Clockwise from top left: DJ Marcelle, Vladislav Delay, Blacks' Myths II album cover, Pulled By Magnets

The Wire's weekly show on Resonance FM. This broadcast took place on 5 March and featured tracks by Blacks' Myths, Pulled By Magnets, Vladislav Delay, and more

Ben Bertrand
“Incantation 3” 
From Manes 
( Albums Claus


Vladislav Delay/Sly Dunbar/Robbie Shakespeare 
From 500 Push Up
(Sub Rosa

Louise Bock
From Sketch For Winter VII – Abyss: For Cello 
(Geographic North

Pod Blotz 
From Transdimensional System 

“I Dream Of Sodomy” 
From Red Summer 
(American Dreams)

From Divus 2 
(Boring Machines

Blacks’ Myths
“Mammy’s Revenge” 
From Blacks’ Myths II
(Atlantic Rhythms

Pulled By Magnets 
“Those Among Us” 
From Rose Golden Doorways

DJ Marcelle/Another Nice Mess
“Technicians And Their Light Effects” 
From Saturate The Market Now! 

Abed Abed
From Brutes
(New York Haunted

From Anabasis 
(Cherche Encore

From Headroof 
(Hakuna Kulala

From A2A¹ 
(Local Action)

The Philharmonie is closed – so we will come to you! Redeem the voucher code BERLINPHIL by 31 March and receive free access to all concerts and films in the Digital Concert Hall.


As the coronavirus pandemic has forced the shutdown of workplaces, schools, and large public gatherings, social distancing and self-isolating is being encouraged. To help musicians who are staying home, Moog and Korg have released their synthesizer apps for free. Moog’s Minimoog Model D iOS app and Korg’s iKaossilator app for iOS and Android are available for free for a limited time.

Moog called the release “a gift to spread positivity” and Korg specifically called it something to help occupy the time of people who are currently “self-quarantining & working from home.”

  • mini moog
  • safe yourself

Since the first stirrings of the internet, artists and curators have puzzled over what the fluidity of online space would do to the experience of viewing works of art. At a conference on the subject in 2001, Susan Hazan of the Israel Museum wondered whether there is “space for enchantment in a technological world?” She referred to Walter Benjamin’s ruminations on the “potentially liberating phenomenon” of technologically reproduced art, yet also noted that “what was forfeited in this process were the ‘aura’ and the authority of the object containing within it the values of cultural heritage and tradition.” Evaluating a number of online galleries of the time, Hazan found that “the speed with which we are able to access remote museums and pull them up side by side on the screen is alarmingly immediate.” Perhaps the “accelerated mobility” of the internet, she worried, “causes objects to become disposable and to decline in significance.”

Fifteen years after her essay, the number of museums that have made their collections available online whole, or in part, has grown exponentially and shows no signs of slowing. We may not need to fear losing museums and libraries—important spaces that Michel Foucault called “heterotopias,” where linear, mundane time is interrupted. These spaces will likely always exist. Yet increasingly we need never visit them in person to view most of their contents. Students and academics can conduct nearly all of their research through the internet, never having to travel to the Bodleian, the Beinecke, or the British Library. And lovers of art must no longer shell out for plane tickets and hotels to see the precious contents of the Getty, the Guggenheim, or the Rijksmuseum. For all that may be lost, online galleries have long been “making works of art widely available, introducing new forms of perception in film and photography and allowing art to move from private to public, from the elite to the masses.”

Even more so than when Hazan wrote those words, the online world offers possibilities for “the emergence of new cultural phenomena, the virtual aura.” Over the years we have featured dozens of databases, archives, and online galleries through which you might virtually experience art the world over, an experience once solely reserved for only the very wealthy. And as artists and curators adapt to a digital environment, they find new ways to make virtual galleries enchanting. The vast collections in the virtual galleries listed below await your visit, with close to 2,000,000 paintings, sculptures, photographs, books, and more. See the Rosetta Stone at the British Museum (top), courtesy of the Google Cultural Institute. See Van Gogh's many self-portraits and vivid, swirling landscapes at The Van Gogh Museum. Visit the Asian art collection at the Smithsonian's Freer and Sackler Galleries. Or see Vassily Kandinsky's dazzling abstract compositions at the Guggenheim.

And below the list of galleries, find links to online collections of several hundred art books to read online or download. Continue to watch this space: We'll add to both of these lists as more and more collections come online.

