswati, goddess of poetry.” Levi has studied with such masters as Annapurna Devi, Ali Akbar Khan & La Monte Young. When not performing, she lives in a stone tower in Bagnore, Italy, with winter quarters in New York, her birthplace, and elsewhere.
Raymond Dijkstra is a musician/visual artist active since 1987 in experimental music, sculpture, painting, photography, collage and drawing. Founding member of Asra, La Poupée Vivante (with Timo van Luijk), Wendingen 1918 (with Bart de Paepe). He has collaborated with Frédérique Bruyas, Jon Mueller, The New Blockaders among others. RD is an autodidact who believes strongly art should be derived from worldly experiences and can’t be learned at school. The basis of the art lies in non knowledge, from which roads are chosen and lessons learned. Teachings came from life, loneliness, alienation, drug-experiences, self-exploration, dreams and psychedelic medicines like psilocybin and Bufo Alvarius… Dijkstra has a discography of approximately 150 titles. His work shows a high degree of DIY in the sense that he has taught himself music ‘along the way’ while opening new doors within himself and has distributed his music mostly through self-raised music and art publishing platforms like Le Souffleur (2003-current) and Astres d’Or (2017-current). “An artist should be independent- from the making of art to the freeing of the work to the public.” The vinyl-records of this publication are hand-cut by RD himself.
Henri Michaux (Namur 1899 – Paris 1984) The French writer, painter and graphic artist Henri Michaux was born in the Belgian town of Namur in 1899 and spent his childhood in Brussels. He wanted to become a priest, but followed his father’s wish and began to study medicine in 1919, but soon abandoned this plan and signed on as a seaman. After reading works by Lautréamont he began writing in 1922. His acquaintance with Paul Klee, Max Ernst and Giorgio de Chirico, whom he met in Paris in 1925, inspired him to first painting and drawing attempts. Between 1927 and 1937 he travelled through South America and Asia. Afterwards Michaux sketched and painted his Phantomisms. He had his first exhibitions in Parisian galleries, followed by important shows abroad. In the mid 1950s Michaux began experimenting with hallucinatory drugs, particularly with mescaline, letting his experiences inspire his writing, painting and drawing. These works were first exhibited in 1956 at the Galerie La Hune in Paris. Then there was a large exhibition at the Palais des Beaux-Arts in Brussels in December 1957 and a retrospective exhibition organised by Daniel Cordier in Frankfurt/Main in March 1959. His ink drawings evoke scriptural elements and calligraphic symbols which are a seismographic reflection of the artist’s inner emotions. The two systems of word-language and sign-language pervade each other. Henri Michaux’s impressive oeuvre attracted much international recognition. He exhibited works at the “documenta” in Kassel in 1959 and 1964; he was awarded the Einaudi-Prize at the Biennale in Venice in 1960. Henri Michaux’s paintings always remained figurative, in-spite of all tendency towards abstraction. The artist’s intention was not to flee from the world, but to expand the world by changing the awareness. The real world was to be enhanced by additional levels of perception. Henri Michaux died in Paris in 1984 at the age of 85.
Spoken Word and Music by Raymond Dijkstra and Louise Landes Levi, Somewhere in 2019, Somewhere. Text: Henri Michaux.
ON THE STREET OF DEATH
On the street of Death,
My mother met a great ice field;
She wanted to speak,
It was already late,
A great cotton ice field.
She looked at us my brother and I,
And then she cried,
We told her — a truly absurd lie — that we understood. And then she smiled the very gracious smile, of a young girl, That was truly herself, Such a lovely smile, almost coy; And was taken into the Opaque.
Peace in the nerves of a sick heart.
Steady peace ripens its law,
sucked into life,
into a nebulous life, into life…
but heavy the chariot, heavy, heavy.
Send wind to them,
the warm wind of delicate mouths,
the warm wind of sovereign deserts.
your corollas of anguish!”
THE MASTER OF HO
THE MASTER OF HO
I heard the crowd of the spanked speaking of pride, says the
Master of Ho. And I did not laugh.
New laws have been prepared. New laws have come. The laws
accumulate says the Master of Ho. But it is still the edict of the old
dwarf, scattered leaves of an already uprooted tree.
