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Taj Mahal Travellers

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B24
The History of Geometry No. 2 , 2009 Women's Shoes, Alabaster Ca. 34 X 20 (sculpture) 60 X 60 X 70 Cm (box) © Galerie Nordenhake
B115
Alexander 27_33, 2009 Polyester, Latex, Steel, Acrylic, Copper, Iron Dimensions Variable © Galerie Nordenhake
B119
Weig III, 2008 Film Still Collage 20.4 X 25.4 Cm © Galerie Nordenhake
Taj Mahal Travellers

Hudiksvallsgatan 8
SE-113 30 Stockholm
Sweden
November 19th, 2009 - December 20th, 2009

QUICK FACTS
WEBSITE:  
http://www.nordenhake.com
COUNTRY:  
Sweden
EMAIL:  
stockholm@nordenhake.com
PHONE:  
+46 8 21 18 92
OPEN HOURS:  
Tues-Fri 11-6, Sat-Sun 12-4
TAGS:  
mixed-media, installation, sculpture

DESCRIPTION

The Taj Mahal Travellers was a legendary Japanese improvisational group founded in 1969 by former Group Ongaku leader and Fluxus member Takehisa Kosugi. They combined Eastern and Western instruments, electronics and vocal chants, and used heavy post-production processing to create unique long flowing jams with deep organic droning and pulsing. Their music is considered to be the pinnacle of Asian psychedelic music of the late 1960s and early 1970s. Their founder later became a classical composer, notably composing scores for the Merce Cunningham Dance Company and presenting sound installations at a number of international art festivals. Between 1971 and 1972, invited by the Moderna Museet in Stockholm, they toured much of Europe and Asia, mostly travelling around in a Volkswagen mini-bus, and even performing at the Taj Mahal in India.

The exhibition aims to recreate this experimental attitude with an openess to materials and conceptual positions outside a canonic perspective. The group of artists covers many generations who work in the visual sphere but suggests a cross-fertilization between different practices open to performance, music and dance.

The artists included in Taj Mahal Travellers continually blur the boudaries between process and material, pushing both to their extremes. In their works the artists explore the tensions between order and chaos, rigidity and pliability, geometric and biomorphic form, series and singularity, and continuity and change. Yet each work has an inner coherence; not the coherence of logical thought, but of a musical composition.

The exhibition will be complemented with documentation relating to the concert at Moderna Museet in July 1971.