it is hard to quote without futurama quotes, I may become my own meme. usually you would ask ‘what the hell is kwanzaa?’ and even the pic above features a quote from a futurama movie spoken by fry after returning to earth after returning from entering the anomaly. however, I like the idea of diving into unknown space, diving into the tear between the universes or flying into black holes, actually things you cannot and probably would never do but are great cinematic symbols for actually entering the new and bringing a twist. the filmpassage mülheim has stared a monthly series of screenings bringing back blockbusters that need to be experienced on the big screen. and they go a step further: the screenings are made from 4K copies by a laser projector delivering the best visual experience you can think of, also the sound is remarkably clear and powerful.

the first time I made it into the screening was for kublick´s ‘2001’ (see 2018-08-16 celebrating kubrick´s impact: join ‘2001’ as 4k-screening and sfx talk). even if the movie is great without any doubt the high end digital scan/projection from the analogue film material did not bring full blossom. ‘blade runner 2049’ took the full range instead. after watching this masterpiece in 4K every other movie looks like a czech fairytale on granny´s old tv.

the last movie of this series will be christopher nolan´s ‘interstellar’. I´ve already seen it in the cinema when it came out, watched it on tv and netflix, the experience differs every time, but it is made for the large projection. nolan´s sci-fi trip is indeed a tribute to ‘2001’ and quotes motifs without being cheap, also hans zimmer´s minimal organ-based score will echo in your head for a long time . the movie can also be seen critical by picking up too many contemporary issues and logic gaps. but let us be honest, you cannot tell a story like this one without expanded fantasy, a realistic version of it would not take place.

and finally, you can ask wikipedia what a tesseract is, but this wound be helpful at all. so this is an invitation you won´t get again, join for ‘interstellar’ 4K and enter the tesseract.

the filmpassage mülheim will screen ‘interstellar’ on friday, december 7, 2018, 8pm. please mail me if you want to join, so I can book some seats.

facebook event


our art collection is growing and growing, now it also features a print of banksy´s ‘kissing coppers’. it is a kind of funny because we discovered them in brighton back in 2017. well, actually the brighton coppers are fake, the original piece was found on a pub in london, it was cut out off the wall, brought to auction and replaced by a replica. so it seems to be tricky to get an original banksy these days. however, the collection is growing, more to come.


me on a rainy sunday out at fulerum county peak, a place nearby, obviously high enough to have a great view on everything. as i have learned ftom a book of esseys on jeff wall, 'landscape' meansdistance to the actual place.


this is michi´s favourite sheep on fulerum county peak, a small place with sheep, old seed apple trees, bees, insect habitat and wild flower spaces. the sheep likes to get pet but apperas pretty undecided during. michi named it dr. pepper, simply to ingratiate herself with me.







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


thomas r. hoeß, gabriella héjja &karla köhler with sven piayda
HOCHHAUS - HÜTTE - HINTERHOF
DER REITZ DES UNGELIEBTEN
galerie treppenhaus, erlangen
2018-11-22 — 2019-02-06
opening 2018-11-22, 7pm

the artists are expected to be present, except sven piayda
laudatio by martin turner

have a look at the invitation flyer over here

opening hours
mo—fr 9am to 8 pm
consulting and sale
wed 4 to 6pm
and by appointment
fon 0177 7299 665

galerie treppenhaus
henkestraße 91
91052 erlangen

http://www.galerie-treppenhaus.de/


sven piayda | rorschach
M O T I O N A R T F I L M
public space/werbegemeinschaft schwerte, schwerte
2018-09-29 — 2018-11-26

motionartfilm.de






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

after spending some time in luxembourg (guess we have discovered the kirchberg in 2011 and have never really left it) we decided to spend a few day at the sea in koudekerke, netherlands, a perfect place to calm down. here life is surprisingly easy, the sea simple blows your issues away, people come here for leisure, relaxing, shopping, fish and beer. if you want to, you can loose yourself in this fantasy.

as the sea appears peaceful und and we spend the day by simply walk along the beach we stumble in a new issue. you walk slowly watching beautiful shells and stones and cannot ignore the plastic trash around. to keep it clear: this beachside is truly clean but there is stuff around anyway. we started to pick up the trash to put it into he next garbage can. in the next segment we did it again. it is strange, you pick up one plastic bag and then you have to go on collecting trash from the beach.

