//////Planas///////Esther Planas////// Esther Planas///////// Esther////

Gipsy Dance Rock Mix at La Loseta a project by Radames Juni Figueroa

2011-10-07T11:06:00.000-07:00

a mini resume of the show at the site in Radames Juni's on a warm night in San Juan.........

the video piece

Performance Detourned Song, Lip singing , dancing .
Questioning commerce , publicity strategies as art practice...
Video screened at LA LOSETA , a project by Radames Juni Figueroa , San Juan, Puerto Rico .
25 Septiembre 2011
Copy Right : Esther Planas VEGAP 2011

Gypsy Dance Rock Mix is a project for the space La Loseta , curated by artist Radames Juni Figueroa at his place in San Juan Puerto Rico. The project consist of 12 guest artist and curators responding to the invitation by Radames to interact at his space. The outcome of the whole 12 shows will be published on a book wile the space and the " gallery" will disappear for good .
The installation consisted of a screening of the film Ase ere de je which is a lip singing /dance home recorded performance by Esther Planas wile listening to the major viral successful song ASEREJE , a bottle of spanish wine containing fake spanish flowers, a container with Tinto de Verano a punch called Gypsy , and a series of detourned . tunned, manipulated posters on topic photoshop from films related to the topic of Quinqui Cinema ....
The video manipulation on I movie , as a playful , home made youtube specimen of the so many at the moment is a comment on other new media works and the soft blurry line that divides art from non art .
As part of the show, there was a specially selected DJ YOuTube by Esther Planas of songs and films related to the theme and a blog for any one up for research....

The invite

The sound
Dj//Play List by Esther Planas

click on the screen to go to youtube for the whole selection !! enjoy!

Escuela de Calor at eme3 Barcelona 2 July 2011

2011-08-21T07:35:00.000-07:00

(Indeed, the very concept of “daily life” is itself a product of industrialism and the urban.) Martha Rosler.
////////////////////Calor en eme3 : An extract cut and paste fragments from Martha Rosler essay published at E-Flux Journal //////Culture Class: Art, Creativity, Urbanism, Part 1 E-Flux Journal http://www.e-flux.com/journal/view/190///////////////////////////////////////////////////////////////////////////////////////////////////////////

Lefebvre’s emphasis on the city contradicted the orderliness of Le Corbusier, whom he charged with having failed to recognize that the street is the site of a living disorder, a place, in his words, to play and learn; it is a site of “the informative function, the symbolic function, the ludic function.”⁵ Lefebvre cites the observations of the foundational urban observer Jane Jacobs, and identifies the street itself, with its bustle and life, as the only security against violence and criminality. Finally, Lefebvre notes—soon after the events and discourses of May ‘68 in France—that revolution takes place in the street, creating a new order out of disorder.

The theoretical underpinning for a renovated cityscape came primarily from the earlier, utopian “millennial” and interwar designs of forward-looking, albeit totalizing, plans for remaking the built environment. It was not lost on the city poor that so-called urban renewal projects targeted their neighborhoods and the cultural traditions that enlivened them. Cities were being remade for the benefit of the middle and upper classes, and the destruction of the older neighborhoods—whether in the interest of commercial, civic, or other forces, such as enhanced mobility for trucks and private cars—extirpated the haunts of those beyond the reach of law and bourgeois proclivities, adversely affecting the lives and culture of the poorer residents. Martha Rosler, Culture Class: Art, Creativity, Urbanism, Part 1 E-Flux Journal http://www.e-flux.com/journal/view/190

Escuela de Calor , referencia al titulo de la cancion de Radio Futura, a la letra, ( arde la calle al sol del poniente..) continuando con la postura de buscar y re-interpretar a varios "maestros" grecolatinos, desde Diogenes, Socrates, Aristoteles a Joseph Jacotot o Jaques Ranciere, la idea de pasear, beber, comer y aprender a la vez...

NOT YET/// AGORA NAO/// THE BARBER SHOP /// LISBON///

2011-07-29T05:42:00.000-07:00

2011
Agora não/Not yet (w/ Filipa Ramos)
Performance and installation.
«A letter was sent to various persons - dear acquaintances and some admired individuals - inviting them to share a non-done projects of theirs. The ongoing collection of these contributions is thus becoming an anthology of non-pursued thoughts. Each of them will be publicly opened one by one and displayed in an event that will take place on the evening of the 17th of June 2011, from 6pm onwards, at The Barber Shop in Lisbon. Simultaneously, José Albergaria, from Change is good, Cláudia Castelo and António Gomes, from barbara says, will be producing in real time the catalogue of the project.»
>> List of participating artists (in order of appearance): Davide Balula, Laetitia Badaut-Haussmann, Nicolas Chardon, Hugo Canoilas, Von Calhau, Francis Upritchard, Stephania Galegati, Pedro Neves Marques, Pauline Curnier-Jardin, Nico Angiuli, Sara & André, Karina Bisch, Daniel Barroca, António Contador, Elisa Pône, Diego Perrone, Celine Condorelli, Ângelo Ferreira de Sousa, Invernomuto, Cesare Pietroiusti, André Uerba, Mathieu Laurette, Ignasí Aballí, Carla Cruz, Susana Pomba, Becky Beasley, Filipa Ramos, Marco Raparelli, Simone Berti, Rita Sobral Campos, Fernando Mesquita, Alexandre Estrela, Gerlach en Koop, Ana Cardoso, Francisco Queirós, Pablo León de la Barra, Lisa Tan, João Simões, Jacopo Miliani, Stephen Lichty, Tiny Domingos, Iacopo Seri, António Ortega, Isola and Norzi, Chiara Fumai, Esther Planas.

URBAN ENVIROMENTAL SPEEDY INTERACTION SEQUENCES

2011-05-13T17:04:00.000-07:00

a No Dance Dance project

Movement paused on positions

Positions by process of a trajectory

becoming pose, repetition and difference

a dance of the pose and the captured seconds

posing by the building I fear and love

Inside huge Ivy arches

Like ancient coffins containers

Found Sculptures which to activate

by detour and misuse

so many possible existing body exercises,

coded and decoded

eternal production of shapes containing

all of the whole history of movement ,

all expelled , devoid and trimmed down to zero

in the territories of a body , at the subjectivity of stillness

at the bottom of the towers where nothing but the cube is

welcomed.

