Henrik schwarz / dixon the grandfather paradox


An exhibition which compliments the National Gallery's Thomas Cole show, the elder statesman of Pop Art Ed Ruscha presents a vision of modern American landscape. Focusing on the idea of 'Modern Empire' via industrial buildings of downtown LA, the boxy utilitarianism of Ruscha's work is a sark contrast to the winsome romance of Cole's 19th century vision of rolling green fields and stately mountains. 

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Schwarz’s international success and his passion for global music culture are visible in his collaborations with Samí singer Mari Boine (Norway), Emanuel Jal (Sudan), Kuniyuki Takahashi (Japan), Ethnic Heritage Ensemble (USA) and Amampondo (South Africa).
Henrik Schwarz has performed as a musician under his own name on the stages of, among others:
Philharmonie Luxembourg, the Barbican Hall (London), the Royal Concertgebouw (Amsterdam), Tonhalle Zürich, the Cologne Philharmonic Hall, the Royal Festival Hall (London), the Auditorium Parco Della Musica (Rome), the Kampnagelfabrik (Hamburg), the Hellerau Theatre (Dresden), the Leipzig Opera House and the Chamber Music Hall (Berlin) and at festivals including:
Montreux Jazz, North Sea Jazz, Enjoy Jazz, Jetzt Musik, London Jazz, Numusic, So What’s Next, Rewire, Young Pianists Festival Amsterdam, Detroit Electronic Music Festival, Amsterdam Dance Event, Mutek, Nuits Sonores, Worldwide Festival, Melt! Festival, Timewarp, Awakenings etc
Henrik Schwarz runs his own record label, Sunday Music, which releases his own productions as well as the work of musician and producer friends.
Schwarz is in great demand as an innovator when it comes to the invention and development of music software and new technology for musical instruments, hence his release of the compositional patch, the SCHWARZONATOR . He works closely with companies like Yamaha Music, Ableton, Native Instruments etc.

— I’m disappointed. Club culture has never mutated into a meaningful social movement other than a vehicle for staying out late and getting high. Millions and millions of young people gather at places, yet it has never become a political movement. It was always about forgetting, and it’s sad, because I saw the roots of it, the freely accessible and open-minded parties of the early nineties that were later criminalized [in the UK]. I really feel saddened that club culture never spoke up for more than anything other than itself.

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Henrik Schwarz / Dixon The Grandfather ParadoxHenrik Schwarz / Dixon The Grandfather ParadoxHenrik Schwarz / Dixon The Grandfather ParadoxHenrik Schwarz / Dixon The Grandfather Paradox

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