Yann Chateigné Tytelman discussing Xenochronies

@ 8:00pm

Scrivener’s Monthly is pleased to present Yann Chateigné Tytelman discussing Xenochronies on Tuesday April 23rd at 8pm in the Grand Luxe Hall at the Western Front.

Xenochrony, a word that derives from the Greek xenos, strange or alien, and chronos, time, is a studio-based musical technique developed in the early 1960s by composer Frank Zappa. Xenochrony is executed by extracting a guitar solo or other musical part from its original context and placing it into a completely different song. “The musical result”, says Zappa, “is the one of two musicians, who were never in the same room at the same time, playing at two different rates in two different moods for two different purposes, when blended together, yielding a third result which is musical and synchronizes in a strange way”. Starting from here, we will explore a series of artists works who, luminously, use similar techniques of montage and adventurous dislocation to produce a specific form of knowledge. To be evoked: the writing of history “in between science and fiction”, fables, ”adventurous coherences” and documentary fictions, dust breeding, fictocriticism and “the dispersed science”.

Yann Chateigné Tytelman (b. 1977) is a critic and curator. He currently serves as Dean of the Visual Arts Department at Geneva University of Art and Design in Switzerland. He was previously the Chief Curator at CAPC Museum of Contemporary Art in Bordeaux. His recent projects include Seismology (Palais de Tokyo, Paris, 2012), The Curtain of Dreams: Hypnagogic Visions (IAC Villeurbanne, 2011-12), and Explorations in French Psychedelia (CAPC Museum of Contemporary Art, Bordeaux, 2008-09).

Programmed with Amy Kazymerchyk in tandem with DIM Cinema’s “Mirage of History” programme presented on April 22nd at  Pacific Cinémathèque.

Scrivener’s Monthly is a series of public presentations that explore the space between material practices and spoken words: a periodical that talks. Set alongside the exhibitions program at Western Front, this experiment in “not publishing” involves readings, performances, and other articulations.