Urban filaments, an encounter at a zone and

an area where a contingent has taken place , the

composition of the proportioned cubes and squares

mounted on to each other, the wild growth of the ivy

and the presence of the body that echoes both:

the basic equation and encounter of numbers intended

at the reproduction of the same

Interrupted, stillness,a body placed against the grain of time

stasis feeding a movement awaking from a control delusion

algebraic character and mathematical rigour trying to find forms

that could still hold a transfusion of the visual in to the corporeal

in situ at the present tense at the reduced instants.

A pause and a pose that prolongs its timing
that tries to inhabit a sort of lapses a quietness of the essential
against the super dance the super gestures and its excess
at display an attempt to extract from instantaneity
a form of preserving the singularity of its existence

CLOSE ENCOUNTERS OF THE THIRD KIND INSIDE THE WHITE CUBE

2011-05-02T12:12:00.000-07:00

Maria Aguero, Tariq Alvi and Alex Carvalho

Edward Dorrian , Tariq Alvi and Marc Hulson

Richard Crow , Esther Planas and visitors

Audience at the opening talk Close Encounters

Cedar Lewisohn and Maria Aguero

Joan Morey's Installation " The Eye of The Beholder "

Pablo Leon de la Barra , Alex Carvalho and friend

Rojo / Eventos / Apariciones// Proyectos Ultravioleta /// Guatemala // February 2011

2011-02-03T14:08:00.000-08:00

Installation show at Proyectos Ultravioleta Guatemala

An environment, a hauntological

exercise on colour and found manifestations of it.

Colour constructed and synthesised in its symbolism,

dialectics and its aura.

The red and the essential geometrical cubic angles of

the "concrete structure".

The idea of the mind and ideas colonisation, as proposal of infection

that unites symbols indicated by a colour and specific vibrations.

The Red with full load, with all its potential for promotion/publicity strategies background and flag.

Colour as an event that opposes the Word.

In a primary language and fast free association, the "Red School" the "Red Infection"

Appearances suggested by parapsychological events that invoke the spirits of artist now dead but

wanted at the gallery space.
A long sleepy flag, fabric wanting to be hung like this , asking silently to be flag/curtain/

A Penetrable magic inspired by Helio Oiticica's and the monochrome

of Ives Klein plus found red cubes for political propaganda at the streets in Guatemala City re-appearing
at the space guided by the outside light reflections .

An invocation it to these events to appear, to make them selves present on the gallery space .

EVENTOS Y APARICIONES EN ROJO
rojo neoconcreto/rojo es rojo es rojo es rojo/ rojo solo/ rojo esther internacional/
grafito rojo/pintura roja/cubo rojo/serigrafía roja/rojo e120/
rojo e2162/concepto rojo/polvo rojo/

Coordenadas de color
El rojo es el color correspondiente a la frecuencia más baja de luz discernible por el ojo humano. Es junto con el azul y el amarillo uno de los tres colores primarios. La longitud de onda de la luz roja es de alrededor de 700 nm. Las frecuencias más bajas que el rojo (y, por lo tanto, longitudes de onda más largas) se denominan infrarrojos.
En el esquema RGB, el rojo junto con el verde y el azul son colores primarios de luz. Esto cambia en el esquema CMYK que está basado en pigmentos donde el rojo no es parte de los colores primarios sino el rojo magenta, que junto con el cian y el amarillo están más cerca de los colores primarios sustractivos auténticos que el ojo percibe, y se utilizan en la impresión de color moderna.
Etimológicamemnte en griego rojo se denomina erythrós, por lo que muchas palabras con dicho lexema estén referidas a ese color.
Usos, simbolismo y expresiones coloquiales
El Rojo es el "Color de la pasión". Es el color del corazón, de la sangre, del amor, del calor.
El rojo es también el color de las ciencias exactas y la ingeniería.
Rojo también es un apellido muy común en España como Fran Rojo.
El color rojo se emplea frecuentemente para denotar furia, como en "ojos rojos de ira".
El color de la sangre provocó una asociación del rojo con el dios de la guerra, Marte, y en su honor el planeta rojo se llama Marte.
El rojo se emplea en señales de tránsito: señales de advertencia y prohibición, la señal de ALTO y en los semáforos.
Comúnmente, el rojo es el opuesto y el enemigo del azul. En los videojuegos, especialmente en los juegos multijugador por equipos, la regla es un "Rojo vs. Azul". Esto puede deberse por la base de que fuego (rojo) es incompatible con agua (azul).
A nivel mundial, el rojo representa un "estado peligroso", la bandera roja indica peligro (frente a la bandera verde que tiene el significado contrario, por ejemplo en las playas), el "código rojo" significa emergencia y el "botón rojo" es, culturalmente, una última pero mortal opción.
Desde la revolución francesa el rojo se ha empleado como el color de los revolucionarios y los izquierdistas (rojo político), mientras que el blanco ha sido empleado como el color de los conservadores.
Por ejemplo, en la Guerra Civil de Rusia y en la Guerra Civil de Finlandia se enfrentaron rojos contra blancos. Aunque no siempre sean esos colores, como es el caso de la Guerra civil española, en la que se enfrentaban los rojos contra azules.
La identificación del comunismo con el rojo (siendo el rojo el color principal de la bandera de la Unión Soviética) produjo expresiones durante la Guerra Fría tales como "la amenaza roja", la "China Roja" (en contraposición con la "China Nacionalista", la "China Libre" o Taiwán).
En las infografías electorales, el rojo denota generalmente partidos socialistas o comunistas, y normalmente en oposición con el azul de otros partidos.
En el simbolismo chino, el rojo es el color de la buena suerte y se emplea para decoración. El dinero en las sociedades chinas se ofrece tradicionalmente en paquetes rojos.
También se suele usar para representar, en canalizaciones, que el material que esta siendo canalizado está a una temperatura más alta, en contraposición con el que tiene una temperatura más baja, que se representaría en azul. Por ejemplo tuberías de agua caliente representadas en rojo, o incluso físicamente pintadas de rojo, y las de agua fría en azul.
El rojo también se emplea para indicar deudas, como en la expresión "números rojos". La práctica procede de los contables italianos que usaban tinta roja para indicar las deudas y tinta negra para indicar los haberes.
La sangre oxigenada es roja debido a la presencia de hemoglobina.
En las bolsas occidentales, el rojo indica una bajada del precio de las acciones, mientras que en las bolsas de Asia oriental indica una subida.
En algunos países los taxis son rojos.
Por su llamatividad, en algunos países es considerado incorrecto utilizar la tinta roja para los escritos, salvo cuando se quiera resaltar algo.
Es tambien el color del liderazgo. En los programas estadounidenses de "power rangers", el uniforme rojo es el grado máximo del escuadrón.
En la Iglesia Católica, los Cardenales visten sotana de color rojo escarlata.
Tonos
Para los pintores hay una gran diferencia entre el rojo cadmio y el rojo carmesí, aunque sus matices sean bastante parecidos; el rojo cadmio cubre perfectamente las superficies, mientras que el carmesí queda siempre transparente. La siguiente lista reúne 105 nombres de tonos conocidos.[1]
Anaranjado rojizo
Bermellón
Carmín Encarnado
Encarnado
Escarlata
Frambuesa
Fucsia
Granate
Magenta
Ocre rojo
Rosa

Púrpura

rosa fucsia
magenta
bermellón
escarlata
carmesí
carmín
borgoña
granate

ENCUENTROS DEL TERCER TIPO EN ULTRAVIOLETA: EL WORKSHOP/LOS EVENTOS/AND THE REST....

