- an interview with Daniel Brożek, also known as Czarny Latawiec
Czarny Latawiec is a secret project of Daniel Brożek, an artist, curator, music critic.
Czarny Latawiec will appear on the stage on 20th November in Kiev, of course as a part of our festival. But before it happens, we invite you to read an interview, in which the musician tells us about his creativity, inspirations and the reasons why art may be important, especially in the grim times.
Igor Waniurski: You are going to appear on the stage on the Art Meetings Festival soon. Could you tell the festival audience something more about your project?
Daniel Brożek: Czarny Latawiec is a project which focuses on looking for correlations and relations between music rituals of traditional music cultures and practitioners of avant-garde of the 20th century. There is much plunderphonics spirit and fun, a lot of unevident and backbreaking stylistic solutions. It is also an attempt to find a key which has been guiding human passion to search in the area of shaping sound matter for centuries. Experiencing sound and space, crucial both for clubbing culture and current sound art, which has a lot in common with situationists’ approach. My sound search lays somewhere between that.
You are a musician, curator, music critic. Does combining different functions in different contexts give you a bigger opportunity to express yourself?
Each of these activities is for me a chance to continue my story about music experience. New thoughts and associations appear while listening, we try to put them in the contexts which are already known. This process has to be a composition – in the case of a musical work, exhibition schedule or critical narration. But what I do is also a chance to initiate new, intriguing situations – intellectual, social and sound ones. Each of these roles gives me different opportunities and their challenges are complementary to one another. It’s a pity that I do not have enough time for all three activities.
In the Czarny Latawiec project you use a broad spectre of sounds, which seem to come from totally different worlds. Can you tell us about your creative process? What inspires you to create a certain composition?
Sounds remain the biggest inspiration for me – sounds of urban environment, instruments, human and animal voices, music from all over the world. Critical thinking and art theories make it possible to organize these experiences, they create a language which we can use to discuss them and compare our hearing. However, direct experience of sound, space and time is always on the top. During searching nooks of the sound art history and practices of avant-garde music a lot of ideas are born. I sometimes come to a conclusion that we are only now able to use and practically prove theories which were created 50-100 years ago.
Will the performance during Art Meetings be your first one in Ukraine?
I would like to ask what your expectations as for this performance are?
I have never played in Ukraine before, but I had a chance to meet Ukrainian musicians and music critics. I know that in this country there is a big interest in music and modern art. That’s why I hope that my visit in Kiev will be not only a chance to develop these contacts, but also to confront my ideas with new, open-mined listeners.
Ukraine is going through a tough time now, there is actually a regular war in the East of the country, social moods are rather tense in the whole country. Do you think that music and art in general can be something important in such times and conditions?
I mentioned situationists, I said that experience of music and sound, but also of art in general is often a crucial element of temporary autonomous zones. Art is first of all an invitation to a dialogue, individual reflection, to careful contact with something unknown. It is the awakening of open-mindedness and critical awareness and learning such features. Many current conflicts in the world result from attempts to impose one, formatted manner of thinking on societies. Art provides us not only with tools to defend ourselves from intellectual and ideological enslavement, but it also allows for us to have hope in tough and grim times.
I wonder if you know any interesting phenomena on the Ukrainian music stage. Did you have a chance to get to know it?
From different festivals I remember Ałła Zagajkiewicz, Dmytr Fedorenko (Kotra Project) or compositions of the Kiev Avant-garde group which was fascinated by serialism. I sometimes check up Kvitnu and Nextsound catalogues. Not only Ukrainian, but the whole East European modern music is currently fascinating. A generation is coming which can make the most of cheap technologies of sound production and access to voluminous music libraries in the Internet, but at the same time it is not influenced by a stiff system of organizing modern music and art, which can be observed in the west. It can be observed during many international festivals – projects from Poland, Ukraine or Czech Republic are usually more interesting than western stars with an inflated promotion backup. That’s why I really look forward to visit Ukraine!
How would you encourage Ukrainian audience to take part in the concert?
Imagine dancing Xenakis, microtonal Detroit and pygmy Sun Ra – keep your hearts and ears open, see you on the dance floor!
Author: Igor Waniurski