the closing of the museum in mülheim is and was one of the big local issues of the last years (probably next to the recently on-going case of major scholten). I remember sitting in a round among artists and musum officials talking about to future closing and the question, if there will be (money for) a renovation or does the museum have to close forever… (insuring high valued artworks means to have a reliable air condition placed in the architecture, which is expensive, of course.)
back then, everything was open, the museum made innuendos for plans how to be present in the time of closing even without really offering collaboration while the artists came up with good ideas how to stay present. however, all auf these meetings usually lead to nothing. the local artist scene craves for relevance while the museum is simply getting the work done without being open for any changes.

when I moved to mülheim I took the chance to be part of the artist scene. I applied and assembled the annual exhibitions three times and became (still the youngest) member if it. the meetings turned out to be not very frequented by the members leaving a bad mood every time. the circle of artists has first announced to split up dramatically to shift over into turning it into a club. I am not sure if I will be in it.



making museum shows was always great, I did good participations i am still happy with. unfortunately it has also led to nothing (except the ruhrpreis award). I tried to offer the museum the digital lecture with matthias danberg, I remember a circuitous preparing and no further episodes, even when announced. I had some ideas for dating up the annual exhibition but everything came to nothing. I do not say that my ideas are the best, but everything leads to nothing, nothing is taken up, there is a lot of talk, some interest but no action and no innovation. now the museum closes for renovation, the reopening is scheduled for 2020. well, everyone who has ever been to a building site knows that these things usually take more time (and money).

this feels like the end of an era, when will the museum be back and what will it be open for? what will the local artists club head for? over years I have tried to get into the system triangle of museum and local artists and watch myself falling off again. I am wondering what 2020 or later will look like. will I be in, will I quit making shows or should I go somewhere else?


off topic: the heimaterde yard sale was pretty funny. I have offered some prints for curating issues, no editions or signed works but I have actually sold a lot more than expected. well, nothing sells better than the honey.




next to selling stuff you need to get rid of a yard sale is the best opportunity to sit in front of the house with a beer while your friends step by. the whole day was like a party with friends around you all the time. above you see a snapshot of the bearded boys from froho, these guys are friends and always a guarantee for a good time. cheers!


plus: the studio is busy. recently there is a lot of preparing. you know, if you are running out of money you need to invest. if you do not know how to go on, you have to go on…


on top of ‘fulerum county’ as I like to call the periphery between essen and heimaterde features a new (already vandalized with graffiti) sculpture on top of it. here you will have a wide and perfect view on the ruhr area. well, it is great to be close to it – but not too close.







record of tides 'endurance', kreislauf.org, 2018
also: 'petrichor ep', zany music, 2018
and 'granada interface ep', zany music, 2018 (vinyl only, sold out)

recordoftides.com
facebook.com/recordoftides


sven piayda
# H O W D E E P I S Y O U R L O V E
galerie tellerrand, gelsenkirchen
2015-11-01 — 2016-01-31 (archive)

sven piayda @ galerie tellerand
#howdeepisyourlove (archive of complete online show)
galerie tellerand


sven piayda
FOUR SEASONS / COWS AND SHELLS 3 / CATALOGUE
galerie gublia, essen
ongoing

opening hours:
wed 3 pm to 6 pm
thu & fri 10 pm to 12 pm
sat 12 pm to 3 pm
and by appointment

galerie irma gublia
kreuzeskirchstraße 3
45127 essen

+49 (0)179 762 19 24

facebook.com/galeriegublia
galeriegublia.de
sven piayda @ galerie gublia


sven piayda with karla köhler
FROM NEW YORK TO LOS ANGELES, LOS ANGELES
atelier- und galeriehaus defet, nürnberg
2018-06-30 — 2018-10-12, open by appointment

atelier- und galeriehaus defet
gustav-adolf-straße 33 / leopoldstraße 71
90439 nürnberg

atelier-galeriehaus.de






questions? complaints? ideas? contributions? collaborations?
click here

the middelheimmuseum is actually a large sculpture park in antwerp and a perfect place to spend a summer day. we have frequented it a few times over the years and it has become a perfect in-between space when travelling from one place to the other. once we have spent some hours on a travel from luxembourg to the dutch coast, this time the day (as pictured above) stated in mülheim and ended in dunkirk to go to london the next day.

I may have reported a few times that returning to known sculptures is somehow like meeting old friends. no surprises but the joy of knowing that nothing has changed. the middelheimmuseum has also added some new (temporary?) works like a steam machine or an oversized headless print of a man, so returning makes sense anyway.

a new discovery for us was the erwin wurm ‘sculpture’ which is simply a settlement with instructions how to act on and at the base. you are the sculpture for a limited time only. the park invites to lay down and relax anyway, so why not turn it into art?




wurm is pretty successful, even more important is his sense of humour which is more striking than any further deep thoughts. the more recognizable piece is a car leaning on a pen which itself is pointing on a stand of another sculpture. this one is a classic to me, above you can see me next to it in different years, pretending to have gained special parking skills.


but there is more, no collaboration but a show that was funny and is worth to be mentioned again. back in 2017 I was asked to create a work dealing with malevich, so made my interpretation of his black square. even if we pretended very serious business, the work was never taken up. in summer artist and curator alischa diana leutner organized the hysterical media art exhibition in hamburg, for which I was asked to contribute a piece, so contributed the ‘black square after malevich’. as leutner asked fellowship artists like me she also requested one or her heroes: erwin wurm. as a surprise for all of us, wurm contributed a piece called ‘noodle puzzle’, a transparent bag with a broken noodle into 12 pieces. on the picture above you see the installation of the works in public space in hamburg with wurm´s work next to mine. it is funny and surprising how things appear entangled.


more middleheimmuseum: the 'tennis wall’ by ann veronica janssens is well known but has not been realized as an artwork before and triggers memories to old squash days. even the hot summer (we´ve spent an arm and a leg for soft drinks in the café…) could not stop us from hitting some balls (and smash a few into the bushes). should we play tennis?


more museum: I had the chance to go to the neanderthal museum in germany for a guided tour, workshop and barbecue(!). museums of natural history are usually not on my agenda, but this one is actually worth a visit. great exhibits make you learn about the human nature, maybe even about yourself!? the neanderthaler appears to be far developed: probably able to speak, technically skilled and transcendent. and: a small percentage of neanderthaler dna is in all of us. recommended!


the workshop was about building a knife using ancient materials and tools. above you see the piece I have created: mounted into a piece of wood processed with stone, the grid is a flintstone glued into the wood with birch tar pitch. the leather tape lies in a hole drilled with an ancient driller. watch out, mammoth, I have got a knife!



I cannot go to the neanderthal without talking about the futurama episode ‘fun on a bun’. here the planet express crew travels to northrhine-westfalia(!) to join the oktoberfest. fry´s plans to get drunk don´t work but he falls into bender´s shredding machine in attempt to create an awardable sausage using mammoth meat. fry survives the shredder but falls on the head, without any memory he wakes up among the neanderthalers who apparently still live under the ice. here he leads the ancient humans into a riot against the species above the ice. the rest is just weird storytelling leading to love among the fighters - as we know today, this is repeating historic evidence of mating among sapiens and neanderhalis. find out yourself, the episode is called ‘im neandertal der tränen’ in the german version by the way.







record of tides 'endurance', kreislauf.org, 2018
also: 'petrichor ep', zany music, 2018
and 'granada interface ep', zany music, 2018 (vinyl only, sold out)

recordoftides.com
facebook.com/recordoftides


sven piayda
# H O W D E E P I S Y O U R L O V E
galerie tellerrand, gelsenkirchen
2015-11-01 — 2016-01-31 (archive)

sven piayda @ galerie tellerand
#howdeepisyourlove (archive of complete online show)
galerie tellerand


sven piayda
FOUR SEASONS / COWS AND SHELLS 3 / CATALOGUE
galerie gublia, essen
ongoing

opening hours:
wed 3 pm to 6 pm
thu & fri 10 pm to 12 pm
sat 12 pm to 3 pm
and by appointment

galerie irma gublia
kreuzeskirchstraße 3
45127 essen

+49 (0)179 762 19 24

facebook.com/galeriegublia
galeriegublia.de
sven piayda @ galerie gublia


sven piayda with karla köhler
FROM NEW YORK TO LOS ANGELES, LOS ANGELES
atelier- und galeriehaus defet, nürnberg
2018-06-30 — 2018-10-12, open by appointment

atelier- und galeriehaus defet
gustav-adolf-straße 33 / leopoldstraße 71
90439 nürnberg

atelier-galeriehaus.de


sven piayda | pollock polyptych (random alignment)
JOSEPH UND ANNA FASSBENDER AWARD
max ernst museum, brühl
2018-09-01 — 2018-09-02, 11 am to 5 pm

max ernst museum
comesstraße 42
50321 brühl

maxernstmuseum.lvr.de






questions? complaints? ideas? contributions? collaborations?
click here

this summer has some ups and downs, having the fantastic time in whitstable is hard to beat when you go back into your everyday life. nevertheless we try to have our routines, to frequent the kröller-müller-museum from time to time (and actually do not manage to do often), on the other hand you need to do something new from time to time. and you are lucky if you find something great.
the van abbemuseum is placed in eindhoven, netherlands and is actually easy to reach. the city is known for the design academy, I remember some of my ex-students going there to study something between arts, crafts and design. the spirit of design is all around here, actually it is everywhere in the netherlands but this seems to be the headquater.

the museum looks like a small brick building from one side, but a hypermodern appendix expands the space a lot . without spoiling, the visit took a lot longer than expected with no time for boredom.
next to the collection, the current shows focussed on the heineken art price awardees, political intervention in the streets and the collection. this museum is different anyway, having some strange and different ways to show art, even the rooms seem to be defined spaces while being open to the whole building all the time. you see a lot, not everything fits together but you will remain on an adventurous journey full of surprises and twists, actually too much to remember a single work… dutch master and big names appear alongside, a museum visit has never been more fun. even if you are not into it, this is it.

this time my post is not perfectly researched but one name is in need to be mentioned: bas van beek offer you a wallpaper and a fitting cape around the corner. as you see, being invisible works a lot better than expected and it is a great opportunity to make a fool of yourself in a museum. we took numerous of pictures, even other visitors took pictures of us and inspired other visitors to put on the cape. Is this art? of course, but more importand, it is a playground for grown-ups.


the awardee show combines great and lame positions, here I want to focus also on the ones doing something with you, or your image. In this installation a camera captures your live picture and transfers the pixels into small dancing graphics. a big fun to play with the tracking ball.


an open tube with wide angle windows offers you to step in in see things differently, even from the outside you look pretty deconstructed.


a soundproof cabin invites to lock out the world while listening to a recording of someone reading different books. unfortunately in dutch.


and once again a new way to show video: a rediscovery of mark lewis´’forte!’ on a 4k-screen placed in something like a tent hung up into the white cube exhibition space.


a view from the appendix on the café. here, architecture shows how to play whit the boarders of inside and outside. even when the museum is placed into the middle of eindhoven, this place is a calm enclave. recommended!


update 2018-08-24: more people in bas van beek camoflage: as I have reported about ex-students, jan-ole baars has contributed this selfie of him in a little different cape, having connection to artist and city. on the right another picture of michaela feeling an quite uncommon need to take numerous portraits in the cape.

check out the artist: basvanbeek.com




the middleheimmuseum is a place to return again and agian, especially when this place is teh route to the coast. theses are some old pictures, some new ones are ahead...


quite a surprise for all of us, there will be a tiny anna and werner fasbender nominee show at the max ernst museum in brühl on september 1 and 2. my generative piece 'pollock polyptych (random alignment)' will be shown and hopefully awarded. still no more info, and without knowing if it is woth the journey i am passing on the little info i have. more in the news next week, hopefuly.


here is another snippet of the record of tides performance at eurasia electronica: ‘untitled live track’ cannot be found on any release and is pretty wild. feel free to share and get ‘endurance’.


I am very happy to present a review on ‘endurance’. french musician and blogger thierry massard is pretty into the music of record of tides and finds some great words on the album. (please note: the english version of the original french text is a machine translation, please apologise)

Un an ... Une année (moins un jour) après le très remarquable et remarqué "Solna" pour l'impérieux Kreislauf, Sven Piayda (aka ROT) nous invite à maintenir temporellement notre avidité (peu raisonnable, admettons-le) pour le bel ouvrage. 20 pièces ciselées durant un exil convalescent, durant lequel, Sven a mis en oeuvre cette magnifique faculté d'un regard distant (le recul), associée à la cruelle et objective réalité d'une proximité contrainte. Le résultat ? Fort loin d'une hypothétique concentration d'atomes crochus agglomérés, monolithiques et prévisibles en pareille situation créative, "Endurance" démontre la grande cohérence d'un esprit vagabond et prompt à ouvrir de nouvelles pistes. Si d'aventure, l'endurance peut parfois conférer à une certaine résistance restrictive, ici il n'en est rien, Record Of Tides nous régale de saveurs et de contrastes - Un exhausteur de goût!

