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[voyance15]

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[augustin-shackelpopoulos]

Après 7 éditions parisiennes, Divertissement Ad Vitam Aeternam (DAVA) fait le pari osé de la décentralisation en vous proposant 4 dates exceptionnelles à Dock B ! Une première session DAVA 8 les 9 et 10 janvier de 20h à 22H. Et une deuxième, DAVA 8 Encore, les 16 et 17 janvier de 20h à 22h également. Toujours présenté par Sacha Béhar et Augustin Shackelpopoulos, DAVA 8 (ou DAVA Infinite) s’annonce comme le carrefour entre rave party et journalisme. 🎫 Gratuit sur réservation: bit.ly/DAVA-DockB + Chapeau à la fin DAVA ? ————————————— Sacha Béhar et Augustin Shackelpopoulos animent DAVA depuis le 29 octobre 2014, date de la première édition à la Gaîté Lyrique. Ils ont également présenté sur YouTube l’émission Fiche de Lecture dans laquelle ils parodiaient les critiques littéraires, avant de publier un livre du même nom en août 2017 aux éditions Marabout. DAVA est aussi une chaîne YouTube. INFORMATIONS PRATIQUES 📌 ————————————— Gratuit et ouvert à tous du mercredi au dimanche 🕒Mercredi au samedi : 8h30 – minuit 🕒Dimanche : 10h – 19h Cuisine : 12h à 14h30 / 19h à 22h30 1, Place de la Pointe 93100 Pantin Métro n°5 Bus n°61, 141 et 145Arrêt Église de Pantin -> Sortie 1 Avenue Jean L'Olive -> Passage du Mail Charles de Gaules en direction du canal du L’Ourcq

[impressivepress]

How the Spirit Of Morocco Seized Matisse

The rain began to fall just a few hours after Henri Matisse installed himself in the Hotel Villa de France in Tangier at the end of January, 1912. For days it poured. ''Shall we ever see the sun in Morocco?'' the artist complained in a letter to Gertrude Stein after his first week.

Matisse kept himself busy by painting a vase of irises in his room, a dark image that makes much of the irregular pattern created by flowers against an ornate dressing table. Only the pale yellow and green stripes reflected in the dressing table's mirror hint at the extraordinary colors that Matisse was to discover in Tangier when the clouds finally lifted.

''Matisse in Morocco,'' which opens today at the National Gallery of Art, has only 23 paintings and about 47 drawings, most of them casual sketches that the artist did while wandering the streets and staring out the window of his hotel during his two trips to North Africa, in 1912 and 1913.

But if the exhibition is small in number of works, it greatly illuminates this key figure in the history of 20th-century art. Matisse's Moroccan paintings are for the most part bathed in a dusty, hazy light, a light composed of pinks and yellows and soft blues and greens. If the somber, sharper tones of his still life with irises were the result of cloudy skies, the view of Tangier from the open window of his hotel room that he painted on his second trip to Morocco reflected an entirely different experience.

This is a scene parched by the sun. Like so many of Matisse's Moroccan paintings, it is covered only in the thinnest washes of pigment, as if Matisse wanted the texture of the unpainted canvas to show through so that it would add rawness to the browns and grays.

Although Matisse spent only a few months in Morocco, his experiences apparently remained vividly with him for the rest of his long life. To see, for example, the paintings he completed in Nice during the 20's, with their odalisques and their dizzying arrangements of carpets and wallpaper is to see Morocco transplanted to the Riviera. And to see the cutouts of Matisse's last years, with their brilliant floral concoctions, is to see the spirit of Morocco still alive in the artist's imagination.

Even the evolution from Matisse's depiction of a female nude in ''Back I'' of 1909 to his abstracted, treelike ''Back IV'' of 1930 can be understood more clearly after seeing the paintings from Tangier. As Pierre Schneider points out in his essay for the exhibition's catalogue, Morocco quickened in Matisse the ''process of botanization'' by which human forms and vegetal forms coalesced in the artist's imagination.

The synthesis emerges in the paintings of Moroccans by Matisse, which are rarely portraits in any traditional sense of the term, so skimpy are they on facial details. Their emphasis is on costume and color, as if the subjects were fantastical flowers, not specific people (like many Europeans, Matisse seemed to view North Africans as exotica). ''Look at a tree,'' Matisse said. ''It is like a human being.''

Once the rain cleared, Matisse saw for the first time the Moroccan landscapes, far more lush than any he had known. He went almost immediately into the gardens of the Villa Brooks, a private estate not far from the hotel, and spent weeks painting the acanthuses, palms and periwinkles that covered the grounds. The landscapes he produced describe a kind of earthly paradise, a place where Matisse's Fauvist heritage, with its palette of unnaturally shocking colors, gave way to something subtler and more seductive.

Matisse obviously did not want to paint Morocco as he had seen it in the works of the French orientalist artists who had made pilgrimages to North Africa since the early 19th century. He strove for neither the picturesque nor the pornographic. Nude women bathing or revealing themselves for the delectation of Arab men - familiar themes in the works of such artists as Jean Leon Gerome - was far from Matisse's mind.