2011-01-23T15:43:00.000-08:00

A rainbow at Ultravioleta
pic by Zio Estrada

LOS ENCUENTROS PARTICIPANTS:

Byron Marmol
Hugo Quintoc
Sofi Novella
Pablo Aragon
Alejandro Marre
Claudia Lorente
Jakob Kattner
Stefan Benchoam
Zio Estrada

DAY ONE:
The Starting points

Basically we walked and talk and the issue was all about perception and how once
we switch our minds on to an open zone of understanding what's around us we can
" see" or "experience" something unexpected.
Very important for me to pass the info to all the group about the basics of my
"method" which is an anti-method any way and which is based on exercices about
awareness and perception and not about me passing on to them any sort of "orthodoxia"
or known theories about any sort of cultural or artistic issues of the times.
As well I did give a sort of very rutinary intro to some of the International Situationist philosophy and ways of seeing .......

DAY TWO:
The Michelada making

To make a Michelada was an idea that came easy between the group , it was a Red drink, and connected to the idea of my show, and had thematical links about the idea of how as a drink , the Michelada could be considered a revolutionary,rebel one , even if this was just then, on the spot, that this idea was taking form.
To make a drink that is so much part of the drinks that Centro America consumes was
a way of just doing something very simple but that mean that appart of getting quite
high on it we would found our selves experiencing our walks and conversations in a very
fresh manner and as much as possible away from any notion of orthodoxia.
Michelada making by : Alejandro Marre, Sofi Novella and Stefan Benchoam

PORTABLE BENCH/CHAIR/DRINKS CASE by: Stefan Benchoam

DAY THREE:

THE WALKS AROUND THE TEATRO NACIONAL DE GUATEMALA

If we think about the iconography of the film " Closer Encounters of the Third Kind",
which is the title and the concept that isnpired this workshop, then is not strange to see why there is a connection between this amazing building and the whole architectural
project around it, with the "shape" of the mountain and location for the closer encounters passed by telepathy to the protagonist by the UFO that just had fly
over his/her heads...
The idea in this case was to realize that a experience around this building , as with
any one, the case given, will be a way to extract iconography on one way or another
all related with "the object" and its sorroundings .
A very similar procedure to that of constructing a "logo" but with a totally different
means, having to do more with just "the journey" of the practice about the extraction
of images and work and less about "the results" as if had to be qualifying for a special and specific standart about art making....

Efrain Recinos Teatro Nacional Joya
Cheverista

THE ZINE : LOS NITIDOS INVISIBLES
The zine was an exercice about how material can mutate and be transformed
depending of the media is used, in this case photocopy and pasted bits and pics...

UN GRUPO DE GENTE SE ENCUENTRA :
Despues de unos dias de paseos/derivas, se obtienen
unos iconos ( fotos, dibujos, notas etc )se les denomina
iconos por que de alguna manera se puede entender que de
esos elementos se puede extraer y formar lo iconico, pero
no en el sentido de iconico como algo especial y unico ( religioso/adorado),
sino como algo que luego se podra reducir, esquematizar y formalizar
como forma y contenido, como parte visual de un discurso propio.
Cada uno encontrandose con sus señales, con sus temas, con sus notas...
Como ultimo ejercicio de formalizacion , el Fanzine, el cut and paste,
la fotocopia etc , es simple pero da pistas de como ir conduciendo y
plasmando lo " encontrado ".
Ademas, objetivo del encuentro, crear una identidad de grupo y de como
ese grupo y su paso por el tiempo se hace a si mismo "Historico".
Despues de varias propuestas se elige LOS NITIDOS INVISIBLES,como
nombre del grupo, acordarndo que ese es el tipo de definicion, que resume
en un "statement" linguistico, el humor de esas vivencias y su dinamica..
siendo tambien este significado parte de lo "hallado " en el "azar" que fue
la base y la estructura de esos encuentros.
Los encuentros del tercer tipo sugieren una capacidad de coincidencia en el tiempo y el espacio. Lo que pueda generarse durante ciertos encuentros entre ciertas personas tomará una forma única y dejará paso a diálogos, eventos y experiencias. Surgirán y se desplazarán ideas, nombres y definiciones, práctica y teoría. Y la posibilidad de formalización de esas experiencias en planos virtuales como la creación de una página en Wikipedia sobre "los encuentros y los encontrados" a la vez que el transcurrir se irá desvelando en "formas" y "rastros". Todo material es posible, toda efemeridad es necesaria.

RESUMED DATA FROM THE PSYCHOTROPIC EXPERIENCE

2010-12-29T09:37:00.000-08:00

THE IDEA IS THE MACHINE THAT MAKES THE ART

From 2 December to 16 December The BCN Psycho Tropic Workshops
was a working progress show featured at Antigua Casa Haiku in
Barcelona.
Curated by Alex Brahim.
The show was about a sort of retrospective and introspective tour
around material from the very far past and the immediate future.

It started as an introductory show/event where old and new films where
screened,a spoken word piece was re-enacted,the space had few sections
and made a total installation composed by big wood murals and zones
of painting as performance,references to Kaprow, Klein and Oiticica,and
a new project based on the Legend of The Chupacabras which was also part
of a virtual opening night at Miami Basel Art Fair

From the 6 till the 9 of December the workshops where on , participants
and ocasional visitors mixed and interchanged opinions and derives.
Finally the 16 of December and as a sort of conclusive performance,
a Club Esther night was reproduced for the first time ever inside a gallery
space.

Here are bits and fragments of how it was like.....

