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Archive for the ‘Eve Libertine’ Category

The Poetry of Jazz & the Jazz of Poetry

7 June 2019, 19:45-22:45
The Vortex Jazz Club
11 Gillett Square, Dalston
London N16 8AZ
Hosted by The Vortex Jazz Club and One Little Indian Records

Advance tickets

Penny Rimbaud performs a new poem, ‘ARTHUR RIMBAUD IN VERDUN’, in which the great French poet is imagined to battle it out in the trenches. Featuring the three tenor saxes of Evan Parker, Mark Hanslip & Louise Elliott.

In the first set, Eve Libertine presents another new work by Penny Rimbaud, a feminist scream, ‘I AM THAT TEMPEST’, working alongside Louise Elliott (flute), Justina Curtis (piano) and Terry Day (percussion).

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And he was cut down - poster

‘And He Was Cut Down’
Poetry reading, Music event
Penny Rimbaud and Eve Libertine with Kate Shortt
Thursday, 21 March 2019, 19:00-20:00

Abney Park, 215 Stoke Newington High Street, London N16 0LH
[Advance tickets] – £15 / £12 concs, includes a complimentary wine.
Entry at the main gates on Stoke Newington High St from 18:15-18:45. Latecomers will not be admitted.

And He Was Cut Down

An exclusive performance in the Abney Park Chapel for World Poetry Day, ‘And He Was Cut Down’, an epic poem by Penny Rimbaud, charts the fate of the risen saviour and those who rose beside him only to be cast away in the retreat from grace. Throughout the poem, Mary Magdalene pleads that there could and should have been a better way. ‘He was the wanderer, but my shadow pinned him down. He was the shaman, I the She. He was powerless against me, ripped and ragged by my force.’ Feminist in its instinct, this is an impassioned plea that human kindness might find its many ways of expression beyond the rebukes of cruel chastity and oblique prophesy. ‘He died yet would not die. She laid but could not lie nor cradle his body through time.’

Performed by Penny Rimbaud and Eve Libertine continuing a creative partnership forged when both were members of Crass. They will be joined on stage by cellist extraordinaire, Kate Shortt, in what promises to be a memorable and thought-provoking evening.

And he was cut down - detail

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The challenging / provocative / controversial / suspect / distasteful / unconscionable (* choose your adjective) Cold Spring Record label are to release Kernschmelze II – ‘Cantata for Improvised Voice’, a new work featuring words and lyrics by Penny Rimbaud, vocals by Eve Libertine and artwork by Gee Vaucher. The musical soundtrack for the piece is composed of recorded voices processed by Charles Webber “to almost choral proportions”.
 

Penny Rimbaud’s Kernschmelze II – ‘Cantata for Improvised Voice’
 

Penny Rimbaud’s Kernschmelze II – ‘Cantata for Improvised Voice’

Kernschmelze: ‘the dying gasps of the Age of Enlightenment’. Kernschmelze II is a cantata for voices, in this case the voice of Crass songstress Eve Libertine, processed by Charles Webber to almost choral proportions. Working on Kernschmelze II alongside Eve Libertine, Penny Rimbaud has been able to produce a classic album on a par with their Acts of Love of 1984 (Crass Records). Libertine’s sparse, vulnerable poetics counter the almost Wagnerian scale of the work, challenging preconceptions of what music should be and making strong suggestions as to what it might yet become. Extreme electronics sourced solely from vocal sounds to create noise music of an intense and highly demanding nature. Ecopak with artwork by Gee Vaucher

Pre-order CD

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Twenty three of the exhibition pieces from the recent The Art of Crass exhibition are on show as part of the Punk in the East festival taking place in Norwich.

The Art of Crass pieces are on show in the The Alley, 20 Brideswell Alley, Norwich NR2 1HX (Wednesday: 11:00-18:00; Friday and Saturday: 11:00-23:30; Sunday-Tuesday: closed). Entry is free, and the exhibition runs until 3 December 2016.

The full programme of the festival can be found on the Punk in the East site.