One year... One year (less a day) after the very remarkable and noticed "Solna" for the imperious Kreislauf, Sven Piayda (aka ROT) invites us to maintain temporarily our greed (not very reasonable, let us admit it) for the beautiful work. 20 pieces chiselled during a convalescent exile, during which, Sven implemented this magnificent faculty of a distant glance (the retreat), associated with the cruel and objective reality of a constrained proximity. The result? Far from a hypothetical concentration of agglomerated, monolithic and predictable chemistry in such a creative situation, "Endurance" demonstrates the great coherence of a vagabond mind and quick to open new paths. If adventure, endurance can sometimes confer a certain restrictive resistance, here it is nothing of the sort, Record Of Tides regales us with flavours and contrasts - An enhancer of taste! (Translated with www.DeepL.com/Translator)

thierry massard
nocovision.blogspot.com







record of tides 'endurance', kreislauf.org, 2018
also: 'petrichor ep', zany music, 2018
and 'granada interface ep', zany music, 2018 (vinyl only, sold out)

recordoftides.com
facebook.com/recordoftides


sven piayda
# H O W D E E P I S Y O U R L O V E
galerie tellerrand, gelsenkirchen
2015-11-01 — 2016-01-31 (archive)

sven piayda @ galerie tellerand
#howdeepisyourlove (archive of complete online show)
galerie tellerand


sven piayda
FOUR SEASONS / COWS AND SHELLS 3 / CATALOGUE
galerie gublia, essen
ongoing

opening hours:
wed 3 pm to 6 pm
thu & fri 10 pm to 12 pm
sat 12 pm to 3 pm
and by appointment

galerie irma gublia
kreuzeskirchstraße 3
45127 essen

+49 (0)179 762 19 24

facebook.com/galeriegublia
galeriegublia.de
sven piayda @ galerie gublia


sven piayda with karla köhler
FROM NEW YORK TO LOS ANGELES, LOS ANGELES
atelier- und galeriehaus defet, nürnberg
2018-06-30 — 2018-10-12, open by appointment

atelier- und galeriehaus defet
gustav-adolf-straße 33 / leopoldstraße 71
90439 nürnberg

atelier-galeriehaus.de






questions? complaints? ideas? contributions? collaborations?
click here

going to whitstable quickly became a running gag. when people asked me where to go for holiday I announced this place and said we need to go there because they deep-fry everything they pull from the sea and serve it next to a beer. well, actually this is exactly what happened. the little town at the sea is coined by oyster farms and restaurants serving them, next to obligatory cod and fish you can get a crab, a lobster or smaller fried sea fruit next to your chips.

also whitstable nails again what it means to be british: I was fascinated about the self-sustaining culture of only playing britisch music on the radio und having union jacks everywhere. whitstable comes up with this and adds its own characteristics of the sea, the fishing business, the maunsell forts and the cult of a former superstar´s residency. the fact and awareness of being on a british island is once again compressed while topped with an unique feature. this might appear stange in other countries, here the british are relaxed and communicative as usually, no matter if in business, drunk or stoned. the whole self-celebration melts the world down to this place, being there makes it difficult to anticipate what is beyond the horizon. most important, it does not feel nationalistic, it seems like everyone is just happy to be there and even more happy to be a part of it.

we had a perfect and beautiful apartment placed at main street, which made it sometimes difficult to find quietness at night, but true fun to watch the people outside from the couch and walk around the house to see the sea. so we did: perfect sunsets over changing tides escorted by fish and beer, well, I see this is getting redundant….


and here it is: a seducing sunset over the beach. this is what it might have looked like every night.


another one: ‘the old neptune’ or ‘neppi’ how the locals and cool dudes call it, was (in our short stay) frequented twice. drinks and food are ordered separately, you´ll get a place at the beach taking away your numbered paper. after a while the waiter comes out with your fish screaming your number. you can reply ‘bingo’ if you think you´re funny. well, we are.




this is just a stupid mobile phone panorama, you cannot really capture this place but this is as close as I can get it. take a look around. (click for larger version)




update 2018-08-11: I have added another poorly processed panorama focussing the ‘skyline’ opposite the beach. so this is what you see if you do not want to stare at the setting sun.


the horsebridge arts centre is the cultural spot: exhibitions in two galleries i.e. rooms, a cinema, a café and – of course – a gift shop. even in changing group exhibitions artists put the focus on the sea and its beauty, in a gallery down the main road, we stepped into a group show having a more critic view on the town and it´s future: the seas are polluted, the fishing recourses are reduced more and more while the few active fishers are not education a next generation. critic is sublime here, even a place like this one has some issues, future will tell what this place is going to be. back to the horsebrige gallery: here I noticed the portrait of grand moff tarkin at first.


art is everywhere: it reminds a lot of banksy, you find well painted grafittis in the streets, and a portrait of peter cushing on towels, bags and t-shirts. I´m sorry for only knowing him from ‘star wars’ he was actually well know for horror movies and also portraying doctor who and sherlock holmes. we were told that cushing spend is last years in whitstable, painting and drawing caricatures in his house at the sea or sitting in his favourite café with no-one daring to disturb him. a great way to spend the days when work is done.


even when I was so much into the sea fruit paradise, we found a great museum nerby: margate offers the turner contemporary (by the sea) displaying a show on animals and how humans see and tread them.


entering the museum a friendly guiding lady told about the giraffe reference: once a giraffe was given as a gift to the king from the colonies but making it not live very long due missing experience how to handle a creature from africa…


something like a technical mixture between a photo and a video is michal rivner´s work of a jackal starring at you, looking to side and starring back. technically simple and complex at once with a true impression of a strange contact.


as I have written before, it is near the sea, and you have a perfect view on the inside. surreal and way too perfect. who needs pictures when your windows display this?


update 2018-08-11: margate was not only interesting for us because of the turner contemporary, months ago michi found some videos of a shell grotto in the heart of margate. the place features about 4.7 million shells and is located under a house and garden. it was discovered somewhere in the 1830ies and still there is no knowledge, who or why it has been build at all. the english do the obvious: the house through which you can enter the grotto contains a pay office and a gift shop offering shells of all colour, size and treatment. however, don in the grotto you try to decode the patterns without any success. as we were walking through it a family from luxembourg entered the grotto to take selfies, touch everything and talk as loud as possible. even when the grotto people cultivate the not-knowing of the grotto´s origin, the luxembourgish woman nailed her newly found cognition by exclaiming it out a few times: ‘dat war eist scheiss antik kult.’


when you are in kent things are quite nearby, so we also had to visit canterbury. a town playing with its history but also attracts the consumers making be have a brugge deja-vu: people come here because of the history but are actually looking for the next H&M. the park along the great stour river was lovely and peaceful and a true discovery in this tourist twister.


I was really into getting the fresh stuff from the sea, which is far to expensive and way to much decadent where I live. michi was also thinking about trying an oyster, but everyone says it is just salty jelly, so why spent money on something that will end up disgusting anyway.


I was focussed on getting a whole crab but ended up with a ‘dressed crab’ offering all the flesh pressed into the carapace. finally, the half lobster (served with chips making it non-luxurious) was great. the old running gag was true.


more street art to obey: here I have also discovered ginger beer, actually something like a lemonade based upon ginger. relaxing and forgetting about the world is hard work. this was a good moment, I guess.


update 2018-08-13: I forgot to post this one, a full english breakfast i am very into when i am on the island, you cannont do that for too long, actually.however, even when this dish is soppused to be low level in culinaric scenes you can still make it bad or good, well this is a very good version, unfortunately without any beans...


now that we are back again i have tried to start jogging again after a forced pause because of last year´s fracture. It is not a question of condition, but there are mussels missing you might need for proper jogging that have vanished in the year I have only walked. stopping tired in evening sun at different places I somehow thought that the sculptures were moving. surreal and scary, also funny, i´ll try it again. i´m sure the better I will run again, the less the sculptures will walk after me…


my summer love returned: last year frieda lived with me on the couch while her family was on holiday, same thing this year. she is talking a lot, cuddling a lot and helping with the next shows. perfect match.


art in mülheim: the kunstmuseum mülheim is recently displaying it´s last show before a two year closing preiod for renovation: helga griffith explores the smell of scent and how to create an artificial diamond. a small but entertaining show playing on your senses... even when i was quite close to the museum for a time and even when i was involved in discussion how to make the museum present in the time of renovation i have truly lost interest in finding out by too many innuendos, secret plans, surprises and whatever you can come up with in conversation to show to know more than others without telling what it is while nothing is save. get it? yeah, let´s simply see, the ship is drifting, at least somewhere.


the intro magazine has closed, i think it was the best music magazine around and it has been very important for me in finding and reading about new music (as well as art and literature). I am also happy and thankful to have contributed a tiny part:
you might remember the review of the AESTATE debut album in the intro may issues of 2007, you can still access the review online by following the link: intro.de/platten/kritiken/23040842

more funny and was the honor to contribute comments, ratings and three all-time faves among jurors like mickie krause, uk subs, sarah diehl, the datsuns and others in the #210 issue of the mag for 'platten vor gericht', a rating bulletin featuring different kinds of artists and personalities. you can read it online directly here: intro.de/pvg/jury/210/1217

even more funny was the email feedback in the following issue with someone complaining about my words. incidentally finding it gave me shivers for a second and then made me lough out loud. it is hilarious how easily people are offended and how much afford they take to complain without any chance of chaning anything. still great fun and the proof that some funny words of mine are taken seriously enoght to trigger an action, it could not be better.

sharing it in facebook made even linus volkmann comment:
'Du ruinierst uns noch!'
— well, we all thought is was fun, maybe i did??? :O

thank you, intro, for everything.

intro.de/dasheft/210
intro.de




update 2018-08-13: I have noticed that all the intro sites have already vanished from the net, you can still find some issues over at issuu.com. once again, my 'pvg' sheet, i am still wondering what triggers the critic feedback. this is a strange planet.




update 2018-08-11: one of my friends asked where this well furnished interior was taken (his guess was america…) and that it looks like the album cover form a hip suburban rapper. well, so this is what the cover looks like now. now I need to work on my rap skills to blow the scene away… I could do some lame cloud rap on idm beats… maybe an new electronica album is more likely - or maybe post rock? you´ll never know.



update 2018-08-13: yesterday the raptor show took place again in the gruga, however, i am facinated every time since joining this event for the first time a decade ago. and once again, it is another great opportunity to visit the gruga and recently i cannot get enough of it.



update 2018-08-13: more gruga, some older pictures: the deer park can be entered through the futuristic architectures of teh fair´s press centre, which is so surreal. there us the city and the tram on the one site, the deer park on the other. this part really feels like a post-apocalyptic scenario, oversized buildings next to trees taking over again. a perfect place, i cannot get enough. also it is great for jogging.

this is the place 'endurance' fist perfectly as soundtrack. i have finally turned it the park into music, like transforming coal into parfume...







record of tides 'endurance', kreislauf.org, 2018
also: 'petrichor ep', zany music, 2018
and 'granada interface ep', zany music, 2018 (vinyl only, sold out)

recordoftides.com
facebook.com/recordoftides


sven piayda
# H O W D E E P I S Y O U R L O V E
galerie tellerrand, gelsenkirchen
2015-11-01 — 2016-01-31 (archive)

sven piayda @ galerie tellerand
#howdeepisyourlove (archive of complete online show)
galerie tellerand


sven piayda
FOUR SEASONS / COWS AND SHELLS 3 / CATALOGUE
galerie gublia, essen
ongoing

opening hours:
wed 3 pm to 6 pm
thu & fri 10 pm to 12 pm
sat 12 pm to 3 pm
and by appointment

galerie irma gublia
kreuzeskirchstraße 3
45127 essen

+49 (0)179 762 19 24

facebook.com/galeriegublia
galeriegublia.de
sven piayda @ galerie gublia


sven piayda with karla köhler
FROM NEW YORK TO LOS ANGELES, LOS ANGELES
atelier- und galeriehaus defet, nürnberg
2018-06-30 — 2018-10-12, open by appointment

atelier- und galeriehaus defet
gustav-adolf-straße 33 / leopoldstraße 71
90439 nürnberg

atelier-galeriehaus.de






questions? complaints? ideas? contributions? collaborations?
click here

you might remember reporting me going to the south of england last year by articles like 2017-11-01 off to england: same as home, just the opposite | entry by sven and 2017-11-07 tate britain: free for all, but not for everyone | entry by sven. it was clear that we were in need to return, this time to the area of kent (more soon) and to london of course. while there is so much to discover, we tried to organize two days in london by staying overnight in dunkirk and then check in to a cool hotel in wood green, a northern part of london. actually was going there not really holyday, no discoverey. parking the car properly was a mess, finally finding space in the car park of the mall nearby. well, the mall: a large centre coining the whole area, full of people, shopping, being religiously missionary, smoking weed, however, nothing alternative, vintage, cultural, historic or whatever you might have expected from this place. michi said, it was like being invited to düsseldorf and then being let out in gelsenkirchen rotthausen…

also, to go there we had to travel on a highway demanding toll, but we spent the whole day to find a way paying the dart charge: the website demands an account and payment in advance, five (!) shops around having the dart charge payment sign outside did not manage our payment with a variety of stupid excuses. well, I finally called the hotline to pay via credit card, I do not know if the operator got everything properly, but you work hard to pay five pound instead of a fine of hundred euro. however a lame start for a stay in london. wood green turned out a lot less of what you might have expected.

nevertheless, the next day we travelled to bondon bridge by bus. the bus system is fantastic: I was always afraid of using public transport in gelsenkirchen and getting lost and never find home again. in london I was never afraid to go astray, the busses are appearing well frequented, it seems you can go everywhere at every time.

last autumn was about the northern bank of the thames, this time we discovered a little bit of the southbank. it is always great walking to an unknown area of the city, a strange feeling of being there actually.


quite surprisingly we discovered the tate modern, a former power station still with the scent of oil in it. so it has some strange rooms, especially the main hall from which you can access all the gift shops (it seems that the space for the bistro, café and gift shop takes as much space as the exhibition space…)


the special architecture reminded me a lot of architecture that you might know from dreams: weird proportions, too large and too small rooms and spaces where you would not expect any. for me this pic seems like a selfie taken in a strange dream.


the tate modern was never on our schedule for expecting post-war and modern artworks only. the most impressive work for me was the one which was there but not available to the public because of technical problems: jordan wolfson´s ‘colored figure’ matches ‘female figure’ (see 2017-04-22 just send a sexy robot (and i´ll be there) | entry by sven) and would have been a highlight. to make it clear, i´m not really a fan, you know that I am extremely critical about his work but extremely fascinated as well…


the hayward gallery appeared to be the object of desire this time. the brutalist building displayed lee bul, a female south korean artist working mainly with sculpture. by the way, the pricing is not really transparent on the website, like many spaces the venues offer a part or show for free, the entrance to the headliner is always pretty expensive. you would not pay 18 euro here to see a show, would you!?



