I'm excited to be a part of the Expanded Music Project, an event curated by my good friend Drura Parrish and featuring some amazing talents. I'm designing a roller rink in an art gallery. More interestingly I'm designing what could possibly be the sleaziest dj booth of all time for Juan Atkins, the inventor of techno. It's a tesselated, irregular pentagonal antiprism upholstered in sparkle gold vinyl with a maroon carpeted interior. And I'm making a few chandeliers.
Expanded Music Project
Featuring contributions from Juan Atkins and Alex Pincus, Robert Beatty and Eric Lanham, Rocky Horton, Ian MacKaye, Sean Metelerkamp, Moons and Gerald Moser, Vaughan Oliver, and Saving Our Style.
On view at Land of Tomorrow, Louisville
December 7, 2012 – January 8, 2013
Opening reception at 7pm on Friday, December 7th
Land of Tomorrow is pleased to present our second installment of the Expanded Music Project, a showcase of work illustrating the intersection between art and music. The opening reception will be held at our Louisville location on Friday, December 7th at 7pm, and the show will run through the 8th of January. Included in this exhibition will be work by Robert Beatty and Eric Lanham, Rocky Horton, Ian MacKaye, Sean Metelerkamp, Moons and Gerald Moser, Vaughan Oliver, and Saving Our Style.
One gallery in the Land of Tomorrow will be transformed into an homage to the Roller Disco. Throughout the 1970’s into the early 2000’s, roller disco found its home in roller rinks and discotheques across the world. Combing fluid movement, one continuous plane, and the guidance of DJ, the roller disco represents the ultimate confluence of music and architecture. Juan Atkins, the father of techno, will bring life to a roller rink designed by New York based designer Alex Pincus.
Robert Beatty and Eric Lanham will present a new collaborative work entitled Intercepted Ruins. The installation is based on Beatty’s album artwork for Lanham’s 2012 album, The Sincere Interruption (Spectrum Spools/Editions Mego), with Lanham providing an original sound-scape. The sequential abstractions from the cover will be coerced into the spatial realm via sculptures, video, lenticular and holographic prints.
Rocky Horton will be presenting his video work All the Songs God is Responsible For According to Grammy Awards Acceptance Speeches 1971-2012. As the title of the piece suggests, Horton’s video is a montage of Grammy acceptance speeches in which various recording artists thank God for their award.
Punk and Place highlights the potential of place to instigate and sustain dreams, beliefs, and revolution no matter scale, form, or program. For this installation, Ian MacKaye (Minor Threat/Fugazi) has chosen eight places that were important in his development as a musician and activist. These selections will be exhibited as scaled models.
The video and photographs of South African artist Sean Metelerkamp were the visual force behind the explosion of rap-rave group Die Antwoord. For the Expanded Music Project Metelerkamp will present a selection of these photographs along with the video for Die Antwoord’s Zef Side which he created for the group.
Atlanta based recording artist Moons and Austrian visual artist Gerald Moser have collaborated on an audio/visual installation based on Moser’s previous work, A Question of Space, which was presented at the Austrian Cultural Forum New York earlier this year. For their collaboration Moser has designed a projection on nylon rope with Moons providing the audio.
British graphic designer Vaughan Oliver is noted most for his work with 23 Envelope and v23 design studios, as well as his work with recording artists such as Dead Can Dance, The Breeders, This Mortal Coil, and the Pixies. For this exhibit Oliver will have his design for the Pixie’s Doolittle album blown up into a wall sized display along with a selection of posters as part of a larger installation working with the atmosphere and the era from which they were created.
Saving Our Style’s contribution to the Expanded Music Project consists of a scale build-out of a teenage hip hop fan’s bedroom circa 1994-1997. Their unique twist places their own images into the advertisements, posters, and album covers of those they idolized as teenagers, creating a “retro-futuristic” imagining of themselves.