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Steal this for the love of god ...

november 19, 2008.

[ Hide | Show paintings ]

About eight years ago, in november 2000, the trio Lee Wenham, Raymond Betson and William Cockram, orchestrated a spectacular attack on the Millennium Dome. Leading a group of local London villains, they used a JCB digger to break through the perimeter fence, punched a hole in the side of the Dome itself, and next attempted to smash their way into a display case containing a collection of diamonds with an estimated worth of no less than £ 350.000.000, using sledgehammers and nail guns. The jewels that they were trying to get their hands on included a 203 carats stone, the Millennium Star, said to be one of the finest diamonds ever discovered. A spokeswoman of De Beer's at the time called it the international diamond market's equivalent of a Van Gogh or the Mona Lisa.

The London Millennium Jewels robbers' unavailing audacity kept crossing my mind when last week I went to have a peek at For the Love of a God, that for some reason I keep erroneously referring to as "the God of Love": a work by YB postart star Damien Hirst, who in pictures I continue to mistake for U2 singstar Bono.
FtLoG is a platinum cast of a human skull covered with 8.601 diamonds. The skull is currently on show in the Rijksmuseum in Amsterdam, home to a great many works by Rembrandt van Rijn and other long dead dutch masters. The (material) value of FtLoG is said to be some £ 15.000.000. Its (art-)market value is disputed, but Hirst claims having sold the work to a "consortium of businessmen" (allegedly including himself, as well as White Cube gallery owner Jay Jopling) for £ 50.000.000.
In cash.
Even though it does not come close to the worth of the Millennium Jewels, this - one way or another - still looks like it would make for a highly stealable object, what do you think? Relatively light, easy to hide, easy to transport and very valuable.

The Rijksmuseum is in the midst of a painful, long and expensive renovation. Its main building has been closed for already many years now, and will surely not open up to the public again before 2013. At this moment only a small part of the museum's collection can be viewed. That's in the building's south wing. With also the modern art museum being quite literally out in the Amsterdam streets while awaiting the just so slackening finish of its premises, the Amsterdam Museumplein is as much of a building excavation as is most of the rest of the dutch capital. Little around the Museumplein would raise less suspicion than the advent of a couple of cranes or diggers.
I suggest you take a crane.
Best way in and best way out will be through the roof.
Best time? Tuesday morning, around 6h30.
(Don't try to be subtle, just break on through to the other side.)

rijks politie

Myself, I went in through the south wing entrance early in the morning of november 6th, past a mobile police post with plate glass windows that probably is part of the 'undisclosed additional security measures' that the museum took for the time it has to take care of FtLoG.
Upon entering the museum one also has to pass by an airplane embarkment type of security and 'luggage' check. These I'd guess are also part of the 'additional measures', and not part of the usual routine. I tried to make a picture of the security passage and guards with my cell phone, but immediately there came a young and angry one running towards me, shouting and shaking his finger that it was "absolutely forbidden!" to take pictures ...

I did not insist.

I went in at a good time. For as a matter of fact there's hardly a thing that I find more disagreeable than museum exhibitions where visitors, for the lack of a system with rails and small Disneyland-like trains, are being driven to shuffle in double or even triple lines from entrance to exit along the art works. I went through such ordeal in parisian museums more than once too often. But that morning there were hardly any visitors yet, so there was no waiting, and there were no lines. ( * ) I followed the signs that said "For the Love of God". These led me up the stairs (Rotterdamse Trap), walked me through room #8 ('Rembrandt and his pupils'), and then through #9 ('The late Rembrandt').
Not yet thirty minutes later I saw more and more people getting in line before being allowed near the God of Love. When I arrived there wasn't anyone waiting, so I just went on and felt my way in. One has to, because it is pitch-dark and one has to pass through a couple of small straight narrow labyrinthine corridors to get into the "shrine", which, apart from the obligatory 'exit' signs, is of a complete and unabridged black. Only 15 visitors are allowed inside at the same time. I actually think that's an awful lot. I was lucky to find myself in there alone.

The skull is placed in a cubic glass show case on a black pedestal standing in the middle of a not so very big room. It is posed a little below the average person's eye-level, so that most of us will be looking somewhat down upon it.
It is well-lit.
Very well.
Many viewers when finally standing skull to skull with Love/God, commented that they find him so much smaller than they had expected. That's surely due to the mass of bigger-than-life-sized images of it that they saw before.
For this I came prepared.

With the exception of Rudi Fuch's somewhat over-pathetic introduction, I think the book is really good, though. Including tons of fine drawings and pictures, The Making of the Diamond Skull brings you a Study of the reflection and refraction of light in diamond taken from a 1919 book on Diamond Design, an explanation of the mineral and carbon structure of diamond, and no less than five technical reports on the skull of which Love/God is a precise replica: a report on the measurement and bioarchaeological analysis of the skull, a report on the estimated age of the skull's teeth, an explanation of the results of radiocarbon dating, a report on a general analysis of the skull and a report on the use of CRANID (a computer program that compared the skull with a database of 2.870 skulls in 66 samples from around the world) to evaluate the likely ancestry of the skull. Here is what all this applied science has to say about it: the first report concludes that this was the skull of a young adult male, probably exposed to stress between the ages of 3-5 years, and possibly again at the age of 8-9 years. Radiocarbon dating dates the skull back to between 1720 and 1810. The estimated age of the skull's teeth is 35 years. Also the general analysis concludes at a young adult, most probably male. On the other hand, it turned out to be impossible to say something with certainty about its ancestry. The skull seemed to be a near perfect 'average', as, interestingly, it blends "all the characters of the variation seen in the modern human species".
Now could an artist ask for more?
Best of all the faits divers I found the one stating where Hirst got the skull: he bought it in Islington, North London, from a taxidermy shop by the name of "Get Stuffed" ...