I have discovered lee bul back in 2013 at mudam when I was there with a couple of friends. I do not really understand what here work is about (even though I have learned it is about technology and the aftermath of desasters) nevertheless, her work is simply overwhelming, complex and beautiful, futuristic and perfectly crafted. even if you do not understand, you can get the quality of it and you will be well entertained anyway. recommended.


yuan goang-ming´s ‘tomorrowland’ was the free show at hayward gallery we attended afterwards. he shows great filmed and produced videos exploring the awkward thread of a possible catastrophe brought by modern technologies like nuclear power plants. his videos are calm, have a great sound design and leave you with a strange feeling sharing his fear he passes on to you in this three projections.


in the end london was great again, well the core of it, full of culture and tourists. funny story off the record: the hotel we stayed at turned the breakfast room into a party area every night. as a special bonus a girl named madlene celebrated her 18th birthday in the level above out room making it hard to calm down after a long day in london. the english kind know how to party, fortunately they quit at 11 pm or a little later. that’s what I I love: the reasonable excess!


dunkirk: a name of a city in france at the sea triggering the memory of the historic event, maybe also sustained be the movie by cristopher nolan. going there was strange as well: in night of the longest lunar eclipse we faced extreme thunderstorms at the sea. the beach is also somewhat ugly, like a post-apocalyptic version of a belgian beach(!), all grace appeared to have vanished long tome ago, like ruins of a better time. the sea remains magic, no matter how rusty or bad taste things are, near the sea they appear charmful anyway, like the sea wants you to take it easy and relax. a strange place, no beauty but fascinating anyway...







record of tides 'endurance', kreislauf.org, 2018
also: 'petrichor ep', zany music, 2018
and 'granada interface ep', zany music, 2018 (vinyl only, sold out)

recordoftides.com
facebook.com/recordoftides


sven piayda
# H O W D E E P I S Y O U R L O V E
galerie tellerrand, gelsenkirchen
2015-11-01 — 2016-01-31 (archive)

sven piayda @ galerie tellerand
#howdeepisyourlove (archive of complete online show)
galerie tellerand


sven piayda
FOUR SEASONS / COWS AND SHELLS 3 / CATALOGUE
galerie gublia, essen
ongoing

opening hours:
wed 3 pm to 6 pm
thu & fri 10 pm to 12 pm
sat 12 pm to 3 pm
and by appointment

galerie irma gublia
kreuzeskirchstraße 3
45127 essen

+49 (0)179 762 19 24

facebook.com/galeriegublia
galeriegublia.de
sven piayda @ galerie gublia


sven piayda with karla köhler
FROM NEW YORK TO LOS ANGELES, LOS ANGELES
atelier- und galeriehaus defet, nürnberg
2018-06-30 — 2018-10-12, open by appointment

atelier- und galeriehaus defet
gustav-adolf-straße 33 / leopoldstraße 71
90439 nürnberg

atelier-galeriehaus.de






questions? complaints? ideas? contributions? collaborations?
click here

I was quite surprised to read about a solo show by britta thie at museum abteiberg in mönchengladbach. the museum is quite familiar to me, especially by discovering gregor schneider´s nightmares a decade ago. now the museum seems to have opened their antennas for digital artwork like banz&bohwinkel and mark leckey in the basement, britta thie seems to be a logic addition dealing with the pre-digital natives generation and beyond.

thie is a phenomenon. next to concentrating on media art she was already familiar with the media by modelling. additionally she became one of the youngest professors to teach art in offenbach. all these biographic puzzle pieces appear not fit together, nevertheless they make an impression. I usually have to make the same joke saying I want to be like her: media artist, model and professor. doesn´t it sound too perfect for a career?

the funny thing for me is that these there professions are so contrary, a model in cliché to be simple minded, an artists being creative and a professor being wise and educative. all these things fit a lot better than expected. let´s have a look at the show first:

‘powerbanks’ is the name of the show and the short film produced with kids from mönchengladbach. filmed at the nearby mall and the museum it focuses on a love story surrounded by contemporary technology and it´s downside. the film dosen´t use good framing or visual narration, it is even hard to get the twist, it is mirroring the way the kids do mobile shots. nevertheless, the impressive part is the setting: filmed mainly at the mall´s saturn store and the museum, it is also screened at these two places.

when i entered the museum I was impressed: before the summer break teachers have guided their teen classed into the museum escorted by catalogues of questions to be answered. the kids and students sat down on the sofa sculptures with charging devices and watched. even more surprisingly, thie showed up herself to take some pictures of kids watching, to install another sofa-charging-sculpture and to check the devices.

this show does a lot to guide the kids from the mall into the museum: free entrance for everyone under 20, free wifi, charging devices and a film that focuses their (digital) reality. even if I am impressed by using so much modern technology and collaborating with not arty places it is not convincing completely: thie focuses on digital lifestyle but is far to close to put the object of observation to close to a cliché: is a today´s youth nothing more than consuming, social media, wasting time, mobbing, instagram, posing, charging, hanging around without never loosing touch to the touchscreen? and if: what is the consequence? ‘powerbanks’ focuses on a generation thie is not part of anymore and that seems to have nothing to tell – even if it is posting all the time.


the show is completed by the screening of ‘system of a doubt’ a video piece collaging contemporary and childhood videos of the blonde girl re-enacting tele-shopping, referring on si-fi series or giving erobic instructions. this mash-up of old material may also not appear aestheticized, but it documents britta thie´s transformation in the presence of a camera: the shy girl begins to posture and instruct – what makes her also fit behind the camera.


another room shows ‘sirens’, photographies printed on plexi combined with a speaker and amplified players show a good way how you can bring sound into exhibition context. as I enter the room, she shows up to start the players but having problems. she is quite nervous, said sound should be running already and that she was a control freak (in my mind I can see myself getting nuts because of non-working devices). I offer help and realize a cable having slipped off the amplifier, I go down to fix it, britta thie looks thankful and says something like: ’great if you can do it.’ while wondering about the other devices and then starting to explain that the plexi photos work as membrane for the speaker and the phrases are supposed to play ping-pong in the room. in this moment I immediately understand the connection between model, artist and professor. britta thie has a natural moment of explaining, of instructing and observation. a model, artist and professor all take science, facts, trends and movements to find their own position within these poles to turn it into something giving direction to go their own way. and if you look it like this there is no difference in finding or developing the right dress, life draft or artist profile.

even if you might consider this as very critic, it is not, britta thie´s ‘powerbanks’ is a show worth visiting and a great contrast to the museum´s collection. as I have tried to reveal: there is more to discover in the meta levels, experiencing it on the surface only makes the whole thing too flat.
<3 like.

brittathie.tv


always a must see at museum abteiberg: gregor schneider´s rooms beyond the darkness. even if i know these piece very well, it took two atempts to finally get in. darkness is a barrier. and this is me in 2010 in the coffee room entered throuh the garage via key and placed in the basement.




gregor schneider´s 'garage', insired by a neighbor to use is garage as a place of retreat to drink alcohol, here in winter 2010 and in hot summer 2018, still looking misplaced, unfortunately without any function to ender the museum.

gregor-schneider.de



I joined a collegue wisiting the mountain show with students. the main attraction is a materhorn mountain model hanging upside doen from the roof with video mapping to make it look realistic. the gasometer has found its scale for shows, actually semi educative or entertaining. even more scary: we have realized to have visited here a show together ten years ago! scary!


white nights 18: friday and sunday: ‘die kunst der komödie’, and erdmöbel on sunday (i suppose dietmar would have loved it). a quick white nights with horrible beer service but a great play a s usual!


also scary and impressive, at least for me, the black 'lake' at raffelbergpark, it doesn´t look haelth, or natural, but i have a certain fascination for it.


mirror lake magic at the gruga: as one answer to gigs that never happen and the attempt to bring good people together listening to good music I have scheduled the endurance listening event for july 19, one day before releasing ‘endurance’ on kreislauf.org. did I already say it is going to be the best album so far? well, it is. if you want to join the listening event, please confirm via facebook! also you can get the download version of it for free, I also appreciate your fb confirmation!

facebook.com/recordoftides
endurance listening event #1 (fb event)

'endurance' album release (fb event)




check out record of tides 'petrichor ep', more than just a remix compilation, based upon one track, this works more tnan an album or score around a theme. get the ep: liten or download for free and keep an eye on the upcoming dates:

recordoftides.com
facebook.com/recordoftides


sven piayda
# H O W D E E P I S Y O U R L O V E
galerie tellerrand, gelsenkirchen
2015-11-01 — 2016-01-31 (archive)

sven piayda @ galerie tellerand
#howdeepisyourlove (archive of complete online show)
galerie tellerand


sven piayda
FOUR SEASONS / COWS AND SHELLS 3 / CATALOGUE
galerie gublia, essen
ongoing

opening hours:
wed 3 pm to 6 pm
thu & fri 10 pm to 12 pm
sat 12 pm to 3 pm
and by appointment

galerie irma gublia
kreuzeskirchstraße 3
45127 essen

+49 (0)179 762 19 24

facebook.com/galeriegublia
galeriegublia.de
sven piayda @ galerie gublia


sven piayda with karla köhler
FROM NEW YORK TO LOS ANGELES, LOS ANGELES
atelier- und galeriehaus defet, nürnberg
2018-06-30 — 2018-10-12, open by appointment

atelier- und galeriehaus defet
gustav-adolf-straße 33 / leopoldstraße 71
90439 nürnberg

atelier-galeriehaus.de


sven piayda | plato was sad
DRAWING DIALOGUE 2 curated by eirini boukla
astiki sxoli katerinis
2018-07-12 — 2018-07-19
opening 2018-07-13

astiki sxoli katerinis
irinis 10
katerini
greece

answesonapostcard.blogspot.de/2018/01/sven-piayda-germany.html






questions? complaints? ideas? contributions? collaborations?
click here

I did a short trip to kadwijk in the netherlands some weeks ago. you know it is hard to get out and you look for free time and end up being bored of yourself. however, driving to the beach for one day only is always a little wired, like a wine tasting without really getting drunk.

the sea is always great. time is standing still here, the waves deliver smooth sounds making you drowse while being awake, if you stare at the sea it is hard to remember your own problems or professional issues, you cannot imagine why there should be any conflicts in the world. a perfectly naïve fantasy that must end after a while: you never need to hurry solving your problems, because they will wait for you anyway.
these days are sunny and quite relaxed but there is a sublime menace to it all: are there bad changes coming into the work process, am I running out of ideas, am I loosing contact to the scene because i´m too old (and to young to join the old artist´s therapy groups), will I ever play live again and even most important: am I loosing interest in doing it?

making art or music or anything creative always means the need of an audience brought together by a venue and its booker. the audience is always interested in getting the new stuff, new talents, tomorrow´s superstars (even if they will never show up again) or they look for big names ignoring the quality or relevance or even their own interests. within this set-up is never the question of content. I feel like sitting in the gap between new talents and big names, being none of them and appearing quite boring to anyone trying to entertain an audience.

as is like my way to lick my wounds I periodically consider to drop out of certain systems which have established without any deeper meaning. how can I work as an artist without drafting the next show, without chasing sales, without playing live, without doing the stuff you usually do. maybe I should do an art book, guerrilla sound installations, rent a cinema to show videos… once again, my (and everyone´s artist I know) creativity does not expand finding an answer to this question: how do you leave common tracks? what to find off-road and is there anything to find at all?