CLUB ESTHER / BIPOLAR SOCIAL CLUB

SETTING:
NEO-WHITE CUBE,TABLES,
CHAIRS,DJ MUSIC,DRINKS,
PERFORMANCES,XMAS LIGHTS,
DERANGED LIVE SET BY DIRTY SNOW,
NOISE,FANZINES,EPHEMERA,T SHIRTS,
POSTERS,GUEST ARTIST,ANAMOR LOVE
TAROT,PERE FAURE READINGS,
"DETOURNED"ART WORKS AS STAGE PIECES,
SCULPTURES,LEFT OVERS,LOTS OF PUBLIC.

WHAT THE FUCK IS THIS??

What is Club Esther? Club Esther is a NO-CLUB -NO HYPE- NO COOL-NO ARTY ART_

A no no no no and NO
No shit
Is pure S+M =sub-serviance
IT'S NARCISSISTIC BECAUSE: Obedience to the law is freedom!!!
FUCK YOU ALL
YES YES YES YES YES YES YES
http://www.clubesther.biz/club/club.htm

TOPICS:
ABERRATIONS OF CURATORIAL LANGUAGE
THE CENTRE D'ART SANTA MONICA AFFAIR/WHAT'S WRONG???
NOTIONS OF DETOUR AND DRIFT
FOUND AND LEFT THERE SCULPTURE
THEORY OF ART POWER AND SYSTEMS
SEARCH FOR REFERENTS

TOPICS:
THE LAMENTS OF JEREMY/JEREMIAS
HAZARDOUS BREAKS
CHANCE AND WRONG
MACHINE REVOLUTIONS
WHAT'S LEFT THERE
DEBORD DERIVE

TOPICS :
IGNORANTS AND MASTERS
RE-ENACTING GRAFFITI MAKING
MENTALLY ILL?
MIRROR EFFECT
CONCEPTUAL INCONTINENCE OF THE "MAN OF IDEAS"
LITERALLY APPLYING JOSEPH JACOTOT

TOPICS:
GENDER OF ALL SORTS
HERMETIC ART DISCOURSES
POWER GAMES
UNDERGROUND CO-OPTED
HASH/ GRASS/ BEER
BARCELONA ON ID CRISIS
HYPOCRITICAL KNOWLEDGE
FREE LEARNING

The BCN Psychotropic Workshops during the show at Haiku

CUVO AT EL MATADERO THEATER MADRID

2010-12-14T16:01:00.000-08:00

Poster and the entrance to the Theatre space

Noise, improvised life over ghost film at El Matadero de Madrid , proyecto CUVO curated by Alex Brahim December 2010

Sonia Gomez about to go on stage
and Lydia Lunch holding the red
curtain...

Las Naves del Español del Matadero de Madrid acogerán el sábado 11 y domingo 12 de diciembre la primera edición de CUVO, un espectáculo en sesión continua donde seis performers de origen o estadía catalana que hilarán en turnos de 15 minutos historias que van conectadas por grupos y que comparten la misma visión, forma y método de transmitir de sensaciones y transmutar el concepto de espectáculo escénico en una mezcla de danza, música, show de cabaret, exhibicionismo crónico y plataforma deforme. CUVO se agrupará simulando la reproducción de un vinilo o una cinta de casete: tres pases de media hora con cara a y cara b cada una donde se unirán de la misma forma que se desunen en escena la oferta de performers que se conectan con los elementos y las formas, pero que discurren en el fondo, el contenido y continente de la transmisión de la misma en un puro ejercicio de coordinación. Alan Queipo

Live Set at BCN Produccio'10

2010-09-23T13:06:00.000-07:00

//////////////////TIME THEFT E2162/// BCN PRODUCCIO/10 //////LA CAPELLA///// BARCELONA

2010-09-23T11:56:00.000-07:00

AGENTE E2126

BCN PRODUCCIO/10 TIME THEFT E 2162

2010-09-23T04:02:00.000-07:00

Time Theft E2162 Installation Shots and Film Stills

2010-09-20T08:43:00.000-07:00

words, statements, messages, grounds, pavements,streets

2010-05-29T06:38:00.000-07:00

The project , " words, statements, messages, grounds, pavements, streets" is an ongoing activity happening some times at some places , is ephemeral and unexpected , the idea is to recollect
documents after a wile and compile them on pictures or a publication.

London 2011

Barcelona 2010

Esther Planas and Aldo Chaparro Double White Cubicle Gallery

2009-11-13T18:31:00.000-08:00

Esther Plana's '‘I Love To See You Pissing For Me…’ in the men's toilet

Mauro Durant baptising Esther!

Aldo's take away posters and Esther's fanzine 'My Journal of a Thief'

Esther's flower offering

White Cubicle is honoured to present a double exhibition during London Art Week:
Esther Planas: ‘I Love To See You Pissing For Me…’ (in the men’s urinals)
and
Aldo Chaparro: ‘Too Drunk To Fuck’ (in the ladies’ toilet)
Monday October 12, 2009, from 8:30 PM to midnight.
White Cubicle Toilet Gallery at George and Dragon Public House, 2 Hackney Road, London E2
After party at the Joiners Arms
ribbon cutting by Vanesa Fernandez
special star dj Craig Garett

******************
Esther Planas: ‘I Love To See You Pissing For Me…’
“My Journal as a Thief:
In the men’s urinals I found myself adoring you…
Jean Genet and the pissoirs in Barcelona…
A flower offering for them…
Thoughts stolen from Maurice Blanchot and Michael Focault…
Pictures of myself at the urinals of the George and Dragon…
Stolen and re-framed photos of Viggo Mortensen…
Cut and Paste…
Poems of lost times and abjection…
The ultimate erotic fétiche poem…”

Esther Planas (born in 1960 in Sant Gervasi de Cassoles, Barcelona, Catalunya; lives and works in London and Barcelona)
Esther Planas is a visual artist and performer based in London since 1999 where she has become a cult figure and created her own clandestine scene. Planas publishes her own magazine ‘Dark Star’, is a musician and has her own band ‘Dirty Snow’, every now and then she also runs her own night ‘Club Esther’. A poetic visionary, Planas collages her own demons without making any distinction between her art and her life.

On a personal note, Pablo Leon de la Barra would like to thank Esther Planas for being the first person to invite him in 2002 to exhibit in London, and Aldo Chaparro for always supporting the White Cubicle Gallery in the pages of Celeste, the magazine he co-publishes with his wife Vanesa Fernandez.