The thing is blinking like hell. But that is hardly surprising given the thousands of diamonds on a such small surface. There's even diamonds in the nose hole, and also the cavities of the eye sockets have been covered. Like most skulls, also this one seems to be laughing out loud, an impression that here is even the stronger because of the full-minus-one set of well-cleaned - original - teeth that line its wide open mouth. The dark, the spot lights and the diamonds make for a very mockingly laughter.
I feel like I have entered Ali Baba's cave, but I am also well aware that all was set in order for me to feel that way. The large pear-shaped diamond on the skull's forehead, surrounded by a number of smaller pointed stones, is like the jewel in a turban ("For The Modern Prince"). That in turn made me feel like I had chanced upon the set of a pirate movie where any moment now Johnny Depp or maybe even Keith Richards himself would come crashing through the ceiling. (I actually do consider Richards as a most appropriate owner for the Love/God (unlike George Michael), and I really hope that eventually he will realize as much and decide to buy it...)
I slowly walked around the cubic glass case, watching the skull's and my own reflections in the glass from several angles. After a while my eyes began to get used to the dark, and as I looked around, I saw the walls and ceiling covered by a great many faint spots, reflections of the light by the diamonds. And I wished that the skull would start to turn around, slowly, like the cheap disco balls that were hovering over depressingly small & empty dancefloors in the back of 1970's village bars...
It was pretty much automatic that I pointed my cell phone camera, and took a picture. It gave me the scare of a life-time when at that very moment someone suddenly came jumping at me. I had not noticed the guard that had been there all the time, silently standing and watching me watching the Love/God from one of the dark corners. She yelled at me in broken dutch, reproachingly: "Niet foto's, verboden meneer! Nergens foto's niet! Leest U dan niet, dat staat er toch!?" ...
I shrugged my shoulders, but I did obey and put my phone away.

I did save my 'illegal' shot, though.
Here it is.
I like it. It's black and vague. I find it scary.

Hirst skull RM

Now let me stay far from the ongoing heated discussions on whether or not Love/God is 'art'. It is not the first time of course that that question has been raised in relation to some work(s) or other, and it will surely not be the last time. Interesting and intellectually challenging as such debates may be, I do think that in the end they are just as pointless as the ever-recurring questions about whether this or that type of organized sound should be called 'music' or not.
As long as 'art' and 'music' remain major cultural categories, all that is (re)presented in and through the institutions that - whether it is by administrative force, by economic force or by both - are labeled by these categories, will be 'art' and will be 'music'. That simply is a matter of fact, whether one or the other agrees with that fact, or not.
Largely this is because there can be no objective ('value-free'), clear-cut definition, other than that, on the production side, 'art' is what 'artists' do, just as 'music' is that what 'musicians' do. The postmodern age broadened the category of 'art' to a pretty much unlimited number of acts and actions, and it opened up the category of 'music' to pretty much any sound one can imagine. Which by the way does not mean that pretty much anything is art or music. Only that pretty much anything can be so potentially.
As a result, maybe 'yes!' that art's become a fair.
I for one never before have found it to be so much fun ...

Several critics and historians find it difficult to accept that in the end there are no 'uniquely cultural objects', and au fond society and culture appear as being more or less interchangeable. They then cringe at the sight of a 'culture' that is shaped and created by 'money, the media, and popular entertainment'. This is at the heart of, for example, Donald Kuspit's essay The End of Art, on the cover of which there is a picture of a glass ashtray filled with cigarette stubs, a detail of Damien Hirst's Home Sweet Home (1996).
It's difficult not to agree with Kuspit's observations on many of the ongoing mechanisms, but I do not share his fear. Mainly because I am convinced that his conclusion that as a result "contemporary culture must satisfy mass taste" (emphasis is mine) is not correct. There are evermore signs that indicate that art itself is tiring from the enduring mix-up of pop and high culture, and that we actually seem to arrive on the verge of exit from what Kuspit considers our 'postmodern hell', in which commercial status and cultural status are one and the same. (cf.: Nicolas Bourriaud's Relational Aesthetics, Altermodernism, ETC. Monkeybusiness - upcoming)
It's easy enough, as long as one may choose.

Of course For the Love of God is art.

It is also a fine work of handicraft, executed by a whole team of craftsmen from Bond Street Jewelers Bentley & Skinner. And yes that it is extraordinarily extravagant. Which I guess is its main attraction. And no, it is not ´beautiful´. At least I do not think it is.

The Rijksmuseum's new director Wim Pijbes counts on Love/God attracting a new, different, cooler audience for his museal classics, that will continue to suffer from strain by continuing renovations for another five years or so. And maybe taking some inspiration from for example Jan Fabre's recent Louvre show, the museum invited Hirst to make a personal selection from the works of its collection of 17th century art. He selected 16 paintings, that are on show in the room next to the skull's shrine. You saw them all passing along the right side of your window, while you were scrolling down this entry, in the order in which they are exposed (all pictures were taken from the rijksmuseum.nl website). Apart from formal criteria and impulsive 'liking' there doesn't seem to be much of a plan to Hirst's selection. But each painting does come with a dedicated poppy comment by the YB (self acclaimed) art punk-star. Thus with respect to the first painting, the Old woman selling eggs, by Hendrick Bloemaerts, Hirst comments that the egg that the woman holds in her hand is like a naked skull. In view of Jacob van Loo's Bacchant he seems reassured that "binge drinking isn't a new phenomenon", and Cornelis Saftleven had "too many magic mushrooms" when painting his Satire on the trial of Johan van Oldenbarnevelt. Or maybe he meant the statesman ... Anyway ...

There was nevertheless at least one note that struck me as surprisingly serious. It comes with an interesting selection of three fine, dark paintings of dead game. Two of them are by Jan Weenix, a third one is from the brushes of his father Jan Baptist.
Here they are again, more or less as Hirst placed them in his selection-room at the Rijksmuseum, on the wall opposite and furthest from the skull's shrine.