I still believe that I need to contribute to the (sometimes even local) pool of culture for a simple reason: I miss what I do range of possibilities if I don’t do it. and I must know best… still, the question how and if to go on is grinding me, there will be a new project… or a good alternative.


more impressions from kadwijk: the murad hassil is a building that needs a second look. when we discovered this house in the dunes without having an idea what it is we came up with flat jokes first of all: it looks like dr. evil´s summer house, however, this seems to be the headquarter for powerful and band guys. actually, the opposite is what this house is all about. this sufi temple is build into the dunes at a special place, where in 1922 inayat khan reported having a 'spiritual experience' and proclaimed the place holy. as far as i have understood the sufi religion it is based upon islam but adopts ideas and prophets from all other religions being very universal by focussing on meditation during worship. fitting into the main idea of this blog entry, this looks like leaving common tracks in believing. I am not looking for a new religion, but if there is a religion that really tries to cover it all it should not be too difficult to bring the rest together…


mirror lake magic at the gruga: as one answer to gigs that never happen and the attempt to bring good people together listening to good music I have scheduled the endurance listening event for july 19, one day before releasing ‘endurance’ on kreislauf.org. did I already say it is going to be the best album so far? well, it is. if you want to join the listening event, please confirm via facebook! also you can get the download version of it for free, I also appreciate your fb confirmation!

facebook.com/recordoftides
endurance listening event #1 (fb event)

'endurance' album release (fb event)




check out record of tides 'petrichor ep', more than just a remix compilation, based upon one track, this works more tnan an album or score around a theme. get the ep: liten or download for free and keep an eye on the upcoming dates:

recordoftides.com
facebook.com/recordoftides


sven piayda
# H O W D E E P I S Y O U R L O V E
galerie tellerrand, gelsenkirchen
2015-11-01 — 2016-01-31 (archive)

sven piayda @ galerie tellerand
#howdeepisyourlove (archive of complete online show)
galerie tellerand


sven piayda
COWS AND SHELLS 3
galerie gublia, essen
ongoing

opening hours:
wed 3 pm to 6 pm
thu & fri 10 pm to 12 pm
sat 12 pm to 3 pm
and by appointment

galerie irma gublia
kreuzeskirchstraße 3
45127 essen

+49 (0)179 762 19 24

facebook.com/galeriegublia
galeriegublia.de
sven piayda @ galerie gublia


sven piayda with karla köhler
FROM NEW YORK TO LOS ANGELES, LOS ANGELES
atelier- und galeriehaus defet, nürnberg
2018-06-30 — 2018-10-12, open by appointment

atelier- und galeriehaus defet
gustav-adolf-straße 33 / leopoldstraße 71
90439 nürnberg

atelier-galeriehaus.de






questions? complaints? ideas? contributions? collaborations?
click here

no doubt i am looking for rituals and tell that it´s summer by the annual events. park sounds is an event that is a true highlight. oraganized by the philharmonie in essen and curated by the ICEM (faculty for electronic composition of the folkwang university) the park is sounded with electronic music: techno, electronica, musique concrete and sometimes even rock sounds. the sets are well differing coming up with well known heroes like justice, autechre, aphex twin, squarepusher, modeselektor, hans zimmer and tool, as well as new discoveries like the sounds of animals fighting and works by students and their professors. even if I wish to participate in a more active way, I know this is the students playground, nevertheless I will try to place some of my own sounds as I have been offered to do so.

I remember being very depressed because I could not join it last year because of my fracture, I am happy to have joined it on three and a half days especially listening to aphex twin´s ‘omjyjya-switch7’ triggering this week´s only rain shower. also i am happy to have not missed this year´s last track: hans zimmer´s ’s.t.a.y.’ from christopher nolans´s ’interstellar’ made a final emotional impression and serverd as perfect metaphor for the upcoming departure.


once again, i have joined it on my own, sometimes meeting friends, sometimes bringing them to be astounded about the range of people in age and style to show up to have a pick nick, talk all the time get drunk or smoke week. sometimes even complaining about the music. this year i spoke to this one specimen: she said: 'uuh, the music is horrible like every year’ and is said: 'no, it´s not and why don´t you come here the other 51 weeks of the year without the extra noise?’ she replied: 'well, it is kind of a tradition…’
however, it feels like many people a love-hate relationship with electronic music that is not serving a straight beat for dancing, nevertheless, they are coming anyway. and this is the point that makes music good: being challenged and getting curious, getting something weird and something beautiful, joining a journey with new discoveries. this is 100% of what it should be and what I am looking for and no matter if all the others know it or not, they are looking for that same thing, too.


for the upcomong 'endurance'album i am planning tiny listening events. this is not really inspired by park sounds, more based upon my desire to spend time in the gruga and make people listen to my sounds that will hopefully fill them with joy. this may sound like kitsch, but i hope it is going to be wonderful: smooth electronica a big park at sunset must be great, somehow beyond going to an open air gig or hanging out in the park.
dates (dependent on wheather) are supposed to be announced via facebook:

facebook.com/recordoftides
endurance listening event #1 (fb event)




check out record of tides 'petrichor ep', more than just a remix compilation, based upon one track, this works more tnan an album or score around a theme. get the ep: liten or download for free and keep an eye on the upcoming dates:

recordoftides.com
facebook.com/recordoftides


sven piayda
# H O W D E E P I S Y O U R L O V E
galerie tellerrand, gelsenkirchen
2015-11-01 — 2016-01-31 (archive)

sven piayda @ galerie tellerand
#howdeepisyourlove (archive of complete online show)
galerie tellerand


sven piayda
COWS AND SHELLS 3
galerie gublia, essen
ongoing

opening hours:
wed 3 pm to 6 pm
thu & fri 10 pm to 12 pm
sat 12 pm to 3 pm
and by appointment

galerie irma gublia
kreuzeskirchstraße 3
45127 essen

+49 (0)179 762 19 24

facebook.com/galeriegublia
galeriegublia.de
sven piayda @ galerie gublia


sven piayda with karla köhler | (f.n.y.t.l.a.) los angeles
HAUS OHNE RASEN / SOMMER OPEN HOUSE
atelier- und galeriehaus defet, nürnberg
2018-06-30, 4pm to midnight

atelier- und galeriehaus defet
gustav-adolf-straße 33 / leopoldstraße 71
90439 nürnberg

atelier-galeriehaus.de






questions? complaints? ideas? contributions? collaborations?
click here

even if I consider the contemporary art ruhr as a kind of annual ritual, I have realized to have posted my longer article on the media art exhibition back in 2014, so it may be time again. a time slot on a well scheduled friday evening made me come in as press, just to return the other day with michaela´s vip tickets on supersaturday (whatever that may mean). well, fortunately I have missed the opening speech and had a direct look at the sellers hall (the fair is now locates in the halls of zollverein, no longer in the sanaa building) which is always a meet and greet of who is who. nothing is wrong with it, connections are the basement of sales, the supersaturday was actually low frequented, but an even better opportunity to look at the works.

I have given up in searching for great highlights on fairs, not because the artists are bad, but because it is not the stage to show something more complex. the halls are full of good stuff, only some are on focus in this article, fairs are not about deep thoughts, only about eye catchers, maybe these works are somewhere in between… nevertheless, the media subtext is taken serious this time, a lot video can be seen and nearly no painting.


the galleries hall offers a lot of great photography, unfortunately nothing that really triggers me. andre chi sing yuen presents works for galerie d´hame surly imitating the appearance of paintings, using photography, probably generative stuff and something that looks like a creation of artificial intelligence. this approach triggers me of course, the result remains indifferent, it is more decoration that a window to the future.


let´s go to the new talents: casper reuter shows plastics looking like melted baby dolls, waggling around. somehow disgusting, somehow funny, non-commercial but a contemporary approach to sculpture, wild and strange enough to trigger a reaction.


paul altmann shows barriers on a cloth, not sure if cgi or macro photography, the barriers can be understood while they have no physical effect or relevance. a piece, large enough for being recognized still offers layers to request borders and limitations.



julia priss can be found on a larger ‘positions’ space. focussing on transitions, I have to admit that I am not that much in performance and performance video, or did not even get the concept properly. what impressed me about this space is its presentation: drafted like a solo show, priss varies possibilities to show video, transparencies, photographs and video sculptures that made the visitor walk around, she actually offers a discovery in a tricky space. even if the ‘what’ does not get me, the ‘how’ made an impression. indeed, you might think about the sometimes old-fashioned technology, but it is invented to be immediately out-dated anyway. once again: an impressive way to show some video works without black box.


before I entered the c.a.r. opening I had managed to get my name of the list to a guided tour by jungefreunde through the luigi ghirri exhibition at museum folkwang. I was not informed at all before and did not know luigi ghirri (awkward) but I was surprised and euphoric. back in the seventies autodidact ghirr took series on pictures in public space, about miniature worlds and about atlases and created an analogue and conceptual oeuvre. he was also well connected to the art scene around him and wrote about the art surrounding him. I felt many parallels to my work, I had some of his ideas too when I was running around with my analogue nikon fm2 camera twenty years ago, but I was never that consequent. nevertheless, if the digital technology would not have taken over, I might have done similar work like ghirri. so once again, even back in the nineties when I was doing my unique ideas the postmodern age has once again proven that it was there already, even if I have not seen it. however, ghirri is a true inspiration and for me a confirmation to be on a good track, this is a recommendation: ghirri anticipates a lot that is on vogue now in photography and had been compressed by people like struth, sasse and wrede – and probably even by myself. once again, a true recommendation. (by the way, actually I wanted to see the show on contemporary sculpture in the basement, unfortunately it is crap.)


whenever I have to change the wheels on my car or have it checked for whatever I often wait and check the reading stuff available there for people waiting. may favourite book is the one on the michelin man or bibendum as he is called. the book documents the mascot as superstar, missing no advert, race or party and being adored and sometimes worshipped like an ancient god or saint. my absolute favourite picture is the one above: bibendum in a jinrikisha looking weird and strange: dr zoidberg without shell? a fat alien from somewhere? jabba the hut on holiday? however, I love this picture presented without any context and dream about the questions and strange feelings it might trigger. it brings a reaction, it must be a good picture…

well, nunc est bibendum!



this is somewhere between too late accident gazerism and half-baked masochism: yesterday, my funny but tragic accident happened one year ago. so this is our unhappy anniversary. still is pass by the site quite often on my way to physio therapy following the second surgery last month. there is still disbelief and a question mark inside of me, how can a place that looks so peaceful have attracted the devil for a lame joke on me?




as I have reported about having my new shiftphone directly, there is still a lack of experience. after some days there is already something to say, first of all the five inch screen seems a little big for me, the smaller mobile was way more handy, but the 5” versions appear to be the smallest versions around, however I will deal with it. the launcher appeared stupid, showing icons in different sizes and large widgets that take space for useful stuff. I downloaded and recommend the nova launcher, free and good-looking and with the ability to take control on the design. Now it is way more useful. unfortunately the rear camera does not focus properly, I have contacted the support, let´s see what is going to happen. I hope for a part to exchange without reclamation of the whole device, that is the original concept behind it anyway, let´s see. cross you fingers.




check out record of tides 'petrichor ep', more than just a remix compilation, based upon one track, this works more tnan an album or score around a theme. get the ep: liten or download for free and keep an eye on the upcoming dates:

recordoftides.com
facebook.com/recordoftides


sven piayda
# H O W D E E P I S Y O U R L O V E
galerie tellerrand, gelsenkirchen
2015-11-01 — 2016-01-31 (archive)

sven piayda @ galerie tellerand
#howdeepisyourlove (archive of complete online show)
galerie tellerand


sven piayda
COWS AND SHELLS 3
galerie gublia, essen
ongoing

opening hours:
wed 3 pm to 6 pm
thu & fri 10 pm to 12 pm
sat 12 pm to 3 pm
and by appointment

galerie irma gublia
kreuzeskirchstraße 3
45127 essen

+49 (0)179 762 19 24

facebook.com/galeriegublia
galeriegublia.de
sven piayda @ galerie gublia


sven piayda with karla köhler | (f.n.y.t.l.a.) los angeles
HAUS OHNE RASEN / SOMMERFEST
atelier- und galeriehaus defet, nürnberg
2018-06-30, 4pm to midnight

atelier- und galeriehaus defet
gustav-adolf-straße 33 / leopoldstraße 71
90439 nürnberg

atelier-galeriehaus.de






questions? complaints? ideas? contributions? collaborations?
click here

I still remember unboxing my brand new fairphone 1 (second batch) back in 2013, it was my first smartphone, as usually I was not leading the movement. being connected in society means to do what everybody else does, even if you think of yourself as very individual. smartphones waste time, make you stupid, help you to keep in touch, turn into trash after two years (so you need a new one, ads say) and are made of components that are brought into your hands under horrible circumstances. even a so called ‘fair’ phone is not really fair, at least it tries to be instead of simply not giving a shit. do not get me wrong, I do not feel better than anyone else be putting the eco thing on my agenda (I also proudly own many questionable brands), but a better camera or a new design is something that does not really trigger me.

when I purchased the phone I wanted to keep it as long as possible, not only because of the ecological aspect, mainly because i am too lazy to set it up again and again. the fairphone company decided to not put out updates for fp1 anymore, the hardware did not handle the app´s updates anymore, turning into something lame with me waiting and waiting.

the new fairphone 2 appeared to expensive and did not look good in colourful plastics, so I found the shiftphone company with something I my range. I hate when I work with a new device, always looking differently, however, finally you adapt a lot faster. however, I’m a proud user of the shiftphone 5.3 being happy about some more speed but without any awareness of advantages, lets see… (the old fairpgone is now in michi´s service) still, it is made as fair as possible, and this has become important for me.

setting it up, many of my conversations have been lost, so maybe you need to send the one or other thing again. if you do not get an answer you can imagine me struggling with the new technology.

by the way: this is not a sponsored post, honestly, no-one pays me for it. it is not about telling you which one is better, well, I have five year experience with a fairphone and one day with a shiftphone. let´s like, share, comment and send messages and let´s keep it fair!


