Original Artwork by Raymond Dijkstra / Louise Landes Levi
Numbered edition of 25 ex.
Date of Release: 8 september 2019

Photo Louise Landes Levi: R.Dijkstra. Photo Raymond Dijkstra: Jolande Des Bouvrie. Collage: Max Unernst

Spoken Word and Mellotron / Pianoharp by Raymond Dijkstra and Louise Landes Levi, Somewhere in 2019, Somewhere. Text: Henri Michaux.

Louise Landes Levi is a poet/performer-translator/traveler and a founding member of Daniel Moore’s Floating Lotus Magic Opera Company, America’s first fusion orchestra. After receiving a BA, with Honors, from UC-Berkeley, and studying at Mills College with the sarangi-master Pandit Ram Narayan, she traveled alone overland to Afghanistan in the late 1960s and to India, via Istanbul, Tabriz, Mashed, Herat, Khandahar, Kabul, Peshawar, Rawalpundi and Lahore, to research North Indian sangeet (classical music) and its poetic tradition. Several translations followed: Rene Daumal’s classic study of Indian Aesthetics, RASA (New Directions, 1982); from the Middle Hindi of Mira Bai, an archetypal singer-saint of the 16th century, Sweet On My Lips: The Love Poems of Mira Bai (Cool Grove Press, 1997, 2003 & 2016); and Henri Michaux’s Toward Totality: Selected Poems (Shivastan, 2006). She has published more than a dozen books of poetry and autobiographical prose, including most recently: Love Cantos, 1-5 (Jack In Your Box, 2011); The Book L (Cool Grove Press, 2010); Tower 2/Tara or dc-x (Il Bagatto, 2009); Banana Baby, with facing Italian translations by Alessandro Tuoni (Super Nova, 2006); and Avenue A & Ninth Street (Shivastan, 2004). Her electronic chapbooks may be found at the website Big Bridge. Her recordings include most recently: From the Ming Oracle (Sloowax, 2014), an instrumental and spoken word compilation of her works from the late sixties to the near present; City of Delirium (Sloow Tapes, 2011); Colloidal Love Poem (AudioMER.); Poetry Reading (Des Astres d’Or, 2018); Bombay Lunatic Asylum (Des Astres d’Or 2018). John Giorno writes: “Her poems sing in the mind and dance through the heart and throat, and arms & legs, w. great clarity and bliss. Louise is Saranswati, goddess of poetry.” Levi has studied with such masters as Annapurna Devi, Ali Akbar Khan & La Monte Young. When not performing, she lives in a stone tower in Bagnore, Italy, with winter quarters in New York, her birthplace, and elsewhere.

Raymond Dijkstra is a musician/visual artist. Founding member of Asra, La Poupée Vivante (with Timo van Luijk), Wendingen 1918 (with Bart de Paepe). He has collaborated with Frédérique Bruyas, Jon Mueller, The New Blockaders, Keith Connolly (NNCK), Dave Nuss (NNCK). RD is an autodidact who believes strongly art should be derived from worldly experiences and can’t be learned at school. The basis of the art lies in non knowledge, from which roads are chosen. Teachings came from life, loneliness, alienation, drug-experiences, self-exploration, dreams… Dijkstra has a discography of approximately 150 titles, mostly self-published, in a DIY way of exploring life. “An artist should be independent- from the making of art to the freeing of the work to the public.” The vinyl-records of this publication are hand-cut by RD himself. The works are distributed through his imprint Des Astres d’Or.

Henri Michaux (Namur 1899 – Paris 1984)
The French writer, painter and graphic artist Henri Michaux was born in the Belgian town of Namur in 1899 and spent his childhood in Brussels. He wanted to become a priest, but followed his father’s wish and began to study medicine in 1919, but soon abandoned this plan and signed on as a seaman.
After reading works by Lautréamont he began writing in 1922. His acquaintance with Paul Klee, Max Ernst and Giorgio de Chirico, whom he met in Paris in 1925, inspired him to first painting and drawing attempts. Between 1927 and 1937 he travelled through South America and Asia. Afterwards Michaux sketched and painted his Phantomisms.
He had his first exhibitions in Parisian galleries, followed by important shows abroad. In the mid 1950s Michaux began experimenting with hallucinatory drugs, particularly with mescaline, letting his experiences inspire his writing, painting and drawing. These works were first exhibited in 1956 at the Galerie La Hune in Paris. Then there was a large exhibition at the Palais des Beaux-Arts in Brussels in December 1957 and a retrospective exhibition organised by Daniel Cordier in Frankfurt/Main in March 1959.
His ink drawings evoke scriptural elements and calligraphic symbols which are a seismographic reflection of the artist’s inner emotions. The two systems of word-language and sign-language pervade each other. Henri Michaux’s impressive oeuvre attracted much international recognition. He exhibited works at the “documenta” in Kassel in 1959 and 1964; he was awarded the Einaudi-Prize at the Biennale in Venice in 1960.
Henri Michaux’s paintings always remained figurative, in-spite of all tendency towards abstraction. The artist’s intention was not to flee from the world, but to expand the world by changing the awareness. The real world was to be enhanced by additional levels of perception.
Henri Michaux died in Paris in 1984 at the age of 85.


On the street of Death,
My mother met a great ice field;
She wanted to speak,
It was already late,
A great cotton ice field.

