Photo: Albin Dahlström/Moderna Museet

Jutta Koether/Tony Conrad


8.4 2011


On 8 April Jutta Koether returns to The Thirst at Moderna Museet, this time in the company of the experimental film-maker, video artist and musician Tony Conrad. Together, they will do a unique performance in the exhibition room. On Saturday, 9 April, at 14 Tony Conrad will discuss his artistic work.

Jutta Koether returns to The Thirst at Moderna Museet, this time in the company of the experimental film-maker, video artist and musician Tony Conrad. Together, they will do a unique performance in the exhibition room. As a comment on the installation Berliner Schlüssel, Koether and Conrad will explore the installation together from above, and let their respective instruments meet.

Jutta Koether

Jutta Koether has belonged to the alternative arts scene for many years and has inspired artists in both Europe and the USA. Her interdisciplinary practice includes painting, music, poetry, film and performance. Jutta Koether works in New York and Berlin and is a professor at the Hochschule für bildende Künste (HfbK) in Hamburg.

Jutta Koether is inspired by artists and intellectuals who have created an alternative to mainstream culture, including the underground filmmaker Kenneth Anger and the musician Patti Smith. Koether has also collaborated with Tom Verlaine (Television) and Kim Gordon and Thurston Moore (both from Sonic Youth).

Tony Conrad

Tony Conrad is a Brooklyn- and Buffalo-based artist, musician/composer, and filmmaker. He was involved in the early development of underground cinema and minimal music. He is widely known for his 1966 film The Flicker, which is one of the key early works of structuralist film, and for his minimalist violin playing, both in collaboration with John Cale and La Monte Young and on Outside the Dream Syndicate, his 1972 record with the German krautrock group Faust. He has composed more than a dozen works using special scales derived from the harmonic series, and he frequently performs on violin and other instruments.

Beginning in late 1972 with the first of his Yellow Movies, Conrad produced several series of “paracinema” works – pieces that radically extended and questioned the boundaries of traditional cinema. These included films that used cooking as an analogical supplementation of film developing, and films that used alternative means such as electrocution, hammering, and weaving to replace camera exposure. In 1976 he joined the Department of Media Study in the University at Buffalo, where he still teaches. In the late 1980s and 1990s Conrad was an activist supporter of community media. He worked with several Buffalo media collectives, co-producing several hundred local public access cable television programs. Other films of his center on authority relationships that are implicit in media viewing.

Conrad’s music performances, films, videos, and other works are widely heard and seen in the US and internationally. Since 2006 he has been exhibiting at the Greene Naftali Gallery in New York and the Galerie Daniel Buchholz in Germany. In 2007 he performed at the Tate Modern in London and at the Louvre, and he was included in the Yokohama Triennale, as well as in the 2009 Venice Biennale. In New York he has performed at Issue Project Room, P.S.1, the Whitney Museum, West Nile, Roulette, The Kitchen, etc.

Conrad has released many CDs on the Table of the Elements label, including Early Minimalism (Volume 1), Moratorium, Joan of Arc, Thuunderboy, and others. His early work is the subject of Branden W. Joseph’s Beyond the Dream Syndicate: Tony Conrad and the arts after Cage (2008). Some of his own writings appear in Woody Vasulka and Peter Weibel’s Buffalo Heads: Media Study, Media Practice, Media Pioneers, 1973-1990 (2008).