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writing in the electronic age. if emotions have cycles. some mad-hatter pattern. i am gathering thoughts from every corner of this electronic planet.












works in chronological order




SUPER SHORT VERSIONS:

1/ Sonic Amazon AGF utilizes language and electronics as her weapons of choice, weaving off-genre rhythms, sound art, moving image and feminism into a glowing post-internet tapestry.

2/ Performing as AGF, German poet, vocalist and new media artist Antye Greie-Ripatti explores speech and spoken word within the depths of electronic music.




SHORT VERSIONS:

1/German artist AGF aka Antye Greie-Ripatti a sonic warrior and electronic music producer. Her work inhabits an augmented space where pounding Berlin experimental techno, spoken word, abstract video art, feminism and radical ecology create a self-sustaining environment. Originally from East Germany, she started to develop a DIY approach early on, while also using her voice to fight against oppression by supporting marginalized communities and calling out injustice, most recently through female:pressure, a support community and promotional platform for female-identified electronic musicians. Currently based in Northern Finland, Antye founded the local arts organization Hai Art in Hailuoto. Since its inception in 2011, Hai Art has been involved in numerous sound-related projects, focusing on working with children. Antye acts as its director, curator and workshop instructor. Active since the early 90's, she has collaborated with strong names in electronic music such as French pioneer Eliane Radigue, German legends Gudrun Gut and Ellen Allien, British avantgardist Kaffe Matthews, Finnish IDM treasure Vladislav Delay and classical composer Craig Armstrong.


2/Antye Greie (also know as AGF) is a composer, music producer, sound artist & curator, poet, feminist. She lives and works in Finland. Her artistic tools are language, sound, listening, voice, and communication which she expresses in mixed media. Since 2011, she is the organiser and co-founder of Hai Art in Hailuoto. Hai Art has realised an international conference on remote art & sound, 10+ artistic residencies, extensive sound programs with children like the iPad Orchestra Hailuoto, built an acoustic sculpture The Hailuoto Organum in public space, facilitated a children MediaLAB and numerous sound art camps. Antye campaigns for diversity in the arts with the women collective female:pressure. She runs her own music publishing label AGF Producktion and has collaborated with Eliane Radigue, Gudrun Gut, Kaffe Matthews, Vladislav Delay, Craig Armstrong, Ellen Allien amongst many others.




EXTENDED VERSIONS:


1/About the artist: extract from article for REVISTA ARTA magazine by Raluca Oancea (Nestor)

Antye Greie aka [AGF, poemproducer], an East-German artist and producer, settled for some time on Finland’s Hailuoto Island, AGF assumes a multiplicity of facets and roles – sound sculptor, poet, composer, gender activist, sound and new media curator – reconfirming by means of her own praxis Nietzsche’s hypotheses on the self as dividuum as well as contemporary takes on the nomad subject and multiple, virtual identities. Concordantly, whether working with visuals or sound, she maintains consistency in her use of sampling, as the postmodern DJ’s method of choice, employing that “creativity through selection” that, as old Manovich says, draws on the pre-existing corpus of images, effects, sounds, to the detriment of outdated ex nihilo creation.

Her experimental music, without calling for a divorce from the dance floor, proves hard to label. Her sounds at times echo musique concrète, other times glitch or noise, alluding to icons like Björk or Laurie Anderson. In spite of her clear poetic velleities, language disappears in some of her albums (Words Are Missing), drawing the human voice into a game with pure tonalities, beyond worn out recognizable speech. Ambient sounds, synthesized voices, dissonant malfunction warnings, distortions overlapped on some pop star’s mesh drain into the murky waters of the same atonal river of noise that fertilizes the shore of a post-digital aesthetics.

Having participated in Documenta 14 and Transmediale and received an award at the Ars Electronica festival (2014), Antye Greie is a complex artist, on the level of someone like Grace Jones, whose praxis, though socio-politically laden goes beyond mere ideology. Her fluctuating, modulating identity composes and recomposes itself from samples, comments, likes, and photos on Facebook, Mixcloud tracks, bytes circulating at dizzying speeds, always one step ahead of the newest control tech, where any self-respecting activist should stand.

The intermediality and interdisciplinarity, the subtle mix of poetry and activism, her interest for technology and nature (in and for itself) make AGF a paradigmatic example of the contemporary posthumanist scene. Her praxis finds itself at equal distance between what Rosi Braidotti, following Deleuze, terms becoming-animal and becoming-machine. The dismissal of anthropocentrism (i.e. the modernist view in which everything is interpreted through the standard of the human individual) and old humanism (its reduction of humanity to the traits and interests of a single class/gender/race/genome makes it imperialist in nature), as well as the dissolution of the divide between born and built are supported by projects like Mycelium Sonification (a participatory game where forest fungi become music-making agents) as well as in pieces that speak of the rhizomatic capacities of the internet, of the elimination of any hierarchy, or reiterate iconic narratives like Ghost in the Shell.

