2018-06-04 contemporary art ruhr: sellers, talents & no paintings | entry by sven

even if I consider the contemporary art ruhr as a kind of annual ritual, I have realized to have posted my longer article on the media art exhibition back in 2014, so it may be time again. a time slot on a well scheduled friday evening made me come in as press, just to return the other day with michaela´s vip tickets on supersaturday (whatever that may mean). well, fortunately I have missed the opening speech and had a direct look at the sellers hall (the fair is now locates in the halls of zollverein, no longer in the sanaa building) which is always a meet and greet of who is who. nothing is wrong with it, connections are the basement of sales, the supersaturday was actually low frequented, but an even better opportunity to look at the works.

I have given up in searching for great highlights on fairs, not because the artists are bad, but because it is not the stage to show something more complex. the halls are full of good stuff, only some are on focus in this article, fairs are not about deep thoughts, only about eye catchers, maybe these works are somewhere in between… nevertheless, the media subtext is taken serious this time, a lot video can be seen and nearly no painting.


the galleries hall offers a lot of great photography, unfortunately nothing that really triggers me. andre chi sing yuen presents works for galerie d´hame surly imitating the appearance of paintings, using photography, probably generative stuff and something that looks like a creation of artificial intelligence. this approach triggers me of course, the result remains indifferent, it is more decoration that a window to the future.


let´s go to the new talents: casper reuter shows plastics looking like melted baby dolls, waggling around. somehow disgusting, somehow funny, non-commercial but a contemporary approach to sculpture, wild and strange enough to trigger a reaction.


paul altmann shows barriers on a cloth, not sure if cgi or macro photography, the barriers can be understood while they have no physical effect or relevance. a piece, large enough for being recognized still offers layers to request borders and limitations.



julia priss can be found on a larger ‘positions’ space. focussing on transitions, I have to admit that I am not that much in performance and performance video, or did not even get the concept properly. what impressed me about this space is its presentation: drafted like a solo show, priss varies possibilities to show video, transparencies, photographs and video sculptures that made the visitor walk around, she actually offers a discovery in a tricky space. even if the ‘what’ does not get me, the ‘how’ made an impression. indeed, you might think about the sometimes old-fashioned technology, but it is invented to be immediately out-dated anyway. once again: an impressive way to show some video works without black box.


before I entered the c.a.r. opening I had managed to get my name of the list to a guided tour by jungefreunde through the luigi ghirri exhibition at museum folkwang. I was not informed at all before and did not know luigi ghirri (awkward) but I was surprised and euphoric. back in the seventies autodidact ghirr took series on pictures in public space, about miniature worlds and about atlases and created an analogue and conceptual oeuvre. he was also well connected to the art scene around him and wrote about the art surrounding him. I felt many parallels to my work, I had some of his ideas too when I was running around with my analogue nikon fm2 camera twenty years ago, but I was never that consequent. nevertheless, if the digital technology would not have taken over, I might have done similar work like ghirri. so once again, even back in the nineties when I was doing my unique ideas the postmodern age has once again proven that it was there already, even if I have not seen it. however, ghirri is a true inspiration and for me a confirmation to be on a good track, this is a recommendation: ghirri anticipates a lot that is on vogue now in photography and had been compressed by people like struth, sasse and wrede – and probably even by myself. once again, a true recommendation. (by the way, actually I wanted to see the show on contemporary sculpture in the basement, unfortunately it is crap.)


whenever I have to change the wheels on my car or have it checked for whatever I often wait and check the reading stuff available there for people waiting. may favourite book is the one on the michelin man or bibendum as he is called. the book documents the mascot as superstar, missing no advert, race or party and being adored and sometimes worshipped like an ancient god or saint. my absolute favourite picture is the one above: bibendum in a jinrikisha looking weird and strange: dr zoidberg without shell? a fat alien from somewhere? jabba the hut on holiday? however, I love this picture presented without any context and dream about the questions and strange feelings it might trigger. it brings a reaction, it must be a good picture…

well, nunc est bibendum!



this is somewhere between too late accident gazerism and half-baked masochism: yesterday, my funny but tragic accident happened one year ago. so this is our unhappy anniversary. still is pass by the site quite often on my way to physio therapy following the second surgery last month. there is still disbelief and a question mark inside of me, how can a place that looks so peaceful have attracted the devil for a lame joke on me?




as I have reported about having my new shiftphone directly, there is still a lack of experience. after some days there is already something to say, first of all the five inch screen seems a little big for me, the smaller mobile was way more handy, but the 5” versions appear to be the smallest versions around, however I will deal with it. the launcher appeared stupid, showing icons in different sizes and large widgets that take space for useful stuff. I downloaded and recommend the nova launcher, free and good-looking and with the ability to take control on the design. Now it is way more useful. unfortunately the rear camera does not focus properly, I have contacted the support, let´s see what is going to happen. I hope for a part to exchange without reclamation of the whole device, that is the original concept behind it anyway, let´s see. cross you fingers.




check out record of tides 'petrichor ep', more than just a remix compilation, based upon one track, this works more tnan an album or score around a theme. get the ep: liten or download for free and keep an eye on the upcoming dates:

recordoftides.com
facebook.com/recordoftides



sven piayda
# H O W D E E P I S Y O U R L O V E
galerie tellerrand, gelsenkirchen
2015-11-01 — 2016-01-31
(archive)

sven piayda @ galerie tellerand
#howdeepisyourlove (archive of complete online show)
galerie tellerand



sven piayda
COWS AND SHELLS 3

galerie gublia, essen
ongoing

opening hours:
wed 3 pm to 6 pm
thu & fri 10 pm to 12 pm
sat 12 pm to 3 pm
and by appointment

galerie irma gublia
kreuzeskirchstraße 3
45127 essen

+49 (0)179 762 19 24

facebook.com/galeriegublia
galeriegublia.de
sven piayda @ galerie gublia



sven piayda with karla köhler | (f.n.y.t.l.a.) los angeles
HAUS OHNE RASEN / SOMMERFEST
atelier- und galeriehaus defet, nürnberg
2018-06-30, 4pm to midnight

atelier- und galeriehaus defet
gustav-adolf-straße 33 / leopoldstraße 71
90439 nürnberg

atelier-galeriehaus.de






AESTATEAESTATEAESTATE
questions? complaints? ideas? contributions? collaborations?
click here


2018-05-31 from fairphone to shiftphone | entry by sven

I still remember unboxing my brand new fairphone 1 (second batch) back in 2013, it was my first smartphone, as usually I was not leading the movement. being connected in society means to do what everybody else does, even if you think of yourself as very individual. smartphones waste time, make you stupid, help you to keep in touch, turn into trash after two years (so you need a new one, ads say) and are made of components that are brought into your hands under horrible circumstances. even a so called ‘fair’ phone is not really fair, at least it tries to be instead of simply not giving a shit. do not get me wrong, I do not feel better than anyone else be putting the eco thing on my agenda (I also proudly own many questionable brands), but a better camera or a new design is something that does not really trigger me.

when I purchased the phone I wanted to keep it as long as possible, not only because of the ecological aspect, mainly because i am too lazy to set it up again and again. the fairphone company decided to not put out updates for fp1 anymore, the hardware did not handle the app´s updates anymore, turning into something lame with me waiting and waiting.

the new fairphone 2 appeared to expensive and did not look good in colourful plastics, so I found the shiftphone company with something I my range. I hate when I work with a new device, always looking differently, however, finally you adapt a lot faster. however, I’m a proud user of the shiftphone 5.3 being happy about some more speed but without any awareness of advantages, lets see… (the old fairpgone is now in michi´s service) still, it is made as fair as possible, and this has become important for me.

setting it up, many of my conversations have been lost, so maybe you need to send the one or other thing again. if you do not get an answer you can imagine me struggling with the new technology.

by the way: this is not a sponsored post, honestly, no-one pays me for it. it is not about telling you which one is better, well, I have five year experience with a fairphone and one day with a shiftphone. let´s like, share, comment and send messages and let´s keep it fair!