please do not get me wrong, I am no activist and I’m not a good human being for picking up some plastic. even more, I do not want to trigger your awareness, because that is a cheap trick to feel better for an issue we are all pretty passive about. however, pick up other peoples trash is the right thing anyway but it does not fell good anyway.

michaela came up with a bracenet bracelet for me as a birthday present. bracenet recover ghosts nets floating around in the seas as being lost from their fishing ships. killing fish for food is one concept, killing fish for carelessness is another. I´m happy with my bracenet while my left knuckle already looks like being trapped in torn nets. however, I have also collected some trash from the beach for myself to probably up-cycle it. well, another hip and helpless idea to deal with a situation you cannot handle anyway.

you might ask your self of how did we go so far? how could we create a world and society that makes it impossible to step backwards and to turn away from ideas that turned out to be not perfect. I like to use the term of postmodernism as often as I can, because it guess it determines an exiting and conceptually complex age to live and create in. actually, we might live in the age of post future. hundred or fifty years ago the future started, you may also like to call it industrial revolution. the world was full of ideas of a better future for everyone. coal appeared free to take from the ground, nuclear power delivered cheap energy for everyone and the new material of plastic was (according to the euphoria of one of my former professors) able to have any kind of characteristic (except the one to vanish after being used). I believe that the engineers and producers actually never got aware of the effects of the aftertime of their ideas. these people believed to do the right thing, no doubt, but decades later we have to know better. this future was great and full of expansion and uprising but it is over. we are now facing the post future: nuclear power generates waste that has to be stored safely for 10000 years in barrels oxidised leaking after 30. we have put carbon dioxide into the atmosphere in only a few decades that was bound over millions of years deep down in the ground and left empty banks with groundwater pumps to go on pumping for eternity. we have created material that is used for days (or minutes) and takes 400 years to decompose or grind into particles small enough to return into your body through water to control it like hormones do.

post future means that damage is done and we have to re-estimate ideas from the past that have brought more aftermath effects than benefits. we should be less euphoric for contemporary ideas. electric cars are the future, no doubt, but we have to make sure that the power they use is not generated by a nuclear or coal power station. also, we have to make sure to produce the batteries under fair conditions, even when we have learned that you cannot even produce a smartphone under fair conditions… are there solutions to these dilemmas?

no, this is still no ecologic blog. I still like to make jokes about LOHAS (which is an acronym for lifestyles of health and sustainability) in the way bart simpson would annoy his sister lisa for taking pro-nature activism. but after all yokes you can make about these people you have to accept that their attempts are reasonable. politicians need solutions that work for four years, you might plan for the next twenty years, parents might plan for longer. why do we like to believe that all consequence is so far in the future that it would never fall back on you? the future is always ahead, post future says it already here because future is over.

so maybe all we can have is awareness of consequence and therefore awareness of the actions we take. be aware how your power is produced, how fair your devices are produced and if you really need a coffee from a plastic cup. do not get me wrong again, I am into brands that give a shit on economic and social issues but I want to move into the right direction. change is slow but consequence is faster than you think. actually it is still here. welcome to the age of post future.


collection #1: the loose collected trash from one segment. do you see the yellow piece in the middle? I do not even know what it is, so I took it home.


collection #2: the trash from another segment: it looks arty, but it is not. the net in the middle is also part of my collection now, I might create my own bracenet from it. what about you? interested?


michi in action even knowing it is just a drop in the ocean. this is how the do-gooder look at the beach, but why not remove plastics instead of shells and stones? sustainability is the new romantic.


some funny off-topic. we did not show up to save the world but to have a good time so after a grimbergen tripel I was brave enough to order my first portion of mussels cooked in white wine. the mussels taste a lot better than expected and perfect meal served as motivation to try new stuff. (you do not have to start with a bungee jump) sorry for the eco preaching, as you see I am not even a vegetarian, but like bart simpson I have quit stirring my hot chocolate with a salami (on lisa´s request).


unthinkable to leave zeeland without checking the dog shed... it was there in february and it still is now. it´s in a halo of changes, is there a building site coming up?


the mini golf domburg is open! no time this time but you need to have aims in life, next time we have to visit and play on this surreal place in the dunes. (by the way, i should do a collection of pictures showing boring stuff while having a dog in the background. might be a task for cold winter nights.)




another funny pic: a perfect place for me to clam down is to sit in a café in domburg and see the people rushing by, shopping and desperately seeking for relaxation, just like me. you can click the picture for a larger view, done with the panorama function of my phone to give you an idea with a cheesy photograph.







