Rebekka Bakken chante Tom Waits

En entendant le nom de Tom Waits, on pense immédiatement à sa voix rocailleuse et aux innombrables morceaux de blues composés par cet artiste américain à la vie mouvementée, qui affiche 63 ans au compteur. Ses chansons les plus lyriques et mélodieuses sont à présent interprétées par la chanteuse de jazz Rebekka Bakken, dont la voix si particulière a été saluée par la critique. L’artiste norvégienne est accompagnée par le Bigband du Hessischer Rundfunk sous la direction de Jörg Achim Keller.

« Dès le départ, j’étais conscient que si Tom Waits n’interprétait pas lui-même ses chansons, seule une voix de femme pourrait convenir pour ce projet » a déclaré Jörg Achim Keller, qui a adapté les morceaux de l’artiste américain pour une formation de jazz. C’est la première coopération entre le chef d’orchestre invité du bigband et Rebekka Bakken. Mais dès le premier contact, il a compris qu’ils étaient sur la même longueur d’onde.

Tom Waits a écrit des chansons à la croisée du folk, du blues et du vaudeville, dont la beauté n’a été pleinement dévoilée que par d’autres interprètes. Souvent, ces morceaux ne faisaient leur entrée dans les charts que lorsqu’ils étaient repris par d’autres. Jörg Achim Keller a passé au crible l’œuvre de Tom Waits à la recherche de perles. Née à Oslo, Rebekka Bakkens se présente comme une chanteuse et compositrice ouverte à divers courants musicaux. Avec toute l’étendue de sa gamme vocale, elle était la personne idoine pour ce projet, et sa voix très expressive évolue avec une étonnante fluidité entre accents rauques et graves, sonorités légères et cristallines.

Encountering Art

In Chicago for the weekend. Went to the Art Institute (like you do). Enjoyed it as always but thought (again) that it is a rather exhausting affair, both physically and mentally.

Physically, it is rather tiring to walk around such a relatively large building (a series of buildings, really), fighting through crowds of other visitors, going up and down stairs, sitting down, getting up, looking around. Mentally, it is impossible to enjoy such a great variety of things without almost immediately giving up paying attention and just beginning to scan everything with a minimum amount of attention required to register the difference between “this one here” and “that one over there”…

Encountering objects not made for museum (most of the content seen today, except for things from the past century or so) is easier as one may imagine how they were used in “real life.” However, looking at objects made for this sort of experience, one cannot help but wonder whether they have any value in and of themselves, outside of the crowded halls of major museums where they are valuable simply because they hang on walls and stand in middles of rooms?

Rocky Mountain College of Art + Design is proud to present a free public lecture by McKenzie Wark on Friday, November 16 at 7:00 pm as part of the Visiting Artist, Scholar, and Designer (VASD) Program for Fall 2012.

McKenzie Wark

Friday, November 16, 2012

Rocky Mountain College of Art + Design is proud to present a free public lecture by McKenzie Wark on Friday, November 16 at 7:00 pm as part of the Visiting Artist, Scholar, and Designer (VASD) Program for Fall 2012.

McKenzie Wark is a scholar of critical and media theory as well as notable historian of the Situationist International, an international group of revolutionary artists and thinkers. Wark teaches at Eugene Lang College The New School for Liberal Arts, where his courses range from cultural studies to media theory with curriculum engaging with Cinema and Social Action, Game Culture, and the Military Entertainment Complex. He has spoken at such esteemed venues as the Modern Art Oxford, the Centre Pompidou in Paris, Columbia University, and MIT among other institutions nationally and internationally. His works span experimental projects from Speed Factory (2000)—a co-authored work with John Kinsella, Bernard Cohen, and Terri-Ann White that developed a quick pace writing technique between authors—to Dispositions (2002), a work culled from Wark’s world travels with a GPS device. His major works also include A Hacker’s Manifesto (2004), addressing the new class division that has arisen with the proliferation of intellectual property, and Gamer Theory (2007), which fuses Wark’s experimental approach with his own media theory.

McKenzie Wark’s recent work—and what he will be speaking on in the public lecture—centers on the Situationist International (SI), a group that sought to subvert the superficial spectacle engendered by advanced capitalism by constructing situations that allowed a freedom from what they deemed to be a fake reality. The SI was founded in 1957, participated in the May ’68 revolts and dissipated around 1972. Wark’s latest book (and title of his VASD lecture), The Beach Beneath the Street: The Everyday Life and Glorious Times of the Situationist International, follows the development of the group and the importance of its seemingly minor players—who are often neglected in accounts of the period in favor of highlighting Guy Debord (Society of the Spectacle). Engaging with the Situationist history, its successes and ultimate failures, remains a crucial piece to understanding the contemporary puzzle of unrest with the Occupy and other like-minded movements, since initiators claim foundations in Situationist International.

Please join us for this special presentation.

Public Lecture
Friday, November 16, 2012, 7 pm
Refreshments and seating beginning at 6:30 pm
Mary Harris Auditorium
The lecture is free and open to the public; however, reservations are highly recommended.