 

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Gee Vaucher - exhibition

Gee Vaucher (1945) is an internationally renowned political artist living outside Epping, Essex. She is best known for her radical creativity, montages and iconic artwork for the infamous anarcho-pacifist band Crass. Employing an eclectic range of styles and techniques, coupled with an essentially DIY aesthetic, she creates powerful images exploring political, cultural and personal issues. She sees her work as a tool for social change.

This retrospective survey of Vaucher’s work is her premiere in the UK, bringing together for the first time a comprehensive collection of her paintings, collages, prints, photographs, videos and sculptures plus installation work and rare archive material.

MORE DETAILS OF the events that will accompany Gee Vaucher’s upcoming ‘Introspective’ exhibition, which will run from 12 November 2016 to 19 February 2017 at the Firstsite gallery space in Colchester have been published. Not all of the specifics are yet known, but these are some of the dates for the diary…

  • Friday 11 November 2016, 18:00-20:00: Private viewing of the exhibition, on the eve of the main opening; opening party
  • Saturday 19 November – Sunday 20 November 2016: The Print Project Workshop (featuring the Letterpress gang from Shipley)
  • Thursday 24 November 2016: Screening of ‘Angel’, a film by Gee Vaucher; followed by a Q&A session.
  • Friday 25 November 2016: Penny Rimbaud performs with “assorted musicians & words”.
  • Saturday 26 November 2016: Artist and Curator tour of the exhibition.
  • Thursday 1 December 2016: A discussion and debate on Gee Vaucher’s work with: Rebecca Binns, George McKay, Brandon Taylor & Stevphen Shukaitis (plus Gee “maybe stirring the soup”).
  • Friday 2 December 2016: Eve Libertine and Charles Webber. Eve Libertine has written the lyrics for & is co-director of an exciting new chamber opera Room of Worlds for live voices, electronics and video. The opera charts the physical and psychological journey of a woman in a patriarchal landscape of domesticity, love and loneliness, through medicine and memory, to the edge of madness. Room of Worlds is based loosely on The Yellow Wallpaper by Charlotte Perkins Gilman and is the result of an ongoing collaboration between electronic artist Charles Webber (composer/video) & experimental vocalist and ex-Crass chanteuse Eve Libertine.
  • 13 January 2017: Penny Rimbaud reads the poetry of Wilfred Owen
  • 14-15 January 2017: Monoprint workshops with Eve & Pandora
  • 28-29 January 2017: no.w.here Film Workshop for Young Women

Full details of these and other events are still to be announced.

Firstsite
Lewis Gardens, High St, Colchester CO1 1JH
http://www.firstsite.uk.net
http://www.firstsite.uk.net/page/gee-vaucher

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Baby Fire with Even Libertine

Eve Libertine performs gigs in Antwerp and Amsterdam later this month, as a guest vocalist of Baby Fire.

Baby Fire (featuring Eve Libertine)
Thursday 29 September 2016
Het Bos, Ankerrui 5-7, B-2000 Antwerp
More details available online

Baby Fire (featuring Eve Libertine)
Friday 30 September 2016
OCCII (Onafhankelijk Cultureel Centrum In It), Amstelveenseweg 134, 1075 XL Amsterdam
More details available online

 

Baby Fire is an all-female trio from Bruxeles which combines the energy of post-punk with feminine frailty. The strings are rough, the melodies catchy, the voices enthrall. Baby Fire is:

  • Dominique Van Cappellen-Waldock: guitar & vocals
  • Gabrielle Seguin: bass & backing vocals
  • Isabel Rocher: drums & backing vocals

Eve Libertine
She was one of the two female vocalists (along with Joy De Vivre) who worked with the influential British anarcho-punk band Crass. Her works with the band include the controversial single Reality Asylum, as well as performing most of the vocals on the group’s third album, Penis Envy (1981), the lyrics of which have a heavy anarcha-feminist content

The band’s debut album was released in 2011 on Cheap Satanism Records. Special guests included Eugene S. Robinson (Oxbow) and Dana Schechter (Insect Ark).

Their second album, The Red Robe, was recorded at Dial House (Essex, UK) by former Buzzcocks member Tony Barber and released on Off Records in October 2014. It featured duets with Eve Libertine and Penny Rimbaud from Crass.