Calm, says the Master.
Calm and worry. These are the peregrinations of the doe and
the panther until finally they meet. O moment! O extraordinary
moment! and everything becomes so simple, so simple.
Calm, says the Master of Ho.
Labyrinth, life, labyrinth, death
Labyrinth without end, says the Master of Ho.
Everything buries, nothing frees,
The one who suicides is reborn to a new suffering.
The prison opens onto a prison.
The corridor opens another corridor:
He who believes he unwinds the thread of his life
Unwinds nothing at all.
Nothing leads nowhere, The centuries also live underground, says the Master of Ho.
Everything falls, says the Master of Ho. Everything falls, alreadyyou wander in the ruins of tomorrow. The man who talks to you is Sphinx. The man who you were,the father that you had, was Sphinx. And then, what did you understand of the Sphinx who made you submit? He who does not dissolve the one who comes to him, a Sphinx,grows there and it is from this Sphinx that one dies.
Everything hardens, says the Master of Ho, everything hardensand returns to the skull. The incomplete gesture, the faltering ofthe heart, the remark that strikes the ear is him, it is he himself, notunderstood, who will wound you and who, in time, will obstructyou, endlessly, with hard rocks.
Everything sediments. Everything turns into stone, says theMaster of Ho. From the lip to the stone, from the ray to the ruin.
He whose destiny it is to die must be born. Alas, a thousand
times alas for the births, says the Master of Ho. It is an enlacing
which is an interlacing.
One loses in gaining. One retreats in approaching. The girl with
the tight yoni, however great her heart, has a fault.
Many fine things have them.
Take from me the scholar, says the Master of Ho. The coffin of
knowing has limited his thought. O! Liberty says the Master. Take
from me he who sits down to think.
Speak first. Speak and you will not be ignorant. First attain, and
then you will approach.
Everything flows, says the Master of Ho. Everything overflows.
Everything is there.
A look with the wings of a dragonfly poses itself on the loved one and rhymes the World without the knowledge of he who must sing of it.
EACH DAY MORE WEAK
Unhappiness whistled to his little ones and designated me.
“It’s him, he said to them, don’t leave him alone anymore.”
And they no longer left me alone.
Unhappiness whistled to his little ones, “It’s him, he said to them, don’t leave him alone anymore.” They have no longer left me alone.
BUT YOU, WHEN WILL YOU COME?
But You, when will you come?
One day, stretching out Your hand
In the quarter where I live,
in the mature moment when I truly despair;
in a second of thunder,
uprooting me with terror and sovereignty,
from my body and from the scabbed body,
from my thoughts-images, ridiculous universe;
leaving in me Your horrible probe,
the dreadful drill of Your presence,
raising itself up in an instant on my diarrhea
Your great and insurmountable cathedral,
projecting me not like a man
but like a mortar shell in the vertical path
YOU WILL COME
You will come, if you exist,
attracted by my waste,
my odious autonomy.
Coming from Ether, from it doesn’t matter where, from beneath
my overwhelmed self, perhaps;
throwing my match in Your immeasurableness,
and goodbye, Michaux.
And then, what?
Say, Great fortune, where then do you wish to fall?
LP Leather and Paper Collage by Raymond Dijkstra. Signed by Raymond Dijkstra Numbered edition of 10 ex. d’or035 Date of Release: June 16, 2019
Raymond Dijkstra is a musician/visual artist active since 1987 in experimental music, sculpture, painting, photography, collage and drawing. Founding member of Asra, La Poupée Vivante (with Timo van Luijk), Wendingen 1918 (with Bart de Paepe). He has collaborated with Frédérique Bruyas, Jon Mueller, The New Blockaders among others. RD is an autodidact who believes strongly art should be derived from worldly experiences and can’t be learned at school. The basis of the art lies in non knowledge, from which roads are chosen and lessons learned. Teachings came from life, loneliness, alienation, drug-experiences, self-exploration, dreams and psychedelic medicines like psilocybin and Bufo Alvarius… Dijkstra has a discography of approximately 150 titles. His work shows a high degree of DIY in the sense that he has taught himself music ‘along the way’ while opening new doors within himself and has distributed his music mostly through self-erected music and art publishing houses like Le Souffleur (2003-current) and Astres d’Or (2017-current). “An artist should be independent- from the making of art to the freeing of the work to the public.” The vinyl-records of this publication are hand-cut by RD himself. The works are distributed through his imprint Astres d’Or.
