[resource-net] : Announcement: SPEKTRUM Exhibiton #12: Klang Raum Skulptur (22-24 Sept 2017)

Lieke Ploeger lieke at spektrumberlin.de
Mon Aug 28 11:48:04 CEST 2017


*EXHIBITION #12: KLANG RAUM SKULPTUR*
http://spektrumberlin.de/events/detail/exhibition-12-klang-raum-sk
ulptur.html

*Ambisonics dome*
>From 22-24 September, during the the first ever Month of Contemporary Music
(http://www.inm-berlin.de/en/ueber-uns/692/monat_der_zeitgen_ssischen_musik),
SPEKTRUM | art science community is excited to premiere the collaborative
project Klang-Raum-Skulptur: a dome-shaped sound installation that utilizes
an immersive 3-dimensional sound system. The installation was originated by
Paul Deme who developed the initial spatial concept. Attracted by the
sculpture’s ideal form for the use of Ambisonics spatialization, Sven König
(sCrAmBled?HaCkZ!), joined the project and installed the Ambisonics system
inside the dome. The composers Frank Bretschneider, Marisol Jimenez and
Julius Holtz employ this technique to create 3-dimensional sound pieces.
The resulting entity explores the relationship between musical composition,
space and immersive listening.

*PROGRAM*

• Friday 22 September
18:00 | Exhibition opening
21:30 | Spatial Sound Intervention by Frank Bretschneider

• Saturday 23 September
16:00 | Installation opens
21:00 | Spatial Sound Intervention by Richard Scott & Julius Holtz

• Sunday 24 September
16:00 | Installation opens
21:00 | Spatial Sound Intervention by Sven König & Fabien Artal

• Monday/Tuesday 25-26 September | 2 days workshop, 10:00 - 17:00 each day
(module I & II) - more information below


*ARTISTS*

*Frank Bretschneider* is a musician, composer and video artist in Berlin.
His work is known for precise sound placement, complex, interwoven rhythm
structures and its minimal, flowing approach. Bretschneider’s subtle and
detailed music is echoed by his visuals: perfect translated realizations of
the qualities found in music within visual phenomena.

Bretschneider (1956) was raised in Karl-Marx-Stadt (Chemnitz since 1990),
where his aesthetic developed as he listened to pirate radio and smuggled
Beastie Boys tapes in the former East Germany. After studying fine arts and
inspired by science fiction radio plays and films he began experimenting
with tape machines, synthesizers, and modified guitars in 1984, as well as
exploring the possibilities of exchange between visual art and music by
various means such as film, video and computer graphics. In 1986, after
establishing his cassette label klangFarBe, Bretschneider founded AG Geige,
a successful and influential East German underground band. Though limited
to the East before the wall came down, they were invited to perform across
Germany and internationally after 1989 and released three albums before
splitting in 1993.

In 1995, Bretschneider and fellow AG Geige member Olaf Bender founded the
Rastermusic record label which eventually merged with Carsten Nicolai’s
noton to form raster-noton in 1999. Most of Bretschneider’s early solo
albums - about half a dozen - were under the alias Komet, the first, SAAT,
appearing in 1996. Since then Bretschneider has released his work (in
addition to raster noton) on various labels including 12k, Line, Mille
Plateaux or Shitkatapult, and contributed to some well-known compilations
like CLICKS & CUTS on Mille Plateaux and raster-noton’s 20' TO 2000 series.
2001’s CURVE, his second album for Mille Plateaux, was critically acclaimed
and brought Bretschneider international attention. Followed 2003 by GOLD,
raster-noton’s most blatantly pop album by then. GOLD, however, was topped
by the percussive masterpiece released in late 2007, RHYTHM, an album that
was rated very highly by several major electronic music publications,
notably »The Wire« magazine, who put the album among their top releases of
2007.