Gold, the third Baby Fire album, will be released in the autumn of 2016. Hugo Race (ex-Nick Cave & the Bad Seeds) will be remixing a track, which will be released separately later in the year.

Baby Fire has opened for Godspeed You! Black Emperor, Lydia Lunch, Laetitia Sheriff, Part Chimp, Neptune, etc. and played shows in the US, France, Germany, Holland and Belgium.

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SEAN CLARK CURATED the recent well-received The Art of Crass exhibition in Leicester, which developed to include a series of live performances and other events to complement the main exhibition. With the exhibition now completed and the artwork packed away and returned to its creators, The Hippies Now Wear Black invited Sean to reflect on the experience of putting together this distinctive exhibition of Crass creativity…

I’m sure it’s all been a bit of a whirlwind, but how do you feel that the exhibition went?

Well, I’m only now just starting to take stock! It went incredibly well though. There were over 200 people at the opening, both Penny’s and Steve’s show were sold out and there was a steady stream of people coming to the exhibition.

How has feedback been? What sort of things have visitors been saying?

Feedback has been universally positive. I’ve literally had people coming up to me in the street in Leicester saying thanks for putting it on. These have been people who were already Crass followers and, importantly, people new to the band and its members. We had a “feedback wall” up in the gallery and there were some great comments too. I photographed them all and will be putting them up on theartofcrass.uk soon.

Did you achieve the sort of visitor levels you hoped?

I genuinely didn’t know what to expect. I initially put the exhibition together because I wanted to see the work in a gallery setting myself and I through there would be some interest. As the project it grew – with new works being added, and then the gigs – I got the sense that it would do pretty well, but you never know. Interest on Facebook does not always translate to people coming to an exhibition.

Have you any sense of how many of the people visiting the exhibition were encountering the work of Crass for the first time?

I can’t be exact, but I think it was pretty much a 50/50 split. A big surprise for me was just how many Crass followers there are out there. People in council jobs, heads of arts organisations, people who run companies and many others have all told me about their own “Crass stories”. For people encountering the band for the first time I think it has been quite inspirational.

Penny Rimbaud in conversation at The Art of Crass exhibition

Penny Rimbaud in conversation at The Art of Crass exhibition

Did you have any criticism about filling the exhibition space with old punk stuff from the 1980s? Did anyone question the relevance of the material?

I was expecting some criticism and had come up with a few ideas for responses. However, I didn’t need them. I think when you look at the work in its entirety it is unquestionably interesting “art”. Even the copies of the flyers we put up were interesting. When you look at them individually you see might see a scruffy hand-made thing, but when you see 20-30 of them together you something beautiful. It gives you a unique insight in to the band.

I decided not to have any music by Crass playing in the gallery because I wanted people to take a fresh look at the art that emerged from this group of people

Have the events and performers been well supported too? Have you been pleased with how the performers made use of the context of the exhibition?

Without wanting to sound to gushing, all the performers were amazing! When it became clear that I would be able to put on both Penny, Eve and Louise (Cobblestones of Love) and Steve Ignorant and Slice of Life I wanted to make sure that there would also be opportunities for local performers to share the spotlight too. There is a performance night in Leicester called “Anerki” and I’ve been to a couple of their events. They have a really creative mix of poetry, music, performance, comedy, hip-hop and they provided a 45 minute support set for Cobblestones of Love and then curated 4 hours of performances on the final day of the exhibition on the 18th June. Then on the evening of the 18th we had local bands Jesuscarfish, Brassick Bears and Not My Good Arm playing before Steve and Slice of Life came on. Everyone was so generous with their time.

How simple or difficult was the selection process for the exhibition – you could have filled a space many times larger than the one you were working with?

I probably could have filled a space twice as big. Certainly if I had included books, records, photographs. “ephemera” and so on. I think, though, the size was about right and the artwork on display made for a very coherent exhibition. If I do it again elsewhere – which is on the cards – I’ll consider adding a bit more if space allows.

