UNCONSTITUTED PRAXIS
MATTIN
To follow up the exhibition « Noise & Capitalism-exhibition as concert » realised CAC Brétigny, 1 september -30 october 2010 the center present « Unconstituted Praxis » a publication realised as part of the exhibition by Mattin in collaboration with Loïc Blairon, Ray Brassier, Emma Hedditch, Esther Ferrer, Jean-Luc Guionnet, Anthony Iles, Matthieu Saladin, Howard Slater, Jarrod Fowler, Taku Unami, Zibigniew Karkowski & Evil Moisture, Diego Chamy, « »[sic] TIM GOLDIE, Malin Arnell, Ilya Lipkin, Barry Esson, Loty Negarty, David Baumflek, Daniel Lichtman, Maija Timonen, Anne Duffau et qui regroupe des contributions de addlimb, Billy Bao, Marcia Bassett, Janine Eisenaecher, Ludwig Fischer, Michel Henritzi, Alessandro Keegan, Alexander Locascio, Loty Negarti, Jérôme Noetinger, Andrij Orel & Roman Pishchalov, Acapulco Rodriguez, Benedict Seymour, Julien Skrobek, Taumaturgia and Dan Warburton.
« [...]Mattin attacks everything worth hating in contemporary improvised, noise and experimental music: everything precious, contemplative, or non-committal. A Mattin performance is not likely to offer satisfaction to its prospective audience; the experimental music fanboys are likely to be vexed not only by the sheer unpleasantness of the performance itself, but also by its lack of innovation, its refusal of novelty.
Not that beauty is foreign to Mattins work. Its just that the beauty inherent in his work refuses to be aesthetic, refuses to form the pleasant background to our complicity in our own self-alienation. It is a beauty as strange and disorienting as anything we encounter in the world.[...] », excerpt of the introduction by Alexander Locascio
Mattin
« Unconstituted Praxis contains texts, interviews and responses to performances in wich Mattin has been involved, made between 2002 and 2010. Prior to this books production the different nature, means of publication and languages of these texts have made access to them somewhat difficult. Here we collect them together for readers to facilitate acces and make connections between materials which is not necessarily always easy or coherent. Readers can explore the contradictions and problems themselves, opening the texts to critical thinking in a landscape in wich today people seem preoccupied by simply confirming their own sense of aesthetics through refinement and innovation », by Taumaturgia.