Art Images from Museums & Libraries

Art Books

After the fire that totally destroyed Brazil’s Museu Nacional in Rio, many people lamented that the museum had not digitally backed up its collection and pointed to the event as a tragic example of why such digitization is so necessary. Just a couple decades ago, storing and displaying this much information was impossible, so it may seem like a strange demand to make. And in any case, two-dimensional images stored on servers—or even 3D printed copies—cannot replace or substitute for original, priceless artifacts or works of art.

But museums around the world that have digitized most--or all--of their collections don’t claim to have replicated or replaced the experience of an in-person visit, or to have rendered physical media obsolete.


Digital collections provide access to millions of people who cannot, or will not, ever travel to the major cities in which fine art resides, and they give millions of scholars, teachers, and students resources once available only to a select few.

We can’t all take the day off like Ferris Bueller and stand in front of Georges Seurat’s Sunday Afternoon on the Island of La Grande Jatte. But thanks to the Art Institute of Chicago, we can all view and download the 1884 pointillist painting in high resolution, zoom in closely like the troubled Cameron to specific details, share the digital image under a Creative Commons Zero license, and similarly interact with an oil sketch for the final painting and several conté crayon studies.

And if that weren’t enough, the museum also includes a bibliography, exhibition history, notes on provenance, audio and video histories and descriptions, and educational resources like teacher manuals, lesson plans, and exams. This goes for many of the 44,312—with more to come—digital images online, including such famous works of art as Vincent van Gogh’s 1889 The Bedroom, Grant Wood’s 1930 American Gothic, Pablo Picasso’s 1903-4 blue period painting The Old Guitarist, Edward Hopper’s 1942 Nighthawks, Mary Cassatt’s 1893 The Child’s Bath, and so many more that it boggles the mind.

Browse Impressionism, Pop Art, works from the African Diaspora, Cityscapes, Fashion, Mythological Works, and other genres and categories. Search artists, dates, styles, media, departments, places, and more.

A personal visit to the Art Institute is an awe-inspiring, and somewhat overwhelming experience, if you can get the day to go. You can visit the website, with full unrestricted access, and gather information, study, marvel, and casually browse, at any time of day—every day if you like. No, it’s not the same, but as a learning experience, in some ways, it's even better. And if, by some awful chance, anything should happen to this art, we won’t have to rely on user-submitted photos to reconstruct the cultural memory.

The launch of this collection comes as part of the museum’s website redesign, and it is an extensive, and expensive, endeavor. The Art Institute, which charges for entry, can afford to make its collections free online. Some other museums charge image fees to support their online work. Ideally, as art historian Bendor Grosvenor writes at Art History News, museums should offer free and open access to both physical and online collections, and some institutions, like Sweden’s Nationalmuseum, have shown that this is possible.

And, as Grosvenor shows, the success of open access online collections has yielded another benefit, for both viewers and museums alike. The more people are exposed to art online, the more likely they are to visit museums in person. Chicago awaits you. Until then, virtually immerse yourself in the Art Institute’s many thousands of treasures here.

  • grant wood

today is the release date of Ben Bertrand his new album Manes (Stroom/les albums claus). I have only 30 vinyls left. You can stream it via bandcamp

There is an endless abundance of variations that the clarinet can use in changing the colour of a single note. As a privileged listener - and - experiencer, Ben Bertrand through his favourite instrument shared the musical blueprints with me, which resulted in this album. His music has become a vivid part of my almost daily thoughts - allowing what I hear to clash and sing with the patterns and rhythms already established in my mind. A voluntary trip, an absorbing experience in our Brussels vibrant cultural life. With his instrument and countless machines, Ben creates a web of sounds that are hard to pin down but easy to absorb as a whole. Ben Bertrand happened to me. His music, full of beauty, is good to listen to and pleasant to follow. A sense and perception of continued growth too illuminated and overwhelming to resist. While I sense when a new composition is coming, Ben was able in our daily conversations, to progressively untangle a musical mystery and layout the puzzle of a new creation. Listening to his music is like sitting at the sea, watching a slow motion of our crazy life sailing by. You, as a listener, with this record stepped in an early stage of his career, with hardly any involvement of other people, composition wise. Besides composing alone, there have been countless hours when Ben Bertrand worked and interacted with Christophe Albertijn for the recordings. There is also the essence of our regular exchanges and the visions we knit. These are in my opinion just the starting points of plural interactions and musical endeavours to be. It is a matter of his artistic trust and let go, while Ben creates his own language, package and macrocosm. The excellence of Ben Bertrand's music lays in its involving and easily accessible nature, regardless of your personal or musical past experience. Ben Bertrand is all before you for you to dig, and nobody is asking you to file him away under any category.