She looked at us my brother and I,
And then she cried,

We told her — a truly absurd lie —
  that we understood.
And then she smiled the very gracious smile,
  of a young girl,
That was truly herself,
Such a lovely smile, almost coy;
And was taken into the Opaque.


Peace in the nerves of a sick heart.
Steady peace ripens its law,
sucked into life,
into a nebulous life, into life…
but heavy the chariot, heavy, heavy.

Calm then,
Send wind to them,
the warm wind of delicate mouths,
the warm wind of sovereign deserts.

“And, now…CLOSE
  your corollas of anguish!”




  I heard the crowd of the spanked speaking of pride, says the
Master of Ho. And I did not laugh.
  New laws have been prepared. New laws have come. The laws
accumulate says the Master of Ho. But it is still the edict of the old
dwarf, scattered leaves of an already uprooted tree.
  Calm, says the Master.
  Calm and worry. These are the peregrinations of the doe and
the panther until finally they meet. O moment! O extraordinary
moment! and everything becomes so simple, so simple.

  Calm, says the Master of Ho.


Labyrinth, life, labyrinth, death
Labyrinth without end, says the Master of Ho.

Everything buries, nothing frees,
The one who suicides is reborn to a new suffering.

The prison opens onto a prison.
The corridor opens another corridor:

He who believes he unwinds the thread of his life
Unwinds nothing at all.

Nothing leads nowhere,
The centuries also live underground, says the Master of Ho.


Everything falls, says the Master of Ho. Everything falls, alreadyyou wander in the ruins of tomorrow.  
The man who talks to you is Sphinx. The man who you were,the father that you had, was Sphinx. And then,
what did you understand of the Sphinx who made you submit?
  He who does not dissolve the one who comes to him, a Sphinx,grows there and it is from this Sphinx that one dies.

  Everything hardens, says the Master of Ho, everything hardensand returns to the skull. The incomplete gesture, the faltering ofthe heart, the remark that strikes the ear is him, it is he himself, notunderstood, who will wound you and who, in time, will obstructyou, endlessly, with hard rocks.

  Everything sediments. Everything turns into stone, says theMaster of Ho. From the lip to the stone, from the ray to the ruin.


  He whose destiny it is to die must be born. Alas, a thousand
times alas for the births, says the Master of Ho. It is an enlacing
which is an interlacing.
  One loses in gaining. One retreats in approaching. The girl with
the tight yoni, however great her heart, has a fault.
Many fine things have them.

  Take from me the scholar, says the Master of Ho. The coffin of
knowing has limited his thought. O! Liberty says the Master. Take
from me he who sits down to think.
  Speak first. Speak and you will not be ignorant. First attain, and
then you will approach.
  Everything flows, says the Master of Ho. Everything overflows.
Everything is there.

  A look with the wings of a dragonfly poses itself on the loved
one and rhymes the World without the knowledge of he who must
sing of it.


Unhappiness whistled to his little ones and designated me.
  “It’s him, he said to them, don’t leave him alone anymore.”
And they no longer left me alone.

Unhappiness whistled to his little ones,
  “It’s him, he said to them, don’t leave him alone anymore.”
They have no longer left me alone.


But You, when will you come?
One day, stretching out Your hand
In the quarter where I live,
in the mature moment when I truly despair;
in a second of thunder,
uprooting me with terror and sovereignty,
from my body and from the scabbed body,
from my thoughts-images, ridiculous universe;
leaving in me Your horrible probe,
the dreadful drill of Your presence,
raising itself up in an instant on my diarrhea
Your great and insurmountable cathedral,
projecting me not like a man
but like a mortar shell in the vertical path

You will come, if you exist,
attracted by my waste,
my odious autonomy.
Coming from Ether, from it doesn’t matter where, from beneath
  my overwhelmed self, perhaps;
throwing my match in Your immeasurableness,
and goodbye, Michaux.

And then, what?
Never? No?
Say, Great fortune, where then do you wish to fall?

“The World Is Not Yet Round”
“In The Face Of Faceless Eye”

Raymond Dijkstra & Louise Landes Levi ~ In The Face Of Faceless Eye
LP Original Photo-collage Prints, Mixed Media120 euro ex. postage

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Artwork Description: Photo-collages by Raymond Dijkstra


Onesided LP
Original Artwork by The Residents
Numbered edition of 25 ex.
Date of Release: tba

A Spoken Word Piece by The Residents.


A Fable of Love and Loss
by The Residents

Sweet like the smell of honeysuckle in the summer sun… sweet like the taste of rock candy crushed between the teeth… sweet like the touch of a baby’s skin beneath your fingertips. Yes, the Archer’s life was sweet. Never was the aim of his arrow more true, his sense of direction more succinct, his adoration more complete, but… something was missing. An empty spot existing just outside his line of sight, unspoken, intangible and roaming the edges of his essence. Like an itch that wasn’t there, with no specific connection to his otherwise well ordered life, it lingered… always present but never quite real.

One day, restless, the Archer went out for a walk. He had spent the morning stringing bows in preparation for an upcoming event. While the man’s life was nothing if not stable, well ordered and pleasant, archery tournaments were not without stress; after all, how can one enjoy the placid surface of a tranquil sea without the occasional storm to roil the waters. Meanwhile, his outing had casually carried him to the grounds where the competition was soon to commence. The act of watching other archers honing their skills both relaxed and stimulated him, so the man paused, watching the flight of arrow after arrow, arching, gracefully cleaving the air and landing in and around a colorful cluster of red and white concentric circles.