sven piayda
# H O W D E E P I S Y O U R L O V E
galerie tellerrand, gelsenkirchen
2015-11-01 — 2016-01-31
(archive)

sven piayda @ galerie tellerand
#howdeepisyourlove (archive of complete online show)
galerie tellerand



sven piayda
COWS AND SHELLS 3

galerie gublia, essen
ongoing

opening hours:
wed 3 pm to 6 pm
thu & fri 10 pm to 12 pm
sat 12 pm to 3 pm
and by appointment

galerie irma gublia
kreuzeskirchstraße 3
45127 essen

+49 (0)179 762 19 24

facebook.com/galeriegublia
galeriegublia.de
sven piayda @ galerie gublia





sven piayda | shedhead (postcard)
black box(es)
saarländisches künstlerhaus, saarbrücken
2018-04-11 — 2018-06-03
opeing 2018-04-11, 6 pm

boeckercontemporary.de
kuenstlerhaus-saar.de



sven piayda with karla köhler | (f.n.y.t.l.a.) los angeles
HAUS OHNE RASEN / SOMMERFEST
atelier- und galeriehaus defet, nürnberg
2018-06-30, 4pm to midnight

atelier- und galeriehaus defet
gustav-adolf-straße 33 / leopoldstraße 71
90439 nürnberg

atelier-galeriehaus.de






AESTATEAESTATEAESTATE
questions? complaints? ideas? contributions? collaborations?
click here


2018-05-25 let´s talk before sueing one another | entry by sven

today the DSGVO starts and everyone is going nuts. i cannot really believe what is going on, the law has been made to protect ordinary people, but i can already smell lawyers trying to make money from it, actually your money. it is pretty bad, i know it is stupid going to a show opening at a gallery and find some unflattering pictures of you on facebook and on whoever´s site. you might face some questions afterwards like have you´ve been smoking? or who´s that girl?.

i take protection of data seriously, but sometimes people get paranoid, the fear of violation a certain protection makes it impossible to work with people. is there a difference if i have some knowledge in my head, telling someone or writing it down in fear that someone might find the sheet of paper who is not autorized and does not know what to do with it.

however, i will keep on reporting about phenomena, personal and public ones, about art and whatever because it believe that it is good for you to be in the media, to have someone writing about you. i do not enjoy destroying people here, so whatever i do is with the best in mind. however, if you feel that you are wrong in my context, feel free to drop a line, it is not possible to not find a working email add, if you want to be cut uot, i´ll cut you out.

the internet and web 2.0 has become an extention of reality, there are not two worlds anymore. can you imagine to be forced to forget that you´ve seen me at the supermarket buying toilet paper? i could sue you if you´ll tell this anectdote to anyone, because this purchasing bahaviour and tracking profile is private.

do not get me wrong, i don´t undersand the law completely (who does?). i just want to tell you that i take care of your data, i do not post pictures of people looking stupid (i will tell and/or ask you), so let´s keep it fun. if you feel uncomfortable, write an email. i still believe starting a conversation may avoid starting a war.

just a non-structured thought typed down in a non-structured mayhem of site updates and newsletter disclaimers...
welcome to the future.

plus next to some websites of friends the best-made.de blog has vanished from the web. now all these beatuful articles and animated gifs are gone from the web. maybe well bring up some milesones back to the journal, just in case i´ll keep it up.


sven piayda
# H O W D E E P I S Y O U R L O V E
galerie tellerrand, gelsenkirchen
2015-11-01 — 2016-01-31
(archive)

sven piayda @ galerie tellerand
#howdeepisyourlove (archive of complete online show)
galerie tellerand



sven piayda
COWS AND SHELLS 3

galerie gublia, essen
ongoing

opening hours:
wed 3 pm to 6 pm
thu & fri 10 pm to 12 pm
sat 12 pm to 3 pm
and by appointment

galerie irma gublia
kreuzeskirchstraße 3
45127 essen

+49 (0)179 762 19 24

facebook.com/galeriegublia
galeriegublia.de
sven piayda @ galerie gublia





sven piayda | shedhead (postcard)
black box(es)
saarländisches künstlerhaus, saarbrücken
2018-04-11 — 2018-06-03
opeing 2018-04-11, 6 pm

boeckercontemporary.de
kuenstlerhaus-saar.de



sven piayda with karla köhler | (f.n.y.t.l.a.) los angeles
HAUS OHNE RASEN / SOMMERFEST
atelier- und galeriehaus defet, nürnberg
2018-06-30, 4pm to midnight

atelier- und galeriehaus defet
gustav-adolf-straße 33 / leopoldstraße 71
90439 nürnberg

atelier-galeriehaus.de






AESTATEAESTATEAESTATE
questions? complaints? ideas? contributions? collaborations?
click here


2018-05-14 the tender bond and superior´s arrogance | entry by sven

when you do things for a certain time, there are some routines coming up. this might sound bad, actually, these are the things you can rely on while searching for new borders. above you see me doing my first real solo show at anyway in 2008. I did a AESTATEvisual show a little later and some deejaying, I always thought about returning one day, as you do not kick out the lower spokes of the ladder when you climb up (knowing you will have to step down again one day). this is very important to me, as it means being thankful, keeping contact and not denying collaboration because you might be something better now. every venue is good if you can develop something there.

it is pretty strange recently, I have tried to fix dates for record of tides after producing visuals and drafting an additional hdj-set. there has been a lot of conversation with venues, sometimes personally, but all of these attempts go into nowhere. even the ones that may have granted an answer do not answer anymore. even when resident djs ask me on parties to do a set together, they do not answer my messages when I try to put it on the schedule. talk is cheap, I know, but I am surprised every time. it is strange, a lot of things have ended. the relationships we have are very tender bonds, falling apart when there is a slight movement. for now I have lost interest in playing live, I am fed up in trying to make something great happen, while everyone else seems to be happy with a lot more boring stuff. maybe it is not as great as I think? we´ll never know, it is not happening anyway. I hate people wasting my time with cheap talk.

in the other hand it is a funny game of demand and supply, the supply in the culture and art scene is more than filled, filtered by people that cannot tell quality standards. (it is always the old complain.) I can see it with people looking for making exhibitions, getting a gallerist, getting jobs, looking for apartments or whatever: people in superior positions usually act arrogant, not only in the art scene, also companies’ bosses offering jobs. they will let you do the application, the interview, time to think about and call back to confirm your interest just to demonstrate a lack of interest. sometimes it is just begging for denial. it is not about bashing others, I guess I might act the same. when I have considered people to be not be fitting into my concept or being ‘not good enough’ I have made my decision without the chance for discussion. human beings all act the same, including myself: a situation is a very small period if time in which we feel superior or in need. the roles are usually pretty clear. this is even more awkward when you get aware that situations might change quickly and a for superior position means nothing.

after the artist talk at galerie gublia we stood outside discussing world politics, someone came up with a great quote (I cannot remember the source) saying: ‘war starts where conversation ends.’ of course things are not as easy, I there is deep aggression in me that needs to be handled, nevertheless, loosing the tender bond of relationship means nothing good. ignorance, misunderstanding and maybe denial are leading into whatever bad.

