ZWEIKOMMASIEBEN - Zweikommasieben #19
"For its 19th edition, the Swiss magazine zweikommasieben presents a view on ambiguity as a hallmark of contemporary art and music, especially within our scene and its culture. After all, one would be hard-pressed to classify the work of its artists in terms of a singular activity, style, scene, or context. Félicia Atkinson, who has contributed a series of collages to this issue of zweikommasieben, is not simply a musician, but also a poet, visual artist, publisher, label owner, and more. The DJ and producer Parris, who was interviewed for this issue, places himself in a musical "no-man's land", although he grew up listening to grime and dubstep. The feeling of not belonging has been an issue for Phillip Sollmann, aka Efdemin, throughout his entire career. Until recently, Sollmann was set on keeping two fields of interest -- a career in techno and his pursues in sound art projects -- separate from each other. In the interview he talks about how realizing that such a clear distinction was not necessary and how the resulting aesthetic cross-fertilization has had an impact on himself. Finally, Caterina Barbieri, Cam Deas, Kali Malone, and Robin Buckley, aka rkss, who all pop up in this issue of zweikommasieben in one way or another, all understand their craft as a rupture with established musical genres and associated aesthetic norms, albeit in different contexts and using different means. There is no doubt that ambiguity, uncertainty, tension, and conflict lead to friction, but at the same time ambivalence, complexity, and multiplicity generate enormous aesthetic potential. Full content: Interviews with Cam Deas, Caterina Barbieri, Die Wilde Jagd, Gaika, Hdmirror, Kali Malone, Michele Rizzo, Parris, and rkss; a portrait of Efdemin; an essay on "Radio Spectral" by Francois J. Bonnet as well as a photo essay on the Rhizom Festival; regular columns like Anna Froelicher's "Track Down Fiction" (text), Georg Gatsas' "We Are Time" (photos), or Simian Keiser's "Sound Texts" (poetry); Contributions by Collapsing Market, Félicia Atkinson, and Wolf Eyes. Bi-lingual: English, German; 136 pages; size: 200x270x9 mm; edition of 2000."
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