“When I was in high school, I had a teacher explain Marcel Duchamp as an artist who mailed a signed urinal to a museum as a piece of art. When I was in high school, my high school head thought that was the ‘coolest’ thing ever. In college, a professor retold the same story bringing to life the memory that I had once had of the incident. When I was in college, I thought that was the ‘lamest’ thing ever. Now I’m an adult and trying to think of ways to explain to young kids of all the neat artistic directions that modern art has gone in the last couple of decades.
With Moffenzeef, there is that direct correlation of Duchamp’s art and the sound of modern art. It’s strange, it’s bizarre, it’s full of meaning and yet perhaps simultaneously aiming in the direction of meaningless. Being as it may, sound art, I feel is the complete definition of where Moffenzeef is at. The sound, which is bleeping, whirring and robotic narrations, can be directly applicable to the what visual aesthetics are presenting. Reading through what has happened at past Moffenzeef performances, there has been a lot of Duchamp’s influences. The items being employed that help to produce a visual effect include a “wheel that has magnets going around the rim of it and a fixed reed switch at the base. Each time the magnet crosses a reed switch the next frame of a film is advanced and a new note in a generative music sequence is triggered.”
“All Watched Over by Machines of Loving Grace” is the fourth release by Moffenzeef. It’ll definitely be a keeper.”
-Ray Jackson, Already Dead Tapes, 2014