Residue - on view until 21.05.26 at @akademie_galerie
A three-channel composition for electric guitar, accompanied by a written abstract and an eponymous CD (edition of 50, available at the show)
Excerpt from the exhibition text:
“Gottfried Wilhelm Leibniz’s principle of sufficient reason foresees that everything that is has a reason for doing so. Consequently, the principle of sufficient reason seems to assume the eventual object of reason as a finite, hermetic construct; the thing-already-done, unsuspecting to the deviancy of the yet-to-become. Can there thus not also be a principle of insufficient becoming, of a reason for the splitting of the object into its many parts, or is reason itself unequipped with dealing with the realm of the senses?”
Come by!
Photography (Slide 1 - 3): Wanying Xie @wanying_xie_
Photography (Slide 4 - 5): Manuel Eglhofer @manuel.eglhofer@lichtdaswirsehen
With generous support from @akademieverein
“Residue” - on view at @akademie_galerie (08.05 - 21.05.26)
“Residue” is a three-channel composition for electric guitar that explores notions of repetition, intensity, attack-responses and sonic “vanishing points”, as in the seamless overlapping of various sound sources equipped with their own varying directionalities. Here, the installation itself, circumscribed by three identical speakers and an accompanying wall-text, presents a kind of homeostasis of multiplicities; an environment in which each source signal is not treated as in need of regulation or management but as the body of the homeostatic environment being precisely constituted by its circulations of flow, it’s passing-through and its passing-between. Psychoacoustic phenomena such as locational and selective listening emerge from the refracted whole not as a consequence but as an epiphenomenon of the sonic distribution itself, ultimately challenging reason into obsoleteness. Aggregation of perceptual events becomes not a matter of numbers but of actual movement, be it that of the auditor’s bodies distributed across the exhibition hall or that of the single channels making up the eventual composition. Temporality temporalizes itself in a congruence of sonic distribution and perceptual ontogenesis with the final composition both towards-becoming and already-being, simultaneously, revealing time itself as that which is precisely never merely present.
Thank you dearly to all who helped to make the show possible and thank you @o.lena.balun for the fantastic introduction.
With generous support from the wonderful @akademieverein
Photography (pictures 1 - 5): Wanying Xie @wanying_xie_
Photography (picture 6): Manuel Eglhofer @manuel.eglhofer@lichtdaswirsehen
“Residue” CD - a three channel composition for electric guitar - will be available at my upcoming show at @akademie_galerie (opening 07.05.26 and running until 21.05.26)
50 minutes approx.
Edition of 50
Signed and numbered
Comes in hand-made matt-black cardboard box
No download, CD exclusive
2026
The material on the CD splits the three-channel installation into three separate tracks that explore notions of repetition, intensity, attack-responses, feedback, listening expectations, listening fatigue and more.
Available via donation, burglary, theft, trade or by any other means necessary.
Once they are gone, they are gone, so come early!
Looking forward to seeing you all.
Thank you.
Residue | 07.05 - 21.05.26
A three-channel composition for electric guitar, presented at @akademie_galerie
Opening: 07.05.26
07:00 PM
With an introduction by the fantastic @o.lena.balun
Finishing performance - 21.05.26 | 06:00 PM (further details will be announced shortly)
The exhibition coincides with the release of the CD-publication “Residue” - available to buy, steal, smuggle or trade on site only.
Edition of 50, signed and hand-numbered.
Beyond elated to be welcoming you all.
Earplugs are advised.
Thank you.
“De Fine Temporum” - a new work for electric guitar - is available now on Bandcamp, courtesy of Nostalgie De La Boue (as a “name your price” option)
From the bandcamp description:
“De Fine Temporum” – literally, “concerning the end of time” – is a composition for electric guitar. Here, the sonic landscape is the result of the interplay between a fixed e-bow, a prepared guitar and the respective turning of the volume and tone nobs. Digitally, the recording is subjected to time stretching and a low pass filter, eliminating many of the higher frequencies. Through the constant manual repetition of certain compositional techniques, an interplay between intensity and apparent stasis arises ; a kind of “untime” which neither triggers new memories nor allows access to old ones.
