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Onomatopee 30.2
A Task for Poetry #2
Loud & Bright, Purple Birds &
Blue Eyed Bitches Dancing
A project by Freek Lomme
80 pages, Coulour
guest-curator/editor Erik Spinoy
Artist: Tamara Van San
Graphic Design: Remco van Bladel
Texts: Erik Spinoy, Freek Lomme and Hans Theys

Onomatopee 30.3
A Task for Poetry #3
Some of that colour
A project by Freek Lomme
3 booklets, full colour
guest-curator/editor: Maria Barnas
Artist: Amalia Pica
Graphic Design: Felix Weigand
Texts: Maria Barnas and Freek Lomme

Onomatopee 34
Method by Dick Raaijmakers
Edited and translated by
Vincent W.J. van Gerven Oei
ISBN: 978-90-78454-35-9
384 pages, black and white
Available in all primary colors!
Graphic design: Remco van Bladel

Onomatopee 35
Activism Doubt
by Jonas Staal & Harmen de Hoop
ISBN: 978-90-78454-36-6
170 mm x 240 mm, 152 pages
Full color and monotone
Graphic design: Remco van Bladel

Onomatopee 31
Public Space
By Lieven de Boeck
Limited edition set of Four books, 366 pages, black and blue
Graphic design: Remco van Bladel & Lieven de Boeck
produced in collaboration with:
Extracity, Antwerp and Künstlerhaus Büchsenhausen, Innsbruck

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Onomatopee suggests to visit

25-28 February 2010

Sonic Acts The Poetics of Space is entirely dedicated to the exploration of space in performative and audiovisual art, film, music and architecture.

For more information about art in Brabant, check (in Dutch only)

Onomatopee office & projectspace
Bleekstraat 23
5611 VB Eindhoven
The Netherlands
Onomatopee office Amsterdam (designstudio)
Sloterkade 4
1058 HD Amsterdam
The Netherlands

New Space

Onomatopee opens up their new gallery space, just about 100 regular man-size steps away from their previous space. With direct access via the street it’s now visible to all, accessible to more.
The gallery consists of multiple rooms, hosting multiple functions. The first two spaces will feature Onomatopee research projects, exploring specific creative strategies within the cultural field. The third space features the first new-born theme: CABINET. CABINET is a series of displays related to editions realised by Onomatopee in collaboration with venues elsewhere. The fourth and last space features the second new-born theme: NEST. NEST is a series of working periods by one or more talented artists, writers, poets and other cultural producers, around a specific theme, with a specific type of reflection and, as ever, including an edition.
Of course Onomatopee will have a new office and a new storage space/reading room/shop. Of course all very nice!

Onomatopee’s year programme is funded by:
the Mondriaan Foundation and the City of Eindhoven.

Onomatopee 39
Cavity: The capacitive version
By Gert-Jan Prins

Taking technological culture’s micro to a global macro level: architecture for electromagnetic sociability.

An Onomatopee research project

Sound artist Gert-Jan Prins (1961) deals with the frequencies of our electronic age. Between feedback and composition, between the free will of human improvisation and the determinism of electronic laws (and digital algorithms), Prins operates as a sculptor and an experimenting scientist .
Cavity: the Capacitive version is a new work in his study to bring forth the dynamics of this interplay within an architectural (atmo)sphere. The visitors, man, are brought about into this sphere as an electromagnetic wave. Do our bodies and minds indeed integrate into the mechanical and (digital) electro-technical order of our cultivation?
If indeed so, what would this mean to our sociability? Will we indeed experience a growing presence of the Asperger syndrome, as registered in areas as Silicon Valley and the Eindhoven Brainport region? Will this become a new standard for a post-mechanical, post-digital era? How can we discern this new order and precede this domain so as to anticipate it?
The technical meaning of a cavity is a small device with input and output. Within its hollow body, electromagnetic waves reflect, resonate, are clarified or amplified. Tuning is provided by a mounted capacitor.
Prins will build a cavity on human scale; the capacitive element, the filter, is represented in an interior system of sonically wrapped walls made from huge copper clad circuit boards.
Visitors are temped to enter this cavity as an electromagnetic wave. How do we socialise as such?

Gert-Jan Prins: Reduced Objects

‘A liberation of the machine’, the pathos often caused by sound and video experiments. While working on his self built sound tools, Prins became visually intrigued by these hidden inner-machine worlds, consisting of elements from electronic measuring equipment. Reduced Objects are studies on the interior architecture of electronic machines in a relation to his sound systems.