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


thomas r. hoeß, gabriella héjja &karla köhler with sven piayda
HOCHHAUS - HÜTTE - HINTERHOF
DER REITZ DES UNGELIEBTEN
galerie treppenhaus, erlangen
2018-11-22 — 2019-02-06
opening 2018-11-22, 7pm

the artists are expected to be present, except sven piayda
laudatio by martin turner

have a look at the invitation flyer over here

opening hours
mo—fr 9am to 8 pm
consulting and sale
wed 4 to 6pm
and by appointment
fon 0177 7299 665

galerie treppenhaus
henkestraße 91
91052 erlangen

http://www.galerie-treppenhaus.de/


sven piayda | rorschach
M O T I O N A R T F I L M
public space/werbegemeinschaft schwerte, schwerte
2018-09-29 — 2018-11-26

motionartfilm.de






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

when the mudam announced a solo show by jeff wall it was clear that this would be a must see for me. indeed, the mudam has never disappointed me, it has actually a big influence on my work by curating great shows dealing with meta levels.

jeff wall has a big influence on my work for sure, you can find some approaches in staging situations in my early works which are actually simply copy attempts. his work has taught me that even a grey sky can look good and can make a great picture. even deeper, I have learned that it is appropriate to know and show your archetypes in the postmodern age and to create photographs knowing and showing the fact of being a photography, what I usually call ‘mirroring the medium’.

I remember writing about wall and a controversy started on a quite flat level questioning his ability as an artist. It has actually inspired me to the work ‘concrete ball’ (which is a direct link back to wall) and to a blog post: 2013-02-19 run, daisy, run / concrete ball | entry by sven




I have seen his works in brugge and düsseldorf, they appear to be present, I own a bunch of catalogues and even a book with essays on his work (which I have actually read). I can say I am quite familiar with his approach and can tell a story to every light box. the mudam show come up with classics like the flooded grave and the barcelona pavilion, but also new works dealing with language. next to technical perfection the construction of scenes is usually perfect, like in a great movie or literature. you can watch it again and again, always thrilled by its perfection. when there will be a new show i´ll be there again.


and here is a picture of jeff wall during the press conference. the picture has been adapted from the instagram story feed of the mudam. it is kind of funny, even if he plays in a completely different league he is facing the same situation like me: standing next to your work in front of the press, talking about it while wondering if they will get the point. once again, this is probably an indicator for good art, wall is facing the questions and is able to talk about his work instead of trying to be cryptic and a mystically muse-kissed tool creating stuff no-one understands but everyone considers to be great for now reason.


next to wall there is also another modern classic in the collection: stan douglas ‘le detroit’ is projected as real film by two projectors on two sides of the hanging screen, as positive and negative version showing a black woman coveing the tracks in an abandoned house while creating new ones. returning to the car and starting the engine she considers to go back into the house, here the loop begins again… the strange set-up and narration play on the change of detroit and its rise and fall in economic and social ways. I could watch it for hours. douglas really goes beyond film and video finding further communication levels next to the straight narration.





susumu shingu is a new discovery for me. the japanese sculptor creates sculptures that keep moving all the time to show the constant movement of elements. when I first thought this to be a simple gag it tuned out to be meditative and even a respectful bow to nature. he wants to show that there is always some elemental movement and indeed – the sculptures move all the time. even more funny are the water driven sculptures in the dark chambers, you do not smell chlorine often in an museum…


this is what we call the ‘royal portrait’. the mudam offers this place with a bench perfectly fitting into the corner near the spiral stairs leading down to the ink fountain. as luxembourg has its royal leaders, we decided to do our portrait. fun fact: we did not ask someone to take a picture of us but photographed each other and merged the pictures to one. here the trace leads back to jeff wall, once again.


yet another picture of the mudam café, sitting there is perfect peace for me. again and again.


and another beautiful mobile shot of the mudam in the morning sun, right there on top of the world.

find out yourself over at mudam.lu


the CAR is a returning ritual, so i had to join the 2018 opening. the fair appeared to be strictly commercial once again. this time it tried to be a little bit more hip, the catering appeared to be as important as the artworks and the galleries seemed to bring up the most colourful works available. here the korean positions made an impression once again, especially seungyea park at grimson gallery. the pictures are only drawn by curly pen lines, so simple and seductive, even more impressive is the appearance somewhere between a black and white photograph and the memory of a dream. in all the colourful overdose, monochrome simplicity is the perfect discipline for a great artist. this is a true discovery and recommendation.


