Releasefest/Konsert för The Ägg's nya album Machines

27 Aug 2016 - 19:00


Hjälp oss att fira The Ägg's nya album MACHINES (

Tre set med musik - där även stallkamraterna Receptacles (aktuella med sitt nya album Freedom From Error ( spelar live under kvällen.

19:30 - THE ÄGG - Set I
21:00 - THE ÄGG - Set II


THE ÄGG - .... . / . --. --.
Joe Williamson
Patric Thorman
Vilhelm Bromander
Anton Toorell
Linus Hillborg
John Lindblom
Christopher Cantillo
Erik Carlsson
Raymond Strid
Dennis Egberth

It can be safely said that The Ägg is unlike any other band around.

Could it be they sound like Captain Beefheart's and Fela Kuti's bands in the same rehearsal space? Or do they sound like a North Korean marching band on acid? Or do they sound like 10 guys jamming in some weirdo's basement?

Either way they sound like nothing you have ever heard before.
The perfect mixture of chaotic abandon and complete control. The bonfire and the bunsen burner.

Space rock, free jazz, afro-beat and probably some other stuff all colliding together in the musical particle accelerator known as The Ägg…

RECEPTACLES .-. . -.-. . .--. - .- -.-. .-.. . ...
Anton Toorell
Joe Williamson
Dennis Egberth

Receptacles make music that disturbs easy categorization. While listeners may hear influences from no-wave, afro-beat, free jazz, funk or punk, Receptacles are not simply a mix of these styles. They have harnessed an essence of spontaneity and in doing so have created something unique and completely their own.

Receptacles wilfully instigate and manipulate an elasticity of form, key, tempo and metre. The absurdist, spoken- word lyrics act as the lynchpin in the reckless, hectic, headlong, joyful collision of rhythms and riffs. An anarchistic relationship to group dynamics ensures a strong, original, unified sound, where the sum is more than the parts, and yet the parts are more than the sum.


Förmånliga priser och fantastiska kominationserbjudanden på hela katalogen utlovas (och mer därtill).

Arrangeras av Tilting Converter




Entrance 50 kr

Member production : Joe Williamson

TURBIDUS FILM #15 presents POST-COLONIALISM AND ANTHROPOLOGY: Elke Marhöfer and Mikhail Lylov

1 Sep 2016 - 19:00

TURBIDUS FILM #15 presents POST-COLONIALISM AND ANTHROPOLOGY - film screening and Q&A with the film makers Elke Marhöfer (germany/cuba) and Mikhail Lylov (russia).

See also:
Experimental Ethnography II - Urban Gardening and Ecology: Elke Marhöfer and Mikhail Lylov

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * ** * * * * * * * * * * *


Aby Warburg Institute in London, England, 2012-2015, 16mm, b&w, silent, 10'22
"Nobody knows, when it was made and why" takes a close look at Aby Warburg’s prominent "Mnemosyne Atlas". Reflecting on the fact that research, be it art or science based, is a historical and anthropological procedure that is closely related to colonialism, the film rethinks how Warburg creates a relational and trans-cultural methodology. Inhuman and animating forces of images, things, animals, people, minerals, amulets and dices, solar and lunar eclipses, intestines, magic stones and starry heavens stemming from Iran, Iraq, Syria and Jordan suggest exploring "Mnemosyne Atlas" outside of European cultural history and the imagination of itself.

{each part welcomes the other without saying}
Germany/Cuba, 2014, 16mm to digital file, color/sound, 26'00
How we can connect the more-than-human with the historical, specifically the postcolonial space without deepening violations already inflicted on both humans and nonhumans? The film gathers affects and modes of activity of plants and animals whose ancestors were moved to the New World and “had to colonize the new land [with the humans] as a team.” The Spanish brought sheep, cows, and horses along. The first horses arrived in 1540 in the Americas. In present-day Cuba animals such as cows, horses, goats, pigs, sheep and chickens provide food and labor, and often move around freely, almost without any confinement. Much like extended family members (comparable to pets in the western hemisphere) some animals share close relations with humans. Some entered the intermediate state between domesticated and wild, others return to the forest to fully reverse their domestication and to become something else entirely. What at first sight seemed to be a pristine ecosystem turns out to be created by human and nonhuman practices interacting and circulating matter. The ‘wilderness’ of Yateras is informed by a long and layered history. On the mountainsides we found gardens cultivated in the manner used by Amerindians. The mango tree or bamboo that grows in the primeval looking forests originally migrated from India and China to Cuba. The electrified Hershey train, once a frontiers of capitalism and built by the Hershey Chocolate Corporation of Pennsylvania is today subjected to a very different logic that corresponds to an understanding of reality not as a undivided whole, but made of fragmentary moments and discontinuities. The film, by giving space to a splintered narrative and a disunited audio-visuality sets out to relink adamantly separated concepts of human and animal bodies, vegetables and history as translocal, pre-individual assemblages. Connecting the other-or-more-than-human with the postcolonial space might make it possible to understand how nature transverses history, and vice versa, on every level without turning to ‘grand narratives.’ Nature might be both, historically situated, evoking testimonies of past events, while recognizing their specificities, and at the same time continuously growing, surpassing and escaping historical formatting with its unique and machinic mode of constantly evolving, changing and creating something new. Tracing past processes through transformations of biological, geological and ecological matter turns history into a very actual and concrete movement that is able to include the nonhuman too.