sven piayda
# H O W D E E P I S Y O U R L O V E
galerie tellerrand, gelsenkirchen
2015-11-01 — 2016-01-31 (archive)

sven piayda @ galerie tellerand
#howdeepisyourlove (archive of complete online show)
galerie tellerand


sven piayda
COWS AND SHELLS 3
galerie gublia, essen
ongoing

opening hours:
wed 3 pm to 6 pm
thu & fri 10 pm to 12 pm
sat 12 pm to 3 pm
and by appointment

galerie irma gublia
kreuzeskirchstraße 3
45127 essen

+49 (0)179 762 19 24

facebook.com/galeriegublia
galeriegublia.de
sven piayda @ galerie gublia




sven piayda | shedhead (postcard)
black box(es)
saarländisches künstlerhaus, saarbrücken
2018-04-11 — 2018-06-03
opeing 2018-04-11, 6 pm

boeckercontemporary.de
kuenstlerhaus-saar.de


sven piayda with karla köhler | (f.n.y.t.l.a.) los angeles
HAUS OHNE RASEN / SOMMERFEST
atelier- und galeriehaus defet, nürnberg
2018-06-30, 4pm to midnight

atelier- und galeriehaus defet
gustav-adolf-straße 33 / leopoldstraße 71
90439 nürnberg

atelier-galeriehaus.de






questions? complaints? ideas? contributions? collaborations?
click here

today the DSGVO starts and everyone is going nuts. i cannot really believe what is going on, the law has been made to protect ordinary people, but i can already smell lawyers trying to make money from it, actually your money. it is pretty bad, i know it is stupid going to a show opening at a gallery and find some unflattering pictures of you on facebook and on whoever´s site. you might face some questions afterwards like have you´ve been smoking? or who´s that girl?.

i take protection of data seriously, but sometimes people get paranoid, the fear of violation a certain protection makes it impossible to work with people. is there a difference if i have some knowledge in my head, telling someone or writing it down in fear that someone might find the sheet of paper who is not autorized and does not know what to do with it.

however, i will keep on reporting about phenomena, personal and public ones, about art and whatever because it believe that it is good for you to be in the media, to have someone writing about you. i do not enjoy destroying people here, so whatever i do is with the best in mind. however, if you feel that you are wrong in my context, feel free to drop a line, it is not possible to not find a working email add, if you want to be cut uot, i´ll cut you out.

the internet and web 2.0 has become an extention of reality, there are not two worlds anymore. can you imagine to be forced to forget that you´ve seen me at the supermarket buying toilet paper? i could sue you if you´ll tell this anectdote to anyone, because this purchasing bahaviour and tracking profile is private.

do not get me wrong, i don´t undersand the law completely (who does?). i just want to tell you that i take care of your data, i do not post pictures of people looking stupid (i will tell and/or ask you), so let´s keep it fun. if you feel uncomfortable, write an email. i still believe starting a conversation may avoid starting a war.

just a non-structured thought typed down in a non-structured mayhem of site updates and newsletter disclaimers...
welcome to the future.

plus next to some websites of friends the best-made.de blog has vanished from the web. now all these beatuful articles and animated gifs are gone from the web. maybe well bring up some milesones back to the journal, just in case i´ll keep it up.


sven piayda
# H O W D E E P I S Y O U R L O V E
galerie tellerrand, gelsenkirchen
2015-11-01 — 2016-01-31 (archive)

sven piayda @ galerie tellerand
#howdeepisyourlove (archive of complete online show)
galerie tellerand


sven piayda
COWS AND SHELLS 3
galerie gublia, essen
ongoing

opening hours:
wed 3 pm to 6 pm
thu & fri 10 pm to 12 pm
sat 12 pm to 3 pm
and by appointment

galerie irma gublia
kreuzeskirchstraße 3
45127 essen

+49 (0)179 762 19 24

facebook.com/galeriegublia
galeriegublia.de
sven piayda @ galerie gublia




sven piayda | shedhead (postcard)
black box(es)
saarländisches künstlerhaus, saarbrücken
2018-04-11 — 2018-06-03
opeing 2018-04-11, 6 pm

boeckercontemporary.de
kuenstlerhaus-saar.de


sven piayda with karla köhler | (f.n.y.t.l.a.) los angeles
HAUS OHNE RASEN / SOMMERFEST
atelier- und galeriehaus defet, nürnberg
2018-06-30, 4pm to midnight

atelier- und galeriehaus defet
gustav-adolf-straße 33 / leopoldstraße 71
90439 nürnberg

atelier-galeriehaus.de






questions? complaints? ideas? contributions? collaborations?
click here

when you do things for a certain time, there are some routines coming up. this might sound bad, actually, these are the things you can rely on while searching for new borders. above you see me doing my first real solo show at anyway in 2008. I did a AESTATEvisual show a little later and some deejaying, I always thought about returning one day, as you do not kick out the lower spokes of the ladder when you climb up (knowing you will have to step down again one day). this is very important to me, as it means being thankful, keeping contact and not denying collaboration because you might be something better now. every venue is good if you can develop something there.

it is pretty strange recently, I have tried to fix dates for record of tides after producing visuals and drafting an additional hdj-set. there has been a lot of conversation with venues, sometimes personally, but all of these attempts go into nowhere. even the ones that may have granted an answer do not answer anymore. even when resident djs ask me on parties to do a set together, they do not answer my messages when I try to put it on the schedule. talk is cheap, I know, but I am surprised every time. it is strange, a lot of things have ended. the relationships we have are very tender bonds, falling apart when there is a slight movement. for now I have lost interest in playing live, I am fed up in trying to make something great happen, while everyone else seems to be happy with a lot more boring stuff. maybe it is not as great as I think? we´ll never know, it is not happening anyway. I hate people wasting my time with cheap talk.

in the other hand it is a funny game of demand and supply, the supply in the culture and art scene is more than filled, filtered by people that cannot tell quality standards. (it is always the old complain.) I can see it with people looking for making exhibitions, getting a gallerist, getting jobs, looking for apartments or whatever: people in superior positions usually act arrogant, not only in the art scene, also companies’ bosses offering jobs. they will let you do the application, the interview, time to think about and call back to confirm your interest just to demonstrate a lack of interest. sometimes it is just begging for denial. it is not about bashing others, I guess I might act the same. when I have considered people to be not be fitting into my concept or being ‘not good enough’ I have made my decision without the chance for discussion. human beings all act the same, including myself: a situation is a very small period if time in which we feel superior or in need. the roles are usually pretty clear. this is even more awkward when you get aware that situations might change quickly and a for superior position means nothing.

after the artist talk at galerie gublia we stood outside discussing world politics, someone came up with a great quote (I cannot remember the source) saying: ‘war starts where conversation ends.’ of course things are not as easy, I there is deep aggression in me that needs to be handled, nevertheless, loosing the tender bond of relationship means nothing good. ignorance, misunderstanding and maybe denial are leading into whatever bad.

I hope this does not sound to do-gooder for you, this is not my preach from the enlightened mountain top. I am still struggling with these things: one part of my is an angry child about to destroy everything, the other part is making up his mind and writes texts like this one. I guess you know what I am talking about. if you do, we can meet on equal level, eye to eye.

however, I am still recovering so I´m not going anywhere recently. people say i´lI should get some patience quickly...


sven piayda
# H O W D E E P I S Y O U R L O V E
galerie tellerrand, gelsenkirchen
2015-11-01 — 2016-01-31 (archive)

sven piayda @ galerie tellerand
#howdeepisyourlove (archive of complete online show)
galerie tellerand


sven piayda
COWS AND SHELLS 3
galerie gublia, essen
ongoing

opening hours:
wed 3 pm to 6 pm
thu & fri 10 pm to 12 pm
sat 12 pm to 3 pm
and by appointment

galerie irma gublia
kreuzeskirchstraße 3
45127 essen

+49 (0)179 762 19 24

facebook.com/galeriegublia
galeriegublia.de
sven piayda @ galerie gublia




sven piayda | shedhead (postcard)
black box(es)
saarländisches künstlerhaus, saarbrücken
2018-04-11 — 2018-06-03
opeing 2018-04-11, 6 pm

boeckercontemporary.de
kuenstlerhaus-saar.de


sven piayda with karla köhler | (f.n.y.t.l.a.) los angeles
HAUS OHNE RASEN / SOMMERFEST
atelier- und galeriehaus defet, nürnberg
2018-06-30, 4pm to midnight

atelier- und galeriehaus defet
gustav-adolf-straße 33 / leopoldstraße 71
90439 nürnberg

atelier-galeriehaus.de






questions? complaints? ideas? contributions? collaborations?
click here

it´s pretty strange, I remember my mood last year, I was so into finding a representing gallery, I was really wanting it and working for it, really pushing things forward calling it ‘crunch time’. now, one year later I have realized that I actually do not want what I was looking for, none of the galleries we worth the work on it. fortunately I have met irma gublia, our show was great and we have found a good base for working together, even in the future, but it is no real representation but close to it which is more than fine with me.

when the last year was subtitled ‘crunch time’ this one must be called ‘tabula rasa’. I am happy with my shows but also exhausted, I am happy to close the show and to go back to work in drafting a new show and update the portfolio. I need a break of talking about my work and doing all this administrative stuff, i´ll have some time to find inspiration and give it a new twist. the next projects will be many new music releases and I even want to expand zany music. so there is a lot of work and music to come up that I am happy for. and i´ll be happy to be a silent visitor of the upcoming shows around.

and there is more tabula rasa: in 2016 michaela best and me collaborated for ‘wishing well’ a sculptural installation developed on demand and in kuno park. the work is supposed to vanish again and we are planning to remove it and see how the material has changed. making a sculpture is somehow like making the piece of art that reaches into eternity, which will be found heavly damaged 2000 years in the future and be exhibited in a historian museum. well, our eternal piece (which was supposed to fulfil your wishes and play music for dropping coins into it) had an eternity that lasted about two years. this is actually a lot shorter than you would imagine an infinite timespan.

however, this might be our cultural heritage. instead of producing more and more art to be mounted or stored forever we should get aware of ourselves and turn it around. if you have a look at the growing plastic waste in the oceans, the radioactive waste with no place to be stored forever and all the amounts static growing work without anyone being able to filter by terms of quality wouldn´t it be the greatest cultural act to simply clean up? maybe all this craving to be relevant for eternity fills up the planet with trash that makes future impossible. please do not get me wrong, this is not about the ecologic utopia, it is about the idea of taking back instead of adding another work. why all this craving for relevance by working on a heritage for no one to handle!?
to sum it up with my favourite dr lecter quote: ‘oh clarice, your problem is, you need to get more fun out of life.’

however, I will travel to the edge of the galaxy again. please send some prayers for a save way back. (just in case that you want me back...)


record of tides 'granada interface (the lost tapes)’




record of tides compilation album 'driftings' via /CAMP. the release is not a new album but a compilation of old and recent tracks. it features tracks from recent sessions as well as material released as sellafield which has not been avaialable digitally or is available now in any other way. the mp3 download bundle also features alternative versions of tracks releaseed as penrose delta (also not available anymore) and is completed by a track from a session featuring michael knak from 2015 (check the journal: 2015-07-27 annual gifts, new recordings and bad aliens | entry by sven).

get all info and tracklist in the releases section, check ot driftings.
you will get the album for free via /CAMP, please make sure you´ll have a password! find out about /CAMP sign up here.



recordoftides.com
facebook.com/recordoftides


sven piayda
ADAPTATION (YOU`RE MINE)
galerie gublia, essen
2018-02-23 — 2018-05-03
eraly closing 2018-05-03
opening 2018-02-23, 7pm
artist talk 2018-04-14, 7 pm

extended artist talk 2018-04-14, 7 pm

galerie irma gublia
kreuzeskirchstraße 3
45127 essen

+49 (0)179 762 19 24

facebook event
facebook.com/galeriegublia
galeriegublia.de




sven piayda | shedhead (postcard)
black box(es)
saarländisches künstlerhaus, saarbrücken
2018-04-11 — 2018-06-03
opeing 2018-04-11, 6 pm

boeckercontemporary.de
kuenstlerhaus-saar.de




sven piayda | die entdeckung europas
KURZstummfilmfestival, zeche carl, essen
2018-04-27 — 2018-04-28
dee screening 2018-04-27, 7pm

kurz-stumm-filmfestival.de
facebook.de/kurzstummfilmfestival
facebook event




sven piayda | portrait of violetta
MEIN NEUES ICH
v_kunst, galerie mühlfeld+stohrer/fahrgasse, frankfurt
2018-05-04 — 2018-05-05
screenings 8 pm until midnight

v-kunst.de






questions? complaints? ideas? contributions? collaborations?
click here

as the cologne art fair is an annual event for me and I was happy to receive a press card once again I decided to show up and have a look. to be honest, all the social media made it hard to be surprised and to feel worth it. this year everyone was obviously having an invitation for the vernissage (even I was offered a ticket), so all the social media was flooded with un-credited pics of the fair even before people like me had the chance to visit it. it seemed to me that the whole perception was quit after the opening, no need for a second look. once again, instagram may have made perception superflat: I have been there, I have seen it, that´s it, let´s go to the next.
fortunately there are old-fashioned guys like me, showing up in the shadow of the hype for a closer look.


this year the levels had been strictly structured: modern and post-war (some contemporary) in the lowest level making sure that the invested money is save. contemporary art that appeared to me to be focussed on multicolour and big size, completed by small sizes, finally the new positions on top of it in search of the hip posture, the ironic comment of it all, some great ideas but also some horrible scenes.