“Between 2008 and 2016, I’ve worked on a Series called Catalogue du Bruit / Musique Irritante, which was published in the same period on 3″ and 5” vinyl records on my own imprint Le Souffleur.
The Music was an Attempt to break through certain Types of Self-Confinement, by repetitive Behavior.
As a Child I’ve suffered from Tics and compulsive Behavior, like blinking with my Eyes, making Sounds with Throat and Face Contortions. I also had to repeat certain Kind of Actions- when I had locked the Door, I had to repeat the same Action 3 or 4 Times. It was sometimes very tiring, because I couldn’t stop. I got a Kind of Satisfaction from doing it after a certain prolonged Period, at the same Time it was far from satisfying. Because my Parents and even my Schoolteacher acted as if I did something terribly wrong, I also felt guilty by doing it. This Behavior got less during Adolescence and almost completely left me when I was around 16, although a certain Level of Compulsion has always Kind of stayed with me.
Because of my History with Tourette, I found out that making Music in a repetitive Manner eased my Senses, by forgetting the Self. There was a certain Level of Compulsion in it as well, which was warmly familiar.
I see the Music as Expressionist Music. More than Musique Brut. I’ve made the Music to come to my Self and also always as a Way to connect with a different Level of / in Reality. In that Perspective it has been my personal Connection to Surrealism. The Sounds are not simply Sounds for the Sake of making Sounds. Or experimenting with Sound. Far from, even. I’ve never been interested in making experimental Music. The Sounds were solely a logical Outcome of my personal Preferences and Taste. Much more important is the emotional Load of the Sounds, transferred by the Movements of my Body. The Sounds were not created by my Head (Logic) or Feeling. It wasn’t a conscious Attempt to making Music / Sound before or during the Making of the Sound. In Fact it was made with an entirely empty Head and Mind, allowing my Body to move in the most possible free Way, without wanting to gain any Control over it, basically a Form of Automatic Writing, connecting a direct Link with my Subconsciousness. Body-Spasms as a Way to express. But always within the Confinement of a limited Time-Frame (1 to 2,5 minutes- with Clockalarm) and a relatively narrow Pallet of Sounds- my German Harmonium, A table of Glass and another frictional Object. These three Elements were always the Same, because these Elements allowed me to connect with my Self and lead to ease the Mind. The Music was made at once, spontaneously, without After-editing or any use of Electronics.
Between 2008 and 2016 a Series of 58 tiny Vinyl Records were produced on 3 Inch Format and 5 Inch Format. They were published together with my own handmade Collages on self-made hardcover Boxes in mostly black Linen. An Exception was the Work ‘De Slaap’ which was covered in dried Fishskin. All Titles were published in limited Editions between 1 and 10 Copies. This is the first Time these Noise Miniatures of 1 to 2,5 minutes will be published together on one LP. This LP contains the first Ten Titles from the entire Series with new original Artwork.”
“My music is
made in an abstract process of self-detachment. While detaching myself
from myself, I connect with my Self. My expressionistic music should be
regarded more as a physical act, more than music. It’s a constant
training in opening up my mind, removing obstacles with violence, and
seeing a different reality through the debris.” “The final result is a
pile of fragments, but I guess something of the initial light still
shimmers through.” “The publication is simply a registration of a
physical event, and should be left untouched. Any changing of the
initial energy is a weakening.”