THE WHITE CUBICLE TOILET GALLERY measures 1.40 by 1.40 metres, is located within the Ladies Toilet of the George and Dragon, and works with no budget, staff or boundaries. White Cubicle presents a discerning programme of local and international manifestations as an antidote to London’s sometimes extremely commercial art scene. Past exhibitions have included the work of Deborah Castillo, Gregorio Magnani, Butt Magazine, Federico Herrero, Terence Koh, i-Cabin, Steven Gontarski, Pixis Fanzine/Princess Julia and Hanah, General Idea and avaf, Basso Magazin, Carl Hopgood, Giles Round, Tim Noble and Sue Webster, Superm, (Brian Kenny and Slava Mogutin), Elkin Calderon, Wolfgang Tillmans, Calvin Holbrook/Hate Magazine, Husam el Odeh, Simon Popper, Fur, Dik Fagazine, Rick Castro/Abravanation, Jean Michel Wicker, Noki, Ellen Cantor, Karl Holmqvist, Julie Verhoeven...
http://www.whitecubicle.org
http://www.myspace.com/georgeanddragon

I was offering roses of Love

2009-10-13T18:38:00.001-07:00

A flowers offering performance , re-enacting the scene at Jean Genet's Journal du Voleur, where
a group of transvestites go on procession around Las Ramblas de Barcelona ( my home town) and
give flowers ( red roses ) to a derelict pissoir by the harbor .

For one and only times The White Cubicle gallery
hosted a show at the men pissoir , a Duchampian zone
par excellence for the performance and installation ......

NUEVA GALERIA DE LA BARRA /////OHWOW Gallery Miami Basel 2008///////////////////

2009-02-17T13:03:00.000-08:00

WEDNESDAY, 3 DECEMBER 2008

IT AIN'T FAIR

Life, It Aint' Fair

Adriana Lara's butt sculptures at the entrance of the space

Adriana Lara's butt sculpture

avaf and dj booth above

Radames 'Juni' Figueroa's Tropical ready made

Esther Plana's Picasso Mouse paintings

Angelo Foundation money, good for credit crisis

Leo Sky and Esther Planas

Angelo Plessas

Brandon Herman's cat

Deitch curator Nicola Vasell

Radames 'Juni' Figueroa

Esther Planas, Aldo Chaparro and Brandon Herman

Mr. de la Barra

Cay Sophie and Christian ride on!

Milena Muzquiz play at Bistroteque 08

2008-03-02T07:02:00.000-08:00

Colaborating with other Artist
Since long time I been requested by
friends artist to colaborate with them on their
performances, videos, or shows...
Its obviously a part of this whole dialoge that Art practice
is all about and I enjoy its challenges when asked
to be part of any of this situations...

Maskwork at Five Years Gallery

2008-02-20T06:10:00.000-08:00

All Cats are Grey /////Spai Ubu Barcelona 2007/////

2008-02-19T03:05:00.000-08:00

All Cats are Grey is the last film of Esther Planas that composes her trilogy of the films she produced as Vampire Tales.
With material from her previous films collaged to new sources. Inspired in the German Expressionist and
the film from Phantomas director, Feulliade: Les Vampires.
Melting the roles of Irma Vep and the Sleep Walker , the film again travels through the topics of Pop Music, Love and the Undead and exposes its aesthetics during a time of industrial revolution, the first world war ( pre and post), the fears that hide on such symbolic themes.
The idea of the Revolutionary Woman , instilled by Feulliade's Les Vampires can't be ignored as the notion of what really means Vampirism in general, for a burgueoise society ... the coded style of the narrative at the video on the installation , as tu suggest how so much of this issues that are now part of our culture trough out Pop Culture , still reminds us of its strength as real dangers, mixed class and race, sexual venereal illness contagion and madness.
On its formal delivered way, the installation suggest the Theatre Stage or Film Stage , where precarious material, creates contrast of blacks and whites, light and shadows, quite near to what must had been the shooting site for Das Cabinet of D.C.... and also a flavour of a Jean Cocteau set...the highlight of Geometrical shapes and relations inside the white cube as on a way to pin down philosophical proportions and values materialising as angles and triangles of all sort, capturing the spirit of the times.
The film was show at her solo show in Barcelona 2007 at Spai Ubu and was part of an installation that
set the context of a sort of Stage made by giant cut- ups , paintings and huge drawings.
The sound track is performed by Dirty Snow and on this case is a cover from The Cure ( All Cats are Grey)

Psycho Geometry V at Five Years London 2007

2008-02-01T06:37:00.000-08:00

Esther Planas's exhibition centered on projected video footage of her improvised performance 'Psychogeometry', recorded live at the Club der Polnischen Versager, Berlin on 17th March 2006. The installation at Five Years included a construction around the projector which mirrored the set within which she performs with her band Dirty Snow in the video. On the walls surrounding this were hung paintings and photocopies including images of the artist's encephalogram, the criminal masterminds Fu Manchu and Dr Mabuse, Bruce Lee and Salvador Dali.

Psycho Geometry V at Polish Club Berlin 2006

2008-01-02T04:38:00.000-08:00

Psychogeometry II was a collaborative Installation between Marc Hulson and Esther Planas for their intervention at The Polish Losers Club in Berlin during the 2006 Biennale , where they host a four
week salon , live performances and film screenings. Guest artist where : Mark Aerial Waller " Les
Amies de Judex " Dirty Snow and Thomas Zipp Band , Joan Morey,and Daphne Brash . The Show
had a title " El Diablo en la Pintura " and hosted the members of The Tuesday 29 Secret Society .

