ZWEIKOMMASIEBEN, No.20

The twentieth issue of zweikommasieben Magazin tries once again to trace what forces shape contemporary musical practice and its underlying aesthetic premises. It features interviews with artists like pianist and composer Kelly Moran, who discusses her desire to give a more palpable form to her emotions through her music. DJ Lyzza and performer Aya understand their work in terms of the impact it might have on the nightlife and its attitude towards minorities and marginalized groups. Kelman Duran, whose music offers a melancholic echo to the history of reggaeton, describes how he attempts to keep his compositions clear of most discursive ballast. These interviews (and more) are complemented with columns and contributions, including the poetry of Cia Rinne, a photographic essay by Georg Gatsas as well as pieces by Paul Woolford and Sea Urchin. The artists featured and their musical practices may raise questions that have been exhaustively debated in other disciplines of art. However, these contexts are neither more suited to address them, nor have those questions been answered with any degree of finality. The latter claim, in particular, would be naïve and zweikommasieben #20 proves that there are a myriad of ways of addressing these questions in aesthetic discourse.

The twentieth issue of zweikommasieben Magazin tries once again to trace what forces shape contemporary musical practice and its underlying aesthetic premises. It features interviews with artists like pianist and composer Kelly Moran, who discusses her desire to give a more palpable form to her emotions through her music. DJ Lyzza and performer Aya understand their work in terms of the impact it might have on the nightlife and its attitude towards minorities and marginalized groups. Kelman Duran, whose music offers a melancholic echo to the history of reggaeton, describes how he attempts to keep his compositions clear of most discursive ballast. These interviews (and more) are complemented with columns and contributions, including the poetry of Cia Rinne, a photographic essay by Georg Gatsas as well as pieces by Paul Woolford and Sea Urchin. The artists featured and their musical practices may raise questions that have been exhaustively debated in other disciplines of art. However, these contexts are neither more suited to address them, nor have those questions been answered with any degree of finality. The latter claim, in particular, would be naïve and zweikommasieben #20 proves that there are a myriad of ways of addressing these questions in aesthetic discourse.