As it did for Delacroix, North Africa liberated his imagination. Matisse looked instead at the foliage, at the designs of the buildings and the textiles, and most of all at the quality of light, and he found a repertory of forms and colors that matched his decorative impulse. Decoration in Morocco was not like decoration in France. It was not secondary to an image; it was the principal subject. By painting the patterns and flowers and costumes he saw around him, Matisse realized that he could elevate decoration to something weightier and more evocative than it had been in certain of his earlier works.

In his sketchbooks, he recorded the way buildings tumbled down to the sea in Tangier, the way minarets went cheek by jowl with boxy stucco cottages, the way city squares looked in the afternoon, when the sun drove everyone indoors. He did not pretend to be anything more than an observer of this territory, an outsider on tour, as he presents himself in a witty pen-and-ink drawing, sketching a mosque in his topcoat under the gaze of a woman in chador.

His drawings were mental notes, quick reminders of what he had observed. Yet if they are slight, they do not lack insight or consideration. It is surely no mistake that in Matisse's sketch of the English Church in Tangier he emphasized the precision of a row of cypress trees, while elsewhere he depicted the marabout dome of the Casbah overrun by foliage. Europe was orderly and predictable. Morocco meant extravagance.

The drawings have been compiled and published for the first time by Jack Cowart, curator of 20th-century art at the National Gallery, who organized the exhibition with Mr. Schneider. ''Matisse in Morocco'' brings together almost all the paintings from the artist's two trips, as well as ''The Moroccans,'' which Matisse completed in 1915-16 at his home near Paris.

This curatorial feat could not have been accomplished just a few years ago. It has required the extensive cooperation of the State Pushkin Museum of Fine Arts in Moscow and the Hermitage in Leningrad, which own most of the Moroccan canvases. After closing here on June 3, the show travels to the Museum of Modern Art in New York from June 20 to Sept. 4, before going to the Pushkin in later September and the Hermitage in mid-December.

The paintings ended up in Soviet museums because Matisse worked mostly for two enlightened Russian patrons during his trips to Tangier, Sergei Ivanovich Shchukin and Ivan Abramovich Morosov. Shchukin, an importer of textiles and a lover of orientalism, was collecting Matisses before anyone else in Russia - and before most people in Paris - and it was he who bought not only ''The Vase of Irises'' but also several figure studies and other Moroccan works. Morosov commissioned the landscapes that Matisse painted in the gardens of the Villa Brooks.

The artist's relationship with his Russian patrons was more than a matter of money. Matisse visited Shchukin in Saint Petersburg and Moscow in 1911, shortly before his trip to Morocco, and to judge by the works he painted in Tangier, he was deeply affected by what he saw in the Russian churches.

The figure studies that Matisse sold to Shchukin - ''Amido,'' ''Fatma, the Mulatto Woman'' and ''Zorah Standing'' - are tall, narrow images resembling Byzantine paintings of saints. Zorah in particular, who squarely confronts the viewer in a costume as brilliant as almost anything in Byzantine art, brings to mind an icon.

But there is even something religious about the extreme quietude and heavenly plenitude of Matisse's Moroccan landscapes. And the seated pose of Zorah in ''On the Terrace'' suggests a woman praying.

''On the Terrace,'' it should be added, is part of a trio of works that the artist painted for Morosov. It was intended to be the centerpiece between ''Landscape Viewed From a Window'' and ''The Casbah Gate,'' although as with so many of Matisse's Moroccan paintings, the meaning of this grouping is not made clear. But it is interesting that many of Matisse's Moroccan paintings were executed in threes. Mr. Schneider may not be far off when he states, ''Where there are triptychs there is a preoccupation, be it subconscious, with the sacred.''

''The Moroccans,'' which he painted after his return to France, is a triptych, too, in that it combines three distinct memories of Tangier - a memory of the architecture, a memory of the people and a memory of nature. In the upper-left corner of this wide painting Matisse has presented a marabout dome; below is an abstracted scene of what looks like melons but can also be figures bowed in prayer. To the right is an even more ambiguous passage, which resembles an Arab in a burnoose.

The whole is bathed not in the dusky light of his earlier Moroccan canvases but in black. Matisse wrote at the time that he began to ''use pure black as a color of light and not as a color of darkness,'' and perhaps this was his way of reconfiguring the Moroccan sun. But also, by using so much black, he eulogized his experiences in Tangier. Clearly, Morocco remained for Matisse not simply a country of colorful characters and stirring landscapes but also a place of spirituality and mystery.

---

A version of this article appears in print on March 18, 1990, Section 2, Page 37 of the National edition with the headline: ART VIEW; How the Spirit Of Morocco Seized Matisse.

~ Michael Kimmelman · Mar 18, 1990.

