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| DESCRIPTION | ||
 | V/A Trost Jukebox Series #1: Mats Gustafsson / Albert Oehlen Label : Trost Records Year : 2014 Format : 7in Style : Jazz Availability : In stock Price : 8.90 € - BUY | |
| Description : | Gustafsson first came to the attention of lovers of improvised music as part of a duo with Christian Munthe (started in 1986), as member of Gunter Christmann's Vario project and the band Gush (started in 1988). He later played widely with musicians such as Gunter Christmann, Peter Brötzmann, Joe McPhee, Paul Lovens, Barry Guy, Yoshimi P-We, Derek Bailey, Magnus Broo, Otomo Yoshihide, Jim O'Rourke, Thomas Lehn, Evan Parker, Misha Mengelberg, Zu, The Ex and Sonic Youth. Since the early 1990s Gustafsson has been a regular visitor to the United States, forming a particular affinity with Chicago musicians such as Hamid Drake, Michael Zerang and Ken Vandermark and recording for the city's OkkaDisk label. This resulted in a more traditional 'free jazz' style in contrast to his innovative early work with European improvising musicians. In addition to projects with musicians, Gustafsson has worked extensively with artists from the worlds of dance, theatre, poetry and painting. Gustafsson was awarded the 2011 Nordic Council Music Prize. Closely associated with the Cologne art scene, Oehlen was a member of the Lord Jim Lodge, along with Martin Kippenberger among others. His art is related to the Neue Wilde movement. He has more recently been described as a 'free radical'. Influenced by other German painters such as Georg Baselitz, Sigmar Polke and Gerhard Richter, Oehlen focuses on the process of painting itself. During the 1980s he began combining abstract and figurative elements of painting in his works, as part of a reaction to the prevailing Neo-Expressionist aesthetic of the time. In the following years, he worked within self-imposed, often absurd, parameters. He used only gray tones for his 'Grey' paintings and limited himself to red, yellow, and blue for another series of what he calls 'bad' paintings that included his infamous 1986 portrait of Adolf Hitler. In his paintings of the late 1990s, each piece consists of smears and lines of paint Oehlen brushed and sprayed over collaged imagery that had been transferred to canvas by the type of gigantic inkjet printers used to manufacture billboards. In Oehlen's recent work, flat, figurative cut-outs-all the products of computer-aided design (CAD), and gestural strokes of oil paint trade places in the service of collage. In his recent Finger Paintings, color-blocked advertisements are an extension of the canvas, providing fragmented, readymade surfaces for Oehlen's visceral markings, made with his hands, as well as brushes, rags, and spray-cans. | |
| Titles : | 01. Riot in brain cell no. 9 02. Dirty g-string boogie | |
