image by Jar Moff
As part of the June PAN_ACT festival, ISSUE Project Room and Goethe-Institut New York present solo sets by two abstract sound artists who work with aural collage techniques: Joseph Hammer and Jar Moff, and by renowned German minimal techno producer Thomas Brinkmann.
Joseph Hammer is a sound artist from Los Angeles, and has actively created experimental works since 1980 as a member of the LAFMS collective. His multi-dimensional audio collage techniques yield completely unorthodox, hypnosis-inducing free-form improvisations. His practice draws on the complexities of the process of listening and playing, reflecting on the role of the audience versus the performer, and uses music as it influences our notion of time, memory and intimacy as the basis for improvisation and abstraction. In various collaborations, solo and as a founding member of the trio Solid Eye along with several other projects (Joe & Joe, Dinosaurs With Horns, Dimmer, Points of Friction), Hammer has performed widely and is an influential contributor to the Los Angeles underground scene.
Jar Moff, is an Athens based artist working in collage forms. Both his visual and aural oeuvre take the form of cut up and reformations in the manner of previous PAN stablemates like Joseph Hammer and Ghedalia Tazartes, remodeling the past in order to create something new out of the modern detritus, and nestles in nicely alongside Lee Gamble’s recent 'Diversions 1994-1996' release. The result is a baffling yet functioning head-on collision between early plunderphonics and an abstracted futuristic hip hop. Following on from his previous remix on the Harald Grosskopf Synthesist / Re-Synthesist LP (2011 Rvng), and a digital release for Leaving records, his debut full-length LP Commercial Mouth was released on PAN in 2013.
Thomas Brinkmann is a highly regarded German producer of experimental minimal techno music. Although experimenting with records since the early eighties, he gained wide reputation with his re-workings of material by fellow artists Mike Ink and Richie Hawtin released in the second half of the 90s. These productions were made by playing physically modified vinyl records on highly customized turntables with an additional tone arm. Brinkmann later founded the Ernst record label and introduced his own productions on a series of 12” records taking their titles from female names. He has since expanded his extensive production catalog on his own Max Ernst label, as well as other highly respected outfits such as Traum Schallplatten, Raster-Noton and Mute Records (under the Soul Center alias).