a little later bianca wickinghoff joined the annual fair in annual manner and we returned to some halls together. shortly before closing around 11pm (there´s no party afterwards)we discovered jochen g. schimmelpennick. he is leading the werkkunstgalerie (a producer´s gallery) in berlin and offers his own paintings of seascapes. however, as he had great works on the wall and a great presence in offing them for persuading prices so bianca and me were quickly convinced to purchase his works. bianca as well as me bought a painting, she´s got the bigger one, I have a beautiful small one. I´ll come up with a picture of it soon, for now I´m a happy art collector. the picture of us (and our wrapped artworks) has been taken by andre schiegler.







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


thomas r. hoeß, gabriella héjja &karla köhler with sven piayda
HOCHHAUS - HÜTTE - HINTERHOF
DER REITZ DES UNGELIEBTEN
galerie treppenhaus, erlangen
2018-11-22 — 2019-02-06
opening 2018-11-22, 7pm

the artists are expected to be present, except sven piayda
laudatio by martin turner

opening hours
mo—fr 9am to 8 pm
consulting and sale
wed 4 to 6pm
and by appointment
fon 0177 7299 665

galerie treppenhaus
henkestraße 91
91052 erlangen

galerie-treppenhaus.de


sven piayda | rorschach
M O T I O N A R T F I L M
public space/werbegemeinschaft schwerte, schwerte
2018-09-29 — 2018-11-26

motionartfilm.de






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

I felt a strong need to get off the everyday track and the need to go back to luxembourg. this is actually the best place for me to stay away from the usual stuff, being out of everything while enjoying a lot of culture and european sprit in the local geography and museums. my upcoming birthday and the strong feeling for skipping a party for some great days off made me even more need to get away.

luxembourg started as an experiment and is now a working principle. even if I consider the city as my secondary residence I haven´t been here for two years. a far too long absence and enough time to install the pfaffenthal lift (leading to the city) and a funicular linking the pfaffenthal with the top of kirchberg. even if my first argument to go here was the jeff wall show at mudam (i´ll tell you about in the next blog post) but the city itself is pure fun.

living on to of kirchberg feels like standing on top of the world. you look down like on a miniature model landscape but as soon as you go by feet you will realize the short distances between the buildings you se from above. a great place to travel without car and still relaxed enough to go there by car.


the view down from our apartment down to kirchberg, these trees are iconic but it is impossible to take a picture of them which is somehow representative. well, i´ll keep trying.


also a perfect view on the mudam, there are already a dozen pictures of it on my blog spread over the least years. more to come anyway, you know how obsession works…


the truth as seen on tv: no party but michi managed to do a small decoration and great gifts. I feel a lot younger than I am, these rising numbers scare me while I feel they have nothing to do with me. the only strategy is ignorance, so let us remain frivolous.





the pfaffenthal lift is something I had discovered first in the internet. pictures out of context appeared like a plateau in the woods, actually it is a lift to get quickly from the pfaffenthal into the city — in about 30 seconds! next to the lift a little plateau gives a perfect panorama view, even a view down with a window to step on for the brave one of us. the lift is usable for free by the way and makes traveling from one point to the other more easy even quicker. up and down all day, recommended.


we wanted to visit the casemates already back in 2011 because they are an important part of luxembourg. unfortunately the casemates were closed, now only the bock casemates (right next to kirchberg) were open and had us for a discovery. the space is actually a lot larger than expected. also we discovered the spiral stairs in stone that lead to a passage under the street going through the casemates. pretty tight, impressive and scary.


the pont adolphe was renovated over the last years and is now offing a passage for pedestrians. I did not have the time to check it out, but this is what it looks now. you might rememeber the interim bridge back in 2015 and the photograph I made of it merging winter and spring footage of it in 2011.


the funicular station seemed to have appeard from nowhere, it is also free to travel with the cable car up to the top of the kirchberg. two cars are sharing one track, two tracks are available, so there is never much time to wait…


the pont grande-duchesse charlotte is expanding over the pfaffenthal. the weird thing is the view under it. a photo cannot capture the strange feeling of such a massive thing hanging in the sky, it feels like ’district 9’. anyway, no aliens, just some undecided cats down here...

coming up next: susumu shingu, stan dougles and jeff wall at mudam.