Q&A with Elke Marhöfer and Mikhail Lylov

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * ** * * * * * * * * * * *

Born in the year of the goat in Baracoa/Cuba, Elke Marhöfer is an artist living in Berlin. Via the potentialities of moving image and suppositious writing she works with notions of self-admitted foreignness and radical othering. She collaborates with dear friends and things, revising notions of animals, vegetables and objects. Within distant environments she investigates specific events and practices that traverse binary oppositions. Linking for example, the nonhuman with the postcolonial, she discusses how nature cuts across history, being simultaneously historical situated, evoking human and nonhuman testimonies of past and current events, recognizing their specificities, and at the same time surpassing and escaping historical formatting with its unique and machinic mode of constantly evolving, changing and creating something new. Elke tests nonhuman perspectives, translating a technology like the camera, from a human cultural and technical device into an extension of the intensive forces within the surrounding environment, so that the camera becomes a tool, which is in principle not different from nonhuman animal tools, similar to orangutans using leaves to make squeaky kiss noises.

Elke studied Fine Art at the University of the Arts in Berlin, at the School of the Art Institute in Chicago and at the Whitney Independent Study Program in New York City. Since 2010 she pursues a PhD at the University of Gothenburg. Elke has received fellowships, grants, and generous support from IASPIS Residency Sweden, Akademie Schloss Solitude Stuttgart, Cité Internationale des Arts, Paris. Her art exhibitions include the Palais de Tokyo Paris, Manufactura’s Studio Wuhan, FCAC Shanghai, the Houston Museum of Fine Arts, NGBK Berlin, Kunstverein Hannover, Museum für Gegenwartskunst Siegen and The Showroom, London. She lectures in conferences such as DARE, Deleuze and Artistic Research Conference Ghent, Deleuze’s Cultural Encounters with the New Humanities, Hong Kong and Daughters of Chaos, Deleuze Studies International Conference Stockholm. Her films have been screened at the BFI - Film Festival London, Berlinale Internationale Filmfestspiele Berlin, International Film Festival Rotterdam, Courtisane Festival Ghent and Images Film Festival Toronto.

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *

Mikhail Lylov was born in 1989 in Russia, Voronezh. Studied Economics in Voronezh state university. In 2008 in cooperation with other artists co-established Voronezh CCA.
In 2008 moved to Moscow, studied in ICA Moscow, where developed interdisciplinary approach to his films, installations and performances which deconstruct traditional figures of knowledge and subject. In 2010 moved to Goteborg, Sweden to finish MA in arts. In 2013-14 participated in the Le Pavillon programme at Palais De Tokyo. Lives and works in Berlin.


Entrance: 60 kr, card is queen




Member production: Daniel Swarthnas

Flouxx - mutations, murmurations & mumblings

9 Sep 2016 - 20:00 - 11 Sep 2016 - 20:00

9, 10 & 11 september kl. 20.

- mutations, murmurations & mumblings


Entrance: 100 kr


Fylkingenmedlemmarna Tom Brennan and Kersti Grunditz Brennan (TheFlock) visar två nya verk från transmediaserien Swedish Gothic.

TheFlock har också bjudit in electronicduon, Dogon, Miguel Noya (Venezuela) and Paul Godwin (USA) att spela två set med experimentella sound och utdrag från deras nya album, All My Relations (at peace)

De fyra arbetar också tillsammans på ett nytt verk som utforskar ideer kring ‘murmurmations’, från flockbeteenden hos fåglar, fiskar och insekter till hur folksamlingar kan provoceras eller virala postings påverkar sociala medier.


I ‘Am I Human?’, synar Tom och Kersti frågan om vad som är det mänskliga, att vara människa. En fråga som ofta kommer upp kring cyborg/mekaniska kroppsdelar, fosterutveckling, robotsystem, artificiell intelligens och sociala medier.

I ‘Again(st)’ använder Kersti koreografi och film i ett utforskande av spänningsfältet mellan att slåss, fly eller ge upp. Hur rörelsen kan ta över, ta sig bortom tröttheten, hur form kan bli en väg mot frihet.

Dessa nya verk utgår ifrån absurda och överraskande motsättningar mellan föremål, karaktärer, video och rörelse.


Neuro-Ambient electronic duon, DOGON, (Paul Godwin & Miguel Noya) har gjort inspelningar och liveshower sedan 1981. De skulpterar fylliga ljudlandskap där de blandar analoga syntar, live instrument och samplingar av naturljud och röster. Dogon är kända för att använda text som ljud och ‘post-verbalism’ som musik med samplade röster som lager av abstrakt och humoristisk undertext.

I tidigare verk hördes också samplade pre-columbianska instrument från Noyas Venezuela.

Senare inspelningar integrerar Godwins sång och texter kring sorg, uppgivenhet och delade erfarenheter mellan människor och andra livsformer i sökandet efter kommunikation mellan arterna.

A History of Electronic Music in South America - öppen föreläsning med Dogon.

lördag 10 september, kl 13-16

Utifrån sina erfarenheter som elektronmusiker och performers berättar de om samarbetspartners, lärare, tekniker och estetik.


Flouxx is an international performance exchange


Member production: Tom Brennan and Kersti Grunditz