Check out these berlin Musical & Show images:
LATIN PALACE DANCE CLUB
Image by rafeejewell
The last few days have been a flurry of activity with building on the river and wet lands. But, in between I have gone to a bunch of new places and back to some of my favorite venues.
Xavier & I love to salsa. So we did a search and wham, we found >Latin Palace Dance Club. Couples were dancing in dressy attire to wonderful salsa music. Wearing a tuxedo without a shirt and me in a short cocktail dress, it so reminded Xavier & me of Miami clubs.
A stopover at Organica to catch the last hour of DJ Qee’s set woke us up with a nice psy jolt! So good to hear Qee’s dynamic sounds and see old friends.
A brand new club called Fear FM sent me a tp. I got to meet owner/builder Cypher Webb. Beautifully built by Cypher, he was also spinning an awesome set of hardstyle and goth rock. I had a blast there. Cypher is also recruiting DJ’s so peeps, give him a shout!
It was so late on Thursday night (Fri morn?) that I just had to stop off and say hi to DJ Xavi at The Cave. Owner Tasty Hax was there, too. I run into her at every party!
Friday afternoon, I got a tp from one of the builders. I ended up at Blackhearts 80’s club. I love the funkiness of this club. So simple. It feels like a rock n roll club. Halloween was coming and the Pillsbury Dough Boy showed up! LOL!
Late night, and Xavier & I headed for DJ Nebulae’s set at Piranha. Xavi loves this club. He set his JMD Effects hud on and we were in psy heaven. We always have fun at Shad’s club!
In between all the craziness, I hit New Berlin’s Electro Smog. Gee… I can’t seem to get enough of this place. Zap Hax was hosting and DJ djleftydc Denja was spinning a sweet set of tunes.
Another new place I landed upon was Le Ghetto Hype. This is a fun club of alternative and eclectic tunes. Owner DJ Frederick Neberle & partner ARNAUD Mureaux have built a wonderful place to hang.
Off to Divaz Lounge! DJ 8wall Wrigglesworth just sent me a tp! OMG, 8wall is spinning at Divaz.
I met 8wall at Dance Island last year and then over at Nutrie. He spins a very chill set of house and minimal tunes.
But, the highlight of my night was at Old Factory listening to DJ Jeangilles Anthony. This frenchman is an artist. Beautiful industrial noise layered with a hardstyle beat… then transcending into experimental music… psychedelic experimental noise. LOL! and I fell asleep there… just couldn’t leave!
Late night on Friday, Xavier and I ended up at DJ Digital Francis‘ Le Pardis de Digital Nation. It was an after party and Digi was spinning. Xavi & Digi started a "stump me" game. I think Digital was very impressed with Xavier’s musical knowledge. They bro-downed the entire night leaving me and DJ Snowkitty dumbfounded… ‚cause neither of us knew any of the tunes. LOL! I think Xavier has a new favorite dj now!
Untitled (Musical Instruments) (1915/1916) – Amadeo Souza-Cardoso (1887-1918)
Image by pedrosimoes7
Museu Nacional de Arte Contemporânea (Museu do Chiado), MNAC, Lisbon, Portugal
Amadeo de Souza-Cardoso moved to Paris in 1906. He was 19 and wanted to continue the studies in architecture that he had begun in Lisbon. The vibrancy of the Parisian artistic milieu radically affected his destiny, leading him onto the path of painting. In 1907, taken by the drawings he received from Paris, the writer Manuel Laranjeira (1877-1912) already hailed his young friend as “an artist in the absolute meaning of the word.”
Amadeo was born in his parents’ farm in Manhufe, Amarante (Portugal), in 14 November 1887. He grew up among nine siblings, in a wealthy family of rural proprietors. He spent his childhood between the house in Manhufe and the summer resorts at the Espinho beach. There he met Manuel Laranjeira, a friendship that was decisive to fuel the practice of drawing, which Amadeo developed in Lisbon as part of the preparatory studies in Architecutre at the Lisbon Academy of Fine Arts. This was in 1905.
