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Angus Carlyle

@anguscarlyle

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Delighted to report that “Zawawa: Listening to the Aftermaths of Conflicts in Okinawa” - a book by Kozo Hiramatsu, Rupert Cox and me - is published by @archivebkj

The book is a bilingual Eng/JP presentation with fantastic translations by Asako Murakami. Included are longer discussions with Katsu Kabira and Seijin Yogi – who both survived the horrors of the WWII Battle of Okinawa - and shorter excerpts from our interviews with other ear witnesses such as Setsuko Ikehara, Masakazu Kudaka, Shoichi Chibana, Yoriko Ganeko, Toshihisa Tsuha, Ritsuzen Yamanoha, Yoshiaki Higa, Yoshitaka Ikehara and Tomotsu Tokeshi.

Ethnomusicologist Junko Konishi and Nicholas Friedman (Curator of Ornithology at Leibniz Institute) each provide wonderful contextualising articles and Rupert, Kozo and myself offer extended reflections on our collaboration, on the layered historical backgrounds to the Ryukyuan conflicts and on the process of making our film, which is featured as stills and in transcripts of audience reactions (not always positive!). There are a series of Rupert’s photographs of cloud formations – in part a reference to a sequence of US military footage of the sky we found in the Okinawa Prefectural Archives in Haebaru – and there are some of my field notes as well as Junko’s images of the Shuri Castle blaze and a diagram of Kozo’s 1990s research on effects of noise from US military bases.

Keeping all these layers together in two languages must have been no easy task but the great design is by Sara Marcon. We thank publisher Chiara Figone and all involved at Archive Books for keeping the faith on this long journey together.

Edit 1: Book has sold out. Edit 2 (26.4.26) Archive Books have printed more copies of 1st edition. by @anguscarlyle

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a year ago

In this first month of getting back into bread baking (something we last did consistently maybe two decades ago), I have tried some interesting flours (spelt, rye, multigrain) and been inspired by different recipes (slipper loaf, walnut) but the simple wholemeal is currently the most genuinely useful (hence cost saving).

Looking forward to trying some other approaches, perhaps even sourdough again after a disastrous first attempt hatched a strange concoction that smelled of paint stripper.

Image: a grid of 9 different loaves of bread, most cut into slices. by @anguscarlyle

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2 days ago

“Home Improvements,” an incredible woodland art trail between Edge and Painswick, curated by @rachelhowardart with works by Sarah Lucas, @abigaillane1, Rachel Howard, @clarewoodsstudio, @fionabannerakathevanitypress, @des_hughes, @kelarrowsmith, @lilycheethamartist, @lola.allan. July 12 – October 11. Location: what3words: ///carry.love.bump by @anguscarlyle

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7 days ago

Roni Horn at Hauser & Wirth (1,2, didn’t like initially but it has grown on me)

Japanese Women Photographers from 1950 to Now at Photographers Gallery (3, Rinko Kawauchi (surprised that the Mao Ishikawa selection was from “Camp Hansen” she is a brilliant photographer and that is a good series but would have preferred more recent work))

Michael Takeo Magruder, Gazelli Art Space, (4,5,6, the films (as I understand it co-created by AI on basis of prompts from iPhone field recordings)

Oliver Beer, Thadeus Ropac (7,8,9)

Yinka Ilori, Christea Roberts (10,11,12,13) by @anguscarlyle

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18 days ago

A packed house at @ic_visual_lab for a truly inspiring @sadiaph (Sadia Pineda Hameed) presentation that explored fascinating camcorder footage of her mother’s dance troupe performing (a family archive that was occasionally accidentally taped over with news items relating to the Philippines in the 80s, the opening sequence of “Dallas” or Rolling Stones in concert).

Through Hameed’s spoken script and her montage of the videos, she offered up ways to think about the dancing body materialising layers of knotty histories and emotional geographies: gestures, costumes, rhythms and instruments articulating in direct and more oblique ways memories and counter/memories of long histories of indigeneity, successive colonisations and imaginative island solidarities.