It’s often said that the mechanism of fate is a world unto itself. Idle accidents create catastrophic events, chance encounters yield lifelong relationships and toddlers left alone wander out onto active archery ranges. To his horror, as the astonished bowman watched, a small child suddenly appeared at the edge of the range chasing a yellow balloon erratically propelled by a playful and capricious wind straight toward the treacherous collection of targets. And, just as the child finally caught the balloon, raising it above his head in triumph, an arrow pierced his lag, pinning him to the ground as he shrieked, projectile vomited and collapsed.

Momentarily paralyzed, the Archer was compelled to help the stricken child, but he hesitated… perhaps in fear of an unrelenting hail of arrows, perhaps anticipating the arrival of the child’s caretaker, or perhaps it was fate. Regardless, before the man could breach his flaccid immobility, a fluid spirit appeared; as if out of nowhere, a younger man, dashing, mercurial and fearless, appearing at the child’s side, first shouting, his piercing admonition instantly ending the avalanche of arrows, then scooping the boy up and spiriting him to safety. The Archer was transfixed. Never had he encountered such bold and unfettered bravery… it must be applauded, admired, revered, but, as quickly as he appeared, the handsome young man was gone, leaving the older bowman eager, open and aching.

A few months later, fate intervened again. Returning home from a luncheon engagement, the Archer rounded a corner as a dramatic scene played out before him. Apparently a horse pulling a carriage had become spooked; the animal bolted and before the driver could regain control, the small coach had collided with a young woman crossing the street. As the Archer looked on, the woman, covered in dirt from the muddy roadway, sprawled across its surface unconscious, her arms and legs askew and her neck jutting out at an odd and precarious angle. A small crowd had gathered around the lifeless woman but before anyone could come to her aid, the young Healer suddenly appeared again. Pushing his way through the crowd, he immediately knelt at the young woman’s side; then, after closely observing the ominous angle of her neck, the man removed a glove from his right hand. Perhaps it was a trick of the light as the evening sun ducked behind a cloud spraying rays in awesome, erratic and elegant directions, but, as the man slowly and self consciously raised his arm into the air, his open and splayed palm arching up, around and down, somehow seemed to emit a faint and eerie glow, all but obscured in the shadowy dusk of the evening air.

Suddenly, as the Healer’s hand gently came to rest upon the injured woman’s neck, her body was jolted back to life. Tenderly and with great care, he helped the afflicted woman, her neck now seemingly normal, first into a seated position, then upright and back onto her feet. Holding her securely, as the small crowd looked on in dazed admiration, the Healer slowly led the maiden off the street toward the office of a nearby physician. With no hesitation, the Archer approached the circumspect couple, braced the injured woman from the opposite side and helped them into the doctor’s waiting room.

The passage of time soon found the Archer and the Healer together. The older man’s attraction to his younger companion had been reciprocated, allowing the pair to live together in harmony. Employed day-to-day as shipping clerk, the Healer, youthful and inexperienced, found himself overshadowed by his renowned and worldly comrade; and while the man was yet to fully harness the curative powers of his Gift, a restorative and healing touch, all but magical in its therapeutic potence, this near mystical force was not unnoticed by his older companion; and while the Archer’s acumen with bow and arrow was ardently acclaimed far and wide, curiously, this highly lauded skill was not his true Gift, for the bowman was also possessed with his own mystical power – his Light. The Archer’s Light, not unlike the sun shining on seeds carelessly cast upon fallow ground, enabled those few blessed by the glow of this radiant force to blossom, thrive and flourish, and of course the current beneficiary of this miraculous Light was his youthful and not yet fully invigorated young ward.

Soon the hope engendered by the Archer’s Light was indeed fulfilled, enabling confidence, growth and spiritual awakening in the young Healer. Focusing on the restoration and recovery of children afflicted with grievous and ghastly conditions, the preternatural caretaker flourished, finding meaning and self worth in ways he never imagined; but, unfortunately, as he did, the Healer slowly drifted away from his beloved Archer, the animator of his fulfillment. And of course the result of this growing emotional detachment was a reciprocal sense of need in his partner. The more satisfied and self sufficient the young Healer became, the less he depended upon his companion whose unwanted insecurity mushroomed in reply. As an unaccustomed yearning gradually consumed the older man, he reached out again and again, receiving little or no reassurance in return. No offense was meant in this inadvertent exclusion, the younger man was simply consumed with passion and success. As a result, within their relationship, harmony mutated into tension and disaffection swelled. Slowly growing apart, they no longer found common interests, quarreling over insignificance, bickering about trivialities, until…


This was the definitive phrase slamming the door on an especially spiteful argument. The sentiment expressed in this unexpected outburst was one the young Healer had felt for some time, but the loyalty and affection he had for his older companion had long prompted silence, but… things change. After all, arrows were nothing if not agents of mayhem, destruction and death, and he was a healer, a calling diametrically opposed to their existence. As a caretaker, loathing the mechanism of slaughter was an all but a prime directive, a moral obligation, a sacred trust.