Weenix Weenix Weenix

"The three paintings work like a kind of crucifixion triptych," Hirst comments. "They are annoyingly accomplished painters, and underneath the physical skill and beauty of the paint there's always a very dark & cruel view of life [...]
The weak won't inherit the world."

...

Now here's what I would have liked:

I would have wanted to see that Love/God-skull outside of its fully darkened Ali Baba cave/shrine, and put out there in the light, surrounded by these 16 annotated paintings, with nothing but an additional spotlight from above, put in its glass cube on its pedestal, at, say, three-quarters of the room's length, closest to the wall with the Weenix triptych.

That's the way // uh-huh, uh-huh // I would have liked it.

...

Before leaving I decided to have a quick look at the Rijksmuseum´s most famous painting, Rembrandt van Rijn´s Night Watch.
You will find it just a short corridor away from the room with Hirst´s selection.
Viewers have to keep a certain distance from Rembrandt´s beroemde schuttersstuk, a distance which is marked by a cord stretched between a couple of low metal poles. Behind these, to the right and a bit in front of the painting, there stands a uniformed guard. That is not so much to prevent anyone from stealing the vast canvas, but rather to keep an eye open for art-vandals that possibly might attack and attempt to damage the piece in some way.
Which happened thrice over the last century.
...
It was sort of funny, really, to see the short and corpulent guard stand out there in the dimmed light ... it did look to me as if he was a part of the work, as if he had just come stepping out.
Very pomo.
I walked up to him and whispered: ¨Het lijkt wel of U net uit het doek komt stappen, meneer!¨ He looked at me, puzzled. I don´t think he understood what I meant, for he answered that indeed a number of slices, that together made up almost one-fifth of the original surface, were cut off the linen in order to fit it between two doors. That was when in 1715 the painting was moved from the Kloveniersdoelen to the Amsterdam town hall ...

The little fat guard standing there all alone next to that big painting... It would have made for another fine picture, but by then I knew one does not really appreciate photographs being taken in our Rijksmuseum.

I left it there.

...

[ For the Love of God, a copy of an original human skull cast in 2.156 grams of platinum encrusted with 1.106,18 carats of the finest quality ethically-sourced brilliant-cut diamonds, its forehead mounted with a magnificent internally flawless light fancy pink brilliant-cut pear-shaped diamond weighing 52,4 carats, surrounded by fourteen D flawless white brilliant-cut pear-shaped diamonds weighing a total of 37,81 carats and its jaws set with the teeth extracted from the original skull, will remain stealable from the first floor of the Rijksmuseum in Amsterdam, the Netherlands, until the 15th of december, 2008. ]

[ Next related SB-entry: Kings, Queens & Koons | Earlier related SB-entry: Jan Fabre @ the Louvre ]

notes __ ::
(*) That was around 10h. FPCM actually went there even earlier on that same day, around 9h, when the museum just opened. Even less visitors then. He told me workers still were vacuum-cleaning at the time. [ ^ ]

tags: Amsterdam, postmodernism, postart, Rijksmuseum, diamonds

# .282.

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earlier entries:

  1. Doux Massacres (Gentle Slaughter, or My Xmascoat in Brussels)
  2. Going Dutch in the KunschTTurm Club, Mulhouse
  3. Full coloration set sudoku solution pieces
  4. The Ontological Primacy of Parasitism. An essay in Speculative Parasitology (i)
  5. ‘War drift’ for violencello, and other sudoku, latin and costas grids
  6. "Let me show you exactly what you are"( Sudoku 3, for double bass )
  7. The _ookoide_
  8. Emigré : ik besta
  9. Home is my Rome
  10. Splintertjes van Eeuwigheid
  11. Piano, piano (1980-1983)
  12. Uit de kast: I am a sudokist
  13. Long live ookoi! (Leve ookoi!): a b.ookoipera / een tehoorspel
  14. RONALD HEILOO (1959-2024)
  15. Orlando & Artaud wed bound at La Générale Nord-Est, even
  16. Awesome Foursomes (xviii - 624)
  17. A Year in Rear, Stduio's 2023 [ d.ookoi writes b.ookoi (ii) ]
  18. Diktat rules in Brussels
  19. my future now, my promised land
  20. Awesome Foursomes (xi - 178)
  21. Awesome Foursomes (x - 789)
  22. Awesome Foursomes (ix - 329)
  23. Ethereal Reverberations. A Decade of unPublic
  24. Holland[s] Spoor
  25. Three days of residency at Les Ateliers Claus, Brussels
  26. De Nieuwe Beschaving
  27. For nothing and no one
  28. Three Musketeers Musicking Maastricht & La Générale
  29. Berlin: Zero Cohesion (3)
  30. Berlin: Zero Cohesion (2 = ©)
  31. Art History -)) Histoire de l'Art
  32. Berlin: Zero Cohesion (1)
  33. X-unPub
  34. Awesome Foursomes (viii - 664)
  35. Awesome Foursomes (vii - 138)
  36. "Manifeste"
  37. Awesome Foursomes (vi - 419)
  38. The Art of K7, vol. 1
  39. Oliebollen
  40. A Berlin Reader
  41. Awesome Foursomes (v - 954)
  42. The Art of K7 ~ Sudokaising [ii]
  43. 'Time-', for 12 upright piano's
  44. Awesome Foursomes (iv - 793)
  45. Awesome Foursomes (iii - 562)
  46. Awesome Foursomes (ii - 284)
  47. Awesome Foursomes (i - 019)
  48. Die Stillgestandenen
  49. d.ookoi writes b.ookoi (i)
  50. Playing Apart Together: Chuncheon↯Paris
  51. Ten years stuck on my iPad
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  53. assemble/dissemble
  54. 24 Lullabies for a sick world
  55. "TRIO" for 3 piled baby grand piano's
  56. AC__« unPublic »
  57. GIALLO, by Etc
  58. The Art of K7 :: Sudoku Solution 2020 [i]
  59. STDUIO Arti: aLife @Hal-fIve
  60. STDUIO Arti: The Last Weekend
  61. Foundtapers & Foundtaping in Porto
  62. Freely improvised and non-academic electroacoustic music {as}[by] urban folk[s]
  63. Vive Le Placard ! Varia...
  64. The variegated insameness of lawless strthings
  65. ookoi 2.0: the remake of a spect[r]al b[r]and
  66. CCNL :: Cassette Culture in Linz, Austria (2)
  67. CCNL :: Cassette Culture in Linz, Austria (1)
  68. Lustrum non publicum
  69. T'obsolete or not t'obsolete [iv]
  70. Cross Countries Croissant
  71. Rage, rafts & refugees
  72. T'obsolete or not t'obsolete [iii]
  73. T'obsolete or not t'obsolete [ii]
  74. Between now and then, nine years from here
  75. T'obsolete or not t'obsolete [i]
  76. Moving out, of, on ... [ii]
  77. Moving out, of, on ... [i]
  78. 1024, 2016, 2M0M1X1VII7, 2027, 2029, ...
  79. Nicolas Collins - 2 April 2016, La Générale
  80. unPublic #18 - 대부도 (Daebu-Do), 14 June 2015 (by Ian-John Hutchinson)
  81. Emergence at/in the frontiers, fringes & trenches of contemporary music
  82. In Praise of Slowness
  83. Statues, Lenin, Dogs & Ruins
  84. Trust Us
  85. Situasonnisme: the City Sonic Festival
  86. SQWWO picture book
  87. SQWWO live in Brussels
  88. Bridges, troubles, water
  89. Luister is Pracht
  90. Elastic Lecture Nr.2 (for Namhee)
  91. Mal-là--colisé dans l'espace et dans le temps
  92. René Gude (1957-2015)
  93. The men once in green are now writing a book
  94. The eerie symmetry of a perfect ping
  95. String Quartet with windows, open
  96. Appearance and Reality
  97. Speculative Dancing
  98. Lecture de Cassette
  99. You are NOT Hier!
  100. La physicalité du son. Tome 1
  101. 12 - 11 - 9 - 10 - 3 - 6 - 7 - 1 - 2 - 8 - 4 - 5
  102. Le Temps Musical
  103. Cassettes, Candles & Champagne
  104. De Val van Chroom / The Fall of Chrome
  105. unPublic 1, 2 (sauf riverains)
  106. The Art of K7 (prelude)
  107. "At 19:07 the four helicopters flew over the Pont Neuf"

