Ambika P3 - London, England 12.12.12
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Ambika P3 - London, England 12.12.12 · emptyset
Material
℗ 2013 Subtext / Multiverse LTD
Released on: 2013-03-25
Mixer: J. Ginzburg & P. Purgas
Producer: J. Ginzburg & P. Purgas
Composer: J. Ginzburg & P. Purgas
Music Publisher: Multiverse
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Ambika P3 - London, England – Emptyset
SUB007 Emptyset (2013)
David Hall End Piece, 1001 Televisions at Ambika P3, London UK
Installation of 1001 TV sets tuned into the 5 analogue channels that will slowly fade into static as the analogue signal get switched off.
Runs until 22nd April, Entrance is free.
Emptyset - Ambika P3, London, England 12.12.12
Emptyset - Ambika P3, London, England 12.12.12
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All rights reserved for the producers of this track. All the tunes that I upload are for promotional use only. Please contact me if you don't want your tracks on display.
Alien Sex Club at Ambika P3, London
Documentation of John Walter's major multimedia installation Alien Sex Club, addressing HIV and visual culture, at Ambika P3 in London, July - August 2015. Videographer Jamie Quantrill.
Twitter: Live On Stage - Ambika P3 - 2016
Instead of creating their usual yearly roadshow, Twitter decided to build an experience for their clients which celebrated the uniqueness of the platform and demonstrated the creativity and passions.
We worked closely with the team at Twitter to create interactive showcase of exhibits powered by Tweets / Vine / Periscope. Wholly individual in format and tone, it put attendees at the heart of an all consuming, inspiring experience.
This series of events included tours, talks, cocktail parties, live bands and headline DJ's.
Emptyset at Ambika P3
Emptyset 'Sounding Space' at Ambika P3, London. December 13th 2012.
Emptyset, James Ginzburg and Paul Purgas's experimental electronic music project, extend Sounding Space's exploration of the resonant ways in which architecture can both shape and be captured by sound.
Emptyset tackle the cavernous Ambika P3 for the AF Sounding Space commission. P3's 14,000 square foot, triple height subterranean space -- a former concrete construction hall where components of Britain's motorways and the Channel Tunnel were tested -- will be amplified by microphones and subjected to sine waves and noise, to create a unique sonic portrait of the space imprinted with the characteristic qualities of its architecture.
The Calm Before the Storm @ Ambika P3 - A short film
MA PHOTOGRAPHIC STUDIES 2011
UNIVERSITY OF WESTMINSTER
Ambika P3, 35 Marylebone Rd., London NW1 5LS
Private View - 7 September - 6-9 pm
Exhibition - 8-12 September - 10 am-6pm
The exhibition is accompanied by a catalogue which includes an essay by Daniel Campbell Blight and a foreword by photographer, writer and course leader David Bate. It is curated by Elizabeth Upper, arts editor of Above Magazine
Ambika P3: 'Now', by Chantal Akerman
Liked this one. Very atmospheric, esp the 7 screen on at the beginning -
The Beano Experience - Ambika P3 - 2016
A live, interactive and wholly immersive experience, which took guests into the heart of Beano past and future.
Thematically, we began with a journey through the paper comic they know and love and moved them through into the exciting new digital future, the new Beano Studios network.
Children were tasked with finding the secret Lab where Walter had locked up all the fun. With Sporty, Messy, Splatty and Brainy activities - kids helped us to Free The Fun, resulting in tons of new digital content and great PR.
This was the first time (EVER!) that the Beano have collaborated to interweave the narrative of comic and event. One of the best things for us was seeing our event designs immortalised into Dennis and Gnasher's paper reality by the amazing Beano team in Dundee.
Twitter: Live - Ambika P3 - 2016
Instead of creating their usual yearly roadshow, Twitter decided to build an experience for their clients which celebrated the uniqueness of the platform and demonstrated the creativity and passions.
We worked closely with the team at Twitter to create interactive showcase of exhibits powered by Tweets / Vine / Periscope. Wholly individual in format and tone, it put attendees at the heart of an all consuming, inspiring experience.
This series of events included tours, talks, cocktail parties, live bands and headline DJ's.
Adès's Powder Her Face - ENO at Ambika P3
ENO travels to Ambika P3, a new underground performance space, to stage an exciting site-specific production of Thomas Adès's dazzling Powder Her Face. This 'extraordinary' (The Times) venue, based in Marylebone, will be transformed to retell the colourful, yet ultimately tragic, tale of the infamous Duchess of Argyll.
Making his opera directing debut is Joe Hill-Gibbins, one of the most exciting talents in British theatre. His recent successes include The Village Bike at the Royal Court and Edward II at the National Theatre. Watch Joe introduce the show in this short video.
