Concrete and Clay

The PDS are a band that are really causing trouble. DFAs newest signing. Every review I read about them seems to be shit. There isn't a single chord on the whole album but they really do rock. The music is in its rawest state, clangy guitars, punchy drums and a male-female spoken word combo which is crying out to be remixed. You can download their new single from their very cool website www.prinzhorn-dance-school.com. PDS are playing the 100 club in October more, be there.

The egg has taken a change for the best with fresh acts and East End Djs attracting a new crowd to the KINGS X hole. With the likes of Krazy Baldhead LIVE (Ed Banger) South Central LIVE, MAGIC CIRCLE and many more alwayz is always a safe bet for all night partying.

ALWAYZ FRYDAZE, August / September listings

**THE ERRORISTS : Hilary Koob-Sassen (vocals and visuals) and Andreas
Köhler (cello) **

Will perform a new work at The National Film Theatre on Sunday June
17th at 3pm. Tickets: https://secure.bfi.org.uk/incinemas/nft/film/7635

Immediately following, at 4 pm, is a program of screenings, including

Hilary Koob-Sassen and THE ERRORISTS's
PARACULTURE/FUTURE GARDEN STRUCTURE.
tickets: http://www.bfi.org.uk/whatson/southbank/film/7636

PERFORMANCE:

High-resolution- but punk- video compositions and animations take the
viewer through three hypertextual landscapes. These three formations
comprise a phrase which follows the elaboration of culture- from its
origins through to a future state, wherin super-humanity gardens the
multiple transnational infrastructure economies comprising a world
organism.

THE ERRORISTS will simultaneously perform a series of live,
punk-but-lovely, songs- from vantage points in the landscapes.

The three formations are:

The Venus of Filletville (an anatomy of live)
Bridge to Trellis Formation (a morphology of culture)
Traction on Time (a figure/ground transition)

Curated by William Fowler, Britsh Film Institute

Kirk Palmer
23.06.07 - 22.07.07

PRIVATE VIEW: 22nd June 2007, 6 - 8pm

"I see old people walking happily down the street. Young people holding hands and enjoying each other's conversation. Children holding their parents' hands and looking happy. And I think about those awful scenes that I experienced many years ago now and all the people that lost their lives... I think to myself, 'What was all that? Did it really happen?'"

A-bomb survivor interviewed in the BBC dramatized-documentary Hiroshima articulating her response to living in present day Hiroshima.

Paradise Row presents Hiroshima, the first solo show of British artist Kirk Palmer. A recent graduate of the Royal College of Art, Palmer’s practice encompasses photography, film and video and has, to date, focused on the nature of places and landscapes - especially their less tangible, evanescent aspects, such as their emotional and psychological character.

In his new film, Hiroshima, Palmer presents an extended filmic study of the landscape of the city, which is seen as a thriving and verdant place, the very antithesis of the images of the destruction caused by the atomic bomb strike of 6th August 1945 that still dominate perceptions of the city. Presented not as a critique but a subject for consideration, the film is structured entirely from static shots that take in the broad topography of the city, limiting its scope to the city delta and surrounding foothills – the areas devastated by the bomb. In spirit with the film’s composition is its pace. The slowness and stillness of the film is designed to elicit a more active mode of engagement from the viewer, who is invited to consider each scene for longer than a natural gaze and so come to an understanding through time.

Shot throughout August the film is flooded with light, establishing establishing a tranquil/calm atmosphere, one redolent of the city as it was on August 6th 1945 on the brink of catastrophe. Clear skies sealed the city’s fate – being a prerequisite for the bombing run. In Palmer’s film signs of the city’s defining tragedy are noticeably absent and so the film becomes a meditation on an uncomfortable juxtaposition: how the memory of unspeakable horror sits alongside the mundane reality of life having to continue on an everyday level. It raises questions about the capacity societies have for forgetfulness.

Accompanying the film is a set of seven photographs - capturing images of buildings reflected in the water of the tributaries of the Ota River that flow through the city. Since the atomic bombing, water, traditionally a symbol of purity and life, has, in Hiroshima, become equally synonymous with death and disease. In the immediate aftermath of the bombing, thousands of people fleeing the firestorms sought refuge in the rivers only to die there, drowned or later poisoned by radioactive pollution; the rivers became choked with corpses. Every year on the evening of August 6th, lanterns are floated downstream to console the souls of the victims. Hiroshima today is an affluent, bustling city with a population of 1.2 million. City authorities are striving to rebrand Hiroshima “Aquapolis” – “City of Water”, and are investing considerable resources into developing the city’s waterfront spaces.

PARADISE ROW
17 Hereford St, (off Cheshire St)
London, E2 6EX
+44(0)207 6133311
info@paradiserow.com
www.paradiserow.com

Guillaume Paris - Paved With Good Intentions

19.05.07 - 22.06.07
PRIVATE VIEW: 18 May 2007, 7 - 9 pm

"Purity is the enemy of change, ambiguity and compromise"
Mary Douglas

Paradise Row presents 'Paved with Good Intentions', the first major London solo show by French artist Guillaume Paris. On show will be key pieces from Paris' oeuvre along with a number of works including sculpture, video, painting and computer-generated works.

Over the last fifteen years Guillaume Paris has evolved a diverse practice that focuses, from an anthropological standpoint, on the use and abuse of meaning and identity in contemporary culture. The work examines the powerful ideological forces that shape modern society, especially their more curious elements - such the persistence of quasi magical forms of thinking in the discourse of both consumer capitalism and Western politics that combine to form our 'new world order'.

At core, these interests lead Paris to explore notions of the ideal and the rhetoric of purity that underlie all these discourses: from politics to religion, via advertising and marketing. As part of that critique of purity Paris positively engages with ideas of change and adaptability, in conceptions of heterogeneity, transience and tolerance.

In keeping with these concerns Paris produces exhibitions that define a very particular kind of space. Structurally diverse, often combining works executed in different media that apparently address different subjects. Paris creates spaces that are opposed any form of essentialism and so do not lend itself to any form of closure. Instead they provoke critical engagement and, at times, a more emotional response to the vast flow of material and ideas that constitutes the world that shapes, and is shaped, by humanity.

PARADISE ROW
17 Hereford St, (off Cheshire St)
London, E2 6EX
Direction Map

+44(0)207 6133311
info@paradiserow.com
www.paradiserow.com

Echoes present a Tropical Hotdog Night launch party at The Spitz, Thursday 12th April, 8.30pm to 1am.

Featuring A Mountain of One live, DJs Ivan Smagghe and Nathan Wilikns, and film by Alejandro Jodorowsky.

Free entry and complimentary drinks!

Familia present their Easter Special on Saturday 7th April at The Key, London - with special guest Dinky from Berlin. Support from residents Kos and Tom Budden. £10 on the door, 10pm - 6am.

Ariane Hosemann & Valerie Stahl von Stromberg

private view: Wednesday 14 March, 6-8pm

T1+2: St. Matthew's Hall
17 Hereford Street
London E2 6EX
+44 (0) 20 7729 8218
www.t12artspace.com

show runs from: 15 March - 10 April
gallery opening times: 12-6pm, Thursday-Sunday, or by appointment

'Schoolboys', C-print photograph, Ariane Hosemann
image courtesy of the artist