gio 14.04 2016 – dom 17.04 2016

The Club House

Dove

Gigantic Gallery
Via Termopili 28, Milano

Quando

giovedì 14 aprile 2016 – domenica 17 aprile 2016
H 16:00 - 00:00

Quanto

free

The Last Night at Paradise Garage

Foto di Tina Paul

Musei trasformati in club ne abbiamo visti tanti e un po’ siamo stufi; non ci siamo invece stancati del Club House dei Tankboys che, per quanto sia in uno spazio d’arte, è una disco itinerante. Questo (non)luogo mobile (ospitato presso la galleria Gigantic dai ragazzi di Pelagica) sarà il dispositivo per provare a mettere in relazione lo spazio del club con il design (da quello del mobile a quello installativo), la socialità e la musica. House è la parola chiave, tanto che questo luogo vivrà rigorosamente a suon di house music: il genere simbolo di un’evasione legata a diversi cambiamenti sociali (sopratutto per i neri omosessuali americani) e alla diffusione globale del concetto di club. Dj, architetti, dj/artisti e curatori animeranno il progetto (che si pensa già di spostare a Londra) al grido “this is my house and house music was born”.

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The Club House ospiterà anche due talk legati a Notte Italiana, qui di seguito il programma dettagliato

IL PROGRAMMA

Thursday, April 14

Talk
From 6 pm
Zero presents Notte Italiana: Radical Clubs with Catharine Rossi

Dj set
From 4 pm to 12 pm
Marco Folco
Ruggero Pietromarchi
Rabih Beaini

Friday, April 15
Dj set
From 4 pm to 12 pm
Cino Zucchi
Michele Marchetti (Stra)
Dafne Boggeri (Tzaziky & Crack)
Simone Bertuzzi (Palm Wine)

Saturday, April 16
Talk
From 5 pm
Zero presents Notte Italiana: Club Design, a project for a place to escape, with Ippolito Pestellini

Dj set
From 4 pm to 12 pm
Cristiano Spiller
Zak Khutoretsky (DVS1)
Club House Residents

Sunday, April 17
From 10 am to 2 pm
Afterparty by Pelagica: Anthems

Le discoteche e le località balneari in Italia, sono sempre state in relazione. I luoghi hanno cercato di plasmarsi e trasformarsi sulle esigenze che il divertimento richiedeva nel corso dei decenni, ed esso stesso ha preso forme sempre diverse e nuove. Negli anni 90 l’Italia attraversa un momento politico cruciale e le discoteche diventano un luogo chiave in cui confluiscono cultura indipendente e industria del “divertentismo”. In questo periodo la discoteca nelle zone balneari assume anche architettonicamente una serie di rimandi all’immaginario esotico. Vengono allestite vere e proprie scenografie, alcune discoteche sono costruite in prossimità delle spiagge, dentro insenature, grotte, altre hanno riproduzioni di templi greco-romani, piscine, palme e atmosfere arabeggianti. I nomi di questi posti sono già in questo senso evocativi: Ciclope, Mediterraneè, Paradiso, Pascià, Pineta.

IMG_7805

La cultura house degli anni 90 si inserisce in questo scenario e numerose feste si svolgeranno proprio in questi posti. Una grossa parte del movimento ha avuto un notevole sviluppo nelle zone costiere del sud Italia e sul litorale romagnolo facendo diventare alcune località balneari anche mete ambite dai “seguaci” della scena. Edonismo ed evasione, psichedelia e tribalismo sono termini che si addicono alle atmosfere di questi eventi. L’enorme seguito, l’attesa spasmodica delle serate, un preciso codice estetico richiamano quasi un ritualismo religioso. Le audiocassette, a cui Anthems si ispira, sono i supporti amatoriali su cui i dj set delle serate vengono registrati e poi scambiati tra una serata e l’altra.

A selection of records will be available for sale.
www.the-club-house.org

ECCO INFINE ALCUNI CLASSICONI HOUSE CHE HANNO SELEZIONATO I TANKBOYS E CHE SARANNO IN MOSTRA DA GIGANTIC


Joe Smooth — Promised Land, D.J. International Records, 1988

 
1987, Chicago. Joe Smooth, with this house-anthem (along with other famous tracks, such as “They Want to be Free”), is a testimony of how House Music and the fight of the black community were deeply connected.

