F600 – PRESS:






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Vanity Vs F600 (Interview)




F600 – Glue – new video by shelternoise



Review 21/02/2012:

F600 – The Voices From Hypothalamus (Nice Cat / 005)

Eigenwillige Tracks, die zwischen purem darken Dancefloorpop mit bösen Oldschooleinlagen, süßlich ballerndem Funk und runtergetuneten Jazzfragmenten schwirren, die einen manchmal daran erinnern, dass man auf 6 Tracks eine EP so mit Ideen vollstopfen kann, dass man sie schon längst als ein Album betrachten könnte. Eine Platte, die man in der Disco (nein, nicht den Überbleibseln, sondern der wirklichen echten Disco von damals, dem Ort an dem das noch Underground war) abfeiern muss, weil sie zwischen dem dunklen Funk und den sphärischen Momenten, dem angedeuteten Gesang und den radikalen Housegrooves so viele Momente der Erinnerung hervorruft, dass man endlich wieder bereit ist, ganz darauf einzusteigen. Dunkle EP übrigens, in der sich ein perfektes Livegefühl breit macht, dass wir so seit den besten Zeiten von Rework nicht mehr gehört haben.

 English Version:

Idiosyncratic tracks that swirl between pure dark dancefloor pop with evil oldschool interludes, sweet banging funk and tuned down jazz fragments, which remind us sometimes that you can cram a 6-track EP with so many ideas that long since it would be considered an album. A record to party to in the disco (not what remains of it, but the real genuine disco of those times, when it still was underground), as it evokes so many moments of memories between the dark funk, the spherical moments, the insinuated singing and the radical house grooves that finally one is ready again to deeply get into it. By the way, a dark EP in which a perfect live feeling is sprawling in a way we haven’t heard since the heyday of Rework (Playhouse).

Spanish version:

Tracks no convencionales, que se mueven entre puro, oscuro Dancefloorpop con malvadas intervenciones Oldschool, dulce-penetrante Funk y fragmentos de Jazz tuneados pa’ abajo que a veces nos recuerdan que uno puede llenar un EP de 6 tracks con tantas ideas que uno podria verlo como un album completo. Un disco que se tiene que celebrar en una discoteca (no en estos restos de discoteca de hoy en día si no en la verdadera disco de antes, en la cual esto hubiera sido denominado underground), porque el funk oscuro y los momentos esféricos, el canto insinuado y los housegrooves radicales evocan tantos recuerdos que al final el oyente está dispuesto a entregarse del todo. Un EP oscuro, con el cual uno tiene la sensación de estar atendiendo un evento en vivo, una sensación que no hemos tenido de esta manera desde los mejores tiempos de Rework. (Playhouse).


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AN Festival at Cafe Oto, London | 27-28 January 2012.

A two days showcase with the debut european show of R/S (Peter Rehberg/Marcus Schmickler), first ever UK performace of minimal composer & visual artist Catherine Christer Hennix; as a collaboration with Werner Durand and as well solo performances from Valerio Tricoli, John Wiese and Eli Keszler. The event is supported by The Wire Magazine, more info & tickets here.


3Destruct at Scopitone 2011

Posted by on Jan 10, 2012 in 3Destruct, Antivj, Art, Articles, blog, Installations, report, scopitone

3Destruct, an audio-visual installation by Yannick Jacquet, Jérémie Peeters and Thomas Vaquié was shown at the Lieu Unique October 12-16th 2011 as part of the Scopitone festival.

The 3Destruct project started in 2007, inspired in part by the wide-open yet claustrophobic space of an underground car park that the Biennale of Contemporary Art of Louvain-la-Neuve in Belgium had offered. Since then, the project has been presented in other festivals: Mapping Festival in Geneva (2007); Image Radio, Eindhoven (2007), 100% Montpellier (2008); most recently Yota Space in Saint Petersburg (2010).

An installation that occupies its host space in a particular and demanding manner, staging it requires finding the right venue. Since seeing the original Biennale presentation, the curator of the French festival Scopitone, Cedric Huchet, has been looking for that venue. 2011 saw the festival partner with the large former biscuit factory Le Lieu Unique, and in that space Cedric finally knew he had the perfect opportunity to host 3Destruct.


Cosmic Communist Constructions

A photographic record of 90 weird and wonderful buildings from the last decades of the USSR

Photographer Frédéric Chaubin reveals 90 buildings sited in fourteen former Soviet Republics which express what he considers to be the fourth age of Soviet architecture. His poetic pictures reveal an unexpected rebirth of imagination, an unknown burgeoning that took place from 1970 until 1990. Contrary to the 1920s and 1950s, no “school” or main trend emerges here. These buildings represent a chaotic impulse brought about by a decaying system. Their diversity announced the end of the Soviet Union.

Taking advantage of the collapsing monolithic structure, the holes in the widening net, architects went far beyond modernism, going back to the roots or freely innovating. Some of the daring ones completed projects that the Constructivists would have dreamt of (Druzhba Sanatorium, Yalta), others expressed their imagination in an expressionist way (Palace of Weddings, Tbilisi). A summer camp, inspired by sketches of a prototype lunar base, lays claim to Suprematist influence (Prometheus youth camp, Bogatyr). Then comes the “speaking architecture” widespread in the last years of the USSR: a crematorium adorned with concrete flames (Crematorium, Kiev), a technological institute with a flying saucer crashed on the roof (Institute of Scientific Research, Kiev), a political center watching you like Big Brother (House of Soviets, Kaliningrad). This puzzle of styles testifies to all the ideological dreams of the period, from the obsession with the cosmos to the rebirth of identity. It also outlines the geography of the USSR, showing how local influences made their exotic twists before the country was brought to its end.



A record player that plays slices of wood. Year ring data is translated into music, 2011.
Modified turntable, computer, vvvv, camera, acrylic glass, veneer, approx. 90x50x50 cm.

A tree’s year rings are analysed for their strength, thickness and rate of growth. This data serves as basis for a generative process that outputs piano music. It is mapped to a scale which is again defined by the overall appearance of the wood (ranging from dark to light and from strong texture to light texture). The foundation for the music is certainly found in the defined ruleset of programming and hardware setup, but the data acquired from every tree interprets this ruleset very differently.

Thanks to Land Salzburg, Schmiede, Pro-ject Audio, Karla Spiluttini, Ivo Francx, vvvv, Rohol.

YEARS from Bartholomäus Traubeck on Vimeo.


El Hombre Máquina de Fritz Kahn

En 1926, Fritz Kahn, ginecólogo, ilustrador y escritor,  realizó una serie de  ilustraciones sobre el funcionamiento del cuerpo humano, representado como una factoría que funciona  gracias  a una potente maquinaria llena de mecanismos y conexiones.

Una de las obras más conocidas  de Kahn es sin duda el póster  “Der Mensch als Industriepalast” (Man as Industrial Palace) que ilustra esta entrada.

Ahora podemos ver   una versión animada  e interactiva de esta conocida obra del médico alemán realizada por Henning M. Lederer

Der Mensch als Industriepalast [Man as Industrial Palace] from Henning M. Lederer on Vimeo.

Una selección de  ilustraciones de Kahn están disponibles en una reciente edición: Fritz Kahn Man Machine

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