Marjana Krajač: Choreographic Phantasy No. 2
May 6 & 7 at 8pm @ HDLU, address: Trg žrtava fašizma 16
Performed by six dancers: Filipa Bavčević, Lana Hosni, Irena Mikec, Sara Piljek, Katarina Rilović and Mia Zalukar, the dance piece titled Choreographic Phantasy No. 2 by choreographer Marjana Krajač deals with the form as a vibrant place, levels of shapes, levels of materiality of the form and its autonomy.
In the first instance this piece can be read as a choreography for the end of time; dense layers of the form and shape that are extracted in the performance open some sort of a time abyss where the dark compact performative tension defies only through breath. Unpredictable encounters in form, a range of different tensions and sound imperatives shape this performance as a glance to a yet unreached technological horizon.
In the second instance the work is a kind of homage to the album Electronics by Zeitkratzer and Carsten Nicolai. It gave the final touch to the choreographic structure and gave it the complementary sound component. In reviews described as a “floating merge of oscillators and sinusoidal generators that poses the question about existence of romance machine or even electronic idyll”, it created an important connecting piece in the sensible working process.
Choreographic Phantasy No. 2 is the second work in a series that has opened up a whole field of considerations of the choreography as a poetic, intuitive-political and structural practice.
Diving into the very essence of the choreographic expertise, focusing on what is primarily choreographic, what primarily belongs to dance, in relation with all other elements of the performance, the series of choreographic fantasies calls for trust and a conviction in the essence of the dance medium where it is most fragile, where it is beyond anything that inhabits it and does not originate from it.
Author, choreography, concept: Marjana Krajač
Performed by: Filipa Bavčević, Lana Hosni, Irena Mikec, Sara Piljek, Katarina Rilović and Mia Zalukar
Music: Zeitkratzer & Carsten Nicolai: Electronics
Collaboration on the project: Irena Tomašić
Design of graphic materials: Valentina Toth
Sound technicals assistance: Jasmin Klarić
Technical direction: Duško Richtermoc
Technical assistance: Leonardo Krakić
Communication: Anita Klapan
Production and realization: Sodaberg koreografski laboratorij
Realized with the support of Ministry of Culture of the Republic of Croatia, City Office for Culture Zagreb and Foundation Kultura Nova. Created with the support of Croatian Institute for Movement and Dance, Zagreb Dance Center and House of HDLU in Zagreb.
We thank the Zagreb Youth Theatre ZKM and Pogon Jedinstvo for technical support.
SATURDAY, May 7
10,30pm – Stian Westerhus @ French Pavilion (60′)
To know what you have, and to give all of it up – even if you know that it’s going to keep haunting you for the rest of your life. Phantom pain. Diagnosing what is the best of two evils – is what this album is about.
Amputation, the new album by Stian Westerhus, may be centred on dislocation, loss and melancholia, yet from such turbulent origins a work of life-affirming catharsis has arrived. His first release for House of Mythology is a triumph of experimentation and abstraction, marrying a fearless innovative drive with stark emotional resonance. It is the sound of a virtuoso musician throwing away both caution and co-ordinates and taking a dive into the unknown, with spellbinding results.
It´s music I’ve dropped to the floor repeatedly, maybe even on purpose. It’s music in a cracked mirror portraying the time it was created.
Stian Westerhus started his musical life studying jazz, his work taking him firstly to Middlesex, before his Masters in Trondheim. Since then, he’s worked constantly, touring and recording with a dizzying array of artists including Jaga Jazzist, Supersilent, Nils Petter Molvær and Motorpsycho, not to mention a series of solo records for Rune Grammofon. He has also made several commissions with Trondheim Jazz Orchestra, Britten Sinfonia and with South Netherlands Philharmonic. His list of achievements is as lengthy as it is impressive, ranging from a BBC Jazz Innovation Award in 2008 to several Norwegian Grammy nominations (Spellemannprisen, where he has two awards to his name). Throughout, he’s consistently found ways to create new paradigms largely via a distinct and innovative approach to the mediums of six strings, pickups, effects and amplification. Amputation, however, marks new frontiers for this always bold and intrepid pathfinder, encompassing a mission in which Westerhus’ ever-evolving exploration of his instrument combines with a series of sound worlds that seamlessly veer from tender melody to bracing electronic edifices of sound to convey a startlingly articulate speech of the heart. Soon to be presented as a 16.1 surround sound installation at Notam in Oslo, Amputation is a fearless and uncompromising trawl into the murky depths of the psyche, one that has struck treasure in the form of an album unlike any you’ll hear this year.
Thematically it’s about leaving what is most precious and sacred behind. About accepting loss, damage and defeat. About those moments when you realize you are on the very edge of life and society as you know it.
Text: Jimmy Martin, House of Mythology
Telcosystems & BJ Nilsen
WEDNESDAY, May 4
9pm – Telcosystems & BJ Nilsen@ French Pavilion (40′)
THURSDAY, May 5
7,30pm – Telcosystems: Resonanz – audiobook presentation @ Theatre &TD caffe bar (45′)
Telcosystems are Gideon Kiers, David Kiers and Lucas van der Velden.