Tommy for Stroom & les albums claus


releases March 16, 2020


Compositions, bass clarinet and electronics : Ben Bertrand

Voice on B3 : Claire Vailler


Recorded and mixed by Christophe Albertijn at les ateliers claus, August - November 2019

Mastered by Mathieu Savenay at Globe Studio, November 2019

Artwork by Zeloot

Graphic Design by Nana Esi


Thanks to Dad, Mom, Tommy and Ziggy

due to the COVID-19 outbreak we'll have to change/cancel our March concert calendar. please keep an eye on our website

  • Limpe Fuchs
  • Limpe Fuchs

the event planned on June 6th - Dead C (nz) + Mosquitoes (uk) + dj Klakke (b) at les ateliers claus has been postponed due to you-know-what


1 April, 2020 - 5 April, 2020

  • GENT

For us from the Maghreb, who have dreamt, especially on the basis of the Western imaginary, of the renaissance of the couple in the sun, for us women who have filmed in the Arabic language in a cave of heat, of memory and ancestral whispers, I would like to say how much hearing a rebellious woman’s character brazenly taking apart her revolt in the Arabic language gives us confidence.

Writer and filmmaker Assia Djebar wrote these moving lines at the beginning of the 1980s, just after finishing her very first film, The Nouba of the Women of Mount Chenoua — one of the remarkable works which will be shown as part of the Out of the Shadows program, alongside films by Atteyat Al-Abnoudy, Jocelyne Saab and Heiny Srour.

Djebar wrote these lines about a book whose outcry continues to resonate furiously, even nearly half a century after its writing: Nawal Al Saadawi’s Woman at Point Zero. This small wonder of a book tells the story of Ferdaous, whose life is recounted in a night to Al Saadawi’s alter ego, a doctor visiting the prison where she awaits execution for killing a man. In the discursive field defined by Ferdaous’ testimony of her struggle to attain dignity in a cruel, patriarchal society, Assia Djebar finds a combat area and a take-off point for other women who continue to struggle against oppression and marginalization. Its tremendous force, Djebar wrote, resides in a gaze that amplifies bodies to resist suffocation at all costs, and in a timbre of voice that does not moan, no longer pleads, but accuses.

A decade after Djebar’s passionate advocacy of the book, another character named Ferdaous made her appearance. This time, not in a book, but in a film that is also part of this festival program: Queen of Diamonds by Nina Menkes. On the surface, the film shares little with the novel by way of setting or plot. But what links Menkes’s Ferdaous to her namesake is her experience of suffocation. Menkes’s homage to Al Saadawi’s work gives expression to this experience by framing the character as if trapped in a world that never quite becomes her own. But at the same time, she maintains an opaque stubbornness that resists her absorption in the dominant order of things. Against the grain, Ferdaous — who could almost be a sister of Chantal Akerman’s Jeanne Dielman — is not simply a “woman at point zero”: she retains the status of an enigma; an oneiric figure that refuses to be bogged down by the crushing weight of oppression.

There are many other evocations of Ferdaous to be found in the program that awaits you. From Vitalina Varela to Madame Beudet, time and again figures of dissent join in the outcry that is raised by Lis Rhodes in Light Reading:

she will not be placed in darkness
she will be present in darkness
only to be apparent

Against the offensive carried out by today’s absolutizing forces of oppression, a multitude of resisting gazes and accusing voices continue to extend the combat area that Assia Djebar found in the story of Ferdaous, inviting us to share in what we might be needing the most, here and elsewhere: confidence.

Melissa Ansel invites Valerie Lenders

Still life
With artworks from

Florence Cats, Joseph Charroy
Annabelle Hyvrier, Jean Lemersre,
Pablo Antoine Neufmars
Natacha Nicora, Samuel Padolus
Christophe Piette, Emma Shoring

13 & 14 & 15/03/2020 11am > 6pm
week-end opening

28/03/2020 2pm
« Mise en pot de légumes » +
concert acoustique by HUUR IS DUUR

09/05/2020 2pm
« Discussion radiophonique » by Némo flouret

15/05/2020 6.30pm
lecture « Cose Naturale »
by Pablo Antoine Neufmars

23/05/2020 10.30pm
visite guidée de l’exposition « Still Life »
suivi d’une visite d’atelier d’Annabelle Hyvrier

06/06/2020 6pm
concert d’éole Cristal +
projection du film « Mixage » d’Alle Dicu +
lecture du « Replis de l’anthélix » par Rachel Sassi

07 & 14/06/2020 3pm
performance poétique
« Olivier et ses amis » by Samuel Padolus

20 & 21/06/2020 11am > 6pm
week-end finishing

  • Still Life