WENDINGEN 1918 ~ LA DÉCORPORISATION DE LA RÉALITÉ

LP
Original Photography by B de Paepe. Original Handwriting and Drawings by R Dijkstra
Numbered edition of 40 ex.
d’or031
Date of Release: June 2, 2019

WENDINGEN 1918 IS BART DE PAEPE, RAYMOND DIJKSTRA, FRÉDÉRIQUE BRUYAS

Bart de Paepe De Paepe has released several solo albums of psychedelic soggy murkiness on Vohu Manah, Beyond Beyond Is Beyond and No Basement Is Deep Enough exploring the shifting relations between reality and perception. He plays in several bands such as Innercity (with Hans Dens), Ilta Hämärä (with Timo van Luijk), Wendingen 1918 (with Raymond Dijkstra), Bombay Lunatic Asylum (with Koen Vandenhoudt and Louise Landes Levi), Fort Bedmar (with Dave Colohan), Fuji (with Mik Quantius and Junzo Suzuki) etc.
For over 10 years, Bart De Paepe has sated the appetites of psychedelic searchers with his label Sloow Tapes. A peerless curator, De Paepe has unleashed crucial underground transmissions ranging from paint-peeling Japanese rock over bedroom poetry readings to laid-back cosmic Euro-prog in microscopic editions.
Websites: Slowtapes
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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, alienation, dreams… 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 doors within himself. He has outed his music mostly through self-raised music and art publishing platforms like Le Souffleur (2003-current) and Astres d’Or (2017-current). The vinyl-records of this publication are hand-cut by RD himself.
As a visual artist, Dijkstra works in the field of painting, drawing, photography, collage, sculpture and objects. He currently works under the name Rayastre for his visual work as well for some of his audiowork.

“A love for experiences which connect me to the stranger realms are at the basis of my work”

https://www.raymonddijkstra.com
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Frédérique Bruyas Public reader, Frédérique Bruyas conceives reading aloud as an art of written words, the subject of which is literature in its variety and vitality. Her strong taste for the connections that books weave with the voice and music is at the origin of her artistic commitment.
She presents her public readings at numerous bookstores, at spoken word events, and at national and international manifestations.
She shares the state of her research during training courses in spoken word with librarians, teachers and artists in France and abroad (Lebanon, Morocco, Algeria, Tunisia, Canada, Armenia … ).
She has collaborated with the Orchester National d’Ile-de-France, the companies voQue / Jacques Rebotier, La route des livres, Les Souffleur (s), the festivals Ritournelles, Textes en l’air, Rencontres d’été en Normandie , The Voice is Free, Out of Limits, etc.
She recorded in duo with musicians the texts of Victor Hugo, James Joyce, William Blake, Gertrude Stein, Emily Dickinson, Gustave Flaubert, Joyce Mansour, Edgar Allan Poe, Walt Whitman…
She is the author of the books
Le métier de lire à voix haute (The profession of reading aloud) (Éditions Magellan & Cie / 2014) in which she retraces her sensitive experience of fifteen years of public reading and La lecture à voix haute expliquée aux enfants (Reading aloud explained to children) (Éditions Magellan & Cie / 2018) conceived as the answer she would give to a child who asked her: “What is reading aloud?” “.
Frédérique Bruyas is director of the company
Escargot Ma Non Troppo in which she invites many artists to create together new complicities around literature, a subject of extraordinary plasticity.

Face A:
1 Part I
2 Part II

Face B:
1 Part III
2 Part IV

“I often wander in huge empty Buildings. I realize I once squatted this Building and lived in it for a while, but I completely forgot about it. Now I’m here, the Rooms are a bit filthy and covered with Dust. The same Dust there was when I first came here. There’s still the old Machines from the previous Factory and the Content of their Storage, abandoned. Months later, after having forgotten about my Home again, I return and realize it’s been evicted. I feel a bit sad I no longer have this House as my Home.

Another Day… I’m in my other House… Here also, there’s a Part which I’d forgotten about. I hadn’t been there for at least Months… I walk Downstairs and come in a kind of small, rectangular Hallway. It’s a very pleasant Place. But behind a Door, there’s a Neighbor who I despise.