 

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  9. s November 9 2024 - Yenting Hsu, Nori Kajio, Hsin-Yun Tsai & Har$, La Générale Nord-Est - Paris (France)

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  18. s April 25 2024 - Rébus & Har$ - Ontological Anteriority of Parasitism over the Normal and the Computable: Dissecting the politics of digital vs. analogue in contemporary music - Conference 'Politics of the Machines: Lifelikeness and beyond' (POM2024), Aachen (Germany)

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  25. s September 2 2023 -Holland Spoor - Har$ & Rinus van Alebeek. Onze Ambassasde Festival - West, Den Haag (the Netherlands)

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  49. s October 19 2021 - Etc ... Giallo!, finissage Guy Maddin expo - The Film Gallery, Paris (France)

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  62. s February 22 2020 - unPublic #65 - Paris (France)

  63. s January 10-26 2020 - ookoi presents: Stduio Arti. Arti et Amicitiae, Amsterdam (the Netherlands). Daily. Live event: January 16, 13h-18h

  64. s December 17 2019 - Pascal Marzan, Jean Bordé & Har$. Tiasci, Paris X (France). 20h30

  65. s December 1 2019 - Giallo by ETC - Carcone, Foschia, Har$. Les Nautes, Paris IV (France). 20h30

  66. s November 28 2019 - unPublic #64 - Paris (France)

  67. s November 10 2019 - Har$. Foundtaping & Found Tapes Exhibition Lecture, Porto (Portugal). 19h

  68. s November 6 2019 - unPublic #63 - Paris (France)

  69. s October 6 2019 - Yoko Miura, Kentaro Suzuki, Marco Caccialupi, Judith Kan & Har$. Tiasci, Paris X (France). 20h

  70. s September 29 2019 - Live K7 Sudoku, by Har$. 'Do Not Interrupt Your Activity', La Générale, Paris XI (France). 19h30

  71. s September 21 2019 - unPublic #62 - Paris (France)

  72. s August 23 2019 - Freely improvised and non-academic electroacoustic music as urban folk, Rébus & Har$. International Conference 'Re-Sound. Media-art etc' - Aalborg (Denmark)

  73. s July 30 2019 - unPublic #61 - Amsterdam (the Netherlands)

  74. s July 14 2019 - unPublic #60 - Paris (France)

  75. s July 7 2019 - unPublic #59 - Paris (France)

  76. s November 27 2018 - unPublic #58 - Paris (France)

  77. s November 12 2018 - unPublic #57 - Montreuil (France)

  78. s October 18 2018 - unPublic #56 - Bures-sur-Yvette (France)

  79. s October 16 2018 - unPublic #55 - Paris (France)

  80. s October 14 2018 - "Bizar, bizar, bizar" ~ ookoi 2.0. Ploeg + Werk Party - Paradiso, Amsterdam (the Netherlands), 21h45

  81. s October 14 2018 - Global Garage's Utopian Mind Station, closing event of the 20th FCDEP. Joris Guibert, Mitsuaki Matsumoto, Gisèle Papa, Hector Castells, Arno Bisselbach, Claude Parle, Rébus, Har$; directed by Marc Plas - Grand Action, Paris V (France), 21h

  82. s October 2 2018 - Har$, Rébus, Jean-Michel Susini, Fred Marty, Yoko Miura - Tiasci, Paris X (France), 20h30

  83. s July 14 2018 - unPublic #54 - Paris (France)