Meanwhile the Archer found himself confronted with other unforeseen shifts in the cultural landscape. Earlier, in the man’s youth, a new implement of conflict had been introduced: the musket. At first these primitive firearms were seen as a curious and unreliable novelty – the weapon’s potential for destruction was obvious, but it could just as easily explode, maiming or disfiguring its user, consequently the flintlock was usually dismissed as serious instrument of war, but again… things change. Reports of foreign combat in which a brigade of bowmen were wiped out by a much smaller platoon of musketeers, recently reached the Archer’s city, leading to obvious and ominous predictions about the future of modern
warfare. As a result, archery was increasingly dismissed as an anachronism, a holdover from an earlier era relegated to “sportsman” status and even degraded as “novelty.” The grand pageants around which the bowman had built his career had declined into garish sideshows, vulgar events in which he more and more often refused to participate.

But the Archer’s career had served him well. Years before, the fruits of his success had allowed the man to build a gilded tower removed from the constant trifles and distractions of city life, a sanctum sanctorum to which he and his young companion had often retreated, but now frequently found him in isolation. And in this solitary state, with no one’s counsel but his own, the Archer made a curious decision, turning the uppermost floor of his citadel into a hall of mirrors, an echo chamber reflecting nothing but himself, and as he posed with his bows and arrows, desperately seeking to recapture the glory of a fast fading era, the bowman somehow came to see his own reflection as a target. Seemingly secure withIn this distorted, self imposed field of vision, he summoned all the resentment, jealousy, impotence and rage he viewed as inappropriate within the context of everyday life, turning this negative energy into arrows of emotion, shafts of bitterness and bile which he then aimed at himself. And of course, over time, such self inflicted wounds could yield but a single commodity – the foul fruit of malignance.

But as the ailing Archer’s condition, both physical and emotional, declined, a strange thing happened. When the older man turned away from archery, his passion, while slowly succumbing to sickness, the young Healer suddenly saw him in a different light. While the dynamic of their early relationship had changed, healing, the core value of the caretaker’s being, found relevance and new meaning in their connection. In reciprocation, like a dying star going nova just before it winks out forever, the Archer’s Light, blasting straight into the spiritual center of his young companion’s soul, became a beacon of megawatt proportions. Finding each other again, their relationship not only bloomed anew, it flourished with a power and intensity unseen, even in the early days of their courtship. In recent time, as archery no longer consumed his passion, nothing was more precious to the older man than the care and consideration of his inattentive partner, but now, as the ailing Archer’s need ballooned, the Healer’s attention returned, concentrated on his partner, and unexpectedly renewing the bowman’s vitality.

Suddenly available for long soul searching walks filled with profound observance and conversation, the Archer used his light to illuminate and revere every corner of his companions’s psyche, praising his work with children, glorifying his tireless and unselfish spirit, and extolling the Healer’s long stated commitment to serving society. As the Archer’s Light radiated into his inner being, the Healer never felt more valued or appreciated, at the same time enabling his stricken companion to bask in the glory of his own reflected Light.

But sadly, the malaise generated by the Archer’s decline was far too entrenched and the vibrance resulting from the couple’s renewed connection was all too brief. After a few short weeks of unbelievable bliss, the ailing Archer succumbed to his illness, leaving the stunned Healer staring into the infinite emptiness of a vast and unending nothing. Replaced by the utter void of a bottomless black forever, The Archer’s brilliant Light winked out, leaving his companion more alone, more introspective and more devastated than he ever imagined possible.
The Healer still seeks his lost soul.




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The Residents ~ The Healer And The Archer
LP Original Paintings, Mixed MediaPrice: tba

Artwork Description: Two Tableau’s, consisting of a Painting and a Collage. Tableau 1: Acrylic Paint on Cardboard. Tableau 2: Acrylic Paint, Stamps, Stickers, Collage on Cardboard. Size: 31,5-31,5 CM. Back of Tableau 1: Numbered and dated. Signed on Front Tableau 1: LB.

02/25 Tableau 1
02/25 Tableau 2
05/25 Sold
10/25 Sold


Leather and Paper Collage by Raymond Dijkstra.
Signed by Raymond Dijkstra
Numbered edition of 10 ex.
Date of Release: June 16, 2019

Between 2008 and 2016, I’ve worked on a Series called Catalogue du Bruit / Musique Irritante, which was published in the same period on 3″ and 5″ vinyl records on my own imprint Le Souffleur.

The Music was an Attempt to break through certain Types of Self-Confinement, by repetitive Behavior.

As a Child I’ve suffered from Tics and compulsive Behavior, like blinking with my Eyes, making Sounds with Throat and Face Contortions. I also had to repeat certain Kind of Actions- when I had locked the Door, I had to repeat the same Action 3 or 4 Times. It was sometimes very tiring, because I couldn’t stop. I got a Kind of Satisfaction from doing it after a certain prolonged Period, at the same Time it was far from satisfying. Because my Parents and even my Schoolteacher acted as if I did something terribly wrong, I also felt guilty by doing it. This Behavior got less during Adolescence and almost completely left me when I was around 16, although a certain Level of Compulsion has always Kind of stayed with me.

Because of my History with Tourette, I found out that making Music in a repetitive Manner eased my Senses, by forgetting the Self. There was a certain Level of Compulsion in it as well, which was warmly familiar.