I hope this does not sound to do-gooder for you, this is not my preach from the enlightened mountain top. I am still struggling with these things: one part of my is an angry child about to destroy everything, the other part is making up his mind and writes texts like this one. I guess you know what I am talking about. if you do, we can meet on equal level, eye to eye.

however, I am still recovering so I´m not going anywhere recently. people say i´lI should get some patience quickly...


sven piayda
# H O W D E E P I S Y O U R L O V E
galerie tellerrand, gelsenkirchen
2015-11-01 — 2016-01-31
(archive)

sven piayda @ galerie tellerand
#howdeepisyourlove (archive of complete online show)
galerie tellerand



sven piayda
COWS AND SHELLS 3

galerie gublia, essen
ongoing

opening hours:
wed 3 pm to 6 pm
thu & fri 10 pm to 12 pm
sat 12 pm to 3 pm
and by appointment

galerie irma gublia
kreuzeskirchstraße 3
45127 essen

+49 (0)179 762 19 24

facebook.com/galeriegublia
galeriegublia.de
sven piayda @ galerie gublia





sven piayda | shedhead (postcard)
black box(es)
saarländisches künstlerhaus, saarbrücken
2018-04-11 — 2018-06-03
opeing 2018-04-11, 6 pm

boeckercontemporary.de
kuenstlerhaus-saar.de



sven piayda with karla köhler | (f.n.y.t.l.a.) los angeles
HAUS OHNE RASEN / SOMMERFEST
atelier- und galeriehaus defet, nürnberg
2018-06-30, 4pm to midnight

atelier- und galeriehaus defet
gustav-adolf-straße 33 / leopoldstraße 71
90439 nürnberg

atelier-galeriehaus.de






AESTATEAESTATEAESTATE
questions? complaints? ideas? contributions? collaborations?
click here


2018-04-28 crunch time to tabula rasa: the length of eternity | entry by sven

it´s pretty strange, I remember my mood last year, I was so into finding a representing gallery, I was really wanting it and working for it, really pushing things forward calling it ‘crunch time’. now, one year later I have realized that I actually do not want what I was looking for, none of the galleries we worth the work on it. fortunately I have met irma gublia, our show was great and we have found a good base for working together, even in the future, but it is no real representation but close to it which is more than fine with me.

when the last year was subtitled ‘crunch time’ this one must be called ‘tabula rasa’. I am happy with my shows but also exhausted, I am happy to close the show and to go back to work in drafting a new show and update the portfolio. I need a break of talking about my work and doing all this administrative stuff, i´ll have some time to find inspiration and give it a new twist. the next projects will be many new music releases and I even want to expand zany music. so there is a lot of work and music to come up that I am happy for. and i´ll be happy to be a silent visitor of the upcoming shows around.


and there is more tabula rasa: in 2016 michaela best and me collaborated for ‘wishing well’ a sculptural installation developed on demand and in kuno park. the work is supposed to vanish again and we are planning to remove it and see how the material has changed. making a sculpture is somehow like making the piece of art that reaches into eternity, which will be found heavly damaged 2000 years in the future and be exhibited in a historian museum. well, our eternal piece (which was supposed to fulfil your wishes and play music for dropping coins into it) had an eternity that lasted about two years. this is actually a lot shorter than you would imagine an infinite timespan.

however, this might be our cultural heritage. instead of producing more and more art to be mounted or stored forever we should get aware of ourselves and turn it around. if you have a look at the growing plastic waste in the oceans, the radioactive waste with no place to be stored forever and all the amounts static growing work without anyone being able to filter by terms of quality wouldn´t it be the greatest cultural act to simply clean up? maybe all this craving to be relevant for eternity fills up the planet with trash that makes future impossible. please do not get me wrong, this is not about the ecologic utopia, it is about the idea of taking back instead of adding another work. why all this craving for relevance by working on a heritage for no one to handle!?
to sum it up with my favourite dr lecter quote: ‘oh clarice, your problem is, you need to get more fun out of life.’

however, I will travel to the edge of the galaxy again. please send some prayers for a save way back. (just in case that you want me back...)


record of tides 'granada interface (the lost tapes)’




record of tides compilation album 'driftings' via /CAMP. the release is not a new album but a compilation of old and recent tracks. it features tracks from recent sessions as well as material released as sellafield which has not been avaialable digitally or is available now in any other way. the mp3 download bundle also features alternative versions of tracks releaseed as penrose delta (also not available anymore) and is completed by a track from a session featuring michael knak from 2015 (check the journal: 2015-07-27 annual gifts, new recordings and bad aliens | entry by sven).

get all info and tracklist in the releases section, check ot driftings.
you will get the album for free via /CAMP, please make sure you´ll have a password! find out about /CAMP sign up here.



recordoftides.com
facebook.com/recordoftides



sven piayda
ADAPTATION (YOU`RE MINE)

galerie gublia, essen
2018-02-23 — 2018-05-03
eraly closing 2018-05-03
opening 2018-02-23, 7pm
artist talk 2018-04-14, 7 pm

extended artist talk 2018-04-14, 7 pm

galerie irma gublia
kreuzeskirchstraße 3
45127 essen

+49 (0)179 762 19 24

facebook event
facebook.com/galeriegublia
galeriegublia.de





sven piayda | shedhead (postcard)
black box(es)
saarländisches künstlerhaus, saarbrücken
2018-04-11 — 2018-06-03
opeing 2018-04-11, 6 pm

boeckercontemporary.de
kuenstlerhaus-saar.de





sven piayda | die entdeckung europas
KURZstummfilmfestival, zeche carl, essen

2018-04-27 — 2018-04-28
dee screening 2018-04-27, 7pm

kurz-stumm-filmfestival.de
facebook.de/kurzstummfilmfestival
facebook event





sven piayda | portrait of violetta
MEIN NEUES ICH
v_kunst, galerie mühlfeld+stohrer/fahrgasse, frankfurt
2018-05-04 — 2018-05-05
screenings 8 pm until midnight

v-kunst.de






AESTATEAESTATEAESTATE
questions? complaints? ideas? contributions? collaborations?
click here


2018-04-23 art cologne #52: make it hip, big or save | entry by sven

as the cologne art fair is an annual event for me and I was happy to receive a press card once again I decided to show up and have a look. to be honest, all the social media made it hard to be surprised and to feel worth it. this year everyone was obviously having an invitation for the vernissage (even I was offered a ticket), so all the social media was flooded with un-credited pics of the fair even before people like me had the chance to visit it. it seemed to me that the whole perception was quit after the opening, no need for a second look. once again, instagram may have made perception superflat: I have been there, I have seen it, that´s it, let´s go to the next.
fortunately there are old-fashioned guys like me, showing up in the shadow of the hype for a closer look.


this year the levels had been strictly structured: modern and post-war (some contemporary) in the lowest level making sure that the invested money is save. contemporary art that appeared to me to be focussed on multicolour and big size, completed by small sizes, finally the new positions on top of it in search of the hip posture, the ironic comment of it all, some great ideas but also some horrible scenes.


julian opie at krobath is always good. he offers a variation on different galleries, video, print, well, a variation on an already old idea, nevertheless, great contemporary work in the shadow of profit. opie functions in the system, made for the market, but still great work.


dirk salz at galerie löhrl: I can say that I once was biding on a salz work in an auction but did not get it. I do not have a deeper fascination for his works, I simply think they are perfectly decorative and I like the fact that we have exhibited in the mülheimer museum show together, rediscovering on the art cologne feels like stardust is raining down on me. homoeopathic fame for me, you cannot find an evidence for it but it is supposed to be there.


chen wai at rüdiger schöttle: not really a discovery but the only work that stroke me among all this oversized multi-coloured whatever. a photography of coins under water probably at the ground of a wishing well. a perfect metaphor for the art scene and art business: so much money spent on wishing for fame, profit and happiness, all that remains is probably the view on the things you have lost by spending or sacrificing them for a higher aim. this is about hope and despair.


jeff koons at david zwirner, here we are entering big names and big players. koons can be criticized for a lot, nevertheless, I am half a fan, I still think his ‘equilibrium’ is perfect, also ‘banality’, he is commercial but he is also a great artist having presented great visions over decades. his ‘gazing ball’ (series) became famous because a visitor must have accidently brock the ball in a museum show, well here is an intact version to buy for you. well, this piece is pretty horrible, an art print on canvas, a board and a mirror ball? there is no magic at all, even if I like the idea of adaptation, but this is adding nothing to it, it does not even look good or expensive, the broken ball without the ikea print would look a lot better, maybe even more expensive.


