Analogy

Imaginary Concerts is a collaborative project organized by Peter Coffin, featuring the contributions of more than 75 artists, curators, and musicians. At the artist’s invitation, each contributor submitted a fictitious concert line-up they’d like to one day see take place, regardless of how unrealistic or unrealizable. The billings were giving to designer Adam Turnbull, who typeset the texts in the house style of the Colby Poster Printing Co. , the LA-based print shop which famously churned out iconic “show print” posters for nearly 65 years before closing their doors in 2012. _x000D__x000D_With contributions from Lizzi Bougatsos, Rhys Chatham, Kerstin Brätsch, Malcolm Mooney, Nico Muhly, Genesis P-Orridge, Charlemagne Palestine, and many others, the dream line-ups span across generations and musical genre to fulfill some individualized fantasy. The far-reaching mashups – sometimes whimsical or humorous – are also revealing of the profound impact that the concert experience has had for many. Accessing this musical history (even as a fabricated one) through the varied and expansive knowledge of the contributors gives us something that feels deeply personal, driven by nostalgia and remembrance as maybe music is uniquely suited to do.

Imaginary Concerts is a collaborative project organized by Peter Coffin, featuring the contributions of more than 75 artists, curators, and musicians. At the artist’s invitation, each contributor submitted a fictitious concert line-up they’d like to one day see take place, regardless of how unrealistic or unrealizable. The billings were giving to designer Adam Turnbull, who typeset the texts in the house style of the Colby Poster Printing Co. , the LA-based print shop which famously churned out iconic “show print” posters for nearly 65 years before closing their doors in 2012. _x000D__x000D_With contributions from Lizzi Bougatsos, Rhys Chatham, Kerstin Brätsch, Malcolm Mooney, Nico Muhly, Genesis P-Orridge, Charlemagne Palestine, and many others, the dream line-ups span across generations and musical genre to fulfill some individualized fantasy. The far-reaching mashups – sometimes whimsical or humorous – are also revealing of the profound impact that the concert experience has had for many. Accessing this musical history (even as a fabricated one) through the varied and expansive knowledge of the contributors gives us something that feels deeply personal, driven by nostalgia and remembrance as maybe music is uniquely suited to do.