[monicamichellefairytales]

Jean- Eugene-Robert-Houdin-(December 7, 1805 – June 13, 1871)  “A magician is merely an actor playing the part of a magician.”  Jean was born in Blois France to a watchmaker.  His father was set on Robert becoming a lawyer. Robert was set on becoming a watchmaker. He had a job as a clerk in a law office for a short time where he spent most of his time tinkering with mechanical objects in the office than writing and copying. He was sent back to his father where he became an apprentice watchmaker. He never stopped making clocks and is credited with the invention of The Mystery Clock. In the 1820’s he saved his money to purchase a 2 column set of books, Treatise on Clockmaking, written by Ferdinand Berthoud. In a twist of fate upon returning home he discovered Not the books he had saved for but a 2 volume set on magic called Scientific Amusements. The books had a fault. They explained the principle behind the trick but not how to perform the trick. Without the benefit of our modern magic, the internet. Robert went to take lessons from a local fair and party magician named, Maous from Blois (side note Maous from Blois was a foot doctor when not performing at parties).  Jean learned sleight of hand and dexterity but the most important lesson he learned was repetition and discipline. I have researched many magicians and a constant theme is they are never without their trade. If they are a card magician you will never see them without a deck that they are working with.  Jean also learned that it is crucial to still make money even while pursuing one’s passions. He opened a watchmakers shop and performed in his spare time. Jean met and married Josephe Cicle Houdin. He took her last name and hyphenated his Robert- Houdin in 1830. They moved to Paris where Jean worked in his father in laws watchmaking shop and he found a group of magicians at the shop Rue Richelieu. He married his love of mechanisms with an interest in automatons creating a singing bird, a dancer on a tightrope, and an automaton that wrote and drew. This was later sold to P.T. Barnum. Using his knowledge of engineering he created amazing props and made stories out of magic creating character plot tension and resolution in his acts. His props were nothing short of engineering marvels creating illusions that were not only beautiful but told stories from the growing an orange tree in a pot to the levitation of his son. His acts and his ability to create a narrative play from magic changed the way magic was performed to this day. Magic had become high entertainment and not a way for a magician to claim special powers. Magic was to awe and delight. It was an age of Darwin and reason and Houdin’s magic played into science and engineering of the age, not the superstition.  To further prove this point he did not dress as magicians had before. No long robes embroidered with strange symbols. He dressed as the members of his audience would have done. Coattails, top hat, and gloves  His first show was in his estimation a disaster. On July 3, 1845 he performed the “Soirees Fantastiques.”On the verge of a nervous breakdown he told a friend of his failure. His friend agreed with him. It was silly and ridiculous. This harshness gave Jean the kick up the backside he needed to try again. Jean had tremendous success both as an inventor of new and amazing illusions and by selling his magic tricks to other magicians. His style of having tricks build upon tricks to create a story is still used to this day. His influence on other magicians of his time and directly after can not be overstated. The most famous being Houdini who in 1891 took on the last name. In an interesting side not after he retired at 48 he was called upon by Napoleon the third to use his magic to pacify a tribe in Algeria. If you have ever seen a movie called Hugo you might have heard a few things that make you think of the movie. Here is why. In 1888 after his death, his widow sold his theatre to Georges Melies. A magician himself, though history mostly remembers him for his contributions to movie making and pioneering stop motion effects. Resourceshttps://esoterx.com/2014/09/16/the-algerian-war-of-the-wizards-jean-eugene-robert-houdin-vs-the-marabouts/https://ift.tt/2oBr0fc Is Dead Ian FrischHiding the Elephant by Monica Michelle

[kris33390]

Sidi Brahim

On pourrait penser que je me tourne vers mon passé mais en réalité je recycle de vieux articles jamais publiés car destinés à un public trop restreint. Et pour celui-ci c’est plutôt une refonte totale à partir de textes que j’avais sélectionnés complétés par une recherche plus poussée. Sidi Brahim, ce n’est pas qu’une rue du 4ieme arrondissement de Casablanca ou nous habitions. Curieux de savoir pourquoi le nom a été conservé, j’ai fait des recherches.

Contrairement à ce que je pensais, la rue Sidi Brahim est toujours là

La bataille de Sidi Brahim (Algérie)

Tous les récits que j’ai trouvé relatent la même histoire. Certains sont plus dithyrambiques que d’autres mais tous parlent de la bravoure des soldats. Pourquoi cette hécatombe ? Le colonel Montagnac a-t-il eu une quelconque responsabilité? Le sujet est moins traité.

