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Fest audiences will find it lively and sometimes visceral; beyond fests, arts-minded TV outlets should see it as a natural fit.
At Streb's Williamsburg theater/studio, a troupe of buff performers (many would be too stout for classical ballet) enacts routines that sometimes suggest a meeting of Busby Berkeley and violence: they pop up and down as a spinning I-beam threatens to break their skulls, they thwack their bodies against a transparent wall, they fly off spinning contraptions to land on a not-so-soft-looking safety mat.
The work of Canadian artist Tamara Henderson exemplifies both aspects of Brecht’s thinking.
Her short, non-narrative 16mm films make use of freely associative, seemingly nonsensical imagery, with their extended shots of ghostly still lifes, automated typewriters, blinds that rise and fall, and telephones which move like crabs across sunny beaches.
the artists, curators and (sometimes) visionaries of the Wooloo collective and the art community Wooloo.org, the world's first online community for professional artists founded in 2002.
But Henderson’s work also draws on what Brecht called ‘mechanical processes not under the artist’s control’.
Offering roughly 8 hours of music, the set comes with a 32-page booklet with concert pictures, posters and flyers.
The CD's include complete performance recordings of the Hugo Heredia Quintet, Machi Oul Big Band & Celula Jazz Crew Prag, Mal Waldron Trio, Archie Shepp Group, Yosuke Yamashita Trio & Brötzmann-Bennink Duo, Riot with Grumpff/Eddie Prevost Quartet/John Surman Trio & Albert Mangelsdorff, Joachim Kühn and Willem Breuker Kollektief.
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