Dirty Snow///1999/2011/// Memory // Angel of History// Archive

2007-04-02T03:00:00.000-07:00

Dirty Snow latest detourned line up:
Marc Hulson : Bass
Wolf : Synth
Esther Planas : Guitar and vocals
Baking tracks by Marc Hulson,
Nick Hudson and Wolf.
A new angle on our sound

/////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////

Esther Planas began experimenting with the possibilities of live
and recorded music in her work in 1997 when she collaborated with
the musician Luis Carbonell for a series of dance performances in
her home town, Barcelona. She produced her first recordings in
early 1999 as a soundtrack for her earliest video work,
Plastickiller. The soundtrack consisted of four songs, with Esther
performing vocals and spoken word over music by Luis Carbonell
and Justine Armatage.
She formed her band Dirty Snow in Autumn 1999 after moving to
London. The idea was to create an almost a real band, inspired by notions of experimental sculpture as in the works of Gilbert and George , Situationist issues like derailing reality and Baudrillard's Era of Simulacra, the band was supposed to just activate reactions of ephemeral disturbance, questions about its relevance as a live work of art and all sort of other borderline miss-understandings and miss-readings of the project.
Dirty Snow's first live performance was at the Diogenes
Club, organised by artist Cedar Lewisohn at the Clinic in Soho in
1999 / 2000. Dirty snow also performed regularly from 1999 - 2002
at performance/art/noise events at the artist-run space Five Years
in Hoxton's legendary Underwood Street. The Libertines also
appeared here, as did Martin Tomlinsom and Patrick Constable
along with many others featured at Five Years' "PROMISSE OF HAPPINES"
chaotic nights.
Eventually the gallery was served an eviction notice for noise, and
Underwood Street's colony of artists' spaces and studios was forced
to make way for luxury apartments.
Dirty Snow have since performed at numerous galleries and venues,
including playing support at early gigs by the Libertines at their
Filthy Mac´nastys..SKINT &and Minted and CITY OF LIBERTINE at the Rhythm Factory and
on tour with Selfish Cunt. The band also play regularly
at Esther's Site Specific, night 'Club Esther', a so-called 'exhibition in a
club' which advertises itself with the battle-slogan 'ART-LUST/
BLACK CUBE'. This sporadically recurring event was organised by
Esther in collaboration with Marc Hulson and takes place, when it
did take place, at On the Rocks, a venue that was notable for being one of
the last remaining bastions of unreconstructed East End seediness
amongst the multiplying style bars and suffocating 'hipness' of
Shoreditch.
Club Esther has also re-appeared in Berlin and lately at South London Gallery show
The Weasel , Pop Music and Contemporary Art , curated by Kitt Hammonds and
The BCN Psychotropic Workshops at Antigua Casa Haiku , curated by Alex Brahim
in Barcelona.
Dirty Snow's gigging and recording career has involved
collaboration with numerous musicians and artists but the most
stable (and current) line-up has been with lyrics and vocals by
Esther, jazz musician Ivor Aizenberg on drums, Patrick
Constable(co-founder of art/noise terrorists Selfish Cunt) on
guitar and the painter (and co-founder of Five Years gallery) Marc
Hulson on bass.
Dirty Snow is a band developed in an art context but which pitches
itself against the detachment and self-concious irony which tends
to typify the 'art-band'. The group's musical style and unpredictable mode of performance, which foreground emotional expression and improvisation (sometimes to the point of incoherence
and collapse...) are for Esther a means of counter-attack and critique against a too intellectual art-world. At the same time the band's stance rejects the crossover / careerist trajectory of becoming a 'real' band in the 'real history' of rock music. Dirty Snow exists, in Esther's terms, as a kind of 'ghost band' - not a
real band or an ironic representation of a band. Their mode of romanticism is consciously chosen as a means of challenging, terrorising and infecting all the 'scenes', on as many levels as
possible.
Dirty Snow also continues to provide the soundtracks for most of her video works.

Wild gig in Wigam during a tour as supporting band for Selfish Cunt
2004

Review about gig in Manchester on the same tour

Following with a much more mature sound and appearance were Dirty Snow. A band with an average age of about thirty, they
bash ‘em out with the best of them. With the ‘wall of noise’-ness of ‘Sonic Youth,’ and the conservative gothness of ‘Siouxsie and the Banshees,’’Dirty snow` show a fierceness that would make children cry. Most striking is undoubtedly the leading lady. She looks like Shelley Duvall of ‘The Shining’ fame. Wendy Torrence armed with an arsenal of twisted, tortured writhing, gyrating ‘dance’ moves to send Jack Nicholson straight to hell. No discernible words came from her mouth, and if they did were hidden under the screams and wails of that wild banshee woman. But hey, who needs words anyway. The ‘Dirty Snows’ are not at all precious about their sound, giving it up for an energy that truly shakes and stirs the front woman. ‘Dirty Snow’ are not doing anything particularly new, if anything they are playing on old styles, but their energy is fresh, sincere and exciting to watch. It’s just a shame they burnt out after only 15-20 mins.

James Bridge Williams
The Dry Bar, Manchester 2/12/2004

BAND SPOTLIGHT}} Dirty Snow
Dirty Snow are an enigma at first glance: a starkly monochromatic male/female duo, making atmospheric post-punk in the vein of Faith and the Cure era - an influence they pay tribute to with a cover of 'All Cats Are Grey' - and under the influence of electronic music and shoegaze. It takes a little investigation to discover their origins in a gallery in Hackney in 1999 as a conceptual 'ghost band' founded by artists Esther Planas and Marc Hulson for the Five Years project. Since then they've played around London and Europe for nights including Decasia and Zoo Music. How The New Thing have missed them so far is largely due to their lack of publicity - this isn't a band so much as an experimental artistic project, with possibly the least commercial approach we've ever seen. That we haven't previously picked up on them is our mistake, since they make some of the best music we've encountered fresh for quite some time - and apparently their live appearances are even better. Discover them now to make up for nine years' worth of lost time.

review at The New Thing 2008

Dirty Snow// Specific Object// Ephemeral Disturbance// Performance in collaboration with LucyReynolds for the last week end of Five Years Gallery at its site in Underwood st London 2002

Guest star at Joan Morey show at Centre d´Art Santa Monica 2007

2007-03-02T06:28:00.000-08:00

Lost Dream all Night 2003

2007-01-15T06:59:00.000-08:00

Lost Dream all Night is a film that was made following the challenge proposed by the cult cinema director Ivan Zulueta in his film Arrebato. Planas homage and piracy about fragments of the film are her answers to his message about Addiction, Obsession and Vampirism . A sort of Detournement re-creating the same issues that concerned both Zulueta and Planas. Film ,Drugs, Love and Death. The soundtrack is played by Esther Planas band Dirty Snow .
The Film was part of an installation which re-create Pedro's Room at Zulueta's film.
For some length issues at downloading its not possible to see the credits where Zulueta's
authorship is absolutely credited.
Plus Dario Argento and Angel Sanctuary.

A description of Esther Planas

2007-01-01T05:13:00.000-08:00


		Happiness is a Warm Gun - Esther Planas

On the 25.11.04 Esther Planas wrote in her online diary:
dear diary....seems I still alive...seems that no one h
as done it yet.....I want to do it..but fuck..I
am a coward...maybe some day....