.-. Le récit de la bataille (source: internet) • Le 21 Septembre 1845, le caïd Trari, chef de la tribu des Souhalia fidèle allié de la France, demanda l’aide et la protection de l’armée française, car menacé par les troupes d’ Abdel Kader. Abdel Kader s’était réfugié au Maroc et avait entrepris de soulever les tribus Algérienne dont beaucoup, s’étaient déjà ralliées à la France. Le Colonel de Montagnac, contrairement aux instructions des généraux, se mit à la tête d’une petite colonne de 60 Cavaliers et 350 Chasseurs avec 6 jours de vivre et partit le jour même à 22 heures. • Le 22 au matin, Trari orienta Montagnac vers le sud. Du bivouac quelques cavaliers Arabes étaient visibles sur les crêtes et eurent lieu les premiers échanges de coups de feu. • Le 23 à l’aube, Montagnac décide de se porter vers les cavaliers ennemis aperçu la veille. Il laisse à la garde du bivouac, le Commandant Froment-Coste, le Capitaine de Géreaux et des éléments de sa compagnie, le Capitaine Burgard et sa 2em Compagnie. Ils font 4 km vers l’ouest et c’est le drame. Surgissant des crêtes environnantes, 5 à 6 000 cavaliers Arabes, menés par Abd el-Kader, fondent sur la petite colonne. Les cavaliers sont submergés et anéantis. Montagnac est tué. La lutte va durée 3 heures. Averti au bivouac le Commandant Froment-Coste se précipite avec la 2em Compagnie vers le combat, situé a 4 km, il ne fera pas 2 km, les Arabes l’interceptent et l’assaillent de toute part. Froment-Coste est tué, le Capitaine Dutertre, Adjudant major est fait prisonnier… Il ne reste qu’une douzaine de Chasseurs. • A 1 km, se dresse le petit édifice de la Kouba du Marabout de Sidi-Brahim. C’est là que Géreaux décide de s’installer, en attendant du secours. Cela n’échappe pas à Abd el-Kader qui pense qu’il va facilement écraser le restes de la colonne Française, mais il va se heurter pendant trois jours et trois nuits à la résistance des 80 Chasseurs du Marabout de Sidi-Brahim. • Dans l’après midi du 23, les Arabes sont en masse autour de la Kouba et c’est le siège, les munitions et les vivres commence à manquer. Un drapeau tricolore est hissé au sommet d’un figuier qui se dresse près du Marabout pour attirer l’attention de la colonne de Barral qui opère non loin, malheuresement la colonne de Barral est attaquée à son tour et s’éloigne dans la plaine. • Les Arabes vont tout faire pour faire céder la résistance inattendue que leur oppose les Chasseurs de la Sidi-Brahim. Par trois fois ils les sommes de se rendre. Après les sommations les sévices. Le Capitaine Dutertre, fait prisonnier le 23, est amené devant la murette et crie à ses camarades : “Chasseurs, si vous ne vous rendez pas, on va me couper la tête. Moi, je vous le dis, faites vous tuer jusqu’au dernier plutôt que de vous rendre”. Quelques instants plus tard, sa tête tranchée est promenée par les Arabes autour de la Kouba. Ce sont alors les prisonniers de combats précédents qui sont traînés de même les mains liées, afin d’ébranler la détermination des hommes. Lavayssière déclenche une fusillade sur l’escorte d’Abd el-Kader qui se trouvait à proximité, et est lui même blessé à l’oreille. • Les jours passent et la résistance ne faiblit pas. Mais les secours n’arrivent pas. Géreaux, blessé et affaibli décide alors, d’essayer de regagner Djemmaa, à près de 15 kilomètres. Le Caporal Lavayssière, prendra le commandement du détachement. • Le 26 Septembre, à l’aube, ils escaladent la face nord de la Kouba, et formés en carré, blessés au centre, ils marchent dans la plaine. L’épreuve va durer toute la journée. Lorsqu’ils parvinrent dans le lit de l’oued Mersa, à 2000 mètres de leur objectif. La tribu des Ouled Ziri les attendait, ce fut un carnage! • Dans la journée du 26 et les jours qui suivent, quelques rescapés de la colonne Montagnac parviendront à rejoindre Djemmaa, mais plusieurs succomberont à leur épuisement et à leurs blessures.

.-. Montagnac • Le lieutenant-Colonel Montagnac, s’est lancé dans cette bataille sans préparation, sans plan, sans informations sur l’ennemi qu’il allait affronter, sa seule idée était la capture de l’émir Abdel Kader. Et contre l’avis de ses chefs. • Après un premier combat, les troupes françaises furent réduites de 450 à 82 chasseurs qui se réfugièrent dans un marabout d’où ils repoussèrent tous les assauts. • Après plusieurs jours de siège, les hommes, sans eau, sans vivres, à court de munitions, en furent réduits à couper leurs balles en morceaux pour continuer à tirer. L’émir Abd El Kader fit couper la tête du capitaine Dutertre, fait prisonnier et amené devant le marabout pour exiger la reddition des chasseurs. Malgré tout, Dutertre, eut le temps d’exhorter les survivants à se battre jusqu’à la mort. • Les survivants, n’ayant plus de munitions, chargèrent à la baïonnette. Ils percèrent les lignes ennemies et, sur les 80 survivants, 16 purent rejoindre les lignes françaises et 5 moururent quelques jours plus tard. Seuls 11 chasseurs sortirent vivants de la bataille.