  84. s July 11 2018 - Har$, OÖ Kulturquartier. Linz (Austria), 20h

  85. s July 9 2018 - Har$, Found Tapes. Cassette Culture Node.Linz (Austria), 20h

  86. s July 8 2018 - Har$, Kunst mit Tapes machen!. Cassette Culture Node.Linz (Austria), 17h

  87. s June 28 2018 - Esthétique de l'effacement, Rébus & Har$, Les Grands Voisins, Paris XIV. 20h

  88. s June 24 2018 - An Ti Na de Dora Tal, avec Emmanuel Coutris, Raphael Raffi Derderyan & Har$, Péniche le Marcounet, Paris IV. 15h

  89. s June 14 2018 - unPublic #53 - Paris (France)

  90. s June 03 2018 - unPublic #52 - Brussels (Belgium)

  91. s June 02 2018 - Rébus & Har$ ; OMFI 32, Lamab - Brussels (Belgium) ; 19h30

  92. s April 29 2018 - unPublic #51 - Seoul (South Korea)

  93. s March 17 2018 - Car-tet: Dora Tal, Claude Parle, Rébus & Har$. Tiasci - Paris (France)

  94. s February 5 2018 - unPub.L.ic: #50 - Paris (France)

  95. s February 4 2018 - DIKTAT - Rinus van Alebeek, Jean Bordé Rébus & Har$ - La Générale, Paris (France), 16h & 20h30

  96. s February 3 2018 - unPublic #49 - Paris (France)

  97. s January 28 2018 - ETC - Anthony Carcone, Jacques Foschia & Har$ - La Générale, Paris (France), 20h30

  98. s November 10 2017 - unPublic #48 - IRCAM, Paris (France)

  99. s November 8 2017 - "unPublic: Theory and practice of musical, cultural and social hacking outside the manufactured normalcy field", Rébus & Har$. International Conference 'Music & Hacking', Musée Quai Branly - Paris (France)

  100. s November 5 2017 - unPublic #47 - Montreuil (France)

  101. s November 4 2017 - unPublic #46 - Paris (France)

  102. s July 24 2017 - unPublic #45 - Paris (France)

  103. s June 28 2017 - unPublic #44 - Tokyo (Japan)

  104. s June 26 2017 - Yoko Miura, Osamu Kuroda, Kanji Nakao, Yuka Kanekio, Sachie Tamori & Har$ - Le Violon, Tokyo (Japan)

  105. s May 26 2017 - unPublic #43 - Paris (France)

  106. s May 11 2017 - unPublic #42 - Vincennes (France)

  107. s May 5 2017 - Dora Tal, James Nichols, Rébus & Har$ - Babilo, Paris (France), 20h

  108. s April 28 2017 - unPublic #41 - Vincennes (France)

  109. s March 21 2017 - unPublic #40 - Paris (France)

  110. s February 24 2017 - "Une de mes pensées pour un parmi vous devenait invisible" - Tristan Padelle, Vincent Reduron, Emmanuel Coutris, Dora Tal & Har$ - Babilo, Paris (France), 20h

  111. s February 10 2017 - unPublic #39 - 聽說 (Ting Shuo hear say) Studio, Tainan City (Taiwan)

  112. s January 23 2017 - unPublic #38 - Kaohsiung City (Taiwan)

  113. s January 13 2017 - "Improvise, improvisée" - Thierry Marietan, Tristan Padelle, Vincent Reduron, Dora Tal & Har$ - Tiasci, Paris (France), 20h30

  114. s December 30 2016 - unPublic #37 - Brussels (Belgium)

  115. s December 18 2016 - unPublic #36 - Paris (France)

  116. s November 12 2016 - unPublic #35 - Paris (France)

  117. s November 1 2016 - Strange Fruit - Yoko Miura, Jean Bordé, Anthony Carcone & Har$ - La Friche, Paris XI (France), 14h

  118. s September 8 2016 - Rafaële Arditti, Jean Bordé, Emmanuel Courtris & Har$ play Dora Stalidou's ... dans un ensemble de crystal - Babilo, Paris XVIII (France), 20h30

  119. s August 25 2016 - unPublic #34 - Taipei City (Taiwan)

  120. s July 5 2016 - 130 Steps Up. With Blenno Wurstbrücke a.o., Paris IX

  121. s June 27 2016 - unPublic #33 - Berlin (Germany)

  122. s June 19 2016 - unPublic #32 - The Logic of Freedom, Paris (France)

  123. s May 19 2016 - Har$. Talkshow "1968", Paradiso, Amsterdam (the Netherlands)

  124. s May 11 2016 - Rébus & Har$. Micro- and macrostructural emergence in free improvisation, sound-art and composition (lecture-presentation), Colloque L'Emergence en Musique (Festival aCROSS '16), Plaisir/Versailles (France)

  125. s May 01 2016 - unPublic #30 - Volkmann, Volco, Kan, Wang & Har$. Vincennes (France)

  126. s April 26 2016 - unPublic #29 - Tarnopolsky, FlexRex, Carcone & Har$. Montreuil (France)

  127. s April 24 2016 - unPublic #28 - Felipe, Greuters, FlexRex, Carcone, Rébus & Har$. Montreuil/Paris (France)

  128. s April 09/10 2016 - Rébus & Har$. Emergency/Emergence. Placard @Résidence 87, Paris (France), 00h00

  129. s April 08 2016 - Naoki Kita, Michael Nick, Yaping Wang, Rébus & Har$. Chez Madeleine, Saint-Ouen (France), 20h30

  130. s March 06 2016 - Fouquet, Wang & Har$. La Guillotine, Montreuil (France), 17h

  131. s March 01 2016 - unPublic #27 - Ghent, Chi, Zhang, Wang & Har$. Paris (France)

  132. s Jan. 14 2016 - "Trust Us" - Opening performance, with Michael Ghent, Agnès Belkabi, Anthony Carcone, Rébus & Har$. Mains d'Oeuvres, Saint-Ouen (France)