It’s clear that several former members of Crass have been extremely supportive of the exhibition; that must have been really gratifying!

I contacted Penny Rimbaud and Gee Vaucher first and they were very supportive. Penny then put me in touch with Eve Libertine who was similarly enthused. I emailed Steve Ignorant and, again, he was great and offered to do a Slice of Life gig. I also had a chance to meet Dave King (who designed the Crass symbol) and he generously added some work to the show. I got to meet Mick Duffield (who made videos for Crass performances) just before the show and he said it was fine to show his video work. I tried to contact Andy Palmer a couple of times, but he didn’t get back to me and I respect that. I’d have happily included work by Phil Free, Joy de Vivre and Pete Wright but couldn’t find a way of getting in touch.

Not all the ‘artistry’ or the artists of Crass were represented in the exhibition though (Andy Palmer’s paintings or Mick Duffield’s video work, for instance). Was that any sort of disappointment?

I did include some of Mick’s video work in the area outside of the gallery and would like to make it a more integrated part of the exhibition in the future. You’ll find links to his videos, and more Crass-related things on theartofcrass.uk website. I found Andy’s website on-line and think his paintings are excellent. I’d like to get one to put on my wall at home! I wouldn’t include anything in a post-Crass context without his permission of course.

Fight War Not Wars - The Art of Crass - Leicester - June 2016

Looking back, is there anything major that you would have done differently if you were starting the process afresh?

Nothing major. It would have been nice to have a longer gallery slot, two and a half weeks was not really long enough. But LCB Depot in Leicester gave me the slot they had for free, so I can’t complain!

Have you a favourite anecdote or story that came to your attention during the exhibition?

Well, having said that everything went really well, there was one negative in that we had a strongly worded “noise” complaint from a local resident about the show on the 18th June. I mustn’t be dismissive of it, but in the email the person said that, “the music (with screaming and screeching) is of a kind that 99% of population would consider extremely unpleasant”. It’s possibly the best review I’ve ever had!

Is the intention that the web site will continue indefinitely as an online resource? Will it continue to be developed or will it be maintained as a ‘fixed’ archive?

Definitely. I’m in the process of finishing off the website – with full documentation of the events. I plan to keep collecting Crass-related stuff when I come across it and will keep adding to the website. It would be great to combine it with other collections in the future and see it exhibited again in the future.

Is there any potential for the exhibition to go on tour around the country in future? Have you had any offers?

I’ve alluded to this a couple of times. Yes, I think a tour of some sort would be great. I would like to see it going to unusual places around the country – not just London and big cities. I’m up for offers from potential galleries, a couple of offers have come through already. I might see if I can get some Arts Council funding to cover the costs, otherwise it’s a case of “Do It Yourself” again.

if you want to understand what Crass was about then I think you need to look beyond the eight or so years the band was around for

Have you considered compiling a book out of the exhibition – artworks, plus history and commentary?

Perhaps a catalogue more than a book. But let’s see what happens. The artists deserve recognition both individually and collectively and there are some interesting stories in there that are perhaps not part of the accepted “Crass” and post-Crass history. Gee Vaucher is about to get a long-overdue retrospective in Colchester and I think she will come to be seen as one of the most significant artists to emerge in the UK in the latter 20th century. It would be interesting to see Penny’s writing and artwork presented as a “body of work”. Likewise with Eve and the other former members. In fact, you’re convincing me, perhaps a book would be a good idea!

What is your own personal take away from the event? What did you learn through curating and organising the exhibition (either about Crass or about curatorship)?

I think that the most important thing is that there is more to the people involved in Crass than being in Crass. All of the ex-members I have spoken to have done plenty of other things. In fact, if you want to understand what Crass was about then I think you need to look beyond the eight or so years the band was around for. I intentionally called the exhibition “The Art of Crass” because I thought this would be a good way to explore this idea, and at the last minute decided not to have any music by Crass playing in the gallery because I wanted people to take a fresh look at the art that emerged from this group of people. I think it worked.

Exhibition curator Sean Clark (second left) with Slice of Life

Exhibition curator Sean Clark (second left) with Slice of Life | photo: Simon Balaam

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