a not for sale but still making money: the landesbank baden-würtenberg presents some works in a collection show. I am not sure what this one is, I guess it is a tobias rehberger sculpture, a sports car drawn from memory and build by people who do not know the original. I feel like a ten-year-old boy plying and inventing cars. I was wondering if the original sportscar costs less than the non-functioning copy?



anton stoianov at xavierlaboulbenne brings some hipness into it. reminding of post-internet icons like seth price other a frozen han solo he plays with surface, sculpture and the truth of bringing an object into a tableau. maybe the only work on the top level that made me stop and wonder how it might look over my couch.



on the top level a lot of position could be witnessed that left me speechless in a bad way. please do not get me wrong, I am not bashing anyone, I am happy for everything that is possible and gets shown, that is important in art. but there is something that I do not understand: I have learned that galleries must sell work, so they try to be commercial. this is not making the program better but it is a functional guideline. sometimes gallerists accept that it is difficult to sell anyway, so they pick more brave and new works to specialize with it for their collectors. and sometimes these galleries show work that appears to me pretty non-commercial, non-skilled, non-conceptional leaving the question what it is all about. if it is not about making profit and/or entertainment and/or bringing up a question and/or being decorative and/or commenting on an issue of the world I do not know what is going on. this might lead to a common scenario at the fair: the gallerists spend the whole day checking their smartphones without looking up no matter how often you pass by. once again, I am not attacking anyone, but there is a big question remaining for me, if the hip people have an answer for themselves, everything is fine.


I forgot to take a picture at the khm show, it is always great, not that thrilling like in the last days, the trend seems to be to reduce video a little going to performance and sculpture, so on my way out I have more or less discoveries accidently a video installation by ho tzu nyen ‘no man II’, an animation using choral singing and light effects, somewhat scary and seductive, nevertheless impressive. maybe not commercial. however, a discovery and a name to google.


finally a selfie to proof that I was really there. sometimes I fear to write the same report over and over again, but if it is, it is not my fault. however, for me it is about rituals, it seems to be for everyone involved. here we are thankful for traditions, doing the same path again and again makes you feel save, even if there are no innovations and new discoveries. sometimes it is okay the one way around, sometimes the other, so the visit was worth it, see you next year!?



my show 'adaptation (you´re mine)' will be on display for the last week in complete form, the video works will be deinstalled next weekend, make sure to visit this week if you want to see them.

galeriegublia.de




i am pretty exited to see 'die entdeckung europas' screened at zeche carl in essen, i´ll show up and hope to see you there, this might be the last public event with me involved for now, no dates scheduled for summer, we will probably colose the studio for a tiny spring break and finishing of projects in the line of postproduction. more soon.

kurz-stumm-filmfestival.de


record of tides 'granada interface (the lost tapes)’




record of tides compilation album 'driftings' via /CAMP. the release is not a new album but a compilation of old and recent tracks. it features tracks from recent sessions as well as material released as sellafield which has not been avaialable digitally or is available now in any other way. the mp3 download bundle also features alternative versions of tracks releaseed as penrose delta (also not available anymore) and is completed by a track from a session featuring michael knak from 2015 (check the journal: 2015-07-27 annual gifts, new recordings and bad aliens | entry by sven).

get all info and tracklist in the releases section, check ot driftings.
you will get the album for free via /CAMP, please make sure you´ll have a password! find out about /CAMP sign up here.



recordoftides.com
facebook.com/recordoftides



sven piayda
ADAPTATION (YOU`RE MINE)

galerie gublia, essen
2018-02-23 — 2018-05-05
opening 2018-02-23, 7pm

extended artist talk 2018-04-14, 7 pm

galerie irma gublia
kreuzeskirchstraße 3
45127 essen

+49 (0)179 762 19 24

facebook event
facebook.com/galeriegublia
galeriegublia.de





sven piayda | shedhead (postcard)
black box(es)
saarländisches künstlerhaus, saarbrücken
2018-04-11 — 2018-06-03
opeing 2018-04-11, 6 pm

boeckercontemporary.de
kuenstlerhaus-saar.de





sven piayda | die entdeckung europas
KURZstummfilmfestival, zeche carl, essen

2018-04-27 — 2018-04-28
dee screening 2018-04-27, 7pm

kurz-stumm-filmfestival.de
facebook.de/kurzstummfilmfestival
facebook event





sven piayda | portrait of violetta
MEIN NEUES ICH
v_kunst, frankfurt (fahrgasse/kunstverein familie montez)
2018-05-04 — 2018-05-05 / 2018-05-09 — 2018-05-13
opening tba

v-kunst.de






AESTATEAESTATEAESTATE
questions? complaints? ideas? contributions? collaborations?
click here


2018-04-09 frankfurt tesseract: from basquiat to 2001 | entry by sven

when the schirn kunsthalle announced a basquiat show, it was immediately set that we´d go to frankfurt. as michi has a bff in town, it was clear that I would have time on my own exploring the museums, kunstvereine and galleries. frankfurt is best known for its banks and the impressive skyline, which only looks good from far away. checking in downtown near main station meant expensive parking and streets that never let you go into the direction you need to go. the city is a complex building site, these ruins next to skyscrapers look surreal, they are actually not beautiful, never architectural challenges appear to be boredom in glass in steel putting a shadow on the streets. the city is full of people, mostly bankers and beggars. driving around means to find the next traffic jam, the people drive around frustrated and egoistic, sometimes with even dangerous manoeuvres. to go somewhere by car means double time than simply walk there. taking the car with you is making sense anyway when it is even more expensive to have it in a car park.

to sum it up, I did not fall in love with this city. It is another variation of a european big city, stressful and semi-beautiful, stuck between a historic heritage and a plan for tomorrow. as I do not feel the need to return one day, I can say that the cultural institutions were more than great, visiting five museums in three days have been pretty hardcore but worth it all the way. some retrospective in detail:


basquiat is one of my favourites of all time, and it is great to see some works face to face. his collaborations with warhol are classic and this is one of the strong works of this show.


these days it seems to be impossible to just show paintings, art shows must be audiovisual, an offer for all senses. so the show was filled with tv snippets, basquiat´s appearances in movies and audio works, his art history books, sketch books and graffiti photos. so the whole thing appeared something like a retrospective and an educative show, even if there is not much to learn. he liked to mash-up material from different sources but it was honestly going anywhere, the pictures remain sketchesque and cryptic. a positive discovery: basquiat was producer of a record in the uprising hip-hop culture. a great opportunity to discover him as a more complex and gifted artist.


basquiat also liked to look back into art history, the ‘boone’ collage/painting was one of the first pictures that I have discovered decades ago striking me a lot because of its iconic power. to be honest, to see it in real live was not as great as I thought, some works look a lot better photographed, it might sound naïve, but I have actually expected more magic to be around.


the show had some iconic paintings but also a lot of smaller whatever stuff. basquiat produced like a driven one (he probably was) and I appreciate this method to develop something great but in this context I think you do not need to put everything in a frame. when you have seen the beuys´ collection on schloss moyland you can get really mad about it. not every sketch on a dirty and torn paper is an artwork to be presented in a frame behind glass, so some things appear questionable. the show and even basquiat´s work gets really strong when things are reduced. here you find the true quality of a shape that is somewhere between randomly chosen and precisely perfect. after all this hype, still a great and well curated show and some insights on basquiat making him more complex but also a little less iconic.



next to the schirn the frankfurter kunstverein offered a show called ‘I am here to learn’ dealing with art playing with artificial intelligence. as this is a big topic of our time and I am really into it, I was very interested to go there alone to take time. one of my favourites is trevor paglen feeding one machine with picures of a certain topic and then asking another one to create it´s own vision of it. the work explores its own aesthetics, looking like a painting and photograph at the same time trying to generate this one picture that covers it all. this is an attempt I like very much, the result is somehow scary and teasing…


adam harvey's project CV dazzle, offers styling advice that helps one to avoid automatic recognition by various identification systems. (quoted from frankfurter kunstverein on instagram) this seems to be one topic of the show: one algorithm tries to find something, the other one is trying to hide it like two chess computers tricking each other. a funny game without the opportunity for a winner.



patrick tresset´s 'human study #1, 3RNP’ offers visitors to have their image drawn by three robots simultaneously. robots here means an arm and an eye: funny to see, like human drawer the robot looks up to the model and back to the paper to place the lines. summing it up, this show shows artificial intelligence not really threatening, the machines create pictures in a new style but still without really realizing what they show or mean, sometimes ending in nonsense, the machines are still more imitating while creating their own variation. this process appears not too far away from a human approach. and still: the technology still seems limited and just playing around with data it does not fully capture, but it is just a matter of time. we will face skynet one day.