I see the Music as Expressionist Music. More than Musique Brut. I’ve made the Music to come to my Self and also always as a Way to connect with a different Level of / in Reality. In that Perspective it has been my personal Connection to Surrealism. The Sounds are not simply Sounds for the Sake of making Sounds. Or experimenting with Sound. Far from, even. I’ve never been interested in making experimental Music. The Sounds were solely a logical Outcome of my personal Preferences and Taste. Much more important is the emotional Load of the Sounds, transferred by the Movements of my Body. The Sounds were not created by my Head (Logic) or Feeling. It wasn’t a conscious Attempt to making Music / Sound before or during the Making of the Sound. In Fact it was made with an entirely empty Head and Mind, allowing my Body to move in the most possible free Way, without wanting to gain any Control over it, basically a Form of Automatic Writing, connecting a direct Link with my Subconsciousness. Body-Spasms as a Way to express. But always within the Confinement of a limited Time-Frame (1 to 2,5 minutes- with Clockalarm) and a relatively narrow Pallet of Sounds- my German Harmonium, A table of Glass and another frictional Object. These three Elements were always the Same, because these Elements allowed me to connect with my Self and lead to ease the Mind. The Music was made at once, spontaneously, without After-editing or any use of Electronics.

Between 2008 and 2016 a Series of 58 tiny Vinyl Records were produced on 3 Inch Format and 5 Inch Format. They were published together with my own handmade Collages on self-made hardcover Boxes in mostly black Linen. An Exception was the Work ‘De Slaap’ which was covered in dried Fishskin. All Titles were published in limited Editions between 1 and 10 Copies. This is the first Time these Noise Miniatures of 1 to 2,5 minutes will be published together on one LP. This LP contains the first Ten Titles from the entire Series with new original Artwork.

“My music is made in an abstract process of self-detachment. While detaching myself from myself, I connect with my Self. My expressionistic music should be regarded more as a physical act, more than music. It’s a constant training in opening up my mind, removing obstacles with violence, and seeing a different reality through the debris.” “The final result is a pile of fragments, but I guess something of the initial light still shimmers through.” “The publication is simply a registration of a physical event, and should be left untouched. Any changing of the initial energy is a weakening.”

Links to the original Works on Le Souffleur:

De Zee (The Sea) (2008)(5 inch record)(box) (Le Souffleur)(NL)
More Information here
De Luis (The Louse) (2008) (5 inch record)(box) (Le Souffleur)(NL)
More Information here
De Droom (The Dream) (2008) (5 inch record)(box) (Le Souffleur)(NL)
More Information here
De Herinnering (The Memory) (2008) (5 inch record) (box)(Le Souffleur)(NL)
More Information here
De Zon (The Sun) (2008) (5 inch record)(box) (Le Souffleur)(NL)
More Information here
De Wil (The Will) (2008) (5 inch record)(box) (Le Souffleur)(NL)
More Information here
De Tegel (The Tile) (2008) (5 inch record)(box) (Le Souffleur)(NL)
More Information here
De Slaap (The Sleep) (2008) (3 inch record)(box) (Le Souffleur)(NL)
More Information here
De Varen (The Fern) (2008) (3 inch record)(box) (Le Souffleur)(NL)
More Information here
De Vijl (The File Tool) (2008) (3 inch record)(box) (Le Souffleur)(NL)
More Information here
De Luis A Side
De Luis B Side Excerpt
De Droom A Side excerpt
De Droom B Side Excerpt
De Zon B Side Excerpt
De Herinnering A Side Excerpt
De Herinnering B Side Excerpt
De Slaap A Side
De Tegel A Side Excerpt
De Wil A Side
De Wil B Side Excerpt
De Zon A Side Excerpt

Raymond Dijkstra ~ Musique Irritante
LP Original Artwork Raymond Dijkstra60 euro ex. postage

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Artwork Description: Cut’ and glued Strips of Leather and Paper on Cardboard LP Cover

01/10 Front
01/10 Back


Diptych consisting of two Paintings by Marc Hurtado.
Signed by Marc Hurtado
Numbered edition of 25 ex.
Date of Release: August 1, 2019

Marc Hurtado

Leading figure of the international experimental film and music scene, co-founder of the duo Etant Donnés with his brother Éric in 1977, Marc Hurtado has since then followed a polymorphous career of musician, performer, poet, visual artist, film music composer and filmmaker. He directed 23 films including 3 feature films, realised thirty albums and more than 500 concerts / performances in venues like the New York Kitchen ,Matresss Factory Pittsburg, Baltic Centre for Contemporary Art Newcastle, Kassel Documenta, Foundation Cartier Paris, Centre Beaubourg Paris, Collège des Bernardins Paris, Sonar Festival Barcelona, ​​Etrange Festival de Paris , Atonal Berlin Festival, Click Festival Copenhagen, Luff Festival Lausanne or the Transmusicales de Rennes.

He collaborated with musicians like Alan Vega and Martin Rev (Suicide), Gabi Delgabo (DAF), Genesis P. Orridge (Pyschic TV, Throbbing Gristle), Michael Gira (Swans), Lydia Lunch, Mark Cunningham (Mars), Z’ev, Vomir, The Hacker, Bachir Attar and the Master Musicians of Jajouka , Pascal Comelade and Christophe.