Every machine beholds an interior landscape, normally invisible and disregarded as such, as we solely tend to take its functional exterior into account. Many artists, driven by both a romantic and a technological fascination, related to the machine and its era: from Leonardo Da Vinci in the 17th century to 20th century Futurists to present day geeks.
To voice the inner world of electronic hardware like radios, video recorders, computer games etc., the machine should, according to the machine liberators, take its true matter into account: both on behalf of its inner, private sounds as its visual existence. As all of these are the side effects of a functional destiny, they are both part of our universal full sum and independent entities, sometimes even ignored.
In a role that could be pronounced as ‘electronic archeologist’, Prins stripped hardware, separating the electronic components, until bare frameworks, with a specific body to voice, remained. This particle configuration and (de)assembling of industrial nature’s elementary presents us the series of Reduced Objects.

Curated by Freek Lomme

With the kind support of fonds BKVB
www.gjp.infoOnomatopee 40
CABINET #1: The Smell of Deposition
By Aeron Bergman and Alejandra Salinas

What does time do to place when it comes to our present day idealistic projections onto these? What does time do to place when it comes to the implementation of our hopes and fears onto specific sites where the historic materialisation of similar hopes and fears are presented to us as monuments of revolutions?

If history truly repeats itself or if we indeed cannot resist the homo economicus within us, then why would we be tempted to long for another revolution or even to cause another one? Why are we tempted by the romance of past revolutions? Why do salon revolutionaries in the ‘developed world’ experience the visual remains of revolutions in other continents different from the revolutionaries on site? Are we allowed to sincerely crave for revolution’s idealistic promises or do we, looking back upon history, admit that revolution’s resulting policy is corrupt?

Aeron Bergman (US) and Alejandra Salinas (ES) made gouache drawings of multiple monuments of revolutions worldwide. Each drawing represents not only the specific raison d’être of each monument but also, extra more, a variety of styles, commissioners, craft, eras and political outcomes. The series enables an additional suggestion of ‘revolution’ as regards its romantic pronunciation, craft-wise created, through secondary source material of monuments and is, as such, an artistic quest into the roaming qualities of those primary aspects – people, place, time – that brought the work about in the first place.
What does a proceeding time do to the static thing, when it comes down to our present day idealistic projections onto these? What does time do when it comes down to the implementation of our hopes and fears onto specific sites, where the historic materialisation of similar hopes and fears are presented to us as monuments of revolutions?

Curated by Freek Lomme

Thanks to the support of
the Office for Contemporary Art Norway (OCA).

+ EXTRA: Aeron Bergman & Alejandra Salinas performances at the Van Abbemuseum, Eindhoven
Saturday February 13, 14:00
Van AbbeMuseum, Eindhoven Bilderdijklaan 10
Regular entrance fee

Aeron Bergman (US) & Alejandra Salinas (ES) live in Oslo.
They are known for playful postmedium works where aesthetic and existential forms are soaked in political thinking. They are also known for their experimental audio label/platform Lucky Kitchen, founded in New York in 1998.

Short Performances:
“I Am Traveling Through Time, I Am Traveling Through Time.”
“Smell of the Other”
“I am a Marxist.”
“Official Papers”
“Punchline Only”
“Silent Attack”

Hosted by Onomatopee i.c.w. your-space
In the framework of the Onomatopee CABINET #1 exhibition
‘The Smell of Deposition’.

Onomatopee 38
NEST #1: Re: Happy Days

The Eindhoven based lo-fi/post-rock band ‘The Rose Frustrates’ consists of Mark van der Heijden (a.k.a. Bert), sound engineer running his own recording studio Lab van Akoestiek, Ramon Hulspas, artist and Michel van Dartel, curator at _V2. As a group these guys mirror and match to Onomatopee. Both have their have roots in early 90s lo-fi culture: cutting and pasting, making home recordings, working alone in order to surprise friends with something weird and original. What is lo-fi’s current production? The Rose Frustrates and Onomatopee challenged musicians and artist to start cutting and pasting. The result is a tribute to lo-fi culture.

Happy Days, a song by The Rose Frustrates about new impulses and challenges, is used as starting point for this project. The tracks of this song have been distributed to Modder (Bardt van der Dennen and Tom Verbruggen) and Bram Stadhouders. They’ve been given full liberty to play with this source material, to remix it in any way they would like. In order to broaden the lo-fi scope by elaborating The Rose Frustrates’ artwork by artist Erik Vermeulen, visual artists Marijn van Kreij and Jowon van Barneveld made the artwork for the remixes, respectively for Modder and for Bram Stadhouders.

The project will be displayed in a special lo-fi setting at Onomatopee’s new project space and will have its opening February 14th, 14:00.

The edition comprises three artworks and two 7-inch records.
Produced and mastered by Mark van der Heijden.
Curated by Michel van Dartel (The Rose Frustrates) and Freek Lomme (Onomatopee)

Thanks to the support of the City of Eindhoven and the Pokon Fund.

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