The trip to Paris, in November of the following year, in the company of Francisco Smith, had no fixed return date. Financed by his parents, Amadeo settled in at Boulevard Montparnasse and made preparations for the contest to the École des Beaux Arts. However, the Parisian atmosphere reinforced his inclination for drawing and caricature, thus contributing to remove himself apart definitively from the field of Architecture. Particularly influenced by the illustrations circulating in the French press, Amadeo would soon enough devote himself to drawing and painting.
The first years of Amadeo’s stay in Paris were marked by the social interactions with other Portuguese émigrés. The studio he rented at 14, Cité Falguiére became a place for gatherings and bohemia, with the frequent presence of artists such as Manuel Bentes, Eduardo Viana (who went with him on a trip to Brittany in 1907), Emmerico Nunes, Domingos Rebelo and Smith. These regular get-togethers did not last long. With the end of 1908, and beginning of the following year, came important changes to Amadeo’s life: he met Lucia Pecetto (1890-1989), who he married in 1914, and he began attending the classes by Spanish painter Anglada-Camarasa (1871-1959) at Academia Viti. He then moved his studio to rue des Fleurus, to a space contiguous to Gertrude Stein’s apartment. These changes might have helped to distance him from the circuit of Portuguese artists. But that voluntary detachment seemed to convey, primarily, a rupture at the visual level and a willingness to break with the “belated routine” he attributed to them. The level of exigency and commitment to the work that he was already producing by then, placed him in a realm that was unparalleled in Portuguese painting, since Amadeo plunged deeply into the investigations of the International Modernism being developed in Paris. It is in that context of formal research that, in 1910, we shall find him excited about the paintings of the Flemish “Primitives” (over a 3-month stay in Brussels). It is also in this period that we find him solidifying his friendship with Amedeo Modigliani (1884-1920).
In 1911, Amadeo moved his studio once again. He relocated close to Quai d’Orsay, at rue du Colonel Combes. In October, he took part in an exhibition with Modigliani in this space. This was not, however, the first show of his oeuvre. Some months before, Amadeo had displayed a collection of 6 paintings at the Salon des Indépendents. He would exhibit there again in the following year and in 1914. Likewise, he showed his work at the Salon d’Automne between 1912 and 1914. In the meantime, his circle of friends and acquaintances increased and became more international. He met Umberto Boccioni, Gino Severini, and Walter Pach, who later invited him to participate at the Armory Show. He was also in contact with Juan Gris (1887-1927), Max Jacob (1879-1944), Sonia and Robert Delaunay, Brancusi (1876-1957), Archipenko (1887-1964), Umberto Brunelleschi (1879-1947) and Diego Rivera (1886-1957), among others.
Amadeo’s interest in drawing consolidated throughout this period with the preparation of the illustrated manuscript of Flaubert’s Légende de Saint Julien L’Hospitalier* and the publication of the XX Dessins album (reissued by CAM in 1983), with a preface by Jérôme Doucet, which earned a very favourable judgment by the renowned critic Louis Vauxcelles.
Amadeo would also endeavour to showcase his painting outside of the Parisian circuit. The contacts he established during these years would allow him to participate in a series of important group exhibitions, among which the famous International Exhibition of Modern Art in 1913, also known as the Armory Show, that displayed European modern art for the first time in the USA (New York, Chicago and Boston). Amadeo submitted a total of eight works, alongside Braque (1882-1963), Matisse, Duchamp (1887-1968), Gleizes (1881-1953), Herbin and Segonzac (1884-1974). Three of his canvases were bought by the Chicago collector Arthur J. Eddy, who, upon publishing Cubist and Post-Impressionism (1914), cited and reproduced some of the works by the Portuguese painter, giving him prominence because of his colouring. Other important contacts would take Amadeo to Germany. In September 1913, after yet another studio relocation (which led him to settle in Montparnasse, at rue Ernest Cresson), he would be represented at the I Herbstsalon in Berlin, organized by the Der Sturm gallery. Amadeo had already worked with this Berlin gallery in November 1912, when he first exhibited in their space. It is highly likely that in 1914 he participated in shows in Cologne and Hamburg, and it is certain that, in April of the same year, he sent three works to the Royal Academy of Arts in London, although this exhibition was to be cancelled as the War broke out.