Quite recently I was living with my Parents. I walked Upstairs and saw a Room which was vaguely familiar. It was full with beautiful Plants, which my Mother was taking Care off. I went further Upstairs and came to a very large Space. About as large as a huge Factory-hall and it even looked like one. It was clear the Factory-hall hadn’t been visited often by People for Ages. Dusty, flaked off Lime Plaster, Concrete Floors and almost entirely empty, apart from a very few Objects, among which was a strange but nice looking small red Couch from the 18th Century. The Couch had a Pluche Fabric and in the Middle of this Couch it had a Swivel-chair. Because of this, the Couch functioned more like a Table for the Swivel-chair. The Factory-hall was fully to my Liking and I took up the Plan to live here from now on, instead of living in my small Room at the Groundfloor… Walking through the Hall, it became more and more spacious… I saw new Parts, equally messy and abandoned. Above, there was a gigantic Attic, which I’d been visiting once, in a Dream. It was the Attic of my Grandmother. We (I was apparently in the Company of my Father and a Group of Acquaintances who I barely knew) were able to climb up a rickety Ladder and entered the Attic, where it was even more dusty and entirely empty. It had a wooden Floor, with Sections where one could easily crash through and other Parts where there wasn’t even a Floor at all. I remembered the spooky Atmosphere from the previous Time I’d been here and felt also now, how the Room was filled with a unnerving Type of old Fear. Someone said, a little Child was once hung here, on her arms and legs- and died.”
RD

Wendingen 1918 ~ La decorporisation de la realite

Artwork Description: Photography by Bart de Paepe. Handwriting and Drawings in Goldmarker by Raymond Dijkstra. Black LP Cover.

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Wendingen 1918 ~ La Décorporisation De La Réalité
LP Original Photo Prints Wendingen 191860 euro ex. postage
To buy this, send an email to Astres d’Or Then we’ll send you a Paypal request.

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WENDINGEN 1918 ~ MUZIKË MUUSIKA

LP
Original Artwork by Wendingen 1918
Numbered edition of 40 ex.
d’or022
Date of Release: 22 November 2018

WENDINGEN 1918
Bart de Paepe
Raymond Dijkstra
Frédérique Bruyas : Voice

WENDINGEN 1918.

“Little by little, the mass turned like a slimy and forceful nausea, a kind of immense influx of vegetable and thundering blood. And the small fibers trembling at the edge of my mental eye, broke off with a vertiginous speed of the tense mass of the wind. And all the space trembled like a sex organ which the globe of the burning sky was battering.”

Raymond Dijkstra is an autodidact Artist from Indonesian / Dutch / English / Belgian / Portuguese descent. He has developed a highly personal acoustic-experimental and expressionist style, using his body as a tool for ‘automatic writing’. His explorations in this area are carefully documented by his own imprint Le Souffleur, especially in the series “Catalogue du Bruit”. Since about 2009 he also started working on a different, more ‘musical’ type of music, hereby incorporating electronic sources and a more eleborate use of effects. Since 2003 he’s been combining most of his limited publications with original exclusive handmade artworks of himself.

Bart de Paepe is a Belgian Musician and Artist who has worked in many diverse directions, leading to an eclectic array of experimental and underground escavations of his innerworld. His solo music is portrayed by a compact electronic, yet psychedelic style. He’s the Art Direcor for the labels Sloow Tapes and Sloowax and has collaborated with Louise Landes Levi, Timo van Luijk and members of Embryo.

Frédérique Bruyas is a Native French Reciter of (mainly) French Literature. Approaching the texts almost as an actor, she’s showcasing her superb sensitivity for atmosphere and her excellent ability to translate written word in spoken word with great respect to the original texts. The texts used on “Tremblaient à la lisière de mon œil mental” are part of L’Ombilic des Limbes by Antonin Artaud, a text written in 1918 during his stay in a mental asylum and published only a decade later.

Wendingen 1918 is dedicated to the Dutch Architectural Magazine ‘Wendingen’ from 1918 and the Work and Life of Antonin Artaud.

Artwork Description:
Cover tied with rope; Innercover with wooden Dowel (Design RD)
Original Artwork by BdP, RD

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  Coverdesign & Artwork by RD

  Artwork Bart de Paepe

Face A

Les sous-vêtements de l’irréel

21:00
Face B

Tremblaient à la lisière de mon œil mental

21:00

Excerpt from ‘Les sous-vêtements de l’irréel’:

Excerpt from ‘Tremblaient à la lisière de mon œil mental’:

WENDINGEN 1918
Muzikë Muusika
LP Original Artwork by Wendingen 1918 SOLD OUT

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