KARLBARTOS.COM

7th January 2008

We are very happy to open for public viewing the first edition of 'CROSSTALK' at our white cube section. The program holds twentyone films, remixes, coverversions, mashups from Sweden, Belgium, Netherland, Germany, United Kingdom, USA and Japan.

Contributions include: auditory works by Martin Böhm, Electric Moose, Electrolad, Keith Hill, Wolfgang Kulas & the Roboband, Andrew Lagowski, Rheingold, Sveta & Nikita, Tan, The Weathermen, Yasuhiro Yamaoka, Richard Yerardi, Jens Zimmermann; audio-visual works by Bread, Holden Caulfield, Jan Hämler, The Mobile Homes, J.Scriba, Televela, Testify; computergraphics by Korefuji Sakaki.

MULTIMEDIA 2008 / WHITE CUBE

Years ago I have written a song called “Crosstalk” in order to raise some soundxchange and communication. Today with Web 2.0 we have been able to set up a forum in virtual space and this particular song, indeed, became reality.

The theme of the first edition is the decontextualisation of my music and I really thank everyone for their enthusiasm and contribution. That means a lot to me.

We are hoping you’ll swing by to watch and listen, finding the exhibits – like we do – exciting, deep, interesting, lovely, funny, emotional, professional, entertaining and at some places extremely wicked. Your feedback, of course, would be appreciated and for any kind of crosstalk you’re welcome to use the forum. Thanks a lot.

Karl & the AudioVision team



The preposition to the 1st edition of ‘Crosstalk’ belongs to Tristan Tzara:

HOW TO MAKE A DADAIST POEM

Tristan Tzara (1896-1963)

Take a newspaper. Take a pair of scissors. Choose an article as long as you are planning to make your poem. Cut out the article. Then cut out each of the words that make up this article and put them in a bag. Shake it gently. Then take out the scraps one after the other in the order in which they left the bag. Copy conscientiously. The poem will be like you. And here you are a writer, infinietly original and endowed with a sensibility that is charming though beyond the understanding of the vulgar.



The exhibits are listed in alphabetical order