David Kiers (1977, Amsterdam) studied at the Sonology department of the Royal Conservatoire, and Lucas van der Velden (1976, Eindhoven) and Gideon Kiers (1975, Amsterdam) studied at the Interfaculty Image and Sound, a department of the Royal Conservatoire and the Royal Academy of Art in The Hague.
In their audiovisual works Telcosystems research the relation between the behaviour of programmed numerical logic and the human perception of this behaviour; they aim at an integration of human expression and programmed machine behaviour. This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances. The software they write enables them to compose ever-evolving audiovisual worlds. Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes. Their work is the result of an ongoing search for an own language of non-referential image and sound, and is characterized by lucid and restrained aesthetics, closely related to the technology they use. In interaction with machines Telcosystems fuse the auditive and visual domains into one immersive spatial experience that explores the limits of the human sensory apparatus.
Their work has been shown at museums, galleries and festivals such as Ars Electronica, International Film Festival Rotterdam, Holland Festival, European Media Art Festival Osnabrück, Transmediale, Sonar, International Short Film Festival Oberhausen, International Short Film Festival Hamburg, Elektra (Montréal), De Appel (Amsterdam), New York Digital Salon, Mu (Eindhoven), Wood Street Galleries (Pittsburgh), Museum Boijmans van Beuningen, Künstlerhaus (Vienna), Ann Arbor Film Festival, Image Forum (Tokyo), Videoex, EXiS, WRO Art Media Biennale and many more.
Their film Loudthings received the Grand Prix at 25 FPS Festival (2008) in Zagreb, Croatia and the Gus Van Sant Award for Best Experimental Film at the Ann Arbor Film Festival (2009).
BJ Nilsen (1975) is a Swedish composer and sound artist based in Amsterdam.
His work is primarily focused on the sound of nature and its effects on humans. His two latest solo albums were released by Touch: Eye Of The Microphone (2013) – a personal audio rendition based on the sound of London – and The Invisible City (2010), have explored the urban acoustic realm. unearthed (2015) – an audiovisual production exploring the industrial soundscapes of north Norway and Russia, together with filmmaker Karl Lemieux and commissioned by Sonic Acts. He has collaborated with Chris Watson, Philip Jeck and Stilluppsteypa. His original scores, sound design and soundtracks have featured in theatre, dance, and film, including Microtopia and Test Site (2013, 2010, dir. Jesper Wachtmeister), Enter the Void (2010, dir. Gaspar Noé), and, in collaboration with Jóhann Jóhannsson Sicario (2015, dir. Denis Villeneuve). DTLA (2015) a 16 channel sound installation based on the soundscape of downtown Los Angeles, commissioned by The Broad Museum. Participant in the freq_out sound collective. Co-editor of the publication The Acoustic City (2014, jovis verlag) together with Matthew Gandy.
THURSDAY, May 5
11,59pm – Interstellar Records presents: Opcion/Herbst @ MM Centre (40′)
Maja Osojnik & Patrick Wurzwallner aka ZSAMM
9,15pm – Maja Osojnik & Patrick Wurzwallner aka ZSAMM: Let Them Grow @ MM Centre (50′)
Let Them Grow Tour
An anthroposophical striptease of the soul, between dystopian chansons, primordial mantras and musique concrète.
Maja Osojnik – vocals, live sampling, dj-cd player and other lo-fi electronics
Patrick Wurzwallner – drums
In this programme present Maja Osojnik and Patrick Wurzwallner the new arrangements of the songs which were released on Maja’s new solo album Let Them Grow in February 2016. On her first solo production Maja Osojnik combines with unparalleled nimbleness her seeking penchant for song schemes, experimental and new music as well as improvisation.
Let Them Grow is the product of a retreat, an introspection, a re-alignment. Osojnik asks about the self, asks whether it is possible—beyond the fundamental impossibility—to be understood. She asks about the things people do when they love others and about the things they suppress. What does it mean to live an emancipated life today? In this very personal album, Osojnik examines the strange phenomena of contemporary interpersonal relations, with songs that range from dirty to soft, sensual, dazed, complex, cold, spherical, poignant, and feminine.
One of the most diverse and thrilling leftfield albums of the year 2016 so far. Intense, demanding and defo one to add to your collection for a reason. Nitestylez (March 2016)
Let Them Grow is not easy listening; it’s spiky and lyrical, with brilliantly dark instrumentals containing all manner of sounds absorbed from various sonic avant-garde movements but channelled into a distinctive, personal vision…..an amazing album….. Robin Tomens, includemeout2 (January 2016)
Hrvoje Hirsl: Resonance ( The bell)
8pm – Hrvoje Hiršl: Resonance (The Bell) – performance @ SEK hall (30′)
Resonance (The Bell) is a sound installation that problematizes the relationship between an object, space and the audience. The resonant frequency of a pipe placed in the middle of the room is 110 Hz. Audio loudspeaker in the center of the steel pipe continually reproduces a 110Hz tone that stimulates the pipe to vibrate and produce its own tone. Vibrations of the pipe are interacting with the space, causing a sound reflection and changes in tone, depending on the visitor’s position in space.
