Initially classed as a turntablist, Lucas Abela's work has rarely resembled anything in the field, early feats saw him stabb vinyl with Kruger style stylus gloves, bound on electro acoustic trampolines, drag race the pope across the Sydney Harbour Bridge, perform deaf defying duet duels with amplified samurai swords, hospitalised by high powered turntables constructed from sewing machine motors, record chance John Peel sessions with the Flaming Lips, become Otomo Yoshihides' favourite entry into his Ground Zero remix competition; 'Consummation' (even though instead of sampling the CD he destroyed it using amplified skewers!).
Today these turntable roots have became almost unrecognisable, evolving into his infamous glass instrument, the shards being nothing more than a giant diamond tipped stylus you vibrate with your mouth. He has been perfecting the instrument since it's invention in 2003, perfroming internationally as Justice Yeldham and with his glass/ drums/ piano trio, Rice Corpse and now simply as Granpa. He also founded of the irreverent dualpLOVER organisation, promoting, touring and releasing stark music from Australia and Abroad.
After a long performance career his ideas have crossed over into sound installation or more accurately building participatory instruments for musical play. works like the Vinyl Rally (RC cars raced on vinyl), Mix Tape (accessible audio tape) Pinball Pianola (Pinball/Piano hybrid) and Paku Paku (real world pacman) reflect his desire to create interactive installations in line with his philosophy that experimental music is more rewarding to play than to watch.
Frank “Rat Bastard” Falestra is a guitarist, bassist and audio engineer who was a founding member in numerous psych, noise music, and performance art rock bands since 1970's, a true enemy of music. In the early 1980s Falestra co-founded a recording studio in Miami, Florida which existed under different names and locations for nearly twenty years. He currently runs his own studio in the South Beach section of Miami Beach. Unceremoniously he was given his current moniker by a shitty punk band he recorded 30 years ago. He’s been playing improvised noise on guitar and bass and electric violin in an unsavory part of town at a lovable shithole called Churchill’s pretty much every week since 1983. In 1993, Scraping Teeth earned the title of “Worst Band in America” from Spin Magazine. It wasn’t an insult but a triumph for Scraping Teeth’s founder and a Miami icon with a focus on atonal, non-repetitive playing at bowel-shaking volumes. His longtime band, Laundry Room Squelchers which consists of him and whatever hot girls he can rope into playing with him, surge through the audience with their instrument cables wrapped around their fists, a compositional interaction with the audience that always end in hair piles. He founded the International Noise Conference , a free weekend-long festival of the most obscure harsh-noise acts you’ll find in the country who play 15-minute sets max. As legend has it, one night a patron fed up with Rat’s incessant rumble stormed the stage and put a gun to his head. 'Go ahead and pull the trigger,' Rat told him, 'cause I ain’t stopping'.
+ Graham Moore
LUCAS ABELA’S - TEMPLE OF DIN
The Temple of Din is an audio arcade consisting of a series of pinball/musical instrument hybrids that make sound generation, not scoring the games main objective. Works like; Pinball Pianola (2012) a Frankenstein experiment combining an upright piano and a pinball game with twenty flippers triggered by a keyboard that shoots balls against the soundboard’s exposed strings, Balls for Cthulhu (2013) a pentagram shaped multiplayer game formed by ten guitars with their fret boards facing inward, so the strings take the full brunt of balls jostled by players stationed at each of the stars five tips, Flip-Off (2013) a pin/foosball hybrid that creates automated break core music by triggering Toecutter samples and Pitchfork (2015) which has twenty tuning forks incorporated throughout the playfield you can aim for.
Built for musical play by Australian sound artist Lucas Abela these machines form the Temple of Din, a place that can only be attributed to the cacophonous Miami Beach video arcade of his youth. Where the reverberating screams of multiple amusement machines housed closely together in a small concrete room became etched into his psyche and must have influenced his adult life as part of the international free-noise underground.
By appropriating the pinball format for these participatory sound installations Abela taps into an affinity people have with these much loved amusements. As an interface it contains a certain level of intuitiveness, once at the controls audiences have an innate understanding for the language of the game instinctively knowing what’s expected from them, a palpability that gives the work instant immediacy. By harnessing this affinity the experiences created are tangible, fun and layered with purposeful goals that go beyond mere interaction, instead requiring focused engagement that challenges the audience beyond the ‘do this and that happens’ passive experiences so common in interactive art.
This event is taking place in co-orporation with Brussels Art Days and with the support of the Australian Embassy
opening hours of the exposition:
11.09 from 11:00 til 23:00
12.09 from 11:00 til 01:00
13.09 from 11:00 til 19:00
The exposition is free of entrance