.-. Le lieutenant-colonel de Montagnac 15 mars 1843: « Anéantir tout ce qui ne rampera pas à nos pieds comme des chiens. » (Algérie) Lettres d’un soldat, Plon, Paris, 1885.

.-. Le monument commémorant Sidi Brahim • Un premier monument est inauguré le 26 décembre 1898 à Oran en Algérie. Il est composé d’un obélisque de huit mètres de haut couronné d’une figure ailée, une Gloire, placée au sommet du monument. Au-dessous, contre le piédestal, une statue de femme agenouillée symbolisant la France écrivant sur la stèle, “Camarades, défendez-vous jusqu’à la mort” et, au premier plan, le Soldat mortellement blessé ainsi qu’une plaque en bronze portant l’inscription, “Aux héros de Sidi-Brahim, 1845”.

• En 1962 la femme agenouillée: la France, est déboulonnée et remplacée par un buste de Abdel Kader. La gloire est restée au sommet de l’obélisque. • La France de Dalou se trouve aujourd’hui en France, à Périssac dans le vignoble bordelais. Périssac, commune natale du capitaine Oscar de Géreaux, l’un des martyrs de Sidi-Brahim. Le monument de Sidi-Brahim a fêté ses cinquante ans en 2016. Il a été inauguré le 10 juillet 1966.

.-. Donc le nom a été conservé • soit parce qu’il correspond à une défaite de l’armée coloniale française mais c’était en Algérie, • soit tout simplement parce qu’il a une consonnance arabe. Allez savoir! • Après avoir beaucoup lu sur cette bataille et le fait qu’elle soit encore dans les mémoires je pencherais pour la première hypothèse.

https://www.sudouest.fr/2016/09/23/le-monument-de-sidi-brahim-fete-ses-cinquante-ans-2510774-2780.php

Toutes les Photos sont là : https://photos.app.goo.gl/6vT6fPUviqeAVeC76

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http://bit.ly/ChristianLoverde

Sidi Brahim Sidi Brahim On pourrait penser que je me tourne vers mon passé mais en réalité je recycle de vieux articles jamais publiés car destinés à un public trop restreint.

[istandistmag]

Aralık’ta Babylon’da Müzik Devam Ediyor

Babylon’un Aralık programında İstanbul Fransız Kültür Merkezi ve Babylon işbirliğiyle gerçekleşen XXF – Very Very French Festivali konserleri ile yerli ve yabancı müziğin en iyi temsilcileri bulunuyor.

BABYLON ETKİNLİK TAKVİMİ

  6 Aralık 2017 Çarşamba French Psychedelia: Aquaserge & Juniore – XXF Very Very French Festival

7 Aralık 2017 Perşembe Kardeş Türküler

9 Aralık 2017 Cumartesi GusGus (Live) -S-World Bir Dünya Konser

13 Aralık 2017 Çarşamba Vega

14 Aralık 2017 Perşembe Kalben -S-World Bir Dünya Konser

15 Aralık 2017 Cuma Ayhan Sicimoğlu & Latin All Stars

16 Aralık 2017 Cumartesi Omar Souleyman / Nusaibin – Midnight Sessions

20 Aralık 2017 Çarşamba Adamlar

22 Aralık 2017 Cuma BaBa ZuLa / Shantel – Midnight Session

Etkinlikler Hakkında

  XXF Very Very French Festival ile modern psychedelic müziğin Fransız temsilcileri Aquaserge ve Juniore, 6 Aralık Çarşamba akşamı Renault ana partnerliğinde Türkiye’de ilk kez Babylon’da sahne alacak. Tame Impala, Stereolab, Melody’s Echo Chamber, Acid Mothers Temple elemanlarından oluşan Aquaserge yeni albümü “Laisse ça être”in ardından Liverpool Psych Fest, R.I.O. Festival, Faust’s Klangbad gibi önemli sahnelerinden sonra Türkiye’de müzikseverlerle buluşuyor. Anna Jean öncülüğünde kurulan Fransız indie pop dörtlüsü Juniore ise müziğinde retro Fransız pop unsurlarını surf gitar tınılarıyla birleştiriyor. Vokal stiliyle Françoise Hardy’ye saygı duruşunda bulunan Juniore ilk EP’leri “Marabout”un ardından, kendi isimlerini taşıyan ilk albümlerini ve Mart ayında “Ouh La La” adını taşıyan ikinci albümünü yayınladı.

Aquaserge ve Juniore’dan önce ise house, pop, elektronik türlerine ağırlık verdiği DJ setleri ile dikkat çeken Shangri-La müzikseverlerle buluşuyor.

Barış ve kardeşliğe müzikal bir çerçeveden vurgu yapan Kardeş Türküler, 7 Aralık Perşembe akşamı Babylon’da. “YOL” albümü ile 25 yıllık müzik yolculuğuna devam eden Kardeş Türküler, kültürel ve kültürlerarası hikayeleri iki dilli melodiler, deyişler, nefesler, zeybekler, halaylar ve horonlarla sunuyor. “Bu dünyada iyilik ve güzellik için mucize değil, mücadele gerek” diyen Kardeş Türküler, YOL’da söylediği şarkıların en güzel örneklerini performansına taşıyor.