During the exhibition, Hiršl explores and expands his work, adding the performer as a mediator between the object, performance space and the audience. The result will be available to hear at the closing, in a form of live performance. The framework of this performance is a search for sounds that stimulate the object and interferences in space that are a result of changes in amplitudes.
Hrvoje Hiršl is an artist, explorer and a designer. His artistic projects are on the verge of contemporary and media arts, with main topics revolving around materiality of the artistic object, deconstruction of its aura, borders of the system and, finally, more complex systems and cybernetics as well as the affect it had on artistic movements that evolved in the 1950s and 60s, such as minimalism and conceptual art.
Recording (ELECTROPIA, Mo.ë, Vienna, Austria, 31/5/2015)
SATURDAY, May 7
8pm – More light – program: Ivičević, Lucier, Morales Murguia, Wettl || performers: Lightune.G, Farszky, Konfic, Pinjušić Bužančić, Sinković @ Theatre &TD big hall (50′)
Can you hear all these lights around you? Lightune.G
With a starting point in the work of luminoacoustic duo Lightune.G (Bojan Gagić and Miodrag Gladović), a new research of the relation between sound and light gathered a diverse group of musicians and composers of different music language, but who share the same curiosity and passion for contemporary expression and a common urge for new understandings and experiences through an untrammelled artistic exploration. Exchange of knowledge and ideas, common reflection, communication. So necessary for progress and development of the musical thought, the artistic residency More Light has the experiment and dialogue, exploring and process in its focus.
The usage of sound and its echo for spatial orientation in environment where light is absent, that is the core of Lucier’s Vespers. His piece is based on the book Listening in the Dark by Donald R. Griffin, that talks about acoustic orientation by animals and men. Alvin Lucier considers it to be a “communication piece” as well, stressing that it is the particular room where the performance is taking place the one that communicates and sends the information to the performers and the audience. Apart from More Light, Lucier’s Vespers will also be performed at the acoustically specific space of the French Pavilion, performed by the students of the Department for Animated Film and New Media of the Academy of Fine Arts in Zagreb.
for any number of players who would like to pay their respect to all living creatures who inhabit dark places and who, over the years, have developed acuity in the art of echolocation i.e., sounds used as messengers which, when sent out into environment, return as echoes carrying information as to the shape, size, and substance of that environment and the objects in it. (from the score Vespers)
As one of the five composers nominated for the Gaudeamus Award in 2015, Mátyás Wettl chose a realitevy simple approach of combining light and sound in his Nocturne for 16 light switches and 16 lamps. At the Gaudeamus Muziekweek in 2015, Wettl’s Nocturne was premiered by the residential ensemble of the last year’s Festival edition, Dutch ensemble Slagwerk Den Haag, who are also partners of this residence of the Music Showroom.
After a number of independent luminoacoustic projects, musicians and composers Bojan Gagić and Miodrag Gladović – Lightune.G, started a collaboration with composers Hugo Morales Murguia and Mirela Ivičević, expanding the possibilities of usage of solar panels together. Result of the first phase of their collaboration that will be presented at the concert titled More Light is only a beginning or part of the process they intend to continue, encouraged by the ideas that sprung up during their work together.
With the new instrument made by Lightune.G, the sound is not only non-separable from the visuality of its source, but even more, the uniqueness of the source not only represents the challenge but also opens new possibilities in compositional process. Mirela Ivičević
Light as an instrument for the sonic articulation of bodies within a given space is the base of an ongoing collaborative process between Lightune.G and myself. In Faro the radial relationship between light source and body is acoustically mapped in a linear development of sequential altering patterns, a study on the results of a brief residency focused on technique, design and performance. Hugo Morales Murguia
Having light as an essential part of the instruments makes us more sensitive to different kind of playing and exploring new techniques while experimenting with composers on new pieces and making already written music opens up a new dimension what sound is and how percussive art expands to different areas. Kaja Farszky
My work was about revealing things, discovering things. It’s more interesting to me to discover something in the act of composition than in deciding beforehand and make it happen. I think that it’s one of the descriptions of experimental music. Not that you don’t know what you’re doing, certainly…Alvin Lucier
Alvin Lucier: Vespers (1969)
Performers: Kaja Farszky, Bojan Gagić, Miodrag Gladović
Mátyás Wettl: Nocturne (2015)
Performers: Kaja Farszky, Josip Konfic, Ivana Pinjušić Bužančić, Nicolas Sinković
Mirela Ivičević: …it bangs, it melts, it burns, it grows, it… (2016)
Performers: Kaja Farszky, Bojan Gagić, Miodrag Gladović
Hugo Morales Murguia: Faro (2016)
Performers: Kaja Farszky, Josip Konfic, Ivana Pinjušić Bužančić, Nicolas Sinković
Project was made in collaboration with the Dutch ensemble Slagwerk Den Haag.