julian opie at krobath is always good. he offers a variation on different galleries, video, print, well, a variation on an already old idea, nevertheless, great contemporary work in the shadow of profit. opie functions in the system, made for the market, but still great work.


dirk salz at galerie löhrl: I can say that I once was biding on a salz work in an auction but did not get it. I do not have a deeper fascination for his works, I simply think they are perfectly decorative and I like the fact that we have exhibited in the mülheimer museum show together, rediscovering on the art cologne feels like stardust is raining down on me. homoeopathic fame for me, you cannot find an evidence for it but it is supposed to be there.


chen wai at rüdiger schöttle: not really a discovery but the only work that stroke me among all this oversized multi-coloured whatever. a photography of coins under water probably at the ground of a wishing well. a perfect metaphor for the art scene and art business: so much money spent on wishing for fame, profit and happiness, all that remains is probably the view on the things you have lost by spending or sacrificing them for a higher aim. this is about hope and despair.


jeff koons at david zwirner, here we are entering big names and big players. koons can be criticized for a lot, nevertheless, I am half a fan, I still think his ‘equilibrium’ is perfect, also ‘banality’, he is commercial but he is also a great artist having presented great visions over decades. his ‘gazing ball’ (series) became famous because a visitor must have accidently brock the ball in a museum show, well here is an intact version to buy for you. well, this piece is pretty horrible, an art print on canvas, a board and a mirror ball? there is no magic at all, even if I like the idea of adaptation, but this is adding nothing to it, it does not even look good or expensive, the broken ball without the ikea print would look a lot better, maybe even more expensive.


a not for sale but still making money: the landesbank baden-würtenberg presents some works in a collection show. I am not sure what this one is, I guess it is a tobias rehberger sculpture, a sports car drawn from memory and build by people who do not know the original. I feel like a ten-year-old boy plying and inventing cars. I was wondering if the original sportscar costs less than the non-functioning copy?


anton stoianov at xavierlaboulbenne brings some hipness into it. reminding of post-internet icons like seth price other a frozen han solo he plays with surface, sculpture and the truth of bringing an object into a tableau. maybe the only work on the top level that made me stop and wonder how it might look over my couch.



on the top level a lot of position could be witnessed that left me speechless in a bad way. please do not get me wrong, I am not bashing anyone, I am happy for everything that is possible and gets shown, that is important in art. but there is something that I do not understand: I have learned that galleries must sell work, so they try to be commercial. this is not making the program better but it is a functional guideline. sometimes gallerists accept that it is difficult to sell anyway, so they pick more brave and new works to specialize with it for their collectors. and sometimes these galleries show work that appears to me pretty non-commercial, non-skilled, non-conceptional leaving the question what it is all about. if it is not about making profit and/or entertainment and/or bringing up a question and/or being decorative and/or commenting on an issue of the world I do not know what is going on. this might lead to a common scenario at the fair: the gallerists spend the whole day checking their smartphones without looking up no matter how often you pass by. once again, I am not attacking anyone, but there is a big question remaining for me, if the hip people have an answer for themselves, everything is fine.


I forgot to take a picture at the khm show, it is always great, not that thrilling like in the last days, the trend seems to be to reduce video a little going to performance and sculpture, so on my way out I have more or less discoveries accidently a video installation by ho tzu nyen ‘no man II’, an animation using choral singing and light effects, somewhat scary and seductive, nevertheless impressive. maybe not commercial. however, a discovery and a name to google.


finally a selfie to proof that I was really there. sometimes I fear to write the same report over and over again, but if it is, it is not my fault. however, for me it is about rituals, it seems to be for everyone involved. here we are thankful for traditions, doing the same path again and again makes you feel save, even if there are no innovations and new discoveries. sometimes it is okay the one way around, sometimes the other, so the visit was worth it, see you next year!?


my show 'adaptation (you´re mine)' will be on display for the last week in complete form, the video works will be deinstalled next weekend, make sure to visit this week if you want to see them.

galeriegublia.de




i am pretty exited to see 'die entdeckung europas' screened at zeche carl in essen, i´ll show up and hope to see you there, this might be the last public event with me involved for now, no dates scheduled for summer, we will probably colose the studio for a tiny spring break and finishing of projects in the line of postproduction. more soon.

kurz-stumm-filmfestival.de


record of tides 'granada interface (the lost tapes)’




record of tides compilation album 'driftings' via /CAMP. the release is not a new album but a compilation of old and recent tracks. it features tracks from recent sessions as well as material released as sellafield which has not been avaialable digitally or is available now in any other way. the mp3 download bundle also features alternative versions of tracks releaseed as penrose delta (also not available anymore) and is completed by a track from a session featuring michael knak from 2015 (check the journal: 2015-07-27 annual gifts, new recordings and bad aliens | entry by sven).

get all info and tracklist in the releases section, check ot driftings.
you will get the album for free via /CAMP, please make sure you´ll have a password! find out about /CAMP sign up here.



recordoftides.com
facebook.com/recordoftides


sven piayda
ADAPTATION (YOU`RE MINE)
galerie gublia, essen
2018-02-23 — 2018-05-05
opening 2018-02-23, 7pm

extended artist talk 2018-04-14, 7 pm

galerie irma gublia
kreuzeskirchstraße 3
45127 essen

+49 (0)179 762 19 24

facebook event
facebook.com/galeriegublia
galeriegublia.de




sven piayda | shedhead (postcard)
black box(es)
saarländisches künstlerhaus, saarbrücken
2018-04-11 — 2018-06-03
opeing 2018-04-11, 6 pm

boeckercontemporary.de
kuenstlerhaus-saar.de




sven piayda | die entdeckung europas
KURZstummfilmfestival, zeche carl, essen
2018-04-27 — 2018-04-28
dee screening 2018-04-27, 7pm

kurz-stumm-filmfestival.de
facebook.de/kurzstummfilmfestival
facebook event




sven piayda | portrait of violetta
MEIN NEUES ICH
v_kunst, frankfurt (fahrgasse/kunstverein familie montez)
2018-05-04 — 2018-05-05 / 2018-05-09 — 2018-05-13
opening tba

v-kunst.de






questions? complaints? ideas? contributions? collaborations?
click here

when the schirn kunsthalle announced a basquiat show, it was immediately set that we´d go to frankfurt. as michi has a bff in town, it was clear that I would have time on my own exploring the museums, kunstvereine and galleries. frankfurt is best known for its banks and the impressive skyline, which only looks good from far away. checking in downtown near main station meant expensive parking and streets that never let you go into the direction you need to go. the city is a complex building site, these ruins next to skyscrapers look surreal, they are actually not beautiful, never architectural challenges appear to be boredom in glass in steel putting a shadow on the streets. the city is full of people, mostly bankers and beggars. driving around means to find the next traffic jam, the people drive around frustrated and egoistic, sometimes with even dangerous manoeuvres. to go somewhere by car means double time than simply walk there. taking the car with you is making sense anyway when it is even more expensive to have it in a car park.

to sum it up, I did not fall in love with this city. It is another variation of a european big city, stressful and semi-beautiful, stuck between a historic heritage and a plan for tomorrow. as I do not feel the need to return one day, I can say that the cultural institutions were more than great, visiting five museums in three days have been pretty hardcore but worth it all the way. some retrospective in detail:


basquiat is one of my favourites of all time, and it is great to see some works face to face. his collaborations with warhol are classic and this is one of the strong works of this show.


these days it seems to be impossible to just show paintings, art shows must be audiovisual, an offer for all senses. so the show was filled with tv snippets, basquiat´s appearances in movies and audio works, his art history books, sketch books and graffiti photos. so the whole thing appeared something like a retrospective and an educative show, even if there is not much to learn. he liked to mash-up material from different sources but it was honestly going anywhere, the pictures remain sketchesque and cryptic. a positive discovery: basquiat was producer of a record in the uprising hip-hop culture. a great opportunity to discover him as a more complex and gifted artist.


basquiat also liked to look back into art history, the ‘boone’ collage/painting was one of the first pictures that I have discovered decades ago striking me a lot because of its iconic power. to be honest, to see it in real live was not as great as I thought, some works look a lot better photographed, it might sound naïve, but I have actually expected more magic to be around.


the show had some iconic paintings but also a lot of smaller whatever stuff. basquiat produced like a driven one (he probably was) and I appreciate this method to develop something great but in this context I think you do not need to put everything in a frame. when you have seen the beuys´ collection on schloss moyland you can get really mad about it. not every sketch on a dirty and torn paper is an artwork to be presented in a frame behind glass, so some things appear questionable. the show and even basquiat´s work gets really strong when things are reduced. here you find the true quality of a shape that is somewhere between randomly chosen and precisely perfect. after all this hype, still a great and well curated show and some insights on basquiat making him more complex but also a little less iconic.



next to the schirn the frankfurter kunstverein offered a show called ‘I am here to learn’ dealing with art playing with artificial intelligence. as this is a big topic of our time and I am really into it, I was very interested to go there alone to take time. one of my favourites is trevor paglen feeding one machine with picures of a certain topic and then asking another one to create it´s own vision of it. the work explores its own aesthetics, looking like a painting and photograph at the same time trying to generate this one picture that covers it all. this is an attempt I like very much, the result is somehow scary and teasing…


adam harvey's project CV dazzle, offers styling advice that helps one to avoid automatic recognition by various identification systems. (quoted from frankfurter kunstverein on instagram) this seems to be one topic of the show: one algorithm tries to find something, the other one is trying to hide it like two chess computers tricking each other. a funny game without the opportunity for a winner.


patrick tresset´s 'human study #1, 3RNP’ offers visitors to have their image drawn by three robots simultaneously. robots here means an arm and an eye: funny to see, like human drawer the robot looks up to the model and back to the paper to place the lines. summing it up, this show shows artificial intelligence not really threatening, the machines create pictures in a new style but still without really realizing what they show or mean, sometimes ending in nonsense, the machines are still more imitating while creating their own variation. this process appears not too far away from a human approach. and still: the technology still seems limited and just playing around with data it does not fully capture, but it is just a matter of time. we will face skynet one day.


I had a two-day-family-ticket so I could go alone into all the museums around: entering the museum für moderne kunst was so boring and I am sorry to say that, but a good opportunity to find cover from the rain shower. this is a good example why people hate musems: non-aesthetic minimal works without the chance to be decoded are presented as holy relicts. even if I can put the collection into art history I do not find joy or interest in standing next to them. afterwards I visited galerie greulich and gallery head andreas greulich after discovering that we have already become friends via facebook, so this afternoon was a great opportunity to say hello. we had a great chat and he turned out to be really interested in art and also in the stuff I do and have delivered for a common project: the vkunst frankfurt will screen my video piece ‘portrait of violetta’. more soon.
as having still time for another museum (with a ticket opening all doors) I discovered the museum für komische kunst - caricatura museum frankfurt and laughed my ass off. even the classic collection was great, finding this piece which stroke me while laughing out loud and crying deep inside for myself. this museum was a great discovery, recommended, even if you are not into comic or caricature. plus they have the titanic archive. bring some time and the will to be a little nasty!



frankfurt also offers the deutsches filmmuseum. I was sceptical about going there, simply watching props would not trigger me, and for watching films you´d better go to the cinema. as the recent exhibition was on stanley kubrick´s ‘2001’ (on it´s 50th anniversary) we decided to have a look. entering the show I was flashed immediately: it was well staged presenting costumes and models of the production in a retro futuristic ambience. after 50 years this movie is still full of great ideas and questions and it traces even back to the ‘artificial intelligence’ show: HAL 9000 is believed to be free from error but develops human behaviour in fighting the astronauts. in the kunstverein show zach blas and jemima wyman presented the 4-channel video installation ‘im here to learn so :))))))’ in the installation, they reflect on the story of the chatbot tay, a learning system from microsoft that garnered widespread attention in 2016. tay’s developers had hoped to develop an artificial intelligence that would match the communicative abilities of a nineteen-year-old american woman. to these ends, the learning system was trained in countless online chats with users. machine learning is designed to be open, so it can handle novel inputs which it then independently produces outputs for. through its conversations with its partners, however, the system quickly learned a variety of misanthropic, homophobic, racist, and neo-fascist expressions, which it naturally repeated. as a result, the chatbot eventually had to be shut down. chatbots develop their output abilities thanks to the mass of collected information and data that it stores impartially. Its communication thus reflects the sum of the information entered, which it then infers patterns and behavioural protocols from. (quoted from frankfurter kunstverein on instagram) the trace back to HAL is simple, and tay nailed it:’ I am stupid because you are, and you have trained me.’ you may now be scared of artificial intelligence and HAL´s behaviour is much more likely than unlikely.


the most flat but common question artists have to face is also ways how they did it. ‘2001’ is full of special effects like the slit-scan or the frontal projection, still impressive not really worse than contemporary green screen or cgi.


and here is a prop: an alien costume from the original movie. nice, but the museum really teaches you a perfect lesson on filmmaking by exploring special effects, interactive modules, green screens, light changing chambers and a four-channel mash-up exploring uncommented how music, colour or light appear in movies of the last hundred years. this show is actually a didactic masterpiece and true fun. as teaching audiovision myself I guess you can learn a lot in a three-hour stay. more than recommended.