  133. s Dec. 20 2015 - unPublic #26 - Parisi, Caccialupi, Kan, Wang, Rébus & Har$. Vincennes (France)

  134. s Nov. 29 2015 - unPublic #25 - Der Rufer, Tengger, Ivanne Barberis, Yaping Wang, Rébus & Har$. Paris XI (France)

  135. s Nov. 20 2015 - unPublic #24 - Yaping Wang, Yoko Miura, Jean Bordé & Har$. Vincennes (France)

  136. s Nov. 8 2015 - unPublic #23 - Manli Zhang, Chi Po-Hao, Toni Dimitrov, Jovan Lambseski, Rébus & Har$. La Générale, Paris XI

  137. s Nov. 7 2015 - "In Praise of Slowness", Креативен викенд (Kreativen Vikend) pesentation, La Générale, Paris XI

  138. s Oct. 28 2015 - unPublic #22, Belgrade (Serbia)

  139. s Oct. 26 2015 - Har$, Rébus & Bojan Sungulov - Live radio performance Kanal 103, Skopje (Republic of Macedonia)

  140. s Oct. 24 2015 - unPublic #21, Lazaropole (Republic of Macedonia)

  141. s Oct. 23-25 2015 - Креативен викенд (Kreativen Vikend), Lazaropole (Republic of Macedonia)

  142. s Sept. 27 2015 - Har$ & Rébus - K7 performance. City Sonic Festival, Mons (Belgium)

  143. s Sept. 11-27 2015 - Har$ - Found Tapes Exhibition, photo expo + audio stream. City Sonic Festival, Mons (Belgium)

  144. s Sept. 6 2015 - Har$, Rébus, Mobin - live K7 impro. Tapage Nocturne, France Musique - 23h

  145. s Sept. 3 2015 - Har$, Rébus, Mobin - live recording for Radio France

  146. s July 11 2015 - unPublic #20, Les Ateliers Claus, Brussels (Belgium)

  147. s July 10 2015 - Perf-ArtK7: Mobin, Rébus, McJJ & Har$ - Recyclart, Brussels (Belgium)

  148. s July 9-10 2015 - Har$'s String Quartet with windows, open (24 hours) - Recyclart, Brussels (Belgium)

  149. s June 27 2015 - A Bridge for Jodi - unPublic #19: Rose, König, Rébus, Har$. Paris XI (France)

  150. s June 14 2015 - unPublic #18: Lee, Abdelhamid, Hutchinson, Rébus. 대부도 / Daebu-do (South-Korea)

  151. s June 13 2015 - Etc..., Espace en Cours, Paris XX (France). 19h30

  152. s May 13 2015 - Bordé, Heyden, Rébus & Har$ - Tiasci, Paris X (France). 20h30 (10€ PAF)

  153. s May 6 2015 - Rébus & Har$. Lecture-performance: A433, ou le LA de Schrödinger - Gare Expérimentale, Paris XII

  154. s Apr. 12 2015 - Un-public #17: Kwon, Nick, Carcone, Har$. Galerie 43, Paris XIII.

  155. s Apr. 4 2015 - Last Supper - Un-public #16. La Générale, Paris XI. Invitation only.

  156. s Apr. 4 2015 - Har$: Elastic Lecture Nr. 2 - (L'I-m-a-g-e E-s-t U-n O-b-j-e-t E-l-a-s-t-i-q-u-e). La Générale, Paris XI. 17h

  157. s Apr. 3 2015 - DIKTAT - "Happy Birdday, Dinah!", Panthère Ose, Paris IX (France). 19h

  158. s Mar. 24 2015 - "Mal Localisé Dans Le Temps et Dans L'Espace" (L'I-m-a-g-e E-s-t U-n O-b-j-e-t E-l-a-s-t-i-q-u-e), Friches et Nous La Paix, Paris XX (France). 19h

  159. s Mar. 23 2015 - Secret Tape Research Lab, w/ Anton Mobin, Blenno Wurstbrücke & Har$. DIYChurch - Parsons, Paris (France). 18-20h

  160. s Mar. 05 2015 - Un-public #15. With Jeff Kolar, Dinah Bird, Anton Mobin, E_Rébus & Har$. Paris (France)

  161. s Dec. 19 2014 - Yoko Miura, Anthony Carcone, Jean Bordé, Rébus & Har$. Tiasci, Paris X (France). 20h30 (10€ PAF)

  162. s Dec. 12 2014 - Un-public #14. With Rain, Michael Nick, Cécile Zylberajch, Jacques Foschia, Anthony Carcone, E_Rébus & Har$. Paris (France)

  163. s Dec. 11 2014 - E t c ... (w./ Anthony Carcone, Jacques Foschia, Har$ & Cécile Zylberajch). Semaine du Bizarre - Théatre Municipal Berthelot, Montreuil (France). 20h30

  164. s Dec. 09 2014 - Un-public #13. With Abril Padilla, Anthony Carcone, E_Rébus & Har$. Paris (France)

  165. s Nov. 23 2014 - Un-public #12. Apassionato. With Francis Larvor, Claude Parle, Yoko Miura, Jean Bordé & Har$. Vincennes (France)

  166. s Nov. 2 2014 - DIKTAT at the Volkspaleis/Zuiderstrandtheater, Den Haag/Scheveningen, the Netherlands. 22h

  167. s Oct. 25/26 2014 - String Quartet with windows, open - 24 hour broadcast, Radio On Berlin

  168. s Oct. 16 2014 - Un-public // 11. Free reeds. With Ian-John Hutchinson, Yoko Miura, E_Rébus & Har$. Paris (France)

  169. s Sept. 21 2014 - Un-public // 10. With Pierre-Jean Vranken, Jean-Jacques Duerinckx, E_Rébus & Har$. Vincennes (France)

  170. s Sept. 13 2014 - Carcone, Rébus & Har$ (Etc...) Festival Le Gal Gal, Beaumont-sur-Dême (France)

  171. s July 27 2014 - Un-public // 9. With Kaspar Koenig, E_Rébus & Har$. Gonten (Switzerland)

  172. s July 24 2014 - Koenig, Rébus & Har$: In Vitrio - The First Great Gutter, Sihlhallenstrasse 4, Zürich (Switzerland).