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


thomas r. hoeß, gabriella héjja &karla köhler with sven piayda
HOCHHAUS - HÜTTE - HINTERHOF
DER REITZ DES UNGELIEBTEN
galerie treppenhaus, erlangen
2018-11-22 — 2019-02-06
opening 2018-11-22, 7pm

the artists are expected to be present, except sven piayda
laudatio by martin turner

opening hours
mo—fr 9am to 8 pm
consulting and sale
wed 4 to 6pm
and by appointment
fon 0177 7299 665

galerie treppenhaus
henkestraße 91
91052 erlangen

http://www.galerie-treppenhaus.de/


sven piayda | rorschach
M O T I O N A R T F I L M
public space/werbegemeinschaft schwerte, schwerte
2018-09-29 — 2018-11-26

motionartfilm.de






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

i don´t know, i found myself writing so much for the news section in the last weeks, i thought i could need my own section for statements. well, here it is. (2003-10-06 this is my space | entry by sven)

well, these non-structured lines opened the blog – or journal as I like to call it – back in 2003 (next to an epitaph on robert palmer, which was not released as dated but in october – as far as I remember). I never thought that the blog could become so important, for me and also to some readers. I´m not known for reading too much or having any novelist ambitions. I was always into art and music, I even kicked out the lyrics for my disability to sing and write good lyrics anyway. but being into something does not mean to just do it, it is also about having a look at the peer group, sharing thoughts, develop ideas, however, discuss ideas and find connections between art, global phenomena, personal life and even you.

but let´s go back to the beginning: back in 2003 I had the feeling that I was spreading too much opinion and personal thought in the news which were actually made for neutral info on my on-going projects. I was inspired by musician beck hanson who presented a ‘journal’ on his website. back in the days this was a revolution: a superstar was able to communicate directly and personally with his audience. as I felt like a superstar without audience, I thought that I need to adapt this concept. also I saw it as an opportunity to keep on posting and keeping a small audience entertained without having a big project going on.

beck did not really take it up, his journal featured only a few posts, I also remember david bowie being to too busy with his blog, however, I kept on going. the journal turned into something important, I wrote about other artists, art shows, music, parties, personal feelings and anecdotes and developed a certain style in it. sometimes I can merge art concepts with personal issues, transporting principles from the playground to the real world. sometimes it is just filling the blog with things happened i consider as worth to be remembered. I never saw myself as a blogger, but blogging became a hype. I found myself in blogger meetings where I met a lot of people taking the whole thing pretty serious while secretly hoping to make money with it. I remember a woman talking about her serious blog, not that kind of food blog or identification process blog. she said ‘identification process’ in such a disparagingly way that I kept it in mind. I guess this is an identification process blog and I hope it drives people nuts taking it to serious. many blogs have closed already, and this one is still here, before the hype, after the hype. without wordpress and any comments, weird, isn´t it?
anyway, there are still great bloggers out there, also a lot of humbug, it is like in the art scene, like everywhere else, isn´t it?

even after 15 years I don´t know where to take it. I often think about closing it in depressive episodes but it keeps me going on the other hand. however, writing down stuff is cleaning the head every time, it help to shape thoughts and builds bridges to the next step. I have accepted to be a quite slow learner; nevertheless I gain a deep understanding in the end.

the blog started to put out pings to keep in peoples minds, now it is a tool to help me think and communicate. this is my space and it is even your space: if you want to put something in feel free to send text, connection is what it is all about, writing appears to be a simple and common way.

15 years behind, many more ahead, hopefully.
you are welcome to join.



some style changes: above a picture of me take in bochum with a primitive digital camera in 2003, below a relaxed and long-haired version in 2010, my very own classic version in england and two pictures taken september 26, trying to look seriously in the morning and deep in the dirt while demounting ‘wishing well’.



today is the day where I believe to do a secret live set as record of tides, I don´t know more yet, there may some stuff come up and I hope we can prepare something for the future. however, saying something without saying something, cross you fingers and come back regularly.


