sound political art, and the sound of our politics
In an increasingly conservative climate within electronic music and the audio arts, Public Record remains committed to releasing projects that do more than make political claims or represent political ideas. Like the Ultra-red organization itself, Public Record provides a space for exchange between artists and audiences of art directly engaging the political.
The German art critic Walter Benjamin once rebuked the Surrealists, demanding that artists who assume the mantle of revolutionaries would do better engaging actual political struggles than promoting their individual artistic careers. Benjamin challenges artists to pursue sustained and committed relationships with social movements.
Conversely, simply listening to political movements poses its own inadequacies. Convention and territorialism inflict many political organizers producing tendencies that result in stagnation. Leadership too often becomes a claim to power rather than a participatory process.
A challenge to instrumentalism, a critique of goal-driven strategizing, a deconstruction of exclusions, and the distribution of power can inform art's contribution to an encounter with(in) social movements. Solidity, duration, and faith in the process become necessary conditions for such an encounter. As Ultra-red member Leonardo Vilchis argues on the release "Encuentro" (PR 2-01-011), let these terms define the basis of a sound political art practice.
This year, look for new projects on Public Record by artists such as Christopher DeLaurenti, Ashley Hunt, Elliot Perkins, Terre Thaemlitz, and various teams within the Ultra-red organization.
For the most up-to-date information on Ultra-red and Public Record, check out the blog "Ear of the Other" from Ultra-red's Information Secretary: http://blog.myspace.com/publicrec
On MySpace, Ultra-red and Public Record can be found at: http://www.myspace.com/publicrec