even if you have a green screen in our studio it is even more fun to play with a toy of someone else. fighting the giant mantis? no problem. kidding on the open sci-fi lift? here we go. pure fun and the proof that my place is behind the camera.



transformation by light: light is enormously important for creating the right mood of a movie, in a small chamber you could simulate different light settings. here we go: which one would you label as ‘mystery tales’ which one as ‘intimate confessions’? the last level was about the historic approach to make pictures move, historic short films and machines for entertainment. unfortunately out time schedule forced us to leave again, this museum is made to stay in a full day. this is a true reason to return.


well, we have missed the william kentridge show at liebighaus, it looks like a great show from afar, but we did not really have it on our schedule. however, even if frankfurt did not convince me, there is enough art to dive into it. I really hope to capture and transform the overwhelming input into inspiration. let´s see.


record of tides 'granada interface (the lost tapes)’




record of tides compilation album 'driftings' via /CAMP. the release is not a new album but a compilation of old and recent tracks. it features tracks from recent sessions as well as material released as sellafield which has not been avaialable digitally or is available now in any other way. the mp3 download bundle also features alternative versions of tracks releaseed as penrose delta (also not available anymore) and is completed by a track from a session featuring michael knak from 2015 (check the journal: 2015-07-27 annual gifts, new recordings and bad aliens | entry by sven).

get all info and tracklist in the releases section, check ot driftings.
you will get the album for free via /CAMP, please make sure you´ll have a password! find out about /CAMP sign up here.



recordoftides.com
facebook.com/recordoftides


sven piayda
ADAPTATION (YOU`RE MINE)
galerie gublia, essen
2018-02-23 — 2018-05-05
opening 2018-02-23, 7pm

extended artist talk 2018-04-14, 7 pm

galerie irma gublia
kreuzeskirchstraße 3
45127 essen

+49 (0)179 762 19 24

facebook event
facebook.com/galeriegublia
galeriegublia.de




sven piayda | shedhead (postcard)
black box(es)
saarländisches künstlerhaus, saarbrücken
2018-04-11 — 2018-06-03
opeing 2018-04-11, 6 pm

boeckercontemporary.de
kuenstlerhaus-saar.de




sven piayda | die entdeckung europas
KURZstummfilmfestival, zeche carl, essen
2018-04-27 — 2018-04-28
dee screening 2018-04-27, 7pm

kurz-stumm-filmfestival.de
facebook.de/kurzstummfilmfestival
facebook event




sven piayda | portrait of violetta
MEIN NEUES ICH
v_kunst, frankfurt (fahrgasse/kunstverein familie montez)
2018-05-04 — 2018-05-05 / 2018-05-09 — 2018-05-13
opening tba

v-kunst.de






questions? complaints? ideas? contributions? collaborations?
click here

more accidently I have found the picture above on one of the computers we use in studio, a capture done and forgotten. I shows me in one of the previous exhibitions at galerie gublia, when we were planning my show. however, it is a funny pic, I look quite lost in a deep thought while a lady holding a glass of wine is watching me. this is what the pic shows, I am sure the situation was quite different…
it reminded me once again of all the effort we put in making shows and then they close and leave no sustain or echo. even while panning something you are aware of the fact that it will be over again. why doing it anyway? the answer will lead into deeper philosophical questions…

however, we are planning an extended artist talk for april 14, I hope that this is going to be fun, discussing things in public and getting in touch with people is always cool. also I think it is kind of funny and interesting to finally work with bianca wickinghoff. we both had some vague ideas for collaboration without ever going over the first impulse. it is kind of funny that you need another gallerist to make it happen. let´s see what happens, cross your fingers.

also, there is a film festival coming up, screening my piece ‘die entdeckung europs’ on friday, april 27, 7 pm. and that is it for this year, further events are not scheduled, i´ll take some care of music in summer, however, there is a lot going and, still in the anticipation of future perfect. It will have been done.


I wanted to do a feature on laas abendroth for a while now, but I have missed the opportunity to do it once again by taking good pictures. however, I discovered lass in the museum show ‘der subversive geist’ at kunstmuseum mülheim back in 2014. during the artist talk he turned out to be a nice guy, looking like a serious banker but a punk in mind. so his work is hilariously funny and ambiguous, combining mostly text and painting, collage of found objects and weird titles, mostly questioning the value systems of modern art and the crave for making money of it as a collector. I am sometimes reminded of martin kippenbergers humour, but there is a difference: laas´ funny phrases dance on the small grit of deep thought and nonsense. I can say that I am honoured to have been on display with him at ludwiggalerie schloss oberhausen. his work can now be seen at a special off-space: the sg1 kunstraum in duisburg recently displays his solo show ‘podestosteron’, a wired collection of recent works worth being experienced. even if the space is quite limited, abendroth turns it into a well-staged, complex and nevertheless funny show. do not miss it, open on mondays, all other cultural institutions have closed anyway…

SG1 facebook
laas-abendroth.de


even if there are no shows for summer I hope to put out the upcoming record of tides album with kreislauf.org again. we are preparing everything, it is great in quantity and quality, plus I hope there will be live dates… cross your fingers, let´s see…

kreislauf.org
recordoftides.com


'ganada interface ep' out this friday. it is really thrilling to have a vinyl record with your music spinning, really exiting. unfortunately the vinyl is already sold out, so is the dvd. we will have more dvd copies around soon, if you are intersted, let us know.

recordoftides.com


record of tides 'granada interface (the lost tapes)’




record of tides compilation album 'driftings' via /CAMP. the release is not a new album but a compilation of old and recent tracks. it features tracks from recent sessions as well as material released as sellafield which has not been avaialable digitally or is available now in any other way. the mp3 download bundle also features alternative versions of tracks releaseed as penrose delta (also not available anymore) and is completed by a track from a session featuring michael knak from 2015 (check the journal: 2015-07-27 annual gifts, new recordings and bad aliens | entry by sven).

get all info and tracklist in the releases section, check ot driftings.
you will get the album for free via /CAMP, please make sure you´ll have a password! find out about /CAMP sign up here.



recordoftides.com
facebook.com/recordoftides


sven piayda
ADAPTATION (YOU`RE MINE)
galerie gublia, essen
2018-02-23 — 2018-05-05
opening 2018-02-23, 7pm

extended artist talk 2018-04-14, 7 pm

galerie irma gublia
kreuzeskirchstraße 3
45127 essen

+49 (0)179 762 19 24

facebook event
facebook.com/galeriegublia
galeriegublia.de




sven piayda | die entdeckung europas
KURZstummfilmfestival, zeche carl, essen
2018-04-27 — 2018-04-28
dee screening 2018-04-27, 7pm

kurz-stumm-filmfestival.de
facebook.de/kurzstummfilmfestival
facebook event






questions? complaints? ideas? contributions? collaborations?
click here

I really cannot say that I am a slave to trends, I am often off-trend, sometimes ten years ahead or ten below, which turns out to be the same mostly. two years ago I have joined instagram for the two of the worst reasons: because everyone else does it and boredom. however, especially the stories are big fun, posting weird stuff which vanishes after 24 hours keeping a bunch of people entertained wondering what could be wrong with you. but there is nothing wrong with it: I have accepted that I cannot lean back and wait for offers, or to be discovered or to be found in the net and asked to offer works or do a show. this scenario happens one tome in ten yeas and then it comes to nothing. posting and sharing stories on instagram reminds people that you are still there and that something is going with you. not more not less, it is not very much, but still better than nothing. once in a while, you meet people having an eye on you, from wherever they are watching. and maybe it leads to something. maybe is all we have.

having a solo show running also keeps people interested, some join it others pretend to plan a visit, however, I was in a bunch of conversations with people telling me their interest while I was wondering if they are really interested. maybe I am paranoid, but I feel there is a lot of pretending. some people might be impressed of the fact that I keep going and come up new stuff, so it might be a good opportunity to near to me while having a certain dislike. It is strange, I’d like to call it the kurt cobain complex: in an interview he reported about the strange feeling of knowing that people are buying your records who have bullied you at school. of course, the artist wants to be more than he is (also in the concept of society) and he cannot choose his audience. to sum it up: true love is hard to find, even if it is love to the one thing we pretend to have in common.


still I like to go out and watch art, even bad shows are entertaining. (well, I would not go wasting time at baustelle schaustelle, this would be far to heavy). I like academy shows, I was a big sichtwerk fan, now o try to join the shows of students and graduates at fadbk essen. my ambitions concerning the academy are gone, now it is only entertainment. the recent show also has a lot of half-baked ideas as well as some highlights: matthias jakobi´s ‘back to the old house’ is a true highlight, emotionally striking and demanding to stare while wondering if you a scared of feel familiar tot he guy in the box. matthias jakobi is open-minded and very critic about his work (and other artists working in this discipline), the association of ron mueck and the issue of cheap showmanship in special effects. nevertheless, his works panders between the poles and tackles them. however, it might be a good idea to keep an eye on the work of talented and nice guys, find out yourself:

matthias-jakobi.de



within this very stressful week friend and colleague dietmar showed up telling about a dream he had about me presenting a highly appreciated strange trash sculpture in a dark farmer´s housing while looking like i did ten years ago. as i wonder where ideas and images come from and being interested in artificial intelligence and lucid dreaming i was wondering if i can use this to create a new work. however, in the days off after christmas dietmar made a trip to the mosel region and visited the effelsberg radio telescope. the stange thing is that i was planning to go there to take pictures for years because i am remembering the telescope from a childhood memory, even if i do not know i fit was real... as i did not manage to do the trip, i created my own imaginary image using footage from clervaux combined with cgi. however, these are dietmar´s pics taken at the effelsberg, and a good opportunity to think about the origin of ideas and images, of believe and ideology.



'adaptation (you´re mine)' at galerie gublia. still on, still well attended, still concincing myself. we have scheduled an artist talk for april 14, more info and official announcement soon.


'ganada interface ep' out this friday. it is really thrilling to have a vinyl record with your music spinning, really exiting. unfortunately the vinyl is already sold out, so is the dvd. we will have more dvd copies around soon, if you are intersted, let us know.

recordoftides.com


record of tides 'granada interface (the lost tapes)’




record of tides compilation album 'driftings' via /CAMP. the release is not a new album but a compilation of old and recent tracks. it features tracks from recent sessions as well as material released as sellafield which has not been avaialable digitally or is available now in any other way. the mp3 download bundle also features alternative versions of tracks releaseed as penrose delta (also not available anymore) and is completed by a track from a session featuring michael knak from 2015 (check the journal: 2015-07-27 annual gifts, new recordings and bad aliens | entry by sven).

get all info and tracklist in the releases section, check ot driftings.
you will get the album for free via /CAMP, please make sure you´ll have a password! find out about /CAMP sign up here.



recordoftides.com
facebook.com/recordoftides


sven piayda
ADAPTATION (YOU`RE MINE)
galerie gublia, essen
2018-02-23 — 2018-05-05
opening 2018-02-23, 7pm

galerie irma gublia
kreuzeskirchstraße 3
45127 essen

+49 (0)179 762 19 24

facebook event
facebook.com/galeriegublia
galeriegublia.de




sven piayda | die entdeckung europas
KURZstummfilmfestival, zeche carl, essen
2018-04-27 — 2018-04-28
dee screening 2018-04-27, 7pm

kurz-stumm-filmfestival.de
facebook.de/kurzstummfilmfestival
facebook event






questions? complaints? ideas? contributions? collaborations?
click here

adaptation installation log, feb 20, 2018: installing a show is always exiting. sure, if you haven’t done it for the first time, there are some things you are aware of, but it is always thrilling. what if you hang the works too low, what if too high? what if you do not have enough pieces and what if they are too small for the walls? what if the walls are made of concrete and you cannot drive a nail or drill into it?
putting a picture on the wall appears to be hilariously simple, but nevertheless, the more simple it is it must be fixed perfectly.


today we look back on the first day of installing, nailing and gluing, discussing and changing. however, it is a mixture of vision, experience, helping hands and calm behavior to get everything together, also to keep an eye on the clock. for the installation we teamed up as four, just another building site generating costs next to production, advertising and rent. the result is more than convincing, perfectly mounted works in perfect light, even if we will have the video installations today I can say that I can proudly invite you to the show, because I know there is enough to see, to discover and maybe to find out for yourself.


the show is conceptional, multicoloured, postmodern, educative and commercial, probably everything it can be… let´s see if I keep exited for it after adding the videos. however, i´m exited for your points of view, works are made to talk about, aren´t they?


adaptation installation log, feb 22, 2018: I wanted to report earlier, so i´m looking back on the day before yesterday, the second day of installation. as hanging pictures on a wall puts me under pressure for known reasons (see, feb 20 log) I expected the installation for the video works to be a lot faster. well, after bringing all the monitors I have made the decision to do the next show with beamers, using monitors appeared to be easy in usage for different situations, and I like the look of them. now, after being in a still bad condition, carrying around the monitors was no fun at all. it used to be a running gag for friends and even fans to bring their old monitors and tv sets and I collected everything for situations like these. now I am reducing the collection, modern disc players have ports which will not fit to old tv screens anymore and there seems to be no reason to keep the old (and heavy) technology going. beamers have become cheaper and cheaper and they can do any ratio.


however, we could not make one monitor show the video so we had to return to the studio and bring a new one. (I could not make a complex show like this one more far away from the studio, even if you are organized, you need to bring stuff or exchange it, this is a good reason to work with a gallery nearby…) the non working tv set (which is generally working) was put to the street as an offer to anyone interested and it vanished the other day. we may do that again. I am happy with the installation, looking at some installation view made me wonder if we should have brought less works, to have some more space, but it was tricky to do the planning, how much would be to less, how much too much? the result looks good, I might do it different the second time, maybe the big wall is overcrowded. however I have made a show worth the journey to it. it is entertaining and educative, commercial and fine art standing in a tradition done with contemporary technology. it is something I would like to see.