İzlanda’nın elektronik müzik dünyasına sunduğu GusGus, 9 Aralık Cumartesi gecesi S-World Bir Dünya Konser sponsorluğunda Babylon’da! Efsanevi plak şirketi Kompakt ile yollarını birleştiren GusGus, Glastonbury, Split, Creamfields, Benecassim gibi büyük festivallerde sahne aldı. Sanatçı, başta Björk olmak üzere Sigur Ros, Depeche Mode ve Moloko gibi isimlerle yaptığı çalışmalarıyla da tanınıyor.

Türkiye rock müzik sahnesinin özlenen isimlerinden Vega yeni albümü “Delinin Yıldızı”yla 13 Aralık Çarşamba akşamı Babylon’da. Deniz Özbey ve Tuğrul Akyüz’ün 21 yıllık birlikteliği Vega, Tamam Sustum, Tatlı Sert ve Hafif Müzik gibi kült albümlerinden sonra, uzun bir aranın ardından “Delinin Yıldızı” albümüyle geri döndü. Vega, Babylon’da Serkan Hökenek ile birlikte kaydettikleri iTunes en çok satan albümler listesinde bir numaraya yükselen yeni albümünden parçaların yanı sıra, geçmişten sevilen şarkılarını da seslendirecek.

Türkiye’nin sevilen genç seslerinden Kalben, 14 Aralık’ta -S-World Bir Dünya Konser kapsamında bir kez daha Babylon’da. Kalben’in yeni-folk olarak tanımlanan müziğini eşi Berkant Ali İncesaraç şekillendiriyor. Müzik düşünmeye 8 yaşındayken annesinin aldığı klavyeyle başlayan ve 13 yaşında ilk gitarını alan Kalben, içinden gelen şarkıları kendince, kendi sözleriyle söylüyor.

Ayhan Sicimoğlu & Latin All Stars, tropikal ritimler ve Latin ezgileriyle sezonun ilk Babylon performansı için 15 Aralık Cuma günü saat 22.30’da sahne alacak. Bolero’lar, salsa’lar, cha-cha’lar ve özel süprizlerle müzikseverlerin müziğe doyamayacağı gecede sadece Latin değil, Türk ezgileri de havada uçuşacak.

Omar Souleyman, yeni albümü “To Syria, With Love”ın ardından 16 Aralık Cumartesi gecesi yeniden Babylon sahnesinde. Bugüne kadar 500’den fazla video kaydı ve birçok YouTube videosu bulunan Omar Souleyman, Glastonbury, Bonnaroo, Pitchfork Paris ve Roskilde gibi festivallerde de sahne aldı. Aralık 2013’te Norveç’te düzenlenen Nobel Barış Ödülleri töreninde sahne alan sanatçı Sınır Tanımayan Doktorlar ekibiyle de yardım ve bağış çalışmalarına devam ediyor.

Yerli alternatif müzik sahnesinin değerli ekiplerinden Adamlar, 20 Aralık Pazartesi Babylon’da. Vokal ve gitarda Tolga Akdoğan, elektrik gitarda Emre Malikler, basgitarda Can Aydemir ve davulda Berkan Tilavel’den oluşan grup, “Eski Dostum Tankla Gelmiş” albümüyle dikkatleri üzerine çekti. İkinci albümleri “Rüyalarda Buruşmuşuz”u 2016’da yayımlayan dörtlü özellikle dinamik sahne performanslarıyla tanınıyor. Birçok türü Türkçe sözlerle bir araya getiren Adamlar, kompakt bir müzik deneyimi için Babylon sahnesine geliyor.

Balkan ve gypsy müziğine kozmopolit bir ses katan Shantel, 22 Aralık Cuma akşamı Club Guerilla’nın 30. yıldönümü kapsamında düzenlediği “Shantology // 30 Years of Club Guerilla” turnesi kapsamında Babylon’da Midnight Session’da DJ setinin başına geçiyor. “Bucovina”, “Disko Boy”, “Disko Partizani” gibi şarkılarıyla dans pistlerini hareketlendiren Alman DJ, prodüktör ve müzisyen Shantel setlerinde Goran Bregoviç, Boban Markoviç, The Rootsman, Fanfare Ciocarlia gibi isimleri bir araya getiriyor.

Shantel’den önce ise Türkiye modern müzik tarihinin kendine has ekiplerinden BaBa ZuLa, Babylon’da sahne alıyor. Yirmi yıllık müzikal yolculuğunu anlattığı yeni albümü “XX”i, Ocak 2017’de tüm dünyada eş zamanlı yayımlayan grup, The

Guardian ve Record Collector’ın aralarında bulunduğu pek çok prestijli yayından övgüler topladı. “World Music Charts Europe”un Şubat ayı listesinde de ilk sıralara yükselen “XX” Mad Professor, Dr. Das, Sly & Robie ve Dirtmusic gibi isimlerin yer aldığı bir dub düzenlemesi de içeriyor.

