#137: Use the publication as programming space|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#53: Immaterial support for artists is important.|#84: The White Cube is a lie.|#44: No name tags at dinner.|#37: Operate with radical transparency.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#61: No all male install teams.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#124: Do less, do it better.|#68: Once in a while we need to get out of utopia and get something done.|#111: Do it together.|#30: Don’t work with artists who are assholes.|#47: Artists need to be supported more than ever in the development of their practice due to the gaps that have been created in the field of fine art|#81: Things come alive when there is friction.|#99: Evolve according to changing needs.|#82: Clean and sterile looks professional, but really boring.|#16: Kunsthal Gent will always be a construction site.|#120: The new type of art institute cannot merely be an art museum as it has been until now, but no museum at all. The new type will be more like a power station, a producer of new energy.|#59: Always protect the floor when painting (or pouring concrete)|#55: Keep basic human needs on the forefront.|#54: What about disabled artists?|#32: Be pan-gender polyphonic.|#26: More artists, less borders.|#19: Have fun at the exhibition.|#137: Use the publication as programming space|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#53: Immaterial support for artists is important.|#84: The White Cube is a lie.|#44: No name tags at dinner.|#37: Operate with radical transparency.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#61: No all male install teams.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#124: Do less, do it better.|#68: Once in a while we need to get out of utopia and get something done.|#111: Do it together.|#30: Don’t work with artists who are assholes.|#47: Artists need to be supported more than ever in the development of their practice due to the gaps that have been created in the field of fine art|#81: Things come alive when there is friction.|#99: Evolve according to changing needs.|#82: Clean and sterile looks professional, but really boring.|#16: Kunsthal Gent will always be a construction site.|#120: The new type of art institute cannot merely be an art museum as it has been until now, but no museum at all. The new type will be more like a power station, a producer of new energy.|#59: Always protect the floor when painting (or pouring concrete)|#55: Keep basic human needs on the forefront.|#54: What about disabled artists?|#32: Be pan-gender polyphonic.|#26: More artists, less borders.|#19: Have fun at the exhibition.|
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15.12.2022 19:30

Price: € 10

B.A.A.D.M. presents: Abigail Toll, Aleksandra Słyż, Linus Hillborg

BAADM presents: an evening full of electronica and electro-acoustic ambient drones.

There is no presale, tickets (€10) are only sold at the door.

Abigail Toll

Abigail Toll is an experimental music artist from Berlin. Her psychoacoustic worlds of sound are textural, often sustained & emotional reactions to the political mechanisms that surround us. In 2018, she was artist in residence for the Amplify Berlin programme with Caterina Barbieri & Maya Shenfeld. During that period, she released her first EP ‘Old World | New Ruins’ under the name Ionian Death Robes (with Laury Achten). Her solo debut ‘Matrices of Vision’ will soon be out on Shelter Press.

Listen: https://abigailtoll.bandcamp.com/album/old-world-new-ruins

Abigail Tol
Linus Hillborg

Swedish composer / sound artist Linus Hillborg is active in various fields, ranging from experimental music and audiovisual installations to post-punk and noise bands. His solo work focusses on the “temporality” of sound. He combines modular analogue synths with his own programmed digital sounds, as well as acoustic instrumentation, improvised elements, and various tape-recorder techniques.
On his new album ‘Magelungsverket’ (Moloton, 2021) he takes listeners along on a journey through desperate soundscapes of electro-acoustic orchestral arrangements that seep through in rich harmonic synthesis.

Listen: https://moloton.bandcamp.com/album/magelungsverket

Linus Hillborg1
Aleksandra Słyż

Aleksandra Słyż is a Polish composer, sound designer and sound engineer currently living between Stockholm and Poznań. In her live shows, Aleksandra focuses on finding subtle connections between acoustic instruments and modular synths, creating rich and diverse drone structures that slowly but intensely pulse and resonate in the surrounding space.
An other big part of her artistic practice is “interactive sonification systems”. Since 2017 she has been conducting artistic research, applying practical experiments to motion sonification and human proprioceptive reflexes and various sorts of interactions. Aleksandra has already presented her work at various music and film festivals in Europe and the US, including the Avant Art Festival, Between Festival, Unsound, Up To Date Festival.

Listen: https://slyzaleksandra.bandcamp.com/album/a-vibrant-touch

Organised in partnership with Ancienne Belgique and with the support of Liveurope, the first pan-European initiative supporting concert venues in their efforts to promote emerging European artists. Liveurope is co-funded by the Creative Europe programme of the European Union.

A Slyz credits Tomasz Koszewnik web