release 03/01/2023, literature house vienna
brand new handmade eclectic art comic book
BOX (33 pieces)
contains:
+ 3 singles:
– CHICKEN / NATASCHA GANGL & RDEČA RAKETA
MAM 01 – 2018
– MI CORAZÓN / NATASCHA GANGL & RDEČA RAKETA
MAM 02 – 2019
– SUPERANDOME – SUPER RANDOM ME / NATASCHA GANGL & RDEČA RAKETA
MAM 03 – 2020
+ comic book WENDY PFERD TOD MEXICO (+ surprise goodies)
+ bag
+ whole radio play on CD
Wendy, horse, death, Mexico, loss, battle, violence, tenderness, discipline, dream. Language becomes sound, and sound becomes language. Out of the fragmentary, the density is weaved. From the depths of the fragile, the whole is born. Time structures are questioned and assembled through loops. Field recordings from Mexico meet Osojnik’s singing. Spoken language turns into melodies, while noise turns into bittersweet rancheras.
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MORE INFOS HERE
AN ACOUSTIC PERFORMANCE AND AN AUDIO PIECE
“WENDY FÄHRT NACH MEXIKO”, published in fall 2015 by RITTER, is the book debut of playwright and theater maker Natascha Gangl. RDEČA RAKETA aka the electroacoustic duo Maja Osojnik and Matija Schellander compose from this text material, field recordings, analog electronics, tapes, acoustic as well as electric instruments a listening experience and sound painting –
WENDY HORSE DEATH MEXICO LOSS STRUGGLE SAND TENDERNESS DISCIPLINE DREAM WORK MAGIC INTOXICATION END
The three artists are connected to each other in terms of content and form. Language becomes sound and sound becomes language. Out of the fragmentary the dense is woven. From the fragile the whole. Opposing voices, contrasts and discords find each other and resound. New interpretations are found through alienation. In the lost the beginnings. Time structures are questioned and assembled through loops, field recordings from Mexico meet Osojnik’s singing. Spoken language turns into melodies, noise transforms into bittersweet rancheras. Maja Osojnik, Matija Schellander and Natascha Gangl are united not only by their formal and thematic preferences but also by their many years of performance experience from theater productions, concerts and readings, respectively. Therefore, it was consciously decided to record the audio piece themselves, as well as to perform and improvise live in different variations. So far, three chapters have been created, each of which takes different aspects of the book as its starting point:
“WENDY HORSE DEATH MEXICO or The Horse is an Old Hare” UA Old Forge, November 2016.
“SUPERANDOME or Wendy and the Talking Machines” UA Elevate Festival, March 2017.
“EL SOL SALE PARA TODAS or ForgetYourWhole” UA Dramatists Festival Graz, June 2017.
These live performances, also served as a collection of material for a final audio piece, “WENDY PFERD TOD MEXICO – A SOUNDCOMIC.”, UA ORF Radiokulturhaus , Vienna, October 2017, first broadcast: 14.01.2018 ORF KUNSTRADIO – RADIOKUNST.
In collaboration with ORF Kunstradio – Radiokunst & SKE Fonds.
WENDY PFERD TOD MEXICO was awarded the “Long Burning Micro” of the Berlin Radio Play Festival 2018.
TO THE TEXT.
At least one generation of girls has grown up with the dapper and ambitious riding stable daughter Wendy. This comic book character, epitome of radiant mediocrity and philistine equivalent, serves as a foil for a travel and love narrative that takes its readers into zones of emotional as well as social escalation in a mega-metropolis. Just as in Mexico some houses are built from plastic bottles filled with garbage and clay, Natascha Gangl “upcycles” lines of song lyrics from rancheras and advertising slogans and weaves the found objects of the foreign linguistic space into a texture of the highest metaphorical density. Archaic as well as Christian-bizarre blood obsessions and suffering phantasmata penetrate through familiar surfaces of a hybrid culture marked by commerce, which swirl through the rider’s world view. The longing of the rider to overcome the distance to her deceased loved ones opens thought sluices to a shimmering in-between world marked by dream logic and animistic magic. Natascha Gangl’s book debut moves with breathtaking dexterity between delirious exoticism and laconic precision.
“Wendy Goes to Mexico” is thus a highly subjective appropriation, transformation and re-creation of the world by means of an individual formal language. One could also simply say: good literature. And as is always the case with good literature, it is precisely in the highest artistic subjectivity that there is always that which is shared by all, which affects all, that the collectively valid becomes evident in the seemingly singular.” GERALD LIND, LITERATURHAUS VIENNA.
ABOUT THE COMPOSITION
Rdeča Raketa conduct sound science and electroacoustic research that does not indulge in abstraction, but sounds refreshingly alive. The result is acoustic poetry that sometimes breaks with all musicality to create sound paintings that turn listening habits and contemporary cultural codes upside down – in cinemas and concert halls, theater spaces and installations.
First the name. Then the music. Then the text. Then the photography. Then the language. Then the landscape, the Karst and the sea. Then Kranj, Bilčovs, Ljubljana, Vienna. Then the politics. Then the action. No! The “then” does not exist in rdeča raketa. Everything is there, you can feel it, later you know it: loss, crisis, war, threat, anger, struggle, destruction, dystopia, sadness, fragmentation of life, utopia too, the robust, the quiet and the intimate. … The central musical stylistic device is the alienation, the reinterpretation of the acoustic material. So that we do not overhear the strange and alienating?
Rdeča raketa fulfills Kosovel’s demand that the artist find the “most accurate expression of a complete experience that acts directly through this organic form.” The artful interweaving of spoken language (based on Osojnik’s texts), analog-electronic and digital sound generation (synthesizers, computers), subtly used samples and field recordings, as well as acoustic instruments together with elaborate sound processing (bass recorder breaths, moaning voices, hundredfold layering of double bass tones, detuned high-culture piano in normal and reverse mode) presents itself as a wondrously heterogeneous mixture that – condensed into an indivisible whole – points far beyond the field of music. BURKHARD STANGL “Aporia and Confidence. About We Become by rdeča raketa)
This Project is friendly supported by SKE-FONDS, BMKOES LITERATURE & ART, KUNSTRADIO-RADIOKUNST Ö1/ORF