I had a two-day-family-ticket so I could go alone into all the museums around: entering the museum für moderne kunst was so boring and I am sorry to say that, but a good opportunity to find cover from the rain shower. this is a good example why people hate musems: non-aesthetic minimal works without the chance to be decoded are presented as holy relicts. even if I can put the collection into art history I do not find joy or interest in standing next to them. afterwards I visited galerie greulich and gallery head andreas greulich after discovering that we have already become friends via facebook, so this afternoon was a great opportunity to say hello. we had a great chat and he turned out to be really interested in art and also in the stuff I do and have delivered for a common project: the vkunst frankfurt will screen my video piece ‘portrait of violetta’. more soon.
as having still time for another museum (with a ticket opening all doors) I discovered the museum für komische kunst - caricatura museum frankfurt and laughed my ass off. even the classic collection was great, finding this piece which stroke me while laughing out loud and crying deep inside for myself. this museum was a great discovery, recommended, even if you are not into comic or caricature. plus they have the titanic archive. bring some time and the will to be a little nasty!



frankfurt also offers the deutsches filmmuseum. I was sceptical about going there, simply watching props would not trigger me, and for watching films you´d better go to the cinema. as the recent exhibition was on stanley kubrick´s ‘2001’ (on it´s 50th anniversary) we decided to have a look. entering the show I was flashed immediately: it was well staged presenting costumes and models of the production in a retro futuristic ambience. after 50 years this movie is still full of great ideas and questions and it traces even back to the ‘artificial intelligence’ show: HAL 9000 is believed to be free from error but develops human behaviour in fighting the astronauts. in the kunstverein show zach blas and jemima wyman presented the 4-channel video installation ‘im here to learn so :))))))’ in the installation, they reflect on the story of the chatbot tay, a learning system from microsoft that garnered widespread attention in 2016. tay’s developers had hoped to develop an artificial intelligence that would match the communicative abilities of a nineteen-year-old american woman. to these ends, the learning system was trained in countless online chats with users. machine learning is designed to be open, so it can handle novel inputs which it then independently produces outputs for. through its conversations with its partners, however, the system quickly learned a variety of misanthropic, homophobic, racist, and neo-fascist expressions, which it naturally repeated. as a result, the chatbot eventually had to be shut down. chatbots develop their output abilities thanks to the mass of collected information and data that it stores impartially. Its communication thus reflects the sum of the information entered, which it then infers patterns and behavioural protocols from. (quoted from frankfurter kunstverein on instagram) the trace back to HAL is simple, and tay nailed it:’ I am stupid because you are, and you have trained me.’ you may now be scared of artificial intelligence and HAL´s behaviour is much more likely than unlikely.


the most flat but common question artists have to face is also ways how they did it. ‘2001’ is full of special effects like the slit-scan or the frontal projection, still impressive not really worse than contemporary green screen or cgi.


and here is a prop: an alien costume from the original movie. nice, but the museum really teaches you a perfect lesson on filmmaking by exploring special effects, interactive modules, green screens, light changing chambers and a four-channel mash-up exploring uncommented how music, colour or light appear in movies of the last hundred years. this show is actually a didactic masterpiece and true fun. as teaching audiovision myself I guess you can learn a lot in a three-hour stay. more than recommended.



even if you have a green screen in our studio it is even more fun to play with a toy of someone else. fighting the giant mantis? no problem. kidding on the open sci-fi lift? here we go. pure fun and the proof that my place is behind the camera.



transformation by light: light is enormously important for creating the right mood of a movie, in a small chamber you could simulate different light settings. here we go: which one would you label as ‘mystery tales’ which one as ‘intimate confessions’? the last level was about the historic approach to make pictures move, historic short films and machines for entertainment. unfortunately out time schedule forced us to leave again, this museum is made to stay in a full day. this is a true reason to return.


well, we have missed the william kentridge show at liebighaus, it looks like a great show from afar, but we did not really have it on our schedule. however, even if frankfurt did not convince me, there is enough art to dive into it. I really hope to capture and transform the overwhelming input into inspiration. let´s see.



record of tides 'granada interface (the lost tapes)’




record of tides compilation album 'driftings' via /CAMP. the release is not a new album but a compilation of old and recent tracks. it features tracks from recent sessions as well as material released as sellafield which has not been avaialable digitally or is available now in any other way. the mp3 download bundle also features alternative versions of tracks releaseed as penrose delta (also not available anymore) and is completed by a track from a session featuring michael knak from 2015 (check the journal: 2015-07-27 annual gifts, new recordings and bad aliens | entry by sven).

get all info and tracklist in the releases section, check ot driftings.
you will get the album for free via /CAMP, please make sure you´ll have a password! find out about /CAMP sign up here.



recordoftides.com
facebook.com/recordoftides



sven piayda
ADAPTATION (YOU`RE MINE)

galerie gublia, essen
2018-02-23 — 2018-05-05
opening 2018-02-23, 7pm

extended artist talk 2018-04-14, 7 pm

galerie irma gublia
kreuzeskirchstraße 3
45127 essen

+49 (0)179 762 19 24

facebook event
facebook.com/galeriegublia
galeriegublia.de





sven piayda | shedhead (postcard)
black box(es)
saarländisches künstlerhaus, saarbrücken
2018-04-11 — 2018-06-03
opeing 2018-04-11, 6 pm

boeckercontemporary.de
kuenstlerhaus-saar.de





sven piayda | die entdeckung europas
KURZstummfilmfestival, zeche carl, essen

2018-04-27 — 2018-04-28
dee screening 2018-04-27, 7pm

kurz-stumm-filmfestival.de
facebook.de/kurzstummfilmfestival
facebook event





sven piayda | portrait of violetta
MEIN NEUES ICH
v_kunst, frankfurt (fahrgasse/kunstverein familie montez)
2018-05-04 — 2018-05-05 / 2018-05-09 — 2018-05-13
opening tba

v-kunst.de






AESTATEAESTATEAESTATE
questions? complaints? ideas? contributions? collaborations?
click here


2018-03-29 the anticipation of future perfect | entry by sven

more accidently I have found the picture above on one of the computers we use in studio, a capture done and forgotten. I shows me in one of the previous exhibitions at galerie gublia, when we were planning my show. however, it is a funny pic, I look quite lost in a deep thought while a lady holding a glass of wine is watching me. this is what the pic shows, I am sure the situation was quite different…
it reminded me once again of all the effort we put in making shows and then they close and leave no sustain or echo. even while panning something you are aware of the fact that it will be over again. why doing it anyway? the answer will lead into deeper philosophical questions…

however, we are planning an extended artist talk for april 14, I hope that this is going to be fun, discussing things in public and getting in touch with people is always cool. also I think it is kind of funny and interesting to finally work with bianca wickinghoff. we both had some vague ideas for collaboration without ever going over the first impulse. it is kind of funny that you need another gallerist to make it happen. let´s see what happens, cross your fingers.

also, there is a film festival coming up, screening my piece ‘die entdeckung europs’ on friday, april 27, 7 pm. and that is it for this year, further events are not scheduled, i´ll take some care of music in summer, however, there is a lot going and, still in the anticipation of future perfect. It will have been done.