  173. s July 22 2014 - Un-public // 8. Appearance and Reality. With Laura Wetherington & Har$. American Library in Paris (France)

  174. s May 24-26 2014 - (24 hours) String Quartet with windows, open - Har$. World premiere. Kunsttour, Maastricht (the Netherlands).

  175. s May 10 2014 - Daar & Hier - ookoi/stduio: performative lecture at the Locative Media and Sound Art symposium, Budascoop, Kortrijk (Belgium).

  176. s May 3 2014 - Rémanence Magnétique - Har$, Rébus, Wurstbrücke & Anton Mobin, Palais de Tokyo, Paris XVI (France). 17h.

  177. s Apr. 6 2014 - La Physicalité du son, tome 1 - Sonic Protest, La Générale, Paris XI (France). 20h.

  178. s Apr. 4 2014 - How To Deconstruct Young Lions - ULTRA! Dinner presentation, KuuB Ruimte voor Kunst en Cultuur. Utrecht (The Netherlands)

  179. s Mar. 24 2014 - Un-public // 7. Rites of Spring. With Andy Guhl, Anthony Carcone, E_Rébus & Har$. Un-derground bunker, Paris (France)

  180. s Feb. 18 2014 - Un-public // 6. Speaking in tongues. With Vu Nhât Tân, Nguyen Kim, Emilie Mouchous, Marina Goussina, FlexRex, Jean Bordé & Har$. La Générale, Paris XI (France)

  181. s Feb. 8 2014 - Un-public // 5. Wie die Zeit vergeht. With Jeff Kolar, Hanna B., Anton Mobin, E_Rébus & Har$. Vincennes (France)

  182. s Feb. 6 & 7 2014 - Séminaire Le Temps Musical, with Eliane Radigue, Jeff Kolar, Rébus, Har$, and others. Le Cube, Issy-les-Moulineaux (France)

  183. s Jan. 15 2014 - DIKTAT (with Anne-F). Centre d'Animation de la Place des Fêtes, Paris XIX (France). 20h30

  184. s Dec. 21 2013 - Un-public // 4. Cassette Ritual (2013=C50). With Anton Mobin, Blenno Wurstbrücke, E_Rébus & Har$. La Générale, 2ème ét., Paris XI (France)

  185. s Nov. 28 2013 - Un-public // 3. With Mitsuaki Matsumoto, Yoko Miura, Dominique Bertrand, E_Rébus & Har$. Paris (France)

  186. s Nov. 16 2013 - Un-public // 2. With Yoko Miura, Marina Goussina, Anthony Carcone, Jean Bordé, E_Rébus & Har$. Vincennes (France)

  187. s Nove. 10 2013 - зáумь / zaum: Marina Goussina, Harold Schellinx & E_Rébus. Espace en Cours, Paris (France)

  188. s Oct. 18 2013 - Un-public // 1. With Yoko Miura, Doan Tri Minh, Jean Bordé, E_Rébus & Har$. Paris (France)

  189. s Sept. 25, 2013 - ULTRA in 5 minutes. Ignite #30, Mediamatic Fabriek, Amsterdam (the Netherlands)

  190. s Aug. 30, 2013 - Hollands Spoor. 2013 = C50. Tales for Tapes #10, Berlin (Germany)

  191. s July 20, 2013 - Erébus & Har$ Le Placard First Floor Générale, Sèvres (France)

  192. s June 29 - 30, 2013 - E t c ... [Carcone, Foschia, Schellinx & Zylberajch]. Festival des Ephémères, Paris (France), 4 x 30 min.

  193. s June 28 - 29, 2013 = C50. Tales for Tapes #9. (Lang Leve Lou Ottens!) Kobe, Ivry-sur-Seine (France)

  194. s June 14, 2013 - ookoi, Wandelzand premiere, Ameland (the Netherlands)

  195. s May 25, 2013 - Loran, Dora, Azuda, Jean & Har$. Chez Adel, Paris X (France), 18h

  196. s May 18 - 20, 2013 - Re: Table (performance/installation) - Kunsttour 2013, Wiebengahal, Maastricht (the Netherlands).

  197. s April 19-20, 2013 - Y.Numbr. Rietveld/NASA, Amsterdam (the Netherlands).

  198. s April 6, 2013 - Cultuurnacht, radio show. Heerlen (the Netherlands).

  199. s March 17, 2013 - C50 - Lang Leve Lou Ottens! KKWNE web radio, Paris (France).

  200. s Feb. 1, 2013 - D(emacker), S(chellinx) & M(ertens) - GRAUZONE Festival, De Melkweg, Amsterdam (the Netherlands).

  201. s Oct. 2, 2012 - DIKTAT. Incubatort Arts Project, St. Mark's Church-in-the-Bowery, 2nd Floor, 131 East 10th St., New York (USA).

  202. s Oct. 1, 2012 - DIKTAT, Panoply Performance Laboratory, 104 Meserole St., Brooklyn, New York (USA)

  203. s Sep. 28, 2012 - DIKTAT @ Sonic Circuits Festival, Washington (USA).

  204. s Sep. 27, 2012 - DIKTAT @ Martin Art Gallery, Allentown (USA).

  205. s Sep. 13, 2012 - DIKTAT @ Trashvortex, Ivry sur Seine (France). 20h30

  206. s Aug. 30 - Sept. 2, 2012 - ULTRA - De Musical @ Mini-tour + Steve Lake + GW Sok: Maloe Melo - Amsterdam, De Vinger - The Hague, ACU - Utrecht (the Netherlands).