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…







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 | rorschach
M O T I O N A R T F I L M
public space/werbegemeinschaft schwerte, schwerte
2018-09-29 — 2018-11-26

motionartfilm.de






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

once again a common ritual: this year we decided to visit bredevoort schittert once again as the festival was supposed to celebrate it´s 50th anniversary. it was strange, we were wondering how often we have been there and had a ‘felt’ of three but we could only find evidence for 2013 and 2015. the festival is primarily about illuminating the beautiful village around the mill, escorted by music (rock to smurf techno) and photography exhibitions, usually following a main topic.

this year was a mixture of common ritual and relaxed excitement, the churches and galleries are known. simpliy the decoration and main topic changes. even if the village celebrates the big anniversary, it was not too crowded. do not get me wrong, there have been more than enough for me, I would have wished for more resonance for the people preparing and working the whole year for this event. I am a big fan anyway and I am looking forward to the upcoming schitter weekend!


the mill on top of the hill has been photographed back in the days, and is a great place for an overview. looking down it really looks like movie set.


also, I have made a funny animated version from all the snapshots trying to get the wings in perfect position. if you are into anumated gifs if mills, here is another one.


a good example for the amount of work they put into it: a model of a ferris wheel spins around in light decoration. bad for the kids: it is completely unusable. nevertheless, most of them have been decorated by fairy lights themselves…


this corner pub was place for a great anecdote: last time we managed to get a chair and beer outside while the crazy train appeared. I thought it was just extreme luck to get a place there, this year no one was sitting outside. we skipped it for this year but will return…


a princess castle disney-style during the dusk and illuminated at night. well, we prefer residency on our castle to deal with invaders.



and a collection of impressions from the years 2013 and 2015, the magic moment with the locomotive and the ongoing question if 'titanic' is (or should be) a musical...

bredevoortschittert.nl


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…







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 | rorschach
M O T I O N A R T F I L M
public space/werbegemeinschaft schwerte, schwerte
2018-09-29 — 2018-11-26

motionartfilm.de






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

whenever I do shows or releases without any hope for profit I usually say hat I do it for fame. it just another funny level as working as an artist, because there is no fame, not at all. sometimes you are surprised and happy that someone might have realized you and your works, but this is it.
I think the maximum fame is indicated by unflattering paparazzi shots. everyone is craving pictures of superstars on their way to the bakery while looking like hobos. this makes sure that they are ordinary people, but brobably even less... that’s probably my fantasy while stepping in front of the house, pre-showered and bad dressed giving a motive to the photpgrapher hidden in the bushes. however, my nearest paparazzi experience are speed check evidential pictures, often refereed as federal paparazzi attack.

I have already brought it to a new level. even if I drive pretty reasonable, often get tickets after months after returning from a trip to benelux or england (it has become a funny ritual and running gag). now I was informed to get fined for not paying dart charge, I have reported about the trouble paying it (see 2018-08-06 london redux: second touch too much | entry by sven). now you have got actually fined for not paying. actually, the toll was booked from my credit card as I have arranged it with the hotline, however I had to pay again and enter an objection. of course, I feel pretty fooled by this system, but who cares. nevertheless, it puts my collection of federal paparazzi attacks on a new level: you see the full car, it is in colour and from a foreign country. this is england, this is cctv, welcome to the future.
15 minutes fame split into the moments of breaking the law.


some more fame: when I checked the mails last night I have received the one above. wow, the lady and her two sisters (is it getting hot in here!?) are requesting autographs from me. this moment fame lasted only half a second. why would someone being this much interested in my art want my autograph instead of buying a catalogue, edition or piece. I am addressed personally and properly, but I somehow feel that this is the mail of a bot. unfortunately I cannot answer the request (and the email) of the friendly lady (bot) and her two (hot/bot) sisters…
but what is the idea behind it? I googled without any results, michi googled with some hints: some people report of similar mails hunting for signatures to be placed on pdf documents to purchase whatever with you name (and your money).
another report was about actual autograph hunters looking for less or not yet known artists (how do you feel now?) to have in stock when their careers take off and the autographs gain value. however, whatever scenario seems possible here, I feel like a complete loser.

but maybe I wronged the lady writing to me, so I am sorry. but hey, simply try to convince me a little more serious of you interest and try to sound a little less like a bot. at least, you could invest in a piece instead of making me spent money for… for what? this is the fame game, a narcissist driven reaction for a benefit you will not get anyway. this time i´m not doing if for fame, I am not even doing it for money.


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…







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 | rorschach
M O T I O N A R T F I L M
public space/werbegemeinschaft schwerte, schwerte
2018-09-29 — 2018-11-26

motionartfilm.de






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

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