He made film soundtracks for the filmmakers Philippe Grandrieux, Pierre -Luc Vaillancourt, Jessica Hausner, Mathieu Dufois and Philippe Roche.

Marc Hurtado has exhibited his paintings , installations , films and videos in La Galerie du Jour in Paris, Le  Confort Moderne in Poitiers, the Microscope Gallery  in New York, Laurent Godin Gallerie in Paris, Centre d’Art De Lausanne, Deitch Gallery New York, Malba Buenos Aires, Palacio de bellas artes Mexico, Museum of Contemporary Art of Zagreb, Biennale d’art contemporain de Lyon, London Gallery, Withechapel Gallery of London, Museum of Contemporary Art of Zagreb, Stededelijk Museum in Amsterdam, Cultural Arts Council of Houston , The Empty Gallery in Hong Kong, Centre national d’art contemporain de Grenoble ( Le Magasin), Galerie Aorta , Amsterdam , Espace Lyonnais d’art Contemporain de Lyon, University of Rome, Museum of Grenoble, Kassel Documenta or the Museum of Modern Art (MoMA) of New York.

Retrospectives of his films were organized at the Cinéma du Réel Festival at the Beaubourg Center, the Cinémathèque Française in Paris, the Microscope Gallery in Brooklyn , Luff Festival , the Film Mutations Festival in Zagreb and BAFICI in Buenos Aires
Screenings of his films were made at numerous festivals, galleries and museum such as the Fid de Marseille, Locarno Festival, Belfort Interviews Festival, Cinémed de Montpellier, Distrito de Mexico Festival, Doc Festival of Buenos Aires, Fronteira Goiânia Festival in Brazil, London Gallery, Withechapel Gallery of London, Museum of Contemporary Art of Zagreb, Stededelijk Museum in Amsterdam, Cultural Arts Council of Houston , or the Museum of Modern Art (MoMA) of New York.
His films were bought by the Centre Beaubourg Paris , the Museum of Modern Art in Villeurbanne, the Magasin / Cnac in Grenoble, the Anthology Film Archives in New York, and his latest feature film “Jajouka, something good comes to you” ( co-directed with his brother Eric) was acquired by the Museum of Modern Art (MoMA) of New York

Words about HURT by Marc Hurtado

HURT is a musical and artwork project realized by Des Astres d’Or .

I made 4 tracks for the vinyl named HURT .

Names of the tracks are HURT 1 , HURT 2, HURT 3 and HURT 4. These 4 tracks are united by the chaos and the energy of the music and the voice screaming, whispering , singing poems in the center of a whirlwind of light and sound.

Each track is reflecting in the mirror of the other tracks like 4 stars dancing in an infinite violent circle circus isolated in an empty space.

I painted 25 diptychs for the 25 vinyls, all named HURT .

Each diptych is composed of one black oil paint on canvas representing infinite black crosses cut in the center with a knife and one white oil paint on canvas representing 3 or 4 black crosses surrounding a big black cross cut with in the center with a knife.
The crosses seems to move like shooting stars trapped in the infinite darkness of white light.

Light is the key of this work. Light is the key of life , love, dreams and death.

Between 4 walls

Between 4 doors

Between 4 senses

Between 4 stars

4 . 4 .4 . 4

( Marc Hurtado)

Marc Hurtado ~ Hurt
LP Original Artwork Marc Hurtado250 euro ex. postage

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Artwork Description: Diptych of two Paintings in Oilpaint and Knife-tear on Canvas. Each Painting measures 40-40 Cm. Signed by Marc Hurtado “MH”.


Photo by Jeremy Popelka, of Glassobjects by Jeremy Popelka.
Numbered edition of 25 ex.
Date of Release: June 11, 2019

A1: Glesum
A2: Anneal
A3: From Sand
A4: Blowing

B1: Vitrify
B2: Glass Illness
B3: Float
B4: Cold End

‘Clarity Cycles’ focuses on various sized glass instruments made by Jeremy Popelka in mid to late 2018. They were played by Jon Mueller using various drum, gong and cymbal mallets and recorded and mixed throughout late 2018 and early 2019.

The cover photographs were taken by Jeremy Popelka at his studio in Sturgeon Bay, WI, where the instruments were made and the recording session took place.

Jeremy Popelka is an artist based in Sturgeon Bay, Wisconsin, USA. Over his 30 years of professional practice he has sought out artistic and creative collaborations involving installations, commissions and working with practitioners of different disciplines. This includes creating glasswork for other artists projects, teaching at the Corning School of Glass, and facilitating a hot glass studio in Bangkok, Thailand. Popelka received his masters degree from the California college of the arts and his work is in many public and private collections.
More Information: Popelka Glass