Cover song performers also feature in the videos and they were explored in terms of haunted karaoke, where a spirited version of Rockwell’s “Knife,” for example, becomes a potent and heartfelt meditation on loss and loneliness but also belonging and becoming and liberation. I don’t want to make it sound even the slightest bit dry - it was the very opposite of that, a powerful demonstration that deep, thoughtful art can be utterly engaging. The Q&A was in full swing when I had to run for my train. by @anguscarlyle

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25 days ago

To @beefbristol for their “New Department of Moving Images,” a large group show that continues throughout this weekend, very well worth combining with the Bristol Art Book Event if you are in the area. There is a lot to engage with in the cool, spacious and dim interiors: perfect conditions for works that seem sometimes to tend to phenomena at the thresholds of perception, the limits of memory and the cusp of technological figuration. Exploring just two works soaked up all the time I had available, each revealing more layers the longer I stayed. @louisa_fairclough’s work announced itself in advance with a repeated refrain that seeped softly through the gallery, then circled the speakers a little more insistently, that refrain finding rhythms with the whir of the projectors and the patterns of light they cast in sequences on the small screens and with the diagrams drawn by the spooling film that threaded across the space. @shirley.pegna “Rock Record” brought headphones, lights and turntables into an inviting installation, that closer inspection revealed in much more complexity than would be implied by any simple statement of that setup. The disks are Gypsum Alabaster formed in Spain 23 million years, sculpted into platters and etched with the relatively very recent sounds of an earthquake in Indonesia picked up by seismic sensors in the UK. Pegna had to work with a lathe cutter for the disks, and a geologist for the data: what the headphones transmit is a transposition of a playback of the etched disk, the rumbles, groans and crackles now heard differently than at the first encounter, a listening that shifted for me to the intricate chain of sensing and recording devices and media that made the sound possible and shifted again when thinking of the news of the twin shocks in Venezuala. Writing this with sweaty fingers on the delayed train home yet thinking I need to go back to explore both works further. by @anguscarlyle

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a month ago

Nancy Lupo “Several Chickens Later,” at @spikeisland, an elegantly composed (and compellingly oblique, to me anyway) series of utterly assured sculptural gestures that lock into a kind of gravitational field across the gallery spaces: the work really draws you in and gets under your skin (I keep thinking about the soap trays and a spectral doorway). Really in awe of people who can pull this kind of work off so well. by @anguscarlyle

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a month ago

This was supposed to be one of two images: one at yesterday’s sunset and one the following sunrise. Set my alarm for 4 a.m, had pile of clothes ready and route to higher ground sorted, but … I overslept. Happy solstice anyway. by @anguscarlyle

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a month ago

Lovely to receive a copy of the "They Live by Lamplight: Psychogeography for New Energy Vampires" zine from @oldweirdalbion, with other contributions from @hanaloftus, @lucykgreeves, @jezrileyfrench, @pheobelaw, Jamie Cross, David Knight, Foster Neville, @lauragraceford, John Wild, @moragloiters, @streathamtom, @asherlevitas, @sonia.overall, @gair_dunlop, @the.stone.club, @stonecirclesampler (hope I haven't missed anyone!).

I drew the structures I'm calling "cell palms" and included the GPS from a shuffling peregrination around the ones I found in central Marrakesh / مراكش.

"After a week earlier this year hiking across scree slopes and surging rivers, wandering mountain villages in the welcoming quiet of Ramadan and spending evening meals chatting with one of my oldest friends and with the hostel strangers who might become new friends, Marrakesh overwhelmed in contrast: everything compressed, all horizons abbreviated, the visual scene dense with signage and all kinds of architectural detail, thronged with people, congested with cars and scooters.
As we waited at some traffic lights, my eyes were drawn to a tall cluster of what I first thought were organic palm trees but which I soon realised were cell towers in disguise, camouflaged platforms for the antennae, dishes, transceivers and cabling needed to transmit such mobile data as the Instagram post I sent the next day that compiled a selection of phone photographs of all the similar cell towers I could find on a short investigative run." by @anguscarlyle

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a month ago

Joe Namy, Ibraaz (1,2)
Kenjiro Okazaki, PACE (3,4)
Nicholas Hughes, Photographers’ Gallery (5,6)
Lisa Barnard, Photographers’ Gallery (7,8)
Lee “Scratch” Perry & Mouse on Mars, Barbican (wearing my Martine Rose x Supreme / Pipecock Jackson t-shirt especially) (9)
Delcy Morelos, Scuplture Court (10,11,12,13)
Nhu Xuan Hua, Autograph (14,15,16,17)
Rachael Crowther, Chisenhale (18,19,20) by @anguscarlyle

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a month ago

Wonderful work. by @anguscarlyle

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2 months ago

To Gloucester for an event connecting sound, poetry, movement, memory, migration and then dwelling.

On the headphones: @yungifto exploring cities as spaces of inadvertent eavesdropping and @mjdwgram weaving stories of home and belonging around the tastes at the Caribbean kitchen table.

@laurenscott1.0 creating movement flows around the shopping centre and @ishitaupp leading poetry workshops (with some great writing cues and inspiring books to browse). @juice_shuting creating a sounding sculpture animating by little autonomous machines and invitations for all to get involved. by @anguscarlyle

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2 months ago