Category Archives: izvođači

Marjana Krajač: Choreographic Phantasy No. 2

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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.

 

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Marjana Krajač: Choreographic Phantasy No. 2

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.

Information: sodaberg.hr // www.hdlu.hr

 

Stian Westerhus

SATURDAY, May 7

10,30pm – Stian Westerhus @ French Pavilion (60′)

Stian Westerhus LP
Stian Westerhus LP

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

stianwesterhus.com

 

 

 

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
Telcosystems

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).

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BJ Nielsen

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.

telcosystems.net

bjnilsen.tumblr.com

 

Maja Osojnik & Patrick Wurzwallner aka ZSAMM

9,15pm – Maja Osojnik & Patrick Wurzwallner aka ZSAMM: Let Them Grow @ MM Centre (50′)

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LP COVER

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)

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Maja Osojnik photo by Rania Moslam

Hrvoje Hirsl: Resonance ( The bell)

8pm – Hrvoje Hiršl: Resonance (The Bell) – performance @ SEK hall (30′)

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Resonance (The Bell)

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.

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Hrvoje Hirsl

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.

hrvojehirsl.com

me@hrvojehirsl.com

Recording (ELECTROPIA, Mo.ë, Vienna, Austria, 31/5/2015)

https://soundcloud.com/h-h-7/resonance-the-bell-electropia-moe-vienna-austria-may-31st-2015

 

More Light

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′)

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More light

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.

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More light

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 GladovićLightune.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.

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More light

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

Programme:

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.

www.lightuneg.net

www.hugomorales.org

cargocollective.com/mirelaivicevic

www.bojangagic.com

www.kajafarszky.com

www.slagwerkdenhaag.nl

S/UMAS

THURSDAY, May 5

9pm – S/UMAS Ensemble for Contemporary Music of the Academy of Arts of the University of Split @ Theatre &TD semicircular hall (50′)

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Students of the Art Academy in Split have formed the Ensemble for contemporary music S/UMAS last year, on the initiative of assistant professor Gordan Tudor, saxophone player and composer, who is also their artistic leader. That is just one among many ways Tudor acts continually on the field of education and promotion of contemporary music, not only in Split, but much wider. In this specific case his role is that of a motivator and a mentor and the main roles belong to the students. Their focus in on the 20th and 21st century music, but it is not limited in regards to style or genre, but it is rather adjusted to technical possibilities and need or desire to enjoy making music together with the intent to further develop performing skills and widening their poetic experience. One of the important goals of S/UMAS is working with live composers. That way the musicians gain precious experience that is unfortunately very often missing in study programs. That is why the Music Showroom of the Student Centre together with S/UMAS have commissioned a new piece by a young composer Ana Horvat for their concert at the Showroom. She will prepare the piece working together with the students in Split.

The Ensemble for contemporary music was created for the students and that is not my ensemble, but their ensemble. Gordan Tudor, artistic director

S/UMAS are:

 

voice: Franjo Đaković
flutes: Lucija Butina, Marija Jelavić, Valentina Martić
clarinets: Ivana Bandalo, Roko Radeljak, Ivan Bašić, Igor Ivanović
saxophones: Erna Čizmić Rebić, Marija Vukšić, Mate Šumanović, Marko Gerbus, Deni Pjanić, Nereo Arbula
violins: Luka Jadrić, Barbara Udovčić, Matea Beotić
violas: Vera Kamenšek, Kristina Knežević
cellos: Mirna Lazić, Danijela Kos, Matej Ilčić
piano: Ivana Barišić, Josip Tomasović
drums: Jakov Salečić

Programme:

John Adams: American Standard (1973)

John Philip Sousa

Sentimentals

Marc Mellits: Canonada (2001)

Ana Horvat: S/UMAS Summarum (2016) *premiere

I –II – III – IV

Frank Zappa: Echidna’s Arf (Of You) (1973) – arr. G. Tudor

Dubravko Detoni: Zaboravljene muzike (1981)

Gordan Tudor: Re/Ce/Si(ja) (2016.) *premiere

Frank Zappa: Peaches en Regalia (1969.) – arr. G. Tudor

MMessy Oscillators 2.0: Soundtrack for Deep Space

SATURDAY, May 7

11,59pm – MMessy Oscillators 2.0 @ Theatre &TD semicircular hall (45′)

MMessy Oscillators 2.0

After having performed for years in a large ensemble and experimenting with sound, MMessy Oscillators come back to the Showroom of Contemporary Sound with a new hybrid sound and approach, as MMessy Oscillators 2.0. Lately they have been working extensively with dancers and performing during film screenings, something that resulted in studying the structure of musical composition, whilst not giving up on previous experimental and improvisational components, as well as electroacoustic sounds.

In Soundtrack for Deep Space they combine elements of abstract ambiental sound, electroacoustic moments, post-rock elements that are a result of a granular synthesis expressed through subtle minimalism. Drone as the main artery slowly enters the hearing focus and remains as a massive soundscape in the background, providing with its deep pulse a continuity for an eruption of noise electronics.

Soundtrack for Deep Space is inspired by a parallel piece for the exhibition Science Fiction: New Synthetic Worlds of Radiona.org that will be displayed at the Technical Museum during 2016. Together with the engineers of electronics, members of the group have designed and invented new digital, analogue and acoustic instruments, as well as visuals and installations. Part of these instruments and installations will be used at the performance.

MMessy Oscillators 2.0 are: Ana Horvat, Deborah Hustić, Layla Munitić on sound and Dražen Hižak on visuals.

www.facebook.com/MMessyOscillatorsradiona.org/activities/mmessy-oscillators

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MMessy Oscillators 2.0

Ivan Marusic Klif: Everything starts somewhere…

THURSDAY, May 5

6pm – Ivan Marušić Klif: Everything starts somewhere… – lecture @ SEK hall (60′)

FRIDAY, May 6

7,30pm – Ivan Marušić Klif: Everything starts somewhere… – audiovisual performance @ SEK hall (45′)

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Ivan Marušić Klif

Motivation for this work comes from two sides: on the one side, the fascination with texture of the image created on analogue oscilloscope, and on the other hand, a strong inner need to create material using the space on the scene, my body and voice. This fact has, during my work, literally materialized in the way that the performance is split in two isolated wholes: lecture about the image’s projection on the oscilloscope, and the second part where this same mechanism is used for an AV performance. During the first part, in a form of a lecture I explain how the image on the oscilloscope is formed; the notion of electronic signal that has no definition in itself, but can be an image and sound at the same time; the way the Rutt/Etra video synthesizer functions; written vector shapes and their manipulation. In the second part these same principles are implemented in the performance where the image and sound are formed live on the scene, using parts of the text from the lecture and observations of a very wide spectrum. Ivan Marušić Klif

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Ivan Marušić Klif

Ivan Marušić Klif is one of the most intriguing Croatian multimedia artists who lays the grounds of his artistic expression on implementation of technology for artistic purposes. During the past 20 year he presented a number of performances, multimedia installations and improvised music concerts. Aside from long term work on the field of fine arts and new media, Klif is also active as a musician and music producer, making film music and music for performances, theatre and dance productions. He was awarded Vladimir Nazor Award for his site specific installation Lambda.

i.m.klif.tv

www.vimeo.com/imklif

https://www.flickr.com/photos/13766531@N05/