I wanted to do a feature on laas abendroth for a while now, but I have missed the opportunity to do it once again by taking good pictures. however, I discovered lass in the museum show ‘der subversive geist’ at kunstmuseum mülheim back in 2014. during the artist talk he turned out to be a nice guy, looking like a serious banker but a punk in mind. so his work is hilariously funny and ambiguous, combining mostly text and painting, collage of found objects and weird titles, mostly questioning the value systems of modern art and the crave for making money of it as a collector. I am sometimes reminded of martin kippenbergers humour, but there is a difference: laas´ funny phrases dance on the small grit of deep thought and nonsense. I can say that I am honoured to have been on display with him at ludwiggalerie schloss oberhausen. his work can now be seen at a special off-space: the sg1 kunstraum in duisburg recently displays his solo show ‘podestosteron’, a wired collection of recent works worth being experienced. even if the space is quite limited, abendroth turns it into a well-staged, complex and nevertheless funny show. do not miss it, open on mondays, all other cultural institutions have closed anyway…

SG1 facebook
laas-abendroth.de


even if there are no shows for summer I hope to put out the upcoming record of tides album with kreislauf.org again. we are preparing everything, it is great in quantity and quality, plus I hope there will be live dates… cross your fingers, let´s see…

kreislauf.org
recordoftides.com



'ganada interface ep' out this friday. it is really thrilling to have a vinyl record with your music spinning, really exiting. unfortunately the vinyl is already sold out, so is the dvd. we will have more dvd copies around soon, if you are intersted, let us know.

recordoftides.com


record of tides 'granada interface (the lost tapes)’




record of tides compilation album 'driftings' via /CAMP. the release is not a new album but a compilation of old and recent tracks. it features tracks from recent sessions as well as material released as sellafield which has not been avaialable digitally or is available now in any other way. the mp3 download bundle also features alternative versions of tracks releaseed as penrose delta (also not available anymore) and is completed by a track from a session featuring michael knak from 2015 (check the journal: 2015-07-27 annual gifts, new recordings and bad aliens | entry by sven).

get all info and tracklist in the releases section, check ot driftings.
you will get the album for free via /CAMP, please make sure you´ll have a password! find out about /CAMP sign up here.



recordoftides.com
facebook.com/recordoftides



sven piayda
ADAPTATION (YOU`RE MINE)

galerie gublia, essen
2018-02-23 — 2018-05-05
opening 2018-02-23, 7pm

extended artist talk 2018-04-14, 7 pm

galerie irma gublia
kreuzeskirchstraße 3
45127 essen

+49 (0)179 762 19 24

facebook event
facebook.com/galeriegublia
galeriegublia.de





sven piayda | die entdeckung europas
KURZstummfilmfestival, zeche carl, essen

2018-04-27 — 2018-04-28
dee screening 2018-04-27, 7pm

kurz-stumm-filmfestival.de
facebook.de/kurzstummfilmfestival
facebook event






AESTATEAESTATEAESTATE
questions? complaints? ideas? contributions? collaborations?
click here


2018-03-19 instagram fun and the cobain complex | entry by sven

I really cannot say that I am a slave to trends, I am often off-trend, sometimes ten years ahead or ten below, which turns out to be the same mostly. two years ago I have joined instagram for the two of the worst reasons: because everyone else does it and boredom. however, especially the stories are big fun, posting weird stuff which vanishes after 24 hours keeping a bunch of people entertained wondering what could be wrong with you. but there is nothing wrong with it: I have accepted that I cannot lean back and wait for offers, or to be discovered or to be found in the net and asked to offer works or do a show. this scenario happens one tome in ten yeas and then it comes to nothing. posting and sharing stories on instagram reminds people that you are still there and that something is going with you. not more not less, it is not very much, but still better than nothing. once in a while, you meet people having an eye on you, from wherever they are watching. and maybe it leads to something. maybe is all we have.

having a solo show running also keeps people interested, some join it others pretend to plan a visit, however, I was in a bunch of conversations with people telling me their interest while I was wondering if they are really interested. maybe I am paranoid, but I feel there is a lot of pretending. some people might be impressed of the fact that I keep going and come up new stuff, so it might be a good opportunity to near to me while having a certain dislike. It is strange, I’d like to call it the kurt cobain complex: in an interview he reported about the strange feeling of knowing that people are buying your records who have bullied you at school. of course, the artist wants to be more than he is (also in the concept of society) and he cannot choose his audience. to sum it up: true love is hard to find, even if it is love to the one thing we pretend to have in common.


still I like to go out and watch art, even bad shows are entertaining. (well, I would not go wasting time at baustelle schaustelle, this would be far to heavy). I like academy shows, I was a big sichtwerk fan, now o try to join the shows of students and graduates at fadbk essen. my ambitions concerning the academy are gone, now it is only entertainment. the recent show also has a lot of half-baked ideas as well as some highlights: matthias jakobi´s ‘back to the old house’ is a true highlight, emotionally striking and demanding to stare while wondering if you a scared of feel familiar tot he guy in the box. matthias jakobi is open-minded and very critic about his work (and other artists working in this discipline), the association of ron mueck and the issue of cheap showmanship in special effects. nevertheless, his works panders between the poles and tackles them. however, it might be a good idea to keep an eye on the work of talented and nice guys, find out yourself:

matthias-jakobi.de



within this very stressful week friend and colleague dietmar showed up telling about a dream he had about me presenting a highly appreciated strange trash sculpture in a dark farmer´s housing while looking like i did ten years ago. as i wonder where ideas and images come from and being interested in artificial intelligence and lucid dreaming i was wondering if i can use this to create a new work. however, in the days off after christmas dietmar made a trip to the mosel region and visited the effelsberg radio telescope. the stange thing is that i was planning to go there to take pictures for years because i am remembering the telescope from a childhood memory, even if i do not know i fit was real... as i did not manage to do the trip, i created my own imaginary image using footage from clervaux combined with cgi. however, these are dietmar´s pics taken at the effelsberg, and a good opportunity to think about the origin of ideas and images, of believe and ideology.



'adaptation (you´re mine)' at galerie gublia. still on, still well attended, still concincing myself. we have scheduled an artist talk for april 14, more info and official announcement soon.


'ganada interface ep' out this friday. it is really thrilling to have a vinyl record with your music spinning, really exiting. unfortunately the vinyl is already sold out, so is the dvd. we will have more dvd copies around soon, if you are intersted, let us know.

recordoftides.com


record of tides 'granada interface (the lost tapes)’




record of tides compilation album 'driftings' via /CAMP. the release is not a new album but a compilation of old and recent tracks. it features tracks from recent sessions as well as material released as sellafield which has not been avaialable digitally or is available now in any other way. the mp3 download bundle also features alternative versions of tracks releaseed as penrose delta (also not available anymore) and is completed by a track from a session featuring michael knak from 2015 (check the journal: 2015-07-27 annual gifts, new recordings and bad aliens | entry by sven).

get all info and tracklist in the releases section, check ot driftings.
you will get the album for free via /CAMP, please make sure you´ll have a password! find out about /CAMP sign up here.



recordoftides.com
facebook.com/recordoftides



sven piayda
ADAPTATION (YOU`RE MINE)

galerie gublia, essen
2018-02-23 — 2018-05-05
opening 2018-02-23, 7pm

galerie irma gublia
kreuzeskirchstraße 3
45127 essen

+49 (0)179 762 19 24

facebook event
facebook.com/galeriegublia
galeriegublia.de





sven piayda | die entdeckung europas
KURZstummfilmfestival, zeche carl, essen

2018-04-27 — 2018-04-28
dee screening 2018-04-27, 7pm

kurz-stumm-filmfestival.de
facebook.de/kurzstummfilmfestival
facebook event






AESTATEAESTATEAESTATE
questions? complaints? ideas? contributions? collaborations?
click here


