+digi nikki+東京

Hi, I’m on my way to Berlin to record material for my new album.
Working title is “Childish”.

If you are in Berlin message me, I’m looking for unexpected guests.
hugs,

Digiki

June 2008: Polypunk 031 is Polypunk After All, Daft Punk selected by Digiki in Tokyo, posted from sunny Paris. Still ALIVE in 2009. Photography by Alin Huma. Enjoy.

Polypunk After All (*.mp3)

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Season 4

Polypunk 030
Polypunk 029
Polypunk 028
polypunk at the edge
POLYPUNK SEXE

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Escape
Tokyo
Samplewerk
Trees are so special

Today, 101TOKYO announced its plans to expand the fair for its next edition to 60 galleries and to find a new team of directors. Today marks the day I am leaving my job as Creative Director of 101TOKYO. It was an exciting experience and I learned a lot, and I believe we were successful for our first year. Today I am leaving because I don’t agree with the direction one of the founder (and producer of the Fair) wants to go, and because I don’t see any creative role for me in this project. Vague strategy, unclear schedule, and no creative or artistic direction: at the moment I can’t see 101TOKYO 2009 happening. But I could be wrong, and I wish good luck to Julia Barnes and Nonaca. Time for me to move on.

There is still a need for good, relevant, art events in Tokyo though. Connecting the dots and facilitating exchanges between international artists and galleries and the local Tokyo scene (and Japan: there are interesting things happening in Hokkaido, Kansai or Kyushu) is more important than ever. We need more and better exhibitions, we need to continue to challenge ourselves and ask big questions, build new ways to look at art, live the art of today. I am very much looking forward to future events in Japan, starting with the Yokohama Triennale in September.

As I write this I am on my way to Europe, and more than ever ready to start new things. It’s almost liberating to move on and start afresh. Hello Basel, Paris, Bruxelles, Berlin. See you soon, Tokyo!

What do people want from Art? I don’t know the full answer, but one thing I’m increasingly sure of is that they want life. They want the sense that there is something going on, that something real and exciting and of its moment has been captured.
Brian Eno interviewed in Wired, June 2008.
(For the record I’m pretty sure I have that Wired issue from 1995 somewhere in Paris)
Inspiring, as always.

///
recording new things (let’s not call it a new album, shall we?), no deadlines, no boundaries.
Eric called it a “Digiki apaisé” which might or might not be true, it’s much too early to tell.
Reading Eno’s interview reminded me how much I get asked the software question, -what do I use? have I finally made the jump to whatever application? - when the real excitement is discovering new goals, new ways of working the material, cutting the matiere premiere itself to tell a different story, a new story, map new emotions. It’s not about the tool, really.
One of the operating principles of my work has been the study of the relation between source material and remixed material, and if today everybody is a remixer there are still plenty of ways to blur the line between original and recontextualized material. I’d love to do a Digiki album without Digiki, and actually I almost made one with my new album Dense music (out next month, more on that soon-ish). I’m really curious to see what is possibly next.

Shikoku, May 2008.

Je ressuscite?

A&A, Nishi Shinjuku, 2008

Yagisawa-san, Florian, Alin, Takashi & me
Happy Birthday Countach!