Jon Mueller has been a Drummer and Percussionist since 1985. In 1990, he studied Music Theory at Columbia College and took private Drum Lessons from Hal Russell. In 2018, he took private Voice Lessons from La Monte Young and Marian Zazeela. Covering a Variety of Genres and Techniques over the Years, his aim has been to use Drums, Percussion and Sound as a Way to express something felt but not easily defined. Audiences throughout the United States, Canada, Europe, Japan, and the United Kingdom have described his Performances as ‘cathartic’, ‘intense,’ and ‘meditative’. Notable solo Performances have taken Place at the Guggenheim Museum, New Museum, SXSW, Alverno Presents, Hopscotch Fest, and Musée des Beaux-Arts de Montréal.
From 1999 – 2009 he owned the Recording Label and Promotion Company Crouton, which published and promoted over 40 Releases in deluxe Presentations from Artists out of the Avant Garde. Crouton also organized Events in the Milwaukee and Chicago Areas with Artists from around the World. These were documented by the Press and even filmed as Part of a PBS Documentary on Jazz Musician Ken Vandermark.
Mueller has given Talks about Listening and Creativity at Loyola University, Viva! Art Action, Translator Lab, Wesleyan University, and PechaKucha.
He has published two Works of Fiction, Pianobread and Endings, and contributed Non-Fiction Writing to ChangeThis, Pear Noir!, and more.
More Information: Rhythmplex

Jon Mueller ~ Clarity Cycles
LP Photo Prints Jon Mueller & Jeremy Popelka60 euro ex. postage

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Art Description: Photo Prints by Jeremy Popelka on Black LP Covers



Print by Bryan Lewis Saunders.
Signed by Bryan Lewis Saunders
Numbered edition of 50 ex.
Date of Release: June 2, 2019

One of my goals has always been to confront the human condition and become more engaged with my experiences. By experimenting with behaviors, environments and my senses I hope to simultaneously increase my sensitivity while expanding ideas about drawing, art and life. “The Blind Month Vinyls” document the 30 days I spent living in total darkness. I had drawn daily-self-portraits before while blindfolded, and with my eyes closed and in total darkness, but for this experiment I spent the entire month from January 6th to February 4th, 2018 totally blind. This record is an attempt to present fragments of what it was like for me. While I was blind I could no longer keep a written journal so all of my journaling had to be done on audio cassette tapes but as time went on and especially towards the end of the experiment a lot of the journaling turned into recording and documenting things that were happening in the moment instead of recording my reflections upon them. I began using the tape recorder to capture the moments as they happened instead of verbally describing them afterwards. The experience of being totally blind was a real challenge and yet it was one that I thoroughly enjoyed in part because I have such good friends. I really didn’t want this experiment to end. – Bryan L. Saunders

Special thanks to: Christopher Fleeger, Lisa Moss, Brant Withers, Aaron Kelly, Marcus Durham, Megan Christian, Zoë Dosher, Joey Salyer, Stacie Williams, Matt Volrath, Scott and Vivian and the entire Rader family, Russell Hughes, Becca Addison, Mahto Browder, Nicole Bailey, Liz Layton, Brad Ward, Zachary Jones, Tyler Cairnes, Patrik Dougherty, Ken Montgomery, and Rebecca Steele. Without you I would have suffered profoundly.

Side A:

Walking in the Woods (Unassisted)
Trip to the Mailbox
Note Taking / Journaling
Mid City Grill – Extrapolated
Car Ride
Echolocation Grunting
Pencil Tapping / Amplified Drawing
Mid City Grill – Interpolated
Walmart Walkthrough

Vocals and Voices, Christopher Fleeger and Elizabeth Messick (Mezzo-soprano) / Bryan L. Saunders, Lisa Moss, Aaron Kelly

Side B:

Replacing the Microwave Plate
At the Movies with Matt and Stacie
Brant Phone Call
Chattanooga Bathroom Walk
Eating Soup
Ass Washcloth
Roofers with Trumpet
Kalm Restaurant
Marcus and Meagan Read the Mail
Russell SIRI
Following Sarah
Snow Walk with Lisa
Stacie SIRI
Day Room Puzzles “Scratch Song”

Audio Recordings by Bryan L. Saunders

Bryan Lewis Saunders ~ The Blind Month Vinyls
LP Original Prints Bryan Lewis Saunders60 euro ex. postage

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Artwork Description: One of a kind original archival Print made of the Drawings created by Bryan Lewis Saunders while totally blind.



Original Artwork by Max Eastley
Numbered edition of 40 ex.
Date of Release: 8 april 2019
Signed, Numbered

Recordings from 1977, 1980, 1986 and 2000 by Max Eastley.

Side A.
Track 1: Title: Imagine I Am.

Composition with Arc, invented electro acoustic monochord instrument, mixed with sampled Arc played from a keyboard.
1986. Recorded by Dave Hunt, composed and played by Max Eastley

Track 2. Title: The Violet Well

Installation of motors playing metal rods with changes to the speed of the motors but otherwise autonomous chance combinations.
1980 Recorded at Spectro Arts Centre, Newcastle by Max Eastley

Side B.
Track 1: Title: The Interior and the Exterior

Installation of strings played by motor together with Arc, played by wind, and both recorded simultaneously.
1977 Recorded by Max Eastley

Track 2: Title: The Moon on the Roof

Recordings of installations mixed with Arc and samples played on keyboard. 2000 Composed, played and recorded by Max Eastley. Digital assembly by David Toop.

