{"id":9,"date":"2005-10-03T12:55:11","date_gmt":"2005-10-03T10:55:11","guid":{"rendered":"http:\/\/santa-monica.constantvzw.org\/?p=9"},"modified":"2005-10-18T21:19:48","modified_gmt":"2005-10-18T19:19:48","slug":"programme-details","status":"publish","type":"post","link":"http:\/\/santa-monica.constantvzw.org\/programme-details\/","title":{"rendered":"Programme Details"},"content":{"rendered":"
25 \u00e2\u20ac\u201c 28 Octubre de 2005<\/strong> Every day from 11h. Auditorium. Free Entrance<\/strong> From 12h to 14h and from17h to 19h.<\/strong> Tuesday, Wednesday, and Thursday from 19h. Auditorium. Free Entrance<\/strong> 26\/10 Maria Ruido<\/p>\n 27\/10 Christiane Erharther Thursday October 27, 22:30h. KBB, Joaquim Costa, 24, 4\u00c2\u00ba. 08001 Barcelona<\/strong> Friday October 28, 19h. Auditorium. Free Entrance<\/strong> From 24h to 3h. Muziclub Pigalle, Balmes, 90. Free Entrance<\/strong>
\nCentro de Arte Santa M\u00c3\u00b3nica, Barcelona (CASM)
\nLa Rambla, 7
\n08002 Barcelona<\/p>\n
\nDocumentation room
\n-> See “Documentation room details” for details in the “Programme” category<\/p>\n
\nInterviews with actors of the music scene (local and international)
\n-> See “Calendar” for details in the “Programme” category
\nLimited places, please register:
\ninfo_santamonica.cultura@gencat.net before October 20<\/p>\n
\n*(re)lectures on the economy, representation and music history from a feminist perspective.*
\n25 \/10 Luis Cerver\u00c3\u00b3<\/p>\n
\n\u00e2\u20ac\u0153Re-Punk Electronic Music!\u00e2\u20ac\u009d
\nFor some time, it has been predominantly women who, with decidedly performative approaches, have provided the most interesting stimuli in electronic music and who have deconstructed gender clich\u00c3\u00a9s. Nearly all of these projects have in common considerations of how electronic music can be presented differently, as well as references to the aesthetic of punk and its disrespectful practice of do-it-yourself, which replies to \u00e2\u20ac\u0153Are we allowed to do that?\u00e2\u20ac\u009d with \u00e2\u20ac\u0153Everything is possible!\u00e2\u20ac\u009d
\nThese women\u00e2\u20ac\u2122s contributions can be read as a chapter of music history in which female musicians have, since the 1970s \u00e2\u20ac\u201c from punk, through the Riot Grrrl movement, up to the present \u00e2\u20ac\u201c made use of deconstruction, subversion and affirmation as strategies to turn gender relations in music upside down, to work on an alternative to male-dominated guitar and computer music and to write their own (feminist) history.
\n\u00e2\u20ac\u0153Re-Punk Electronic Music!\u00e2\u20ac\u009d contextualizes the activities of individual artists and shows the continuity existing between contemporary work and that of the late 1970s. It presents an archive of female strategies of representation in music, information and entertainment.
\n* \u00e2\u20ac\u0153Re-Punk Electronic Music!\u00e2\u20ac\u0153 is the title of the text and installation Sonja Eismann and I did together as one part of the hub Sonic Scapes at the 3rd berlin biennial for contemporary art, February-April 2004, in Berlin\/Germany. In my lecture I will talk about this installation and present musical and visual examples.
\nChristiane Erharter, artist and curator, lives in Oslo\/Norway.<\/em><\/p>\n
\nConcert by Terre Thaemlitz <\/p>\n
\n*Round table with Terre Thaemlitz (www.comatonse.com), Genis Segarra (www.astrud.com), Alex Murray-Leslie (www.chicksonspeed.com), Christiane Erharter (Re-Punk Electronic Music)
\nQuestions to be answered by the guests:
\n– short introduction of your work from feminist point of view, by the way what do you understand by feminism: how would you define your work in relationship to gender and\/or feminist issues? do you think this question is relevant? yes why? no? why?
\n-do you think sexual and or content discrimination is still in place in festivals, reviews, publishers, producers, distributors, if no, could you give us examples? if yes what would be your recommendations to fight against these discriminations? what is your own experience and practice? far from victimization discourses, could you say that there is also a factor of pleasure and empowerment playing with sexual identities and lyrics? how do you brand, trade them? any advice?
\n-could define the specific strategies you are using to, at the same time, resist and work with\/in (quite successfully ) the normative cultural demands of society and the entertainment\/media-arts marketplace? Is being your own producers and creating your own label part of these strategies? if yes, why? if no why? could define how do you work in terms of decisions in the group, the label? in terms of contracts, relationships, decisions with music publishers, distributors?
\n-how do you see yourselves, in the future?<\/p>\n
\nPerformances and DJ\u00e2\u20ac\u2122s Party with Fora de cobertura (dj ux + normal c-alas), Dj+Nurse+ and Terre Thaemlitz <\/p>\n