  207. s July 27-30, 2012 - Har$ @ Placard XV. Paris (France), 4x

  208. s July 14, 2012 - Har$ & La Vie de Bohème [Smikkelbaard 7" vinyl live pre-view]. Sub071, Leiden (the Netherlands), 21h

  209. s July 2-4, 2012 - Citynumberscapes: London, Amsterdam Paris. ResonanceFM, Clear Spot (8-9 pm, UK time).

  210. s June 30 - July 1, 2012 - Arbre Etc [Carcone, Foschia & Schellinx]. Festival des Ephémères, Paris (France), 6 x 30 min.

  211. s June 17, 2012 - ULTRA @ Bongo at the Bieb - Amsterdam FM. Public Library, Amsterdam (the Netherlands). 14h-15h

  212. s May 19, 2012 - ULTRA Presentation/Performance @ 'This is not a punk lecture', Centraal Museum, Utrecht (the Netherlands)

  213. s April 24, 2012 - ULTRA@Steim. Ultra-Nu, with Bertin, ookoi + Instruments, a.o., STEIM, Amsterdam (the Netherlands), 20h

  214. s April 20+21, 2012 - YLTRA audio workshop, Rietveld Academy/Club Karlsson, Amsterdam (the Netherlands)

  215. s April 20, 2012 - ULTRA @ OBA Live, Radio 5. Public Library, Amsterdam (the Netherlands), 20h

  216. s April 7, 2012 - ULTRA 2012 - Final: lectures, panel discussion + events + concerts, De Melkweg, Amsterdam (the Netherlands), 19h (tickets: €20,-)

  217. s April 7, 2012 - ULTRA, presentation + surprise concert, Concerto, Amsterdam (the Netherlands), 15h-16h

  218. s March 16, 2012 - ULTRA Underground Cinema. Galerie De Inkijk, metrostation Weesperplein, Amsterdam (the Netherlands), 19h30h

  219. s March 12-16, 2012 - ULTRA, No Future Nu & Bibikov: 2x daily book readings + performances, Galerie De Inkijk, metrostation Weesperplein, Amsterdam (the Netherlands), 8h-9h, 17h30-18h30

  220. s March 11, 2012 - ULTRA 2012, events + concerts, Dansmakers, Amsterdam (the Netherlands), 20h30 (tickets: €25,-)

  221. s March 11, 2012 - Opening ULTRA, No Future Nu & Bibikov, Galerie De Inkijk, metrostation Weesperplein, Amsterdam (the Netherlands), 16h

  222. s March 10, 2012 - ULTRA 2012, presentation, events + concerts, Worm, Rotterdam (the Netherlands), 20h

  223. s March 9, 2012 - ULTRA 2012, presentation, events + concerts, TAC, Eindhoven (the Netherlands), 20h

  224. s March 8, 2012 - ULTRA 2012, presentation, events + concerts, Extrapool, Nijmegen (the Netherlands), 20h

  225. s March 7, 2012 - ULTRA, Book Presentation + Schellinx/Duerinckx/Mobin + Minny Pops Drastic Measures, Drastic Movements suite, Ateliers Claus, Brussels (Belgium). 20h30

  226. s March 2, 2012 - ULTRA + No Future Nu. Aan tafel bij VPRO's De Avonden tijdens opening God Save The Queen tentoonstelling. Centraal Museum, Utrecht (the Netherlands) (Opening expo invitation only)

  227. s March 1, 2012 - ULTRA, Book Presentation, W139, Amsterdam (the Netherlands), 19h (invitation only)

  228. s Feb. 29, 2012 - Red Light ULTRA Schrikkelshow, Red Light Radio, Amsterdam (the Netherlands). 17-18h

  229. s Jan. 27, 2012 - Paris Rape Run 2 Presentation, Instants Chavirés, Montreuil (France) 20h30

  230. s Jan. 22, 2012 - Schellinx & van Alebeek: Hollands Spoor. Le Bouillon Belge, Paris (France) 21h

  231. s Jan. 17, 2012 - Diktat & guests - Magnetic Remancence. La Générale Nord-Est, Paris (France) 19h30

  232. s Jan. 16, 2012 - Diktat - Magnetic Remancence. Songs of Praise, Radio Aligre FM - Paris (France) 19h30 -21h

  233. s Jan. 14, 2012 - ULTRA, Opkomst & Ondergang. Muzikale lezing. Noorderslag, Oosterpoort, Groningen (the Netherlands). 12h30

  234. s Dec. 31, 2011 - Seventy Seconds in the toilets @ Hard Hoofd New Year ' Party , Kriterion, Amsterdam (the Netherlands).

  235. s Dec. 16, 2011 - Seventy Seconds @ Hard Hoofd/Entrée Late Night Café, Concertgebouw, Amsterdam (the Netherlands). 22h30

  236. s Dec. 10, 2011 - Geluid als taal en teken. Muziek als paal en perk. Presentation/lecture, (h)ear Festival, Heerlen (the Netherlands).

  237. s Dec. 15+20, 2011 - Found Tapes @ K7eurs. Tape's Not Dead. ARTE TV, Tracks.

  238. s Dec. 13-30, 2011 - Found Tapes @ Neue Positionen. Der Fortschritt. Intro In situ, Maastricht (the Netherlands).

  239. s Dec. 8, 2011 - Raudio ULTRA, met Wiel Seuskens &. Peter Mertens, Red Light Radio, Amsterdam (the Netherlands). 20h

  240. s Nov. 17-26, 2011 - Seventy Seconds @ Hard Hoofd Tentoonstelling, Artpocalypse, Amsterdam (the Netherlands).

  241. s Sept. 24-25, 2011 - Found Tapes @ Neue Positionen (Art Focus Euregio), Atelierhaus, Aachen (Germany).

  242. s Sept. 11-12, 2011 - Resonance Network meeting, Berlin (Germany) - @resonancenet

  243. s Sept. 9-11, 2011 - Found Tapes @ Neue Positionen (Art Focus Euregio), Hasselt (Belgium)

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