Thursday, September 13, 2012


Musician and artist eRikm (1971) is an inquisitive experimenter and a distant concrete music heir. So while he plays vinyl records, he also breaks, glues and wears them down. In both music and sculpture, his essential tools are collage and sampling.

Porn-Noise, 2010 As a tribute to FM Einheit, industrial music pioneer, PORN-NOISE displays a hybrid mating between a virile machine and a virgin icon. Punk energy merges with a melodic overtone in a musical coitus both ironic and threatening.  The electric angle grinder is autopsied, and its steel instrument replaced by a coloured vinyl in a kitsch way. Enraged noise pop-anesthetized, infernal machine emasculated with a pink 45 rpm record… A nod to industrial music sound aggressions, immediately followed by the tangy wind of pop.


Staccato, 2003 Broken disks, stuck fragments, fractions doubled by a mirror, Staccato scans the space with a sound mass of dull rumbles. 888 vinyls for string instruments : it is the idea of a closed loop, blowing up into atoms remixed around a tight cable, reflecting the trajectory of a silent graphic wave. Like an altar set for the sacrifice of “memory”, the piece plays with the object’s physical and symbolic properties : the vinyl, recording medium of a language both universal and specific, fetishistic icon of a “Barclay” generation, is also this relic from a time passed onto the scrap heap, the waste from mass production. Staccato sculpts the section of a cultural inheritance, weakened and recycled.

Phisical Remix, 2003 A vinyl E.P. is dissected by a high pressured water-jet. eRikm digs into his material and makes the reading slip, in order to compose a new syncopated variation. The art piece replays the turntable master artist’s beloved processes : boned snatches physically remixed and compiled like an unconscious puzzle.

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