Still, Makino Takashi and Jim O’Rourke, The Seasons, 2009.
If a three-bar, bouncer-peppered, profit-centric venue like Music Hall of Williamsburg seems somewhat of stretch for a “show case” of what is ostensibly the most fiercely anti-commercial and anti-hegemonic music today, try a major metropolitan museum. Those of us who relied solely on the No Fun website for information on the lineup this year will be surprised to learn that the festival had not only one new home this year, but two — along with a brand new “Infinite Sound and Image” component, which is longhand for “film screening.” Recognizing that many of the artists on the bill this year are active outside the purely musical sphere — and, perhaps, that the noise experience in general is not only about what we hear, but, almost always also what we see and feel — Carlos Giffoni teamed with Rhizome’s ongoing “New Silent Series” for an afternoon of moving image work at the New Museum on the Bowery.
Posts Tagged ‘No Fun Fest’
No Fun 2009: Infinite Sound and Image: No Fun Goes to New York’s New Museum
Saturday, May 30th, 2009No Fun Fest 2009, by PRSE and Emilie Friedlander
Tuesday, May 26th, 2009
As close to a scene report as contemporary noise can afford, No Fun Fest, with Carlos Giffoni at the helm, each year confronts problems of selection. Over three nights, some 25 acts say their piece, spanning a vast geography of provocation and anomie. But how to organize such a spread?
FUCK SEPARATION: A Conversation, by Alessandro Keegan/Mattin
Saturday, May 23rd, 2009
Mattin is a musician and performance artist from the Basque Country. He has produced a slew of releases under the names of Deflag Haemorrahge/Haien Kontra, Sakada, Billy Bao, and No More Music. He has also collaborated with many artists, including Drunkdriver, Margarita Garcia, Tim Goldie, Taku Unami and Tony Conrad, to name a few. His work mixes laptop electronics with politics and, in the case of Billy Bao, some harsh, deconstructed rock and roll. In the live setting, Mattin is subversive, sometimes abrasive, and always finding ways to undermind audience expectations and break the boundaries inherent to performance.