2 - 19 April 2014
ENO at Ambika P3
Tickets £15 & £40 (excludes booking fee of £3.50 per transaction for phone bookings; £1.75 for online bookings)
#ENOPowder
David Hall & Tony Sinden - This Surface 1972
'This Surface stands out, after one viewing, as a superior piece of ironic structural cinema, in the self-referential style..'
Jonas Mekas, Village Voice, Oct 18, 1973.
HEMIN - Contemporary Short Film
A short film created as a student major project for the University of Westminster London. The film follows a protagonist being locked into a black box, a torture method being used in war torn countries within the Middle East. The method relies on sensory deprivation as well as a physical pain of being stuck in a tight box for days at a time.
The film has been shown in Regent Street Cinema and the Ambika P3; both in central London.
My Role:
- Director
- Co Producer
- Editor
Kinetica Art Fair 2013
at Ambika P3, 35 Marylebone Road, London February 28 - March 3
David Hall - TV Interruptions: Tap piece (full version) 1971
..an early TV intervention by David Hall. This is one of ten 'TV Interruptions' by Hall broadcast on Scottish Television unannounced and without credit in 1971. (Later seven of the ten were issued as '7 TV Pieces').
David Hall's work set the stage for an era in which artists took up the camera to challenge television's established formulations and its power as a medium of social control... his interventions almost established a genre, with subsequent works by [for example] Stan Douglas, Bill Viola and Chris Burden following the form of unannounced disturbances.. Eye magazine, no.60, 2006.
These have come to be regarded as the first example of British artists' television and as an equally formative moment in British video art Diverse Practices: A Critical Reader on British Video Art, 1996.
The transmissions were a surprise, a mystery. No explanations, no excuses. Reactions were various. I viewed one piece in an old gents' club. The TV was permanently on but the occupants were oblivious to it, reading newspapers or dozing. When the TV began to fill with water newspapers dropped, the dozing stopped. When the piece finished normal activity was resumed. When announcing to shop assistants and engineers in a local TV shop that another was about to appear they welcomed me in. When it finished I was obliged to leave by the back door. I took these as positive reactions... DH, 19:4:90 Television Interventions catalogue, 1990.
For more info go to:
David Hall - TV Interruptions: Tap Piece (excerpt) 1971
..from an early TV intervention by David Hall. This excerpt is from one of ten 'TV Interruptions' by Hall broadcast on Scottish Television unannounced and without credit in 1971. (Later seven of the ten were issued as '7 TV Pieces').
David Hall's work set the stage for an era in which artists took up the camera to challenge television's established formulations and its power as a medium of social control... his interventions almost established a genre, with subsequent works by [for example] Stan Douglas, Bill Viola and Chris Burden following the form of unannounced disturbances.. Eye magazine, no.60, 2006.
These have come to be regarded as the first example of British artists' television and as an equally formative moment in British video art Diverse Practices: A Critical Reader on British Video Art, 1996.
The transmissions were a surprise, a mystery. No explanations, no excuses. Reactions were various. I viewed one piece in an old gents' club. The TV was permanently on but the occupants were oblivious to it, reading newspapers or dozing. When the TV began to fill with water newspapers dropped, the dozing stopped. When the piece finished normal activity was resumed. When announcing to shop assistants and engineers in a local TV shop that another was about to appear they welcomed me in. When it finished I was obliged to leave by the back door. I took these as positive reactions... DH, 19:4:90 Television Interventions catalogue, 1990.
For more info go to:
David Hall - Vidicon Inscriptions (excerpts) 1973
Excerpts from pioneer David Hall's 1973 tape.. The artist used early 'portapak' technology to create this piece which was later developed into an interactive work, 'Vidicon Inscriptions (The Installation)', 1975.
Here preserved are the traces of ghostings.. at once improvisationally real and yet caught already in a moment simultaneously of capture and decay. The work is about the materiality of the screen technologies of the day, for sure. It is also, especially in retrospect, an elegy for the passing of time - the time of the gesture as it fades from the screen, the time of technologies that have their moment and pass away..
Sean Cubitt on Vidicon Inscriptions by David Hall, Luxonline, 2005.
For more information visit:
Identity Art Gallery presents - The Observer
Identity Art Gallery presents:
The Observer by Cheng Ting Ting
August 1 - September 14, 2013
Opening Reception: August 1, 2013 from 7:00-9:00pm
The Observer, London-based Taiwanese artist Cheng Ting Ting's first solo exhibition in Hong Kong, documents her findings from two recent projects, where in one, she becomes an involuntary reader of free media that came into her hands, and in another she becomes an active reviewer of five sequential editions of a travel guide for Taiwan written by Robert Storey.