Imagine I Am (Excerpt)
The Violet Well (Excerpt)
The Interior and the Exterior (Excerpt)
The Moon on the Roof (Excerpt)

Max Eastley ~ The Mirror and the Lamp
LP Original Max Eastley60 euro ex. postage

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Artwork Description: Pen and Acrylic with incised Lines by Max Eastley



Original Photography by B de Paepe. Original Handwriting and Drawings by R Dijkstra
Numbered edition of 40 ex.
Date of Release: June 2, 2019

Wendingen 1918: Raymond Dijkstra, Bart de Paepe, Frédérique Bruyas

Face A:
1 Part I
2 Part II

Face B:
1 Part III
2 Part IV

“I often wander in huge empty Buildings. I realize I once squatted this Building and lived in it for a while, but I completely forgot about it. Now I’m here, the Rooms are a bit filthy and covered with Dust. The same Dust there was when I first came here. There’s still the old Machines from the previous Factory and the Content of their Storage, abandoned. Months later, after having forgotten about my Home again, I return and realize it’s been evicted. I feel a bit sad I no longer have this House as my Home.

Another Day… I’m in my other House… Here also, there’s a Part which I’d forgotten about. I hadn’t been there for at least Months… I walk Downstairs and come in a kind of small, rectangular Hallway. It’s a very pleasant Place. But behind a Door, there’s a Neighbor who I despise.

Quite recently I was living with my Parents. I walked Upstairs and saw a Room which was vaguely familiar. It was full with beautiful Plants, which my Mother was taking Care off. I went further Upstairs and came to a very large Space. About as large as a huge Factory-hall and it even looked like one. It was clear the Factory-hall hadn’t been visited often by People for Ages. Dusty, flaked off Lime Plaster, Concrete Floors and almost entirely empty, apart from a very few Objects, among which was a strange but nice looking small red Couch from the 18th Century. The Couch had a Pluche Fabric and in the Middle it had a Swivel-chair. Because of this, the surrounding Couch functioned more like a Table. The Factory-hall was fully to my Liking and I took up the Plan to live here from now on, instead of living in my small Room at the Groundfloor… Walking through the Hall, it became more and more spacious… I saw new Parts, equally messy and abandoned. Above, there was a gigantic Attic, which I’d been visiting once, in a Dream. It was the Attic of my Grandmother. We (I was apparently in the Company of my Father and a Group of Acquaintances who I barely knew) were able to climb up a rickety Ladder and entered the Attic, where it was even more dusty and entirely empty. It had a wooden Floor, with Sections where one could easily crash through and other Parts where there wasn’t even a Floor at all. I remembered the spooky Atmosphere from the previous Time I’d been here and felt also now, how the Room was filled with a unnerving Type of old Fear. Someone said, a little Child was once hung here, on her arms and legs- and died.”

Wendingen 1918 ~ La Décorporisation De La Réalité
LP Original Photo Prints Wendingen 191860 euro ex. postage

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Artwork Description: Photography by Bart de Paepe. Handwriting and Drawings in Goldmarker by Raymond Dijkstra. Black LP Cover.


More Pictures follow



Original Artwork by Raymond Dijkstra
Numbered, dated, signed edition of 40 ex.
Date of Release: 18 March 2019

Reïssue of Raymond Dijkstra ~ Affen-theater (Le Souffleur, 2005) with original Artwork

Affen-Theater is an early Le Souffleur Period RD Work from 2005, opening a new Artistic Direction in the Œuvre of RD, with a high Focus on an expressionist Style of Playing Harmonium, experimental frotting and scratching of Glass Surfaces with different Materials, sometimes combined with manual Tape Manipulation and rudimentary Delay Effects. The Key Element in these expressionist Works (starting with Affen-Theater and involving 73 published Titles between 2005-2017) is an Approach very close to Surrealist Automatism, giving free Reign to the Unconscious of the Artist.

“My music is made in an abstract process of self-detachment. While detaching myself from myself, I connect with my Self. My expressionistic music should be regarded more as a physical act, more than music. It’s a constant training in opening up my mind, removing obstacles with violence, and seeing a different reality through the debris.” “The final result is a pile of fragments, but I guess something of the initial light still shimmers through.” “The publication is simply a registration of a physical event, and should be left untouched. Any changing of the initial energy is a weakening.” (RD)

Side A   Affen-theater20:00
Side B   Affen-theater08:00
Affen-Theater (Excerpt)
Raymond Dijkstra
Affen-theaterLP Original Artwork by Raymond Dijkstra60 euro ex. postage
Preorders Accepted

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Artwork Description: Charcoal on Brown Paper




Original Artwork by Pierre Bastien
Numbered edition of 40 ex.
Date of Release: 8 april 2019

Musicworks by Pierre Bastien

This Album is a Unicum in the Œuvre of Pierre Bastien. Pierre Bastien has always played together with the Meccano Orchestra. In these Pieces however, the Music contains the mechanical Sounds by the Meccano Orchestra only, with the Artist only observing the Orchestra as the sole Spectator in a vast and empty Circus Arena… A wonderful Collection of automated music, pure Poetry of a tiny mechanical Orchestra, fragile and touching in it’s primitive Mechanics… An absolute Highlight in the Œuvre of Bastien.

The Meccano Orchestra is a unique and constantly evolving Orchestra consisting of selfplaying Machines made from Meccano, imagined by Pierre Bastien.

Pierre Bastien ~ Impressions de Meccano
LP Original Pierre Bastien120 euro ex. postage

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The Toy Kora Herewith; one of the Players in the Orchestra.
The Gong is another Participant on “Impressions de Meccano”


Artwork Description: Stamped Forms in Gouache on brown Cardboard. Forms are stamped from Meccano Parts. Artwork by Pierre Bastien

More Artworks follow

37/40 SOLD