The sonification of a lack of empirical proof of the human beyond time
Thank you for listening
Mixing, Mastering, Design (aka “everything”: Daniel Gianfranceschi
Soft Leather Contradictions - A new poetry-collection, out now on @creativewritingdepartment
Written between 2023 and 2024, the poems in the collection explore rhizomatic linguistics, distant embraces, solipsistic voyeurism, desire urgencies, present absences and fruitless discoveries.
46 pages
Paperback perfect bound
Black and white
175 mm x 108 mm
Cover design by Daniel Gianfranceschi and @creativewritingdepartment
Layout @creativewritingdepartment
Soft Leather Contradictions - a collection of poems by yours truly, out now on @creativewritingdepartment
On unrequited desire, solipsistic voyeurism, the tail in the rump of semantics, embedded-urgency-anxiety, distant embraces, Chinese dinners, muffs, gills, weathered breaks, erroneous thrills and failure’s bores.
46 pages
Paperback perfect bound
Black and white, pocket book (175 x 108 mm)
The poems included in this collection were written between 2023 and 2024 on a laptop now lost to time and a time lost to a laptop.
Cover design by @danielgianfranceschi & @creativewritingdepartment
Photography by Ulrich Gebert & Daniel Gianfranceschi
It’s an absolute honor - and, quite frankly, horror - to be able to share this work.
Thank you a million for reading and thank you CWD for the trust.
Input Improvisation_BLITZ Club Munich, 2025 with @donnabass.dupoint
Out now on Bandcamp
“Input Improvisation” is a sonic dialogue between Daniel Gianfranceschi & Camilla Metelka. Conceived as a recurring, free-form exploration of various input signals - electric guitar, synthesizers, voice and the body as a sensorial medium - the performance gestures toward the relationship between melody and atonality, between the spontaneous and the deliberate. In an always site-specific and decidedly irreproducible setting, texture, timbre, and transformation act as catalysts for the emergence of new forms of meaning-making.
Daniel Gianfranceschi: electric-guitar
Camilla Metelka: synthesizer and voice
Location: BLITZ Club, Munich, Germany
Originally performed in 2025
Special thanks to:
Florian Hecker
@kulanz.mfg@carolinejkretschmer@walterwahnsinnjr
and @blitz_music_club
Reigniting The Spark - An interview with @banks_violette_616 (Link in bio)
Banks Violette (born 1973) is an artist based in Ithaca, New York. Violette’s work has shown internationally at galleries and museums including the Whitney Museum of American Art in New York City, the Yerba Buena Center for the Arts in San Francisco, Schirn Kunsthalle Frankfurt, Museum Boijmans van Beuningeng in Rotterdam, the Migros Museum in Zurich. He participated in the “Greater New York” exhibition at PS1 Center for Contemporary Art in New York City and “USA Today” at the Royal Academy in London.
Banks talked about his collaboration with @hedislimane for Celine, his work for/with @sunnofficial@stephenomalley74 as well as how he found his back to an art after having taken some time away from it.
Thank you Banks and @gladstone.gallery
Credits:
Cover design: Daniel Gianfranceschi; Image: Installation View; Banks Violette, Gladstone, New York, 2010. Copyright: Banks Violette. Courtesy of the artist and Gladstone. Photography by David Regen.
Slide 3) Banks Violette, “Untitled (I’d Rather Be Killing My Family), 2011. Graphite on paper mounted on aluminum. 36 x 60 x 3 inches (91.4 x 152.4 x 7.6 cm). Copyright: Banks Violette. Courtesy of the artist and Gladstone. Photography: David Regen.
Slide 5): Installation View; Banks Violette - reasons to be cheerful, Gladstone, Brussels, 2024. Copyright: Banks Violette. Courtesy of the artist and Gladstone. Photography by Useful Art Services.
Anarchist At Heart: An Interview With Dennis Cooper
From the “bad boy” of gay literature to transgressive fiction icon, Dennis Cooper discusses the neutrality of film, the chemistry experiment of fiction, and why the most interesting art is always an act of rebellion. Cooper reflects on his collaborations with Gisèle Vienne, Stephen O’Malley, and Peter Rehberg, the current renaissance in independent publishing, and his latest film “Room Temperature” with Zac Farley—plus thoughts on why creating work that confounds and excites is worth more than mainstream approval.
Interview by @subjectchange.pdf@danielgianfranceschi@dennis_cooper_writer #denniscooper #transgressivefiction #gayliterature #independentpublishing #experimentalfilm
