December 2016

Nenad Boharevic, AD and graphic/web design

Launch of CRU magazine issue 2

Museum für Gegenwart - Berlin

9-11 December 2016

Art Book Fair Berlin


CRU is the annual magazine that documents what ’s happening or what could have happened at La Plaque Tournante
“2.1. OU:UR:SOURCE” (April 3rd- May 20h, 2015)
“2.2. BROUTIN STEP BY STEP THE NON-PAINTER GRAZES” ( June 26th, 2015 - August 18th, 2015)
“2.3. WOLMAN = LETTRISM + DETOURNEMENT” (September 19th, 2015 - November 13th, 2015)

CRU is :
- a physical magazine with 1CD, 1DVD, 3 playlists of exhibited material, 3 postcards, 3 aches and 3 catalogues in the form of posters
- and a virtual body : website, with access through a code only given to those who have bought the magazine, once they ’ve sent by email their photo with CRU in hands at

1. TREVOR WISHART, Anticredos, (18’39’’), 1980 original unreleased version for 6 voices per formed by Trevor Wishar t
2. DENIS DUFOUR, Esprit de suite / Berlin, (24’), 2015 with Fragmentations from Bocalises [03'26, 1977], Thème from Variations acousmatiques [66", 2011], Accordéon [03'24, 2012, mezzo-soprano Loré Lixenberg], Hentai [10'32, 2011, text by Thomas Brando, translation by Shoko Takahashi, voice Kasumi Handa], Si tendre, si funeste [05'17, 2014]

1. PAULINE OLIVEROS & IONE, Pauli(o)ne, 23’46”, 2011-2016, Emily Har vey Foundation, Venezia, a lm by Frédéric Acquaviva
2. HEM-ISH, Homme-Omini, 6’53’’, (2015), per formed at La Plaque Tournante, Berlin, September 19, 2015, caméra F. Acquaviva
3. BROUTIN, Concer to n°3, 11’47”, (2015), per formed by Broutin and Loré Lixenberg, La Plaque Tournante, Berlin, June 26, 2015, camera F. Acquaviva
4. FRANCOIS POYET, Improvisation phonétique ciselante, 7’24”, (2015), La Plaque Tournante, Berlin, April 3, 2015, camera F. Acquaviva
5. JOHANNES KREIDLER, Shutters, 11’23’’, (2015), per formed and lmed by Johannes Kreidler at La Plaque Tournante, Berlin, June 26, 2015
6. SILVA GABRIELA BEJU, Henri Chopin reects on OU (28’28’’), lmed at Dereham, UK, Januar y 14, 2001
7. GIL JOSEPH WOLMAN, Je me garde fou (39’23”), 1981, caméra Charlotte Wolman and Gil J Wolman (thanks to Hedy Laure Wolman and Barbara Wolman) Published in Berlin, November 2016, at 500 copies including 20 deluxe + 10 A.P signed copies from the ar tists with 3 sound ar tworks : “Les habitants de Berlin assistent attentifs à la création du Concer to n°3 en par tie aphonistique (voix soliste Loré Lixenberg) à La Plaque Tournante” by Broutin (2016), “Soirée” by Johannes Kreidler (2016) and “Vancouver Calling” by Pauline Oliveros (2016)

Publication Directors : Frédéric Acquaviva, Loré Lixenberg
Web Director and Graphic Design : Nenad Boharevic,
ß@£ / La Plaque Tournante, Sonnenallee 99 – 12045 Berlin

… si vous n’êtes pas à la La Plaque Tournante, vous êtes à côté de la plaque…

Free from any kind of fundings.




In the field of optics, transparency (also called pellucidity or diaphaneity) is the physical property of allowing light to pass through the material without being scattered. On a macroscopic scale (one where the dimensions investigated are much, much larger than the wavelength of the photons in question), the photons can be said to follow Snell's Law. Translucency (also called translucence or translucidity) is a super-set of transparency: it allows light to pass through, but does not necessarily (again, on the macroscopic scale) follow Snell's law; the photons can be scattered at either of the two interfaces where there is a change in index of refraction, or internally. In other words, a translucent medium allows the transport of light while a transparent medium not only allows the transport of light but allows for image formation. The opposite property of translucency is opacity. Transparent materials appear clear, with the overall appearance of one color, or any combination leading up to a brilliant spectrum of every color.

When light encounters a material, it can interact with it in several different ways. These interactions depend on the wavelength of the light and the nature of the material. Photons interact with an object by some combination of reflection, absorption and transmission. Some materials, such as plate glass and clean water, transmit much of the light that falls on them and reflect little of it; such materials are called optically transparent. Many liquids and aqueous solutions are highly transparent. Absence of structural defects (voids, cracks, etc.) and molecular structure of most liquids are mostly responsible for excellent optical transmission.

Materials which do not transmit light are called opaque. Many such substances have a chemical composition which includes what are referred to as absorption centers. Many substances are selective in their absorption of white light frequencies. They absorb certain portions of the visible spectrum while reflecting others. The frequencies of the spectrum which are not absorbed are either reflected back or transmitted for our physical observation. This is what gives rise to color. The attenuation of light of all frequencies and wavelengths is due to the combined mechanisms of absorption and scattering.

Transparency can provide almost perfect camouflage for animals able to achieve it. This is easier in dimly-lit or turbid seawater than in good illumination. Many marine animals such as jellyfish are highly transparent.