Moderna Museet Malmö23 April–5 MayTue–Fri 11–18, Sat–Sun 11–17
In his video works, artist Tony Cokes (b. 1956) combines political discussions with media critique, and text and music are recurring important components. In relation to Intonal festival four of Tony Cokes’ works are presented both at Moderna Museet Malmö and at Inter Arts Center.
Mikrohaus, or the black atlantic? is inspired by the writing of music critic Philip Sherburne, and his reflections on minimal techno and house music. The work, which also borrows excerpts from “The Black Atlantic: Modernity and Double Consciousness” (1994) by British cultural theorist Paul Gilroy, examines the links between minimal electronic music, race, and power.
The video 1! juxtaposes the titles of 100 CDs, mostly electronic recordings, from the years 1997-2002, with excerpts from a critical essay by music critic and philosopher Christoph Cox. “1!” raises both technical and philosophical discussions on experimental electronica, and rock music.
Inter Arts Center26–28 AprilFri 18–22, Sat 15–23, Sun 14–21
Evil.16: Torture.Musik animates excerpts from an article by Moustafa Bayoumi that was originally published in The Nation magazine on December 26, 2005. While surveying the topic I found this article to be a key and cogent text in a body of reportage and scholarship devoted to the military use of music and sound as a
weapon, a form of psychological manipulation, or torture. The soundtrack features a playlist of songs or artists documented as being used in U.S. spy-ops and torture programs.
In Headphones, Cokes investigates the social value of music as a means
of channeling violence, before and after its economic profitability.
Animating a text by music theorist and economist Jacques Attali,
author of Noise: The Political Economy of Music (1977), Cokes argues
that music "piracy" is not a crime or aberration, but a logical result
of the marketing of music reproduction technologies.
Text: Jaques Attali. Music: Static. Software Design: Joshua Goldberg,
Hanno Leichtmann. Animator/Editor: Scott Pagano. Appropriated
Material: Internet Feed.
In studio, time, isolation: reconstructions of soul and the sublime Tony Cokes interrogates the artist's studio, what happens there, how those practices are represented, what they imply in wider social contexts (real estate speculation, alleged 'creative economies,') and why traditional images of artists and studios persist in a virtual contemporary landscape. The video deploys an excerpt from Tom Holert's essay 'Studio Time,' but without any references to specific works. This way Holert's argument can function as a comparison and differentiation of the artist's studio with sites of musical, filmic, and televisual production.