The Children ‎– Freedom, D.J. International Records, 1987

 
1987, Chicago. The Children, an Adonis short lived collaborative project together with Joe Long and Vinnie Divine. A deep, otherworldly and almost sinister piece of Chicago House that features the conversational spoken word talents of Jamie Christopher who tells a mysterious robotic voice “Freedom… That’s what life’s about” over a driving, acidic backdrop of clicking drum machines and descending synthesizer pads. A masterpiece from the pioneer of House Music for DJ International Records.

Parris Mitchell — Ghetto Shout Out!!, Dance Mania, 1995

 
1995, Chicago. There’s a second generation and record store (Barney’s Swing Shop) with a second-tier quality record label called Dance Mania, the authority of the new genre called Ghetto House. Ghetto Shout Out is the manifesto of this new movement, strictly based in the ghetto, spreading the culture and spirit of its people.

Fingers Inc. — Can You Feel It, Trax Records, 1986

 
1986, Chicago. Lerry Heard, called also Mr Fingers, creates the archetype of the musical genre later called Deep House. This essential classic was so intensively played in these days, combined with the Martin Luther King’s speech “I Have a Dream”, that two years later it was re-released on a special mix with King’s voice recorded directly on.

Rhythm Controll ‎– My House, Catch A Beat Records, 1987

 
1987, Chicago. In the begining there was Jack, and in this song Chuck Roberts tells you how it all began. You may be black, you may be white; you may be Jew or Gentile. It don’t make difference in our House.

Bobby Konders – Poem, Nu Groove Records, 1990

 
1990, New York. Another great testimony, this time by Bobby Konders, with his masterpiece “The Poem”. The spoken voice intro is probably the greatest spoken vocal on a house record by the great reggae poet Mutabaruka

Mike Dunn ‎– So Let It Be Houze!, Westbrook Records, 1988

 
1988, Chicago. The Bible, as well as Martin Luther King, is part of the social and vernacular culture of these days. Martin is a preacher and House is the home of the creator, there’s not difference between religion, riot and dance.Everything is about what’s real and about people. House Music is about what’s real and there are no boundaries, no disciplines.

DA Rebels – House Nation Under A Groove, Clubhouse Records, 1989

 
1989, Chicago. Curtis Alan Jones (most well known for his later work as Cajmere, and then Green Velvet) & Lidell Townsell. More a statement than just a song, released by the underground label Club House. The vocals in “House Nation Under A Groove” are based on Funkadelic’s “One Nation Under A Groove” (1978).

Ce Ce Rogers – Someday, Atlantic, 1987

 
1987, Chicago. Ce Ce Rogers and Marshall Jefferson create a universal anthem of freedom and unity. “We’ll live as one family in perfect harmony someday. When we all pull together we will all be free someday”. This track draws together all strands of house music synching the moment when House Music left the loft and went on to dominate the global dance scene for over a decade.

Robert Owens – Don’t Wait, 4th & Broadway, 1990

 
1990, Chicago. Robert Owens, after the years with Fingers Inc, starts his soloist career. His first album includes “Don’t Wait” whose lyrics demonstrate how unity is a fundamental topic in the House Music of the origins. Here he declares “We are one big family” suggesting that “united we stand, divided we fall”, a motto largely used by minority groups. “We’ve got to come together as one”

Fingers, Inc. ‎– Bring Down The Walls, Select Records, 1986

 
1986, Chicago. One of the most iconic basslines, the dubbing voice of Robert Owens reveals how dance and political language melt together in a unique form. Dancing became a revolutionary act, a medium of self-expression, a liberation from judgment and cultural prejudices.

Sterling Void & Paris Brightledge – It’s All Right, D.J. International Records, 1987.

 
1987, Chicago. The partnership between Sterling Void and the great voice of Paris Brightledge, with the wise production of Marshall Jefferson. “Generations will come and go, but there’s one thing for sure, Music is our life’s foundation and shall succeed all the nations to come”. And then, they add this futuristic prevision “The year three thousand may still come to pass but the music shall last I can hear it on a timeless wavelength never dissipating but giving us strength. And it’s gonna be All right”.

Fingers Inc. ‎– Distant Planet, Jack Trax, 1988

 
1988, Chicago. Lerry Heard with Harry Dennis (together they also did Jungle Wonz and The It) wrote this interplanetary space-travel soundtrack. This futuristic tension to cosmo can be considered as part of a tradition that has its roots in the music created by avant-garde jazz pioneers like Sun Ra and Pharoah Sanders, foreseeing a better future for the black community on a new virgin planet.

Scritto da Zagor