The installation titled Mycelium, in which mushrooms in their natural environment, alongside musicians, generate sound, composing music in real time, ties into a larger project titled (sonic) Wild Code, in which AGF and a group of artists, anthropologists, and computer scientists construct music starting from the audio feedback caused by rocks, wind, plants, streams, and a metal reindeer fence. These experiences in hybrid ecology (subsumable to object-oriented ontology’s emancipatory program for objects in and of themselves) were commented on by the artist in a text which recently came out in Musical Instruments in the 21st Century (Springer, 2017), a volume with theoretical underpinnings, broadly, in Deleuze’s theory of assemblages, of hierarchy dissolution, and free, rhizomatic relations.

The idea of participation resonates naturally with that of inclusion, the artist stating therefore her support for underprivileged communities, be it by criteria of gender, race, sexuality, or ethnicity. She is an active member of the female:pressure community, and has militated for Kurdish and Syrian women and for the visibility of female electronic music artists and producers, actions echoed in the recent tendencies of Romania’s art paradigm (see Bucharest’s party scene and collectives, like Vagenta and Corp.). AGF’s discourse (like the discourse of Bucharest’s female DJs, like Admina, Beatrice Sommer, Cosima, Chlorys etc.) aims at promoting equality of chances and diversity on the electronic music scene, interweaving power and responsibility, the intersectionality imperative (by which we must both construct personal identity and deconstruct power hierarchies and centers) and aesthetic quality.



2/German artist AGF aka Antye Greie-Ripatti is a sonic warrior and electronic music producer. Her music inhabits an augmented space where pounding experimental techno, spoken word, abstract video art, feminism and radical ecology create a self-sustaining environment. Originally from East Berlin, she started to develop a DIY approach early on, while also using her voice to fight against oppression by supporting marginalized communities and calling out injustice, most recently through female:pressure, a support community and promotional platform for female-identified electronic musicians.
Currently based in Northern Finland, Antye founded the local arts organization Hai Art in Hailuoto. Since its inception in 2011, Hai Art has been involved in numerous sound-related projects, focusing on media arts with children. Antye acts as its director, curator and a workshop instructor.
Active since the early 90's, she has collaborated with strong names in electronic music such as French pioneer Eliane Radigue, German legends Gudrun Gut and Ellen Allien, British avantgardist Kaffe Matthews, Finnish IDM treasure Vladislav Delay and classical composer Craig Armstrong.
Antye Greie-Ripatti, better known as AGF, uses electronic music as her medium to express her love for poetry, nature, new media art and strong female figures. A self-described poem producer, she courageously walks the thin line between music, contemporary art and activism.
Antye (or Agee, as friends call her) grew up in East Germany and witnessed firsthand the fall of the Wall and the rise of techno culture. As a teen, she directly experienced the crumbling of dictatorship and took Philosophy courses at Bauhaus Dessau, which lead to her questioning her Marxist upbringing.
In the German macho white hetero techno scene of the early 90's, men were banishing vocals from the club, insisting on not expressing emotion. Antye, on the other hand, rebelled against the trend by incorporating spoken word and poetry within her rough, techno sound. Her curious nature and mercurial spirit allowed her music to expand beyond the confines of traditional beat making, into the realm of sound art, poetry, video, performance and activism.
Twenty years, some awards and collaborations later, she is still fighting to get women the visibility they deserve, whether with online platform female:pressure or by collaborating with risk-taking artists such as Afghan refugee Kubra Khademi. Active for over 15 years, female:pressureis for electronic music what Guerilla Girls was for contemporary art. Their charts breaking down the glaring inequality of male and female artists in music festivals have reached internet art status.
Antye lives on an island in Northern Finland, records sounds in the woods, posts poems via twitter and through a poem newsletter one can subscribe on her website.
In 2011 she founded the arts organization Hai Art in Hailuoto, where she activates as director, executive producer , workshop leader and independent sound curator.
Over the years, Hai Art has organized numerous conferences and art residencies, mainly focusing on programs dedicated to children. They developed projects such as the iPad Orchestra Hailuoto, built an acoustic sculpture The Hailuoto Organum in public space, facilitated a children MediaLAB and numerous sound art camps.
Her work is constantly expanding into new territories, most recently incorporating radical mycology, performance art and radio work.



3/Antye Greie-Ripatti is a digital songwriter, sound artist & curator, composer, poet, feminist, activist. She is also known as AGF, Laub and poemproducer. Born 1969, raised in East Germany, she lives and works in Hailuoto, Finland since 2008. She works with language, sound, listening, voice and communication, which is expressed in mixed media, audiovisual live performances, digital communication, sound installations, commissions for radio, movies and theatre, exhibitions and conceptual works. Greie-Ripatti has released 30 long player records and numerous collaborations under such aliases as AGF, AGF/Delay (with Vladislav Delay), Greie Gut Fraktion (with Gudrun Gut), and The Lappetites (with Kaffe Matthews and Eliane Radigue), many collaborations with the award-winning classical composer Craig Armstrong. She runs the production company and music label AGF PRODUCKTION and has produced records for other artists most famously for Ellen Allien (SOOL, 2009, BPitch). In 2011 Greie-Ripatti founded the arts organization Hai Art in Hailuoto and practices as artistic director, executive producer and workshop leader. Hai Art has organized a conference on remote art, 10+ Artist-In-Residencies, extensive sound program with children in Hailuoto, the iPad Orchestra Hailuoto, the Organum, the Hailuoto (mini) MediaLAB and numerous artist camps.
Since 2011 she works as independent sound curator.




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