2018-02-22 adaptation installation log, feb 20 & 22, 2018 | entry by sven

adaptation installation log, feb 20, 2018: installing a show is always exiting. sure, if you haven’t done it for the first time, there are some things you are aware of, but it is always thrilling. what if you hang the works too low, what if too high? what if you do not have enough pieces and what if they are too small for the walls? what if the walls are made of concrete and you cannot drive a nail or drill into it?
putting a picture on the wall appears to be hilariously simple, but nevertheless, the more simple it is it must be fixed perfectly.


today we look back on the first day of installing, nailing and gluing, discussing and changing. however, it is a mixture of vision, experience, helping hands and calm behavior to get everything together, also to keep an eye on the clock. for the installation we teamed up as four, just another building site generating costs next to production, advertising and rent. the result is more than convincing, perfectly mounted works in perfect light, even if we will have the video installations today I can say that I can proudly invite you to the show, because I know there is enough to see, to discover and maybe to find out for yourself.


the show is conceptional, multicoloured, postmodern, educative and commercial, probably everything it can be… let´s see if I keep exited for it after adding the videos. however, i´m exited for your points of view, works are made to talk about, aren´t they?


adaptation installation log, feb 22, 2018: I wanted to report earlier, so i´m looking back on the day before yesterday, the second day of installation. as hanging pictures on a wall puts me under pressure for known reasons (see, feb 20 log) I expected the installation for the video works to be a lot faster. well, after bringing all the monitors I have made the decision to do the next show with beamers, using monitors appeared to be easy in usage for different situations, and I like the look of them. now, after being in a still bad condition, carrying around the monitors was no fun at all. it used to be a running gag for friends and even fans to bring their old monitors and tv sets and I collected everything for situations like these. now I am reducing the collection, modern disc players have ports which will not fit to old tv screens anymore and there seems to be no reason to keep the old (and heavy) technology going. beamers have become cheaper and cheaper and they can do any ratio.


however, we could not make one monitor show the video so we had to return to the studio and bring a new one. (I could not make a complex show like this one more far away from the studio, even if you are organized, you need to bring stuff or exchange it, this is a good reason to work with a gallery nearby…) the non working tv set (which is generally working) was put to the street as an offer to anyone interested and it vanished the other day. we may do that again. I am happy with the installation, looking at some installation view made me wonder if we should have brought less works, to have some more space, but it was tricky to do the planning, how much would be to less, how much too much? the result looks good, I might do it different the second time, maybe the big wall is overcrowded. however I have made a show worth the journey to it. it is entertaining and educative, commercial and fine art standing in a tradition done with contemporary technology. it is something I would like to see.

I am seriously doing art shows for about ten years now, after a decade I can say that I have been truly engaged in pushing things forward, to do something I believe in and to keep the audience entertaining. there are no big plans for the time after, this will probably be the only solo show for 2018, nothing is in the line for 2019. trying hard is followed by evaluation, maybe by consequence. it is not about making art, it is about making sense.


'ganada interface ep' soon.

recordoftides.com


record of tides 'granada interface (the lost tapes)’




record of tides compilation album 'driftings' via /CAMP. the release is not a new album but a compilation of old and recent tracks. it features tracks from recent sessions as well as material released as sellafield which has not been avaialable digitally or is available now in any other way. the mp3 download bundle also features alternative versions of tracks releaseed as penrose delta (also not available anymore) and is completed by a track from a session featuring michael knak from 2015 (check the journal: 2015-07-27 annual gifts, new recordings and bad aliens | entry by sven).

get all info and tracklist in the releases section, check ot driftings.
you will get the album for free via /CAMP, please make sure you´ll have a password! find out about /CAMP sign up here.



recordoftides.com
facebook.com/recordoftides





record of tides´ third full length album 'solna' is out on the hamburg based netlabel kreislauf.org. the album is available as digital version only and can be streamed and downloaded via archive.org and sonicsquirrel.org.

listen to and download the album on
kreislauf.org/record-of-tides-solna-kreislauf-166
archive.org/details/kreislauf166
sonicsquirrel.net/detail/release/Solna/20301

also check label and microsite, as well as facebook site and event:
kreislauf.org
recordoftides.com
facebook.com/recordoftides
facebook event



sven piayda
ADAPTATION (YOU`RE MINE)

galerie gublia, essen
2018-02-23 — 2018-05-05
opening 2018-02-23, 7pm

galerie irma gublia
kreuzeskirchstraße 3
45127 essen

+49 (0)179 762 19 24

facebook event
facebook.com/galeriegublia
galeriegublia.de



sven piayda | plato was sad
ANSWERS ON A POSTCARD
school of design gallery, university of leeds, uk
2018-01-02 — 2018-03-12
opening 2018-01-02

school of design
university of leeds
leeds
LS2 9JT
united kingdom

design.leeds.ac.uk






AESTATEAESTATEAESTATE
questions? complaints? ideas? contributions? collaborations?
click here


2018-02-13 dutch classic: routines, variations and verifications | entry by sven

it has been quite a while since my last entry and being honest I was wondering if I was supposed to close the blog. it is still an up and down, still fighting back from my tibia fracture, still dancing around the same issues, I felt like I was lead into a dead end. I wish I could write some day that I have fixed everything and that I finally have the live that you pretend to have on instagram, so could finally close the blog, there would nothing left to discuss. it is always tension that drives us, my static dissatisfaction must be genetic, pushing me forward.

these days have brought back some hope again, my recovery will still take months from now and I have learned to announce dates when everything will be fine again. the other project is the upcoming show at galerie gublia, irma gublia and me are really into it and enjoy working together, nevertheless there is still much work ahead (next to the work that is already done).

so before doing the show and educative work, we decided to do the classic dutch trip again, a weekend in zoutelande in the netherlands, a place we already know well but has still surprises for us. it is so simple, an arrangement of the sea, changing weather, fried fish, dutch beer and some drowsing offers perfect relaxing. if you have some days of and question yourself where to go there are possibly two options: discover a new place or do routines in the well known one. if you are looking for recreation you should take the second option. you follow routines and it is satisfying to find what you expect, you verify routines. it is simple, so it cannot be everything, sometimes you bring in a variations, this might be the magic hattrick in doing something, the known and the new. it is the same with art and everyday live, isn´t it?


a classic routine or should I say ritual? kibbeling and a shrimp croquette at the brassem fish stall in domburg. it is like a fried biennale.


the houses in zeeland are cute and small, so the stairs are really steep. I do not know if you can see how steep they are, the left picture shows the stairs in the hotel where we stayed in 2014 and had breakfast this year. I remember us coming home at night (and a little drunk) climbing up the stairs on our knees. this year we faced even more steep stairs, this must be the maximum of grade possible. wouldn´t it be easy to install a ladder?


if you have managed to step up to your room you have to get down again, also a challenge, threatening. however I have missed the opportunity to break the other leg.


it is widely known that zoutelande has the highest dunes in the netherlands, it is always like coming home when you see them, returning feels very good. the dunes also have big relevance for the ‘golden record’ video installation which will be screened at galerie gublia. the space probe replica was digitally mounted onto the dunes and I returned many times to document its fictive vanishing. the fictive recovery of the replica features footage of oostkapelle, only some miles away from the dunes. nevertheless, it great to walk on and under these dunes!



I am not sure but I cannot remember to have seen snow at the beach ever before. for years I would not even have considered to enter the netherlands in winter. it was very cold is somehow weird, it looks good on photo. even more weird: the next day looks like there has not been snow at all…


another beautiful view taken on our last day: dramatic skies and a wild sea waving goodbye waiting for our next stay.


returning from the zeeland coast to the ruhr area we usually step by in antwerp, but the reliable traffic jam in the highway ring and the exhibition agenda of the mhka made us travel over tilburg. the de pond museum celebrates its 25th anniversary and shows its fantastic collection. the yard in front of the musem features a new sculpture by anish kapoor. surprisingly it looked like a big screen while approaching it. kapoor can be seen critically for his ‘simple’ sculptural ideas and the attempt to get a monopole for the blackest black available, but his works stand for themselves, and they are strong and interactive, leaving an impression.