Links to the original Works on Le Souffleur:
Raymond Dijkstra ~ Musique Irritante
LP Original Artwork Raymond Dijkstra
Artwork Description: Cut’ and glued Strips of Leather and Paper on Cardboard LP Cover
LP Diptych consisting of two Paintings by Marc Hurtado. Signed by Marc Hurtado Numbered edition of 25 ex. d’or034 Date of Release: August 1, 2019
Leading figure of the international experimental film and music scene, co-founder of the duo Etant Donnés with his brother Éric in 1977, Marc Hurtado has since then followed a polymorphous career of musician, performer, poet, visual artist, film music composer and filmmaker. He directed 23 films including 3 feature films, realised thirty albums and more than 500 concerts / performances in venues like the New York Kitchen ,Matresss Factory Pittsburg, Baltic Centre for Contemporary Art Newcastle, Kassel Documenta, Foundation Cartier Paris, Centre Beaubourg Paris, Collège des Bernardins Paris, Sonar Festival Barcelona, Etrange Festival de Paris , Atonal Berlin Festival, Click Festival Copenhagen, Luff Festival Lausanne or the Transmusicales de Rennes.
He collaborated with musicians like Alan Vega and Martin Rev (Suicide), Gabi Delgabo (DAF), Genesis P. Orridge (Pyschic TV, Throbbing Gristle), Michael Gira (Swans), Lydia Lunch, Mark Cunningham (Mars), Z’ev, Vomir, The Hacker, Bachir Attar and the Master Musicians of Jajouka , Pascal Comelade and Christophe.
He made film soundtracks for the filmmakers Philippe Grandrieux, Pierre -Luc Vaillancourt, Jessica Hausner, Mathieu Dufois and Philippe Roche.
Marc Hurtado has exhibited his paintings , installations , films and videos in La Galerie du Jour in Paris, Le Confort Moderne in Poitiers, the Microscope Gallery in New York, Laurent Godin Gallerie in Paris, Centre d’Art De Lausanne, Deitch Gallery New York, Malba Buenos Aires, Palacio de bellas artes Mexico, Museum of Contemporary Art of Zagreb, Biennale d’art contemporain de Lyon, London Gallery, Withechapel Gallery of London, Museum of Contemporary Art of Zagreb, Stededelijk Museum in Amsterdam, Cultural Arts Council of Houston , The Empty Gallery in Hong Kong, Centre national d’art contemporain de Grenoble ( Le Magasin), Galerie Aorta , Amsterdam , Espace Lyonnais d’art Contemporain de Lyon, University of Rome, Museum of Grenoble, Kassel Documenta or the Museum of Modern Art (MoMA) of New York.
Retrospectives of his films were organized at the Cinéma du Réel Festival at the Beaubourg Center, the Cinémathèque Française in Paris, the Microscope Gallery in Brooklyn , Luff Festival , the Film Mutations Festival in Zagreb and BAFICI in Buenos Aires Screenings of his films were made at numerous festivals, galleries and museum such as the Fid de Marseille, Locarno Festival, Belfort Interviews Festival, Cinémed de Montpellier, Distrito de Mexico Festival, Doc Festival of Buenos Aires, Fronteira Goiânia Festival in Brazil, London Gallery, Withechapel Gallery of London, Museum of Contemporary Art of Zagreb, Stededelijk Museum in Amsterdam, Cultural Arts Council of Houston , or the Museum of Modern Art (MoMA) of New York. His films were bought by the Centre Beaubourg Paris , the Museum of Modern Art in Villeurbanne, the Magasin / Cnac in Grenoble, the Anthology Film Archives in New York, and his latest feature film “Jajouka, something good comes to you” ( co-directed with his brother Eric) was acquired by the Museum of Modern Art (MoMA) of New York
Words about HURT by Marc Hurtado
HURT is a musical and artwork project realized by Des Astres d’Or .
I made 4 tracks for the vinyl named
Names of the tracks are HURT 1 , HURT 2, HURT 3 and HURT 4. These 4 tracks are united by the chaos and the energy of the music and the voice screaming, whispering , singing poems in the center of a whirlwind of light and sound.
Each track is reflecting in the mirror of the other tracks like 4 stars dancing in an infinite violent circle circus isolated in an empty space.
I painted 25 diptychs for the 25 vinyls, all named HURT .
Each diptych is composed of one black oil paint on canvas representing infinite black crosses cut in the center with a knife and one white oil paint on canvas representing 3 or 4 black crosses surrounding a big black cross cut with in the center with a knife. The crosses seems to move like shooting stars trapped in the infinite darkness of white light.
Light is the key of this work. Light is
the key of life , love, dreams and death.