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2009 October 10 - Fragmentierte Architektur, .move / Halle October 17 - live Performance / Brooklyn November 17 - 20 - FAMU OpenEye2009, FAMU / Prag November 21 - Prager Manifest, Acud / Berlin 2010 January 21 - 30 - Amidst - The Lab / San Francisco March 11 - 14 - Lichtung / Clearing, Baryschnikov Art Center / New York April 22 - {R}ake at Issue Project Room | Brooklyn May - Slash - Diapason | Brooklyn May 22 & 23 - Fragmentierte Architektur | Leipzig & Berlin May 25 - 29 - camp2010 / ZKM Karlsruhe June 8 - 30 - A Dream Within A Dream (v. 2) - BITT Festival | Korea July 24 - August 1 - A Dream Within A Dream (v. 2) - 2010 KEAF International Experimental Film Festival | Korea September 8 - Stone / New York September 14 - Issue Project Room / Brooklyn September 24 - October 3 - Lichtrouten 2010 | Lüdenscheid
.move - new european media art Halle (Saale), Germany 10. Oktober, 2009 Fragmentierte Architektur Video- und Sound Performance / Installation Ursula Scherrer (USA/CH) – Video Transparente Stoffbahnen hängen im Raum und bilden zahlreiche Projektionsflächen. Mit vier Videoprojektoren werden live gemischte, abstrakte Videos auf und durch die transparente Architektur projiziert, wobei die Bilder durch den Stoff hindurch wie ein Echo auf die nächste Fläche leuchten. Ursula Scherrer kreiert mit den Musikern Ludger Hennig und Markus Markowski ein Projektionslabyrinth, in welchem sich Zuschauer und Künstler gleichermaßen bewegen, verweilen und verlieren. Wo Bild und Ton ineinanderfließen, sich verschränken, inspiriert durch die gegenwärtige Arbeit des jeweilig anderen. Die Zuschauer sind aufgefordert zu sitzen, zu liegen oder sich während der Performance frei durch diese zu bewegen.
Supported by Pro Helvetia, Schweizer Kulturförderung
Simon Berz-electronics, hacked toys (Zurich) info:
November 17 - 20 Final presentation on Fri Nov 20 at Institute of Intermedia, Prag, 4:45pm Space / Body / Projection The workshop will explore ‘projection’ as related to our body and the space we project in.
21. November Perforieren Persiflieren Perzipieren 5. M a n i f e s t i v a l INSTITUT FÜR PATAPHYSIK & ACUD-THEATER ACUD-Theater (030 44 35 94 97) Wort-, Bild- und KlangkünstlerInnen sämtlicher Provenienzen werden zum 5. Mal eingeladen, in aller Form zu erscheinen. Die LANGE NACHT DER KURZEN AUFTRITTE bietet jeder marginalen Bühnenkunst 1 Brett, was die Welt bedeutet, aber noch lange nicht verändert. Dem Einfallsreichtum der Teilnehmer wird auch diesmal nur eine zeitliche Grenze von 5 Minuten gesetzt, ansonsten gibt es weder Vorgaben noch eine Jury. Bis zum Schluss steht die Bühne auch kurzentschlossenen Manifestanten offen. PROGRAMM: licht: rico federle & uli schindele, malerei: jaroslaw broitman, graphische aphorismen: klaus rähm, idee & moderation: zlmann. den genossen vom acud-theater danken wir freundschaftlich für raum und zeit, rat & tat. diese veranstaltung wurde durch keinen staat gefördert. wir werden auch keinen fördern. eintrittspreis: 3-10 € (nach selbstermessen) Kontakt:INSTITUT FÜR ‘PATAPHYSIK (zettelmann@gmx.net)
January 21 - 30, 2010 San Francisco Amidst a shifting immersive labyrinth a multichannel video- and sound installation with live performances by Ursula Scherrer and Flo Kaufmann
with live performances: Thursday, January 21, 7:00 p.m.
In collaboration with swissnex San Francisco, with the support of the Swiss Arts Council, Pro Helvetia
March 11-14, 2010 LIZ GERRING DANCE COMPANY Lichtung /Clearing Baryshnikov Arts Center, 450 West 37th St., NYC Liz Gerring - choreography dancers: In this new work for 6 dancers Liz Gerring continues her longtime collaboration with artists Scherrer and Schumacher, layering her choreography with light and sound. The audience is seated within a multi-channel sound and multiple projection area where space is both marked and defined through the movement and relationship between all three mediums.