Esther Planas is the achingly and archetypally
poetic visionary, playing out her own
life/love/art dramas in her work –
meshing it all together in a glorious
fuck it collage. Her confessional practice
predates Emin, influenced instead by the original
hardcore exponent of the genre, Kathy Acker.

Esther’s is a plaintive world where everything
is continually in flux. Her persona shifting
between the wannabe roles of rebel, rock-star,
artist, painter, poet, porn star and writer.
In her art this personal world is opened up,
creating a space for the audience to drift
through, to read her narrative as they would
a text.

As we tumble down the rabbit hole and teeter
on the edge of chaos we realise that unlike
Alice, Esther’s wonder is an underland created
from inside her own fetishes.

Esther Planas is a visual artist, writer and musician –
she is the publisher of Dark Star and plays with Dirty Snow.

Losing Control

2006-12-22T05:41:00.000-08:00

Losing Control is a film about Gothic iconography , the first film of Planas that uses the format of an old style video clip. Like a collage where her view as a provincial girl from Barcelona shows her anglophile fetishes about the Post Punk era in the UK. Filtering through the images of music Icons that had been lost in time. Shoot between 1999 and 2000 was shown in 2002 at her first solo show in London at Five Years Gallery in Underwood st. Part of an installation that quoted Addiction, Mental illness, Baudelerian issues and Coppola's Dracula. Her band Dirty Snow provided the sound track.

Press Release for the show:
Esther Planas’s first UK solo show coincides with the launch of Dark Star no. 4 and a limited edition vinyl release / artist’s multiple by the band.

Concerned primarily with storytelling and performance, Planas is a visual artist who uses the formats of publication (Dark Star is a unique hybrid of book, fanzine and magazine) and rock band as vehicles for multiple creative purposes and for the exploration of multiple personas. Born in Barcelona, she published and edited the pioneering style/culture magazine V.O. in the mid 1980’s and was the first distributor of I.D. in Spain. She trained as a dancer .

Dirty Snow was conceived in 1999, initially to produce a soundtrack for the video works in Planas’s solo show ‘Red Rum’ at Pelayo 1 in Barcelona. Following her subsequent move to London, Planas has presented a string of memorable gig/performances at events and opening parties (eg. Dark Pop at Five Years 2000) and made recordings for independent labels (Evensong, Underwood Audio), while gradually developing Dirty Snow’s sound from naive indie-noise to minimal post-punk /gothic pop. The band also continues to produce the music for Planas’s video and performance work, most recently for the short narrative ‘Losing Control’ (currently touring internationally in the exhibition ‘Je t’aime…’) which will be screened at Five Years. Dirty Snow’s soundtrack for the video layers infectious, repetetive guitar riffs over a drum-loop while Planas sings the phrase losing control, I‘m losing control over and over again. This reductive approach to songwriting is typical of her recent work – as well as being conceived as a kind of ‘response’ to Joy Division’s ‘She’s losing control’, Planas’s distillation of the pop lyric to a single, repeated phrase works as a kind of filtered concentration of pop music’s emotional cachet. The same approach characterises the song which will be paired with ‘Losing Control’ on the band’s 12inch vinyl – instead of narrating the whole bittersweet tragedy of the archetypal pop-tale (broken hearts and existential isolation), she simply sings, again and again, ‘Crying all night, I’ve been crying all night’, over a backdrop of lowering guitars and clattering drums.

The obsessive repetition and disregard for narrative development or conventional song structure that characterise Dirty Snow’s music are mirrored in the editorial approach and (anti) design of Dark Star. Although distributed worldwide by the influential French company OFR system, Dark Star is nevertheless in many ways a wilfully obscure entity. Begun, like the band, in 1999, the publication was initially intended as a virtually private project – a xeroxed notebook or diary to be handed out amongst friends. In spite of its presence now on shelves alongside the myriad style\culture glossies, it retains its elusive, secretive character – any information contained within its pages concerning contents, producers and contributors tends to be both minimal and virtually illegible. Each issue (nos. 1, 2 and 3 have been published annually since 1999) presents itself without explanation or apology : 150 pages or more of meandering, playful, obsessive – and ferociously lo-tech – cut and paste, zeroxed imagery and graphic invention. The kind of no-holds barred, anti-design attitude and aesthetic which the so-called zeitgeist in mainstream publishing (see recent issues of Dazed et al) has only recently – belatedly and somewhat politely – begun to assimilate.

The exhibition at Five Years will present the new publication and recordings in the context of an installation of Planas’s work in other media – video, projection, painting and photography.

An essay by Marc Hulson :
As a subtext…..
In her first London solo-show, Planas uses Baudelaire’s Les Fleurs du Mal as an oblique model via which to position herself as a kind of contemporary flaneur – an artist adrift in the Metropolis of London – losing herself in its archives and myths, its imaginary signifiers, its cultural ghosts; investigating its mythologies and pop-cultural iconographies, lost in the graveyard of its history, it’s gothic cemetary of romace and death; tracing the invisible thread that links the myth of beautiful teenage rock star poets flowering in bleak urban estates with the myth of Mina and Dracula (revealed by Copolla as the first junkie star). London as fairytale.

Eroticism, addiction, depression (spleen, ennui), the void, style, fashion: the city as a treacherous fantasy island, where popular culture dies and is born and gets trampled by the mass – maybe somewhere inbetween the not-yet and the never-to-be the artist retrieves something.

The scrambled sequence of slides linking unrelated fragments , the use of collage, copying, cut’n’paste in Dark Star, the forming of an installation from separate works (video, book, slideshow, soundtrack) – Esther Planas has created an enclosed world out of an assemblage of related works. The gallery becomes a neverland where the walls are covered in posters , we look at images of flowers and beautiful boys, watch music videos, play records and leaf through incomprehensible magazines for ever. Where the music is always the soundtrack of a lost afternoon, a lost weekend. We’re in a room, on a sofa, on a bed, on an island. Tomorrow never comes… in the end it’s just a question of whether or not you want to believe… the beautiful and the damned.

Her use of the image of the junkie, and of the trade names of pharmaceutical anti-depressants, symbolise a condition of suffering, need, dependancy – in relation to an apprehension of contemporary life as unbearable: time is passing, time is wasted, there is no escape from the relentless, cyclic demands of the social structure. The hypodermic and the drug names are like the poison, reminding us of the presence of death, the flower, the beautiful boy.