In the first project, Cheng explores the flow and excess of information in our society, and how they form our perception towards reality. For 100 days, Cheng quit buying newspapers, magazines and stopped watching all televised news programs, instead she read newspapers that 'came to her' randomly she had not asked for, such as freely distributed newspapers on the streets and discarded papers on train seats. She became an involuntary reader.
Cheng collected these newspapers, photographed them, and noted down the time and location where they came to her. Slowly and silently, this web of information began to shape her perception towards society during this time period, and the parallel reality construed by free media during the period becomes more and more apparent.
Involuntary Reader is selected for Nord Art 2012 and III Moscow International Biennale for Young Art 2012 and this project is exhibiting in National Art Museum of China, Beijing from Aug 26, 2013.
In the second project, Cheng questions the role of Lonely Planet, and in particular, of author Robert Storey, in shaping the Western perspective of her mother city. Besides being a respected provider of eat, sleep and logistic tips for traveling worldwide, Lonely Planet is widely regarded as one of the most trusted source of local history and cultural insights. For outsiders who don't speak the language, Lonely Planet is literally their travelling lifeline and de facto cultural attaché; for Cheng, it's the perfect entry point for investigating the identity of her own country, and how it is viewed and filtered under the pen of an non-Asian author.
Through her findings, featured via a range of medium from vinyl texts, mounted prints, framed pages and video installation, Cheng challenges each edition's proclaimed authority and authenticity, and questions the concepts of tourism, exoticism and speculation in a wider context. What comes through is a parallel Taiwan that bore little relation to the real thing, exposing culture as a traveller's comfort food served up in recognizable flavours.
Cheng was born in Taiwan and graduated from MA Photographic Studies in University of Westminster, London. She has exhibited and received a number of photography awards internationally, including New York, London, Berlin and Taipei, and her works are owned by private collectors worldwide. Cheng's recent exhibitions include Jo vull aprendre Mallorqui, SACMA, Manacor, Distance in Between, Galerie Grand Siècle, Taipei, Inter-vision: A Contemporary Art Exhibition Across the Strait, National Taiwan Museum of Fine Art, Taichung / National Art Museum of China, Beijing Love your imagination, Cans Art, Taipei Innovation and Recreation, National Taiwan Museum of Fine Art, Taichung, Just Mad, Addaya Art Centre, Madrid.
Emptyset - Tangent [SUB010]
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Emptyset – Demiurge
Label: Subtext – SUB010
Format: Vinyl, LP, Album
Country: UK
Released: Nov 2013
Genre: Electronic
Style: Downtempo, Drone, IDM, Dark Ambient, Experimental
Tracklist:
1.Departure
2.Void
3.Point
4.Periphery
5.Plane
6.Sphere
7.Tangent
8.Function
9.Monad
10.Return
How abstract can you make techno and still call it techno? How noisy can you get before it's all washed away in a torrent of fuzz? These are the kind of questions Bristol duo Emptyset pose with their second album, Demiurge, a pulsating storm of distorted frequencies that occasionally takes the shape of intelligible beats. Demiurge is a move, conscious or not, towards outright accessibility even though it mostly abandons their eponymous debut album's more distinctly beat-oriented structure.
The pre-album single Altogether Lost, released on techno label CLR and represented here in instrumental form as Point is the best indication of Emptyset's new sound. Altogether Lost played backing track to a frantic sermon from Underground Resistance MC Cornelius Harris, but it remains electrifying on the album as Point, becoming more fierce with every intensifying bar. Remixed by Chris Liebing and Ben Klock among others, the techno connection becomes more obvious. The momentum and energy that characterized Altogether Lost wasn't just a fluke, and it powers Demiurge from the inside, creating a surprisingly propulsive album in the process.
Techno isn't the only reference point. The low-end bombs in Tangent are redolent of Scorn and early dubstep, and the way each track methodically repeats in odd formations with unremitting focus owes something to dub music as well, territory both Emptyset members are no doubt well-versed in. The determined cycling of each chord' progression numbs the pain of serrated frequencies. Even when the pain threshold is crossed—as on the harsh tunnelling of Monad or the white noise screams of Plane—the tracks simply burn themselves out.
For territory that would usually be so unapproachable, Demiurge seems designed for easy consumption: songs rarely breach four minutes and the album registers at a scant forty minutes. It's allows the duo to be as abrasive as they need to be without sacrificing an audience. It's simultaneously cohesive—keeping the same palette of sounds across the board—and refreshingly mutable for this kind of conceptual conceit, with more melody and variation than you might expect from your typical noise album. And while it's hard to pick out individual highlights, that's part of the album's unique success. Demiurge is a song-based album with no real songs. Those attracted to recent strains of techno aligned with early industrial—Perc Trax, CLR, Ancient Methods—will find as much to love in Demiurge as those more inclined to extreme sound design.
All rights reserved for the producers of these tracks. All tracks are uploaded for promotional purposes only.