Saturdays Slash Kato Hideki (USA/Japan) - music Special event 7 - 8 pm 8 pm
Diapason 'Slash' is like the skin; it breathes, it gives and takes, it holds back and lets pass through, it is about the border between darkness and light, between sound and silence, between what we see and what we don’t see, between what we hear and what we don’t hear. The music is composed of recordings of acoustic bass, accordion, cymbals and room noise, using four pairs of stereo microphones. All the sound elements have been filtered, cut and spatialized for the eight-channel system, in order to create sharp contrast and tonal gradation between sound, noise and silence. Scherrer lets only narrow strips of her video projections be seen on the walls of the gallery, a drawing of the shadows of slashes that have been cut through black paper. Shapes and colors crawl up and down and across these cracks, sometimes barely visible and almost still, and sometimes dynamic and colorful. The projected image as a whole is hidden in the dark and of no importance. ‘Slash’ is about light within darkness, sound within silence; glimpses of something real which invites the viewers and listeners to use their imagination to fill in the gaps.
Kato Hideki (Kato: family name; Hideki: given) is an independent composer/bassist/multi-instrumentalist. His projects include: Death Ambient with Fred Frith & Ikue Mori; Green Zone with Otomo Yoshihide & Uemura Masahiro; and OMNI with Nakamura Toshimaru & Akiyama Tetsuzi. Kato has collaborated with Nicolas Collins, James Fei and Ursula Scherrer. He is a member of the analog synthesizer collective, Analogos at Diapason Gallery. www.katohideki.com/ The poetic quality of Ursula Scherrer’s work reminds one of moving paintings, drawing the viewer into the images, leaving the viewer with their own stories, transforming a landscape into a serene, abstract portrait of rhythm, color and light, where the images have less to do with what we see then the feeling they leave behind. SKIF++ Electronic music composer Jeff Carey, based in the US and in the Netherlands, has been working with experimental, improvised and composed electronic, electro-acoustic, and acousmatic music since the early 90's. Originally from the suburbs of Washington DC, he has performed a handful of hardcore bands and has played electronic music or presented pieces and installations in the US and Europe at festivals and venues such as Boralis (NO), Gaudeamus Music Week (NL), Chelsea Museum of Art (US), Transmediale (DE), NuMusic(NO), Sonic Acts (NL), Ekko Festival (NO), Cave 12 (CH), DNK-Amsterdam (NL), Trondhiem Matchmaking (NO), MOCADC (US), The Network (BE), and Placard (UK). Having studied Audio Technology at American University (1994), and computer music composition at the Instituut voor Sonologie in the Koningklijk Conservatorium in Den Haag (2002), his work has evolved from an interest in no-inputmixer and field recordings to include a focus on non-standard synthesis, algorithmic composition and digital instrumentalism. Apart from purely acousmatic and electro-acoustic composition, he is focused on performative aspects of computer music and improvisation. He has played in the groups 87 Central, OfficeR(6), SKIF++, USA/USB, N-Ensemble, and collaborated or performed with Francis Marie Uitti, Gert-Jan Prins, Cor Fuhler, Oren Ambarchi, Tobias Delius, Jaap Blonk and the numerous members of the N-Collective to name a famous few. Recent compositions include the acousmatic pieces 'Blueshift', 'Music for Broken Flute and Stolen Computer', and 'Point Source 01' for Double Bass and computer. Carey builds custom electronic instruments for musicians (most notably, MoHa!) and teaches courses in the synthesis programming language SuperCollider 3, recently at new media/arts institutions including NoTAM, BEK, TEKS (NO), STEIM (NL), and ITP (US). He is one of many founding members of the N-Collective, a pan-European music collective, and works to promote and present N-Events in the Americas. Robert van Heumen works with electronic means to create soundworlds. As a musician Van Heumen uses STEIM's live sampling software LiSa and real-time audio-synthesis software SuperCollider, controlled by various physical devices. His soundworlds are a mixture of digital crackles, heavy distortion, melancholic melodies, environmental sounds, voices and sounds from kitchen appliances, some of the time smashed beyond repair. Live sampled source sounds are gesturally manipulated and reworked within open ended narratives, exploring cycles of repetition beyond episodic improvisation.
Fragmentierte Architektur Ludger Hennig - software instruments + objects Saturday, May 22 Ludwigstrasse 129
Wendel
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