Biletler, Mobilet iOS ve Android uygulamaları ile mobilet.com üzerinden ve Babylon Gişesi’nden satın alınabiliyor.

The post Aralık’ta Babylon’da Müzik Devam Ediyor appeared first on Şehri Keşfet & Explore the City.

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Aralık'ta Babylon'da Müzik Devam Ediyor

Babylon’un Aralık programında İstanbul Fransız Kültür Merkezi ve Babylon işbirliğiyle gerçekleşen XXF – Very Very French Festivali konserleri ile yerli ve yabancı müziğin en iyi temsilcileri bulunuyor.

BABYLON ETKİNLİK TAKVİMİ Tarih Etkinlik 1 Aralık 2017 Cuma Oldies But Goldies 2 Aralık 2017 Cumartesi Amine Edge -XXF Very Very French Festival 6 Aralık 2017 Çarşamba French Psychedelia: Aquaserge & Juniore – XXF Very Very French Festival 7 Aralık 2017 Perşembe Kardeş Türküler 9 Aralık 2017 Cumartesi GusGus (Live) -S-World Bir Dünya Konser 13 Aralık 2017 Çarşamba Vega 14 Aralık 2017 Perşembe Kalben -S-World Bir Dünya Konser 15 Aralık 2017 Cuma Ayhan Sicimoğlu & Latin All Stars 16 Aralık 2017 Cumartesi Omar Souleyman / Nusaibin – Midnight Sessions 20 Aralık 2017 Çarşamba Adamlar 22 Aralık 2017 Cuma BaBa ZuLa / Shantel – Midnight Session

Etkinlikler Hakkında

Pop’tan rock’a, disko’dan funk’a, rock’n roll’dan hip-hop’a uzanan müzik yelpazesiyle Murat Beşer ve Murat Abbas’ın seçtiği şarkılarla Oldies But Goldies 1 Aralık Cuma Babylon’da. ABBA’dan Michael Jackson’a, Depeche Mode’tan Madonna’ya, Snap’ten Donna Summer’a efsane müzisyenlerin şarkılarıyla katılımcılar zamanda bir yolculuğa çıkacak.

Fransa’da yükselen G-House (Gangsta House) akımının öncülerinden Amine Edge & Dance, 2 Aralık Cumartesi akşamı, XXF Very Very French Festival kapsamında Renault ana partnerliğinde Babylon’da. Tohumları Güney Fransa’da atılan Amine Edge & Dance, house, soul ve 80’ler hip-hop ekseninde dinleyicileriyle buluşuyor.

Amine Edge & Dance’dan önce ise Tolga Duyan disko esintili hareketli deep house ve tech house ritimlerinden oluşan setleriyle müzikseverlerle buluşuyor.

XXF Very Very French Festival ile modern psychedelic müziğin Fransız temsilcileri Aquaserge ve Juniore, 6 Aralık Çarşamba akşamı Renault ana partnerliğinde Türkiye’de ilk kez Babylon’da sahne alacak. Tame Impala, Stereolab, Melody’s Echo Chamber, Acid Mothers Temple elemanlarından oluşan Aquaserge yeni albümü “Laisse ça être”in ardından Liverpool Psych Fest, R.I.O. Festival, Faust’s Klangbad gibi önemli sahnelerinden sonra Türkiye’de müzikseverlerle buluşuyor. Anna Jean öncülüğünde kurulan Fransız indie pop dörtlüsü Juniore ise müziğinde retro Fransız pop unsurlarını surf gitar tınılarıyla birleştiriyor. Vokal stiliyle Françoise Hardy’ye saygı duruşunda bulunan Juniore ilk EP’leri “Marabout”un ardından, kendi isimlerini taşıyan ilk albümlerini ve Mart ayında “Ouh La La” adını taşıyan ikinci albümünü yayınladı.

Aquaserge ve Juniore’dan önce ise house, pop, elektronik türlerine ağırlık verdiği DJ setleri ile dikkat çeken Shangri-La müzikseverlerle buluşuyor.

Barış ve kardeşliğe müzikal bir çerçeveden vurgu yapan Kardeş Türküler, 7 Aralık Perşembe akşamı Babylon’da. “YOL” albümü ile 25 yıllık müzik yolculuğuna devam eden Kardeş Türküler, kültürel ve kültürlerarası hikayeleri iki dilli melodiler, deyişler, nefesler, zeybekler, halaylar ve horonlarla sunuyor. “Bu dünyada iyilik ve güzellik için mucize değil, mücadele gerek” diyen Kardeş Türküler, YOL’da söylediği şarkıların en güzel örneklerini performansına taşıyor.