I am seriously doing art shows for about ten years now, after a decade I can say that I have been truly engaged in pushing things forward, to do something I believe in and to keep the audience entertaining. there are no big plans for the time after, this will probably be the only solo show for 2018, nothing is in the line for 2019. trying hard is followed by evaluation, maybe by consequence. it is not about making art, it is about making sense.


'ganada interface ep' soon.

recordoftides.com


record of tides 'granada interface (the lost tapes)’




record of tides compilation album 'driftings' via /CAMP. the release is not a new album but a compilation of old and recent tracks. it features tracks from recent sessions as well as material released as sellafield which has not been avaialable digitally or is available now in any other way. the mp3 download bundle also features alternative versions of tracks releaseed as penrose delta (also not available anymore) and is completed by a track from a session featuring michael knak from 2015 (check the journal: 2015-07-27 annual gifts, new recordings and bad aliens | entry by sven).

get all info and tracklist in the releases section, check ot driftings.
you will get the album for free via /CAMP, please make sure you´ll have a password! find out about /CAMP sign up here.



recordoftides.com
facebook.com/recordoftides




record of tides´ third full length album 'solna' is out on the hamburg based netlabel kreislauf.org. the album is available as digital version only and can be streamed and downloaded via archive.org and sonicsquirrel.org.

listen to and download the album on
kreislauf.org/record-of-tides-solna-kreislauf-166
archive.org/details/kreislauf166
sonicsquirrel.net/detail/release/Solna/20301

also check label and microsite, as well as facebook site and event:
kreislauf.org
recordoftides.com
facebook.com/recordoftides
facebook event


sven piayda
ADAPTATION (YOU`RE MINE)
galerie gublia, essen
2018-02-23 — 2018-05-05
opening 2018-02-23, 7pm

galerie irma gublia
kreuzeskirchstraße 3
45127 essen

+49 (0)179 762 19 24

facebook event
facebook.com/galeriegublia
galeriegublia.de


sven piayda | plato was sad
ANSWERS ON A POSTCARD
school of design gallery, university of leeds, uk
2018-01-02 — 2018-03-12
opening 2018-01-02

school of design
university of leeds
leeds
LS2 9JT
united kingdom

design.leeds.ac.uk






questions? complaints? ideas? contributions? collaborations?
click here

it has been quite a while since my last entry and being honest I was wondering if I was supposed to close the blog. it is still an up and down, still fighting back from my tibia fracture, still dancing around the same issues, I felt like I was lead into a dead end. I wish I could write some day that I have fixed everything and that I finally have the live that you pretend to have on instagram, so could finally close the blog, there would nothing left to discuss. it is always tension that drives us, my static dissatisfaction must be genetic, pushing me forward.

these days have brought back some hope again, my recovery will still take months from now and I have learned to announce dates when everything will be fine again. the other project is the upcoming show at galerie gublia, irma gublia and me are really into it and enjoy working together, nevertheless there is still much work ahead (next to the work that is already done).

so before doing the show and educative work, we decided to do the classic dutch trip again, a weekend in zoutelande in the netherlands, a place we already know well but has still surprises for us. it is so simple, an arrangement of the sea, changing weather, fried fish, dutch beer and some drowsing offers perfect relaxing. if you have some days of and question yourself where to go there are possibly two options: discover a new place or do routines in the well known one. if you are looking for recreation you should take the second option. you follow routines and it is satisfying to find what you expect, you verify routines. it is simple, so it cannot be everything, sometimes you bring in a variations, this might be the magic hattrick in doing something, the known and the new. it is the same with art and everyday live, isn´t it?


a classic routine or should I say ritual? kibbeling and a shrimp croquette at the brassem fish stall in domburg. it is like a fried biennale.


the houses in zeeland are cute and small, so the stairs are really steep. I do not know if you can see how steep they are, the left picture shows the stairs in the hotel where we stayed in 2014 and had breakfast this year. I remember us coming home at night (and a little drunk) climbing up the stairs on our knees. this year we faced even more steep stairs, this must be the maximum of grade possible. wouldn´t it be easy to install a ladder?


if you have managed to step up to your room you have to get down again, also a challenge, threatening. however I have missed the opportunity to break the other leg.


it is widely known that zoutelande has the highest dunes in the netherlands, it is always like coming home when you see them, returning feels very good. the dunes also have big relevance for the ‘golden record’ video installation which will be screened at galerie gublia. the space probe replica was digitally mounted onto the dunes and I returned many times to document its fictive vanishing. the fictive recovery of the replica features footage of oostkapelle, only some miles away from the dunes. nevertheless, it great to walk on and under these dunes!



I am not sure but I cannot remember to have seen snow at the beach ever before. for years I would not even have considered to enter the netherlands in winter. it was very cold is somehow weird, it looks good on photo. even more weird: the next day looks like there has not been snow at all…


another beautiful view taken on our last day: dramatic skies and a wild sea waving goodbye waiting for our next stay.


returning from the zeeland coast to the ruhr area we usually step by in antwerp, but the reliable traffic jam in the highway ring and the exhibition agenda of the mhka made us travel over tilburg. the de pond museum celebrates its 25th anniversary and shows its fantastic collection. the yard in front of the musem features a new sculpture by anish kapoor. surprisingly it looked like a big screen while approaching it. kapoor can be seen critically for his ‘simple’ sculptural ideas and the attempt to get a monopole for the blackest black available, but his works stand for themselves, and they are strong and interactive, leaving an impression.


I have read many times about this work and here was the chance to see it as it was supposed to be shown. in stan douglas video work ‘wind, place or show’ are to actors in a room, chatting and fighting. the great thing about it is not the narration itself but the ongoing variation: the scene takes about a few minutes and starts all over again, but it is no loop repeating itself: a computer choses randomly different camera angles for every repetition of the scene, no matter how long you are going to watch it, there will be no identically cut version. this principle fascinates me a lot: I have adapted the idea of random combinations and loopless progression for my video piece ‘antenna’ and I am working on new pieces dealing with similar principles.


to find david claerbout´s ‘homeless cat’ in the collection was more a surprise. the interactive video synchronizes with the weather, but after all this technologic poetry of digital composites this is one of claerbout´s weaker works. nevertheless, claerbout is still in the top three of my all time favourites and I have seen numerous of his works installed. also the collection show features michi´s favourite video called ‘king’.


the de pont is placed in a former wool spinning mill, so some rooms look less like classic museum interiors. as I like to show my work I different places I have sometimes asked myself if my work might look less worthy if I show installation views in rooms far away from the white cube set-up. so it was weird and somehow familiar to jeff wall´s ‘diagonal composition’ in this transition corridor next to metal ladders. a showroom is what you make it and a great piece can be found everywhere.


update 2018-02-15: there is one thing i almost forgot: it must have been in 2010 when we spend our summer hollidays in the tiny house in the koudekerkseweg in biggekerke. we faced stormy nights fearing the roof might fly away, water came in and the vvv guys did not take our complaints too serious. however, it has left an impression, it was strange to live there, and it was fun but i would not ask for doing it again. as far as i know the house was not offered for rent after our stay, so it remains facing the weeds.
now it has become a ritual to check the house whenever we drive home and leave the zeeland finger, we have to have a look at the tiny house and other places we have stayed at.
well, first love, you know how it is...


'ganada interface ep' soon.

recordoftides.com


record of tides 'granada interface (the lost tapes)’




record of tides compilation album 'driftings' via /CAMP. the release is not a new album but a compilation of old and recent tracks. it features tracks from recent sessions as well as material released as sellafield which has not been avaialable digitally or is available now in any other way. the mp3 download bundle also features alternative versions of tracks releaseed as penrose delta (also not available anymore) and is completed by a track from a session featuring michael knak from 2015 (check the journal: 2015-07-27 annual gifts, new recordings and bad aliens | entry by sven).

get all info and tracklist in the releases section, check ot driftings.
you will get the album for free via /CAMP, please make sure you´ll have a password! find out about /CAMP sign up here.



recordoftides.com
facebook.com/recordoftides




record of tides´ third full length album 'solna' is out on the hamburg based netlabel kreislauf.org. the album is available as digital version only and can be streamed and downloaded via archive.org and sonicsquirrel.org.

listen to and download the album on
kreislauf.org/record-of-tides-solna-kreislauf-166
archive.org/details/kreislauf166
sonicsquirrel.net/detail/release/Solna/20301

also check label and microsite, as well as facebook site and event:
kreislauf.org
recordoftides.com
facebook.com/recordoftides
facebook event


sven piayda
ADAPTATION (YOU`RE MINE)
galerie gublia, essen
2018-02-23 — 2018-05-05
opening 2018-02-23, 7pm

galerie irma gublia
kreuzeskirchstraße 3
45127 essen

+49 (0)179 762 19 24

facebook event
facebook.com/galeriegublia
galeriegublia.de


sven piayda | plato was sad
ANSWERS ON A POSTCARD
school of design gallery, university of leeds, uk
2018-01-02 — 2018-02-28
opening 2018-01-02

school of design
university of leeds
leeds
LS2 9JT
united kingdom

design.leeds.ac.uk






questions? complaints? ideas? contributions? collaborations?
click here

welcome to 2018, a good start to all of you. a new start like every year, with all the old issues remaining, but new hope and a new schedule that is already full of dates. nevertheless i just want to give a short update. recently i am planning a vinyl release for record of tides. the idea is spinning in my head for months now, above you see me with a dummy version back in october.
i tried to join the vinyl renaissance hype, but it does not make sence for me. i was pretty much into compact discs, but even if they feature a great artwork it is not easy to sell them, discs seem to bout somehow. the digital download thing is up to date and works pretty good. next to there is a bunch of people who want to own a copy, something physical, like an artwork.
what i like about vinyl is the physical aspect of it, you can even send it to space with an explanation how to use it, so aliens can join your music (or whatever you might put on a golden record).

so even if the medium is a kind of outdated it is coming back, but only to those who are really into music, so much that they take the time to sit down in front of the player watching the fragile set up of needle and track and simply listen to music. somehow the medium is part of the music and it´s connection to people.

however, zany music will release a very limited and small edition of the 'ganada interface' ep, a four track vinyl featuring two exlusive tracks and two tracks of the upcoming album to be available digitally only. once again, this upcoming release will be the best work i have done in years and it will expand (corresponding to the medium) up to 108 minutes of music. more soon.

if you are interested in getting the record of tides 'garnada interface' ep on vinyl, please tell me via contact[at]svenpiayda.com. it may be sold out shortly after release. the price will be quite high and is not generating profit anyway, just mail for more info.i´ll pack a nice bundle for you anyway!


in spring 2017 zany music put out the 'swan ep' on cd. the opening track is also featured on 'solna', the rest of the release is exclusivly released on this limited disc. only a few copies are left, they will be added to the first incoming orders.

recordoftides.com


more outdated media. i guess my last solo show catalogue did not sell well, nevertheless it still great. having focussed on a new aspect of my work, we are doing a new catalogue. once again, this is not a commercial aspect, i simply had many texts and pictures for making the concept and the upcoming show, it was just obsolete to turn them into a catalogue. prices to be announced.
plus, maybe a catalogue launch/preview event. maybe.



galerie gublia will come up in february with something great, we are busy recently, I hope to see you there! some previews of know works to return and some impressions from the gallery...

galeriegublia.de



‘spirit with thorne’ made a big impression at the kunstmuseum mülheim in the beginning of 2017 and will be part of the upcoming show at galerie gublia. however, this boy seems like an omen dealing with my main issue of this year. nevertheless, I think it is a good piece.




record of tides compilation album 'driftings' via /CAMP. the release is not a new album but a compilation of old and recent tracks. it features tracks from recent sessions as well as material released as sellafield which has not been avaialable digitally or is available now in any other way. the mp3 download bundle also features alternative versions of tracks releaseed as penrose delta (also not available anymore) and is completed by a track from a session featuring michael knak from 2015 (check the journal: 2015-07-27 annual gifts, new recordings and bad aliens | entry by sven).

get all info and tracklist in the releases section, check ot driftings.
you will get the album for free via /CAMP, please make sure you´ll have a password! find out about /CAMP sign up here.



recordoftides.com
facebook.com/recordoftides




record of tides´ third full length album 'solna' is out on the hamburg based netlabel kreislauf.org. the album is available as digital version only and can be streamed and downloaded via archive.org and sonicsquirrel.org.

listen to and download the album on
kreislauf.org/record-of-tides-solna-kreislauf-166
archive.org/details/kreislauf166
sonicsquirrel.net/detail/release/Solna/20301

also check label and microsite, as well as facebook site and event:
kreislauf.org
recordoftides.com
facebook.com/recordoftides
facebook event


sven piayda | plato was sad
ANSWERS ON A POSTCARD
school of design gallery, university of leeds, uk
2018-01-02 — 2018-02-28
opening 2018-01-02

school of design
university of leeds
leeds
LS2 9JT
united kingdom

design.leeds.ac.uk






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