Also in 1914, before leaving Paris to spend the summer in Portugal as usual, Amadeo moved his studio to Vila Louvat, at 38 rue Boulard. However, he would never use this space. After a brief stay in Barcelona where he visited his friend, the sculptor León Solá, and met Gaudí, Amadeo returned to Manhufe where he was surprised by the outbreak of the War, which kept him from going back to Paris.
Amadeo’s forced stay in Portugal was not tantamount to a creative apathy. If, whilst in Paris, his work had explored the fields of abstraction, and then followed through paths compromised with Expressionism, the exile in Portugal would end up becoming a moment of full maturity in his painting, approaching many of the questions that were raised by the domain of collage.
In 1915, the isolation of Amadeo in Amarante was broken by the contact with Sonia and Robert Delaunay, as they were both also unexpectedly brought to settle in Vila do Conde because of the War. It was through them that his circle of relations recuperated Eduardo Viana, and extended to Almada Negreiros. Within this cluster of friendships, diverse projects would coalesce, namely the creation of a Corporation Nouvelle destined to promote international touring exhibitions, an idea which never came to fruition. Meanwhile, through Almada, Amadeo got in contact with the group of the Lisbon “Futuristas,” initially gathered around the Orpheu magazine.
In the struggle to stir things up in the Portuguese artistic milieu, Amadeo played a discreet, yet relevant role. By the late 1916, in a known interview he gave to the O Dia newspaper, he largely paraphrased Marinetti’s manifestos. Not that the propositions of Futurism captivated him as a formal solution. The radical, modernist stance associated with this movement in Portugal, was nevertheless convenient to Amadeo, as a means of intervention and a conduit to break with the dominant traditionalist structures, which had attacked him on occasion of the only two exhibitions he made in Portugal before his death.
In December 1916 Amadeo promoted, first in Porto and then in Lisbon, an exhibition for which he had gathered 114 paintings under the title Abstraccionismo. The mismatched aesthetic culture in Portugal foiled a favourable reception of Amadeo’s pictorial propositions, and these shows acquired an aura of scandal (marked, in the extreme, by a physical assault to the painter). It is important to emphasize, in this context, the central role taken by Almada Negreiros and Fernando Pessoa in his public defence. Both recognised him as the most significant painter of their time. But these were, notwithstanding, eccentric and isolated manifestations.
In October 1918, Amadeo died in Espinho, the victim of an epidemic of pneumonia which erupted that year. He was only 30 years old.
Joana Cunha Leal
* The manuscript is part of the CAM collection. In 2006, on occasion of the exhibition Amadeo de Souza-Cardoso – Diálogo de Vanguardas, CAM and Assírio & Alvim published it in a facsimile edition, under the title A Lenda de São Julião Hospitaleiro.
SOURCE: Calouste Gulbenkian Museum, Modern Collection
Image by abbilder
English word singer songwriter Redvers Bailey is a modern day troubadour, travelling, gathering new experiences and touring to perform in the streets, music clubs, bars and living rooms of Europe; Singing, fingerpicking and strumming joyously melancholic modern folk songs and the works of his heroes and telling sometimes humorous stories about life, love and laughter.
Originally from Gloucester, Redvers spent half of 2014 living as a musical artist in Berlin and the other half of his time touring Europe. The past year has been full of shows in the streets, in living rooms, festivals and in venues across Europe. Most notably Mandstock Festival IT, Berlin Music Week DE, a European support tour with Ryan O’Reilly and some hot summer nights in the beautiful and crowded streets of Lecce IT.
Having been schooled in his art on the streets of Europe, performing to audiences who sometimes do not speak the same language, Redvers demands the listener’s attention through his dancing melodies and flawless, passion filled performances. For those who do understand the words, beautiful melodic poetry flows throughout every song giving every listener an enchanting and memorable experience.