İzlanda’nın elektronik müzik dünyasına sunduğu GusGus, 9 Aralık Cumartesi gecesi S-World Bir Dünya Konser sponsorluğunda Babylon’da! Efsanevi plak şirketi Kompakt ile yollarını birleştiren GusGus, Glastonbury, Split, Creamfields, Benecassim gibi büyük festivallerde sahne aldı. Sanatçı, başta Björk olmak üzere Sigur Ros, Depeche Mode ve Moloko gibi isimlerle yaptığı çalışmalarıyla da tanınıyor.

Türkiye rock müzik sahnesinin özlenen isimlerinden Vega yeni albümü “Delinin Yıldızı”yla 13 Aralık Çarşamba akşamı Babylon’da. Deniz Özbey ve Tuğrul Akyüz’ün 21 yıllık birlikteliği Vega, Tamam Sustum, Tatlı Sert ve Hafif Müzik gibi kült albümlerinden sonra, uzun bir aranın ardından “Delinin Yıldızı” albümüyle geri döndü. Vega, Babylon’da Serkan Hökenek ile birlikte kaydettikleri iTunes en çok satan albümler listesinde bir numaraya yükselen yeni albümünden parçaların yanı sıra, geçmişten sevilen şarkılarını da seslendirecek.

Türkiye’nin sevilen genç seslerinden Kalben, 14 Aralık’ta -S-World Bir Dünya Konser kapsamında bir kez daha Babylon’da. Kalben’in yeni-folk olarak tanımlanan müziğini eşi Berkant Ali İncesaraç şekillendiriyor. Müzik düşünmeye 8 yaşındayken annesinin aldığı klavyeyle başlayan ve 13 yaşında ilk gitarını alan Kalben, içinden gelen şarkıları kendince, kendi sözleriyle söylüyor.

Ayhan Sicimoğlu & Latin All Stars, tropikal ritimler ve Latin ezgileriyle sezonun ilk Babylon performansı için 15 Aralık Cuma günü saat 22.30’da sahne alacak. Bolero’lar, salsa’lar, cha-cha’lar ve özel süprizlerle müzikseverlerin müziğe doyamayacağı gecede sadece Latin değil, Türk ezgileri de havada uçuşacak.

Omar Souleyman, yeni albümü “To Syria, With Love”ın ardından 16 Aralık Cumartesigecesi yeniden Babylon sahnesinde. Bugüne kadar 500’den fazla video kaydı ve birçok YouTube videosu bulunan Omar Souleyman, Glastonbury, Bonnaroo, Pitchfork Paris ve Roskilde gibi festivallerde de sahne aldı. Aralık 2013’te Norveç’te düzenlenen Nobel Barış Ödülleri töreninde sahne alan sanatçı Sınır Tanımayan Doktorlar ekibiyle de yardım ve bağış çalışmalarına devam ediyor.

Yerli alternatif müzik sahnesinin değerli ekiplerinden Adamlar, 20 Aralık Pazartesi Babylon’da. Vokal ve gitarda Tolga Akdoğan, elektrik gitarda Emre Malikler, basgitarda Can Aydemir ve davulda Berkan Tilavel’den oluşan grup, “Eski Dostum Tankla Gelmiş” albümüyle dikkatleri üzerine çekti. İkinci albümleri “Rüyalarda Buruşmuşuz”u 2016’da yayımlayan dörtlü özellikle dinamik sahne performanslarıyla tanınıyor. Birçok türü Türkçe sözlerle bir araya getiren Adamlar, kompakt bir müzik deneyimi için Babylon sahnesine geliyor.

Balkan ve gypsy müziğine kozmopolit bir ses katan Shantel, 22 Aralık Cuma akşamı Club Guerilla’nın 30. yıldönümü kapsamında düzenlediği “Shantology // 30 Years of Club Guerilla” turnesi kapsamında Babylon’da Midnight Session’da DJ setinin başına geçiyor. “Bucovina”, “Disko Boy”, “Disko Partizani” gibi şarkılarıyla dans pistlerini hareketlendiren Alman DJ, prodüktör ve müzisyen Shantel setlerinde Goran Bregoviç, Boban Markoviç, The Rootsman, Fanfare Ciocarlia gibi isimleri bir araya getiriyor.

Shantel’den önce ise Türkiye modern müzik tarihinin kendine has ekiplerinden BaBa ZuLa, Babylon’da sahne alıyor. Yirmi yıllık müzikal yolculuğunu anlattığı yeni albümü “XX”i, Ocak 2017’de tüm dünyada eş zamanlı yayımlayan grup, The Guardian ve Record Collector’ın aralarında bulunduğu pek çok prestijli yayından övgüler topladı. “World Music Charts Europe”un Şubat ayı listesinde de ilk sıralara yükselen “XX” Mad Professor, Dr. Das, Sly & Robie ve Dirtmusic gibi isimlerin yer aldığı bir dub düzenlemesi de içeriyor.

Biletler, Mobilet iOS ve Android uygulamaları ile mobilet.com üzerinden ve Babylon Gişesi’nden satın alınabiliyor.

http://www.sosyokultur.com/aralikta-babylonda-muzik-devam-ediyor/