Her dandyism asserts itself through an ostentatious dilletantism, through the casual, unfinished appearance of the work. Planas is not so much a multi-media artist as an artist who works across media, disregarding the criteria of technical specialisms, with a disdain for “professionalism’ which translates as a rejection of ‘work’ (and the work ethic). Her langourous preoccupation with style, with appearances, asserts the glamour of uselessness – symbolised ultimately in the image of the junkie. The artist is under no illusions about the futility of escapism – it would be more accurate to assume that the futility itself is a token of its value.

With reference to Baudelaire’s status as declasse, an outsider, the sinful little girl, the girl that masturbates, the girl that dreams of the undead; but the girl who is stigmatised by illness – depression, epilepsy, addiction. Could this be the satanic girl???

Symbolic of the metropolis – the individual/ artist who feels the necessity of constructing an entire world, a fantasy – who, constructing herself as image/persona, makes herself the poetry in a Baudelairean sense.

The light in the gallery is low, filtered through heavy pink and blue gels covering the windows, while a single red spot illuminates a record player on the floor. There are also large velvet cushions on the floor, where you can sit and read densely illustrated fanzines/books….. The walls are covered in posters – big zeroxed images, like the ones in the books, showing drawings of junkies, picture-book girls and… the brand names of pharmaceutical anti-depressents are wrtten across them, descriptions of treatments for epilepsy…. On one of the posters it says – “and he left her forever”. A 12” vinyl is revolving silently on the turntable – you play it and hear minimal post-punk, goth –pop music – a female voice with a heavy european accent sings the same phrases over and over again – “I’m losing control”, “I’ve been crying all night”. On one of the walls slides are being projected: there are images of a beautiful boy in his room – playing records, playing his guitar. He looks iconic, like a pop star, but we don’t know who he is (some of the images are intimate, close up). These images are intercut with shots of an urban housing estate and blurred close-ups of flowers.
The atmosphere in the room is intimate and enclosed, but it feels like a space where you can get lost – like a private room, where you read and listen and look and drift in thoughts. Heady – everything is eroticised, but the symbols of illness, poison are everywhere – vampirism, drugs, medication

In his essay on Baudelaire, Sartre describes the cult of dandyism in 19th century Paris as a kind of ‘suicides club’.

For her first London solo-show, Esther Planas has taken Baudelaire’s cycle of poems ‘Les Fleurs du Mal” (with its infamous themes of….) as a kind of oblique model for her own drifting investigations through subjects of forms of contemporary ennui and spiritual malaise – addiction, the vampiric cult of beauty, youth, …
In this way she also positions herself, in terms of her role both as a contemporary woman artist and as an outsider (adrift in London) as akind of female dandy.
Position as a female dandy – through attitude rather than an obvious issue of self- presentation. Especially important is the use of the images of boys – the conjunctions of eroticisation, indifference and forms of sickness. Also dilletantism.
Cult of beauty…. Perishable(p.145 ) suicides club - the supreme sacrament (p.146). Self-annihilation and the cult of the self/ego-cult.
‘Underground’ stance and underground aesthetic – it should in no way be interpreted as neo-hippy ‘alternative’ – it’s quite the opposite – it is anti-burgeoise but in an elitist and ultmately aristocratic sense in so far as it signals an identification with a lineage of extreme individualists, posers and dandies – the assertion of difference as an heroic and noble act , the rejection of utilitarian values at every level – linking Baudelaire to Woolf to Burroughs to Sid Vicious and Ian Curtis. In the image of the junkie or the suicide this is realised symbolically (the supremesacrament). The concept of an underground elite realised in the expectation of being misunderstood as a sign – those who don’t ‘get it’ are outside the elite ‘community’.
The installation can appear hermetic, closed – but if you allow yourself to ‘drift’ and to investigate, and if you ‘know’ the references, then the clues/signs are there. In the video where the girl dreams about a meeting with a vampire (the vampire – an aristocratic figure who is also marked by difference through his sickness, his addiction), there is a poster of Sid Vicious behind her on the wall of the bedroom. On the wall of the gallery another poster shows a crude drawing of a girl (who resembles the girl in the video) injecting herself with a hypodermic. The record plays a minimal post-punk song (which is also the soundtrack to the vampire video) with repetetive lyrics – ‘I’m losing control’ which refer to Ian Curtis’s vocal for the Joy Division song ‘She’s Lost Control’. On another poster is a description from a child’s book of treatment for epilepsy while other posters feature the brand names of pharmaceutical anti-depressants. A chain of references is set up through different media linking the figures and themes of the vampire, addiction, the junkie, the suicide, the doomed pop icon, illness, treatment and depression (a community of proud but lost/doomed outsiders, icons of ‘difference’). The imagery on the walls features repeated silhouettes of dark, twisting art-nouveou flowers – a reference to Baudelaire’s cycle of poems ‘Les Fleurs du Mal’ (with its infamous themes of sin, ennui, erotic obsession, dissipation, sickness and spiritual malaise) which the artist has used as an oblique model for the installation. Images of flowers also…….
In his essay on Baudelaire, Sartre describes the cult of dandyism in 19th century Paris as a kind of ‘suicides club’.

‘Outsider’s’ interpretation or use of British pop culture…

Although use of music and pop-video related structures and formats links her to current certain current tendencies (eg. Fischerspooner), her work is antithetical to that kind of slick ironisation…….

DARK POP 2000 Five Years Underwood St London

2006-12-21T14:18:00.000-08:00

Lost Bunny 1999

2006-12-21T06:34:00.000-08:00

Lost Bunny 1999
Is one of the very early films from Esther Planas, shoot in 1999 was part of a show
in Metronom Fundacio in Barcelona 2000 called Attraction and curated by Hilde Teerlink.
The film is shoot on a very poor quality video camera and its rawness plays a very important
role on a film about Trash and B series films.
In this case a woman , a erotic model who rehearses at a very dim location for her even more dim
show in a very far way isolated country town.
The sound track is performed by a very early Dirty Snow on its first line up with guitarrist Midori Shimada.
Recorded at a Live Performance at Five Years gallery London 1999.

Redrum1998

2006-12-10T06:22:00.000-08:00

Redrum is the first film from Esther Planas , shoot in 1998 in Barcelona was part of a DIY self curated
show that took place in a deserted old house .
The topics of the show been the influence of watching too much bad American TV in Spain about psycho
killers and reminiscences of the best of that genre on Film.
A mix of Twin Peaks , The Shining and Don't Look Now with the worst films for TV from the USA.
Planas performance is largely influenced by her then current dance practice in Barcelona.
And the whole film breathes surreal sense of humor about how much colonized even our horror icons
are .