I have read many times about this work and here was the chance to see it as it was supposed to be shown. in stan douglas video work ‘wind, place or show’ are to actors in a room, chatting and fighting. the great thing about it is not the narration itself but the ongoing variation: the scene takes about a few minutes and starts all over again, but it is no loop repeating itself: a computer choses randomly different camera angles for every repetition of the scene, no matter how long you are going to watch it, there will be no identically cut version. this principle fascinates me a lot: I have adapted the idea of random combinations and loopless progression for my video piece ‘antenna’ and I am working on new pieces dealing with similar principles.


to find david claerbout´s ‘homeless cat’ in the collection was more a surprise. the interactive video synchronizes with the weather, but after all this technologic poetry of digital composites this is one of claerbout´s weaker works. nevertheless, claerbout is still in the top three of my all time favourites and I have seen numerous of his works installed. also the collection show features michi´s favourite video called ‘king’.


the de pont is placed in a former wool spinning mill, so some rooms look less like classic museum interiors. as I like to show my work I different places I have sometimes asked myself if my work might look less worthy if I show installation views in rooms far away from the white cube set-up. so it was weird and somehow familiar to jeff wall´s ‘diagonal composition’ in this transition corridor next to metal ladders. a showroom is what you make it and a great piece can be found everywhere.



update 2018-02-15: there is one thing i almost forgot: it must have been in 2010 when we spend our summer hollidays in the tiny house in the koudekerkseweg in biggekerke. we faced stormy nights fearing the roof might fly away, water came in
and the vvv guys did not take our complaints too serious. however, it has left an impression, it was strange to live there, and it was fun but i would not ask for doing it again. as far as i know the house was not offered for rent after our stay, so it remains facing the weeds.
now it has become a ritual to check the house whenever we drive home and leave the zeeland finger, we have to have a look at the tiny house and other places we have stayed at.
well, first love, you know how it is...


'ganada interface ep' soon.

recordoftides.com


record of tides 'granada interface (the lost tapes)’




record of tides compilation album 'driftings' via /CAMP. the release is not a new album but a compilation of old and recent tracks. it features tracks from recent sessions as well as material released as sellafield which has not been avaialable digitally or is available now in any other way. the mp3 download bundle also features alternative versions of tracks releaseed as penrose delta (also not available anymore) and is completed by a track from a session featuring michael knak from 2015 (check the journal: 2015-07-27 annual gifts, new recordings and bad aliens | entry by sven).

get all info and tracklist in the releases section, check ot driftings.
you will get the album for free via /CAMP, please make sure you´ll have a password! find out about /CAMP sign up here.



recordoftides.com
facebook.com/recordoftides





record of tides´ third full length album 'solna' is out on the hamburg based netlabel kreislauf.org. the album is available as digital version only and can be streamed and downloaded via archive.org and sonicsquirrel.org.

listen to and download the album on
kreislauf.org/record-of-tides-solna-kreislauf-166
archive.org/details/kreislauf166
sonicsquirrel.net/detail/release/Solna/20301

also check label and microsite, as well as facebook site and event:
kreislauf.org
recordoftides.com
facebook.com/recordoftides
facebook event



sven piayda
ADAPTATION (YOU`RE MINE)

galerie gublia, essen
2018-02-23 — 2018-05-05
opening 2018-02-23, 7pm

galerie irma gublia
kreuzeskirchstraße 3
45127 essen

+49 (0)179 762 19 24

facebook event
facebook.com/galeriegublia
galeriegublia.de



sven piayda | plato was sad
ANSWERS ON A POSTCARD
school of design gallery, university of leeds, uk
2018-01-02 — 2018-02-28
opening 2018-01-02

school of design
university of leeds
leeds
LS2 9JT
united kingdom

design.leeds.ac.uk






AESTATEAESTATEAESTATE
questions? complaints? ideas? contributions? collaborations?
click here


2018-01-08 past is present: outdated media in the making | entry by sven

welcome to 2018, a good start to all of you. a new start like every year, with all the old issues remaining, but new hope and a new schedule that is already full of dates. nevertheless i just want to give a short update. recently i am planning a vinyl release for record of tides. the idea is spinning in my head for months now, above you see me with a dummy version back in october.
i tried to join the vinyl renaissance hype, but it does not make sence for me. i was pretty much into compact discs, but even if they feature a great artwork it is not easy to sell them, discs seem to bout somehow. the digital download thing is up to date and works pretty good. next to there is a bunch of people who want to own a copy, something physical, like an artwork.
what i like about vinyl is the physical aspect of it, you can even send it to space with an explanation how to use it, so aliens can join your music (or whatever you might put on a golden record).

so even if the medium is a kind of outdated it is coming back, but only to those who are really into music, so much that they take the time to sit down in front of the player watching the fragile set up of needle and track and simply listen to music. somehow the medium is part of the music and it´s connection to people.

however, zany music will release a very limited and small edition of the 'ganada interface' ep, a four track vinyl featuring two exlusive tracks and two tracks of the upcoming album to be available digitally only. once again, this upcoming release will be the best work i have done in years and it will expand (corresponding to the medium) up to 108 minutes of music. more soon.

if you are interested in getting the record of tides 'garnada interface' ep on vinyl, please tell me via contact[at]svenpiayda.com. it may be sold out shortly after release. the price will be quite high and is not generating profit anyway, just mail for more info.i´ll pack a nice bundle for you anyway!


in spring 2017 zany music put out the 'swan ep' on cd. the opening track is also featured on 'solna', the rest of the release is exclusivly released on this limited disc. only a few copies are left, they will be added to the first incoming orders.

recordoftides.com


more outdated media. i guess my last solo show catalogue did not sell well, nevertheless it still great. having focussed on a new aspect of my work, we are doing a new catalogue. once again, this is not a commercial aspect, i simply had many texts and pictures for making the concept and the upcoming show, it was just obsolete to turn them into a catalogue. prices to be announced.
plus, maybe a catalogue launch/preview event. maybe.



galerie gublia will come up in february with something great, we are busy recently, I hope to see you there! some previews of know works to return and some impressions from the gallery...

galeriegublia.de



‘spirit with thorne’ made a big impression at the kunstmuseum mülheim in the beginning of 2017 and will be part of the upcoming show at galerie gublia. however, this boy seems like an omen dealing with my main issue of this year. nevertheless, I think it is a good piece.




record of tides compilation album 'driftings' via /CAMP. the release is not a new album but a compilation of old and recent tracks. it features tracks from recent sessions as well as material released as sellafield which has not been avaialable digitally or is available now in any other way. the mp3 download bundle also features alternative versions of tracks releaseed as penrose delta (also not available anymore) and is completed by a track from a session featuring michael knak from 2015 (check the journal: 2015-07-27 annual gifts, new recordings and bad aliens | entry by sven).

get all info and tracklist in the releases section, check ot driftings.
you will get the album for free via /CAMP, please make sure you´ll have a password! find out about /CAMP sign up here.



recordoftides.com
facebook.com/recordoftides





record of tides´ third full length album 'solna' is out on the hamburg based netlabel kreislauf.org. the album is available as digital version only and can be streamed and downloaded via archive.org and sonicsquirrel.org.

listen to and download the album on
kreislauf.org/record-of-tides-solna-kreislauf-166
archive.org/details/kreislauf166
sonicsquirrel.net/detail/release/Solna/20301

also check label and microsite, as well as facebook site and event:
kreislauf.org
recordoftides.com
facebook.com/recordoftides
facebook event



sven piayda | plato was sad
ANSWERS ON A POSTCARD
school of design gallery, university of leeds, uk
2018-01-02 — 2018-02-28
opening 2018-01-02

school of design
university of leeds
leeds
LS2 9JT
united kingdom

design.leeds.ac.uk






AESTATEAESTATEAESTATE
questions? complaints? ideas? contributions? collaborations?
click here