Ursula Bogner - Winkel Pong

musically directed by lucrecia dalt

... coming in spring 2017

http://www.faitiche.de/

oh fuuuuuuck

Faitiche - faitiche 15

released September 2, 2017

A – Atmosphärische Energie (03:42)

B1 – Winkel Pong (02:03)

B2 – Feldspat (02:21)

___________________________ 08:06

Bandcamp excl.

4. Audio Liner notes (00:40)

https://ursulabogner.bandcamp.com/album/winkel-pong

http://www.faitiche.de/index.php?article_id=76

  Press release said:

Faitiche is delighted to announce the release of a new Ursula Bogner record (faitiche15). Winkel Pong contains three previously unreleased pieces from the archive of the sound researcher who died in 1994. In 2008, Jan Jelinek put together a first album from Bogner’s tape archive (CD/LP Recordings 1969-1988, faitiche01). A second followed in 2011, compiled this time by Andrew Pekler (CD/LP Sonne = Blackbox, accompanying the book of the same name with texts, photographs and Bogner’s graphic oeuvre). For Winkel Pong the tape archive was passed on to Lucrecia Dalt. The Berlin-based Colombian sound artist and musician chose three tracks from the 1980s (exact dates unknown), editing the tape recordings for their release on Winkel Pong.

 

Gundrun Gut (Malaria!, Einstürzende Neubauten), an activist and reluctant chronicler of Berlin’s underground scene since the 1980s, has worked with Lucrecia Dalt. She is also familiar with Ursula Bogner’s work. Reason enough to ask her for an interview:

 

Jan Jelinek: Gudrun, how does it feel to be constantly obliged to talk about the 1980s Berlin underground as someone who was there at the time?

 

Gudrun Gut: I’ve learned to live with it as there are clearly too few people who witnessed it first-hand. Maybe it’s even important to do these interviews as a woman – so that someone actually says that women, too, have written music history. Men tend not to mention this. But it’s true, people do always ask the same questions.

 

JJ: Did you know about Ursula Bogner in the 1980s? Did you ever meet her?

 

GG: No, I never met Ursula Bogner in person and I only discovered her in 2008 thanks to Faitiche. But that’s no surprise: firstly, I don’t know every single woman artist, and secondly, far too many women artists never see the light of day. In the male-dominated art and music market, women are not considered important – or worse still, they are not understood. Look at artists like Sonia Delaunay, Eva Hesse, Bebe Baron, Delia Derbyshire and Daphne Oram. Some of them have now been discovered – but only recently. A lot has changed in the last few years: there is a growing awareness of art and music made by women.

 

JJ: But isn’t it annoying that the conventional distribution of roles still applies? One example: in many articles, Ursula Bogner has been presented as an “electronic housewife”.

 

GG: When Ursula Bogner is referred to as an electronic housewife, then sadly that reflects the situation of many women artists at the time. Women could only pursue artistic activities in private – transcendence was reserved for men. This has still not been overcome. But today, the home has become a site of professional production for all. I’m talking about bedroom producers: it is totally normal to make art and music at home. And that makes things interesting, because “working at home” is no longer associated solely with women.

 

JJ: For Winkel Pong, Lucrecia Dalt compiled and remixed three pieces from the Bogner archive. You know Lucrecia and you’ve already worked with her. How did you meet?

 

GG: I met Lucrecia through MySpace – I think it was 2007. Back then she was still living in Medellin, Colombia. Lucrecia’s father made loop machines for her that she still uses. The Sound of Lucrecia was part of my 4 Women no Cry compilation series on Monika Enterprise, each with four producers from different countries. She’s great fun to watch as a performer because she has a unique sense of rhythm and feel for music. Above all I’m impressed by her sustained approach as an artist, someone who can and does think around corners. I’m thinking specifically of her album Ou, for which she ploughed her way through post-war German cinema, using it as a source of inspiration for a soundtrack. This is proof that she thinks like an engineer – so it makes perfect sense that she would want to explore the work of Ursula Bogner.

 

Berlin, 2017

 

More about Lucrecia Dalt

 

Lucrecia Dalt is a musician, sound artist and radio producer. Her work develops around her interests in repositioning fiction, time perception, scale, telluric affect, vocoding and sound dynamics. Lucrecia Dalt holds a Civil Engineering degree.

Lucrecia Dalt draws from a wealth of artistic and philosophical influences, from New German Cinema, geotechnics and artificial intelligence to the ethics of listening and technological ideas of the future. She has released five solo albums, has worked with European artistic institutions, producing podcasts for Radio Web MACBA and making sound design installations and performative pieces in collaboration with visual artist Regina de Miguel.

Mastering by Giuseppe Ielasi, Graphic design by Tim Tetzner, special thanks to Ursula Böckler.

the names in this thread are blowing my mind

bogner's first album will be re-released on october 26th. too bad it's not a new album i'll actually have to think about this because i love "her" music

https://youtu.be/OQd3n_gjg3k

news here

Im a fan of Lucrecia, Bogner, Jan, etc etc but I haven't checked it out yet, being only an 8min 7" release..  Artwork is lush as per usual with Faitiche

Expanded 'Recordings' reissue is welcome news.  Didn't that release come with the book about the "history" of Ursula Bogner?  My understanding is that it may be a fictitious alias/story under which the 'compiling' artists release solo work..  Anyone care to shed more light on this?

I listen to Sonne=Blackbox the most, and luckily I managed to snag that record from Other Music in nyc when it was still around

  On 9/13/2018 at 4:48 PM, Marked x 0ne said:

Expanded 'Recordings' reissue is welcome news.  Didn't that release come with the book about the "history" of Ursula Bogner?  My understanding is that it may be a fictitious alias/story under which the 'compiling' artists release solo work..  Anyone care to shed more light on this?

 

yes, first one came out with a "history" of ursula- then 'sonne=blackbox' came out with an essay about fakes in art. 

as far as ursula and whether she was real or not this was an elaborate hoax- i believe andrew pekler said enough to clue you in as to what's happening in this piece from japan times

https://youtu.be/3E50TLDFcqA