2010 saw the release of EXP, a rather complex and abstract audio-visual
work and his 2012 album KIPPSCHWINGUNGEN explores the sound of the
Subharchord, a unique electronic instrument based on subharmonic sound
generation. SUPER.TRIGGER, his 2013 album for raster-noton, is an absolute
trove of percussive tension. And his newest, SINN + FORM, is all about
improvisation and analog modular synth chaos.

*Richard Scott* is a free improvising sound artist and electroacoustic
composer, working with electronics including modular synthesizers and
controllers such as the Buchla Thunder and Lightning and his own
self-designed WiGi infrared controller developed at STEIM. He has been
composing and performing for over 25 years, recently working with Evan
Parker, Jon Rose, Richard Barrett, Kazuhisa Uchihashi, Shelley Hirsch, Ute
Wasserman, Michael Vorfeld, Frank Gratkowski and his own Lightning
Ensemble. He studied free improvisation in the 1980s with John Stevens,
saxophone with Elton Dean and Steve Lacy, and electroacoustic composition
with David Berezan and Ricardo Climent. He has released many albums, for
example with Grutronic and Evan Parker for PSI records, The Magnificence of
Stereo (sruti BOX) and has a solo double modular synthesizer LP, Several
Circles, and an album with Sidsel Endreson, Debris in Lower Earth Orbit,
released on CUSP Editions in 2016.

*Julius Holtz* is a Berlin based composer, musician and multidisciplinary
artist. His work combines contemporary music composition, sound
installation, video and performance. Through recontextualisation of
aesthetic language of various formats and media, Holtz develops new fields
of artistic experiments. After receiving a Master of Arts degree in Sound
Studies from the Berlin University of the Arts, Holtz became an active
member of Berlin`s experimental music scene. He performed at venues such as
Ausland Berlin, Quiet Cue and Acker Stadt Palast.

As Klangregisseur Holtz has worked with choreographers Ian Kaler and Adam
Linder. He is the author of multiple film scores for experimental films and
big German cinema productions. His music has been released on experimental
music labels and broadcasted on Deutschland Radio. Beyond his appearance in
Germany Holtz `s work has been presented in a large amplitude of locations:
>From rural areas in Portugal and Alaska to festivals and institutions in
the USA, Mexico, Argentina, Scandinavia and Europe. These include New Fest
Filmfestival (Jay, New York, 2008), Haus der Kulturen der Welt
(Transformationen, Berlin, 2009), Wet Sounds Festival (Paraconsistent
Invention, London, 2011), Centro de Cultura Digital (Vakuum, Mexico City,
2014) and the Ultima Festival (Yuaríya Valcári with Marisol Jimenez, Oslo,
2016).

*Marisol Jimenez* is a composer and multidisciplinary artist from
Guadalajara, Mexico. Her output includes numerous chamber and electronic
works, as well as sound & mixed media installations and collaborations with
visual and video artists. As she has a deep fascination with the tactile
process of creating sound, most of her electronic and mixed media works
involve self made instruments, found objects, and collected sound materials
from her own field recordings, improvisations and performances. Her music
has been performed by ensembles including the Arditti String Quartet,
Ensemble Surplus, Ensemble Recherche, Ensemble Intercontemporain,
International Contemporary Ensemble, the Freiburger Barockorchester,
Phoenix ensemble, SfSound, CEPROMUSIC,The London Sinfonietta.

*Sven König* (a.k.a. sCrAmBlEd?HaCkZ!) studied philosophie and art. He was
Artist in residence at SAT Montreal, exhibited and performed at Festivals
and institutions like Moderna Museet (Stockholm), Museo Pecci (Florenz),
HMKV (Dortmund), Museu da Imagem e do Som (São Paulo), Cabaret Voltaire
(Zürich), STEIM (Amsterdam), Temps D'images (Istanbul), FutureSonic
(Manchester), Sonorities (Belfast), Unsound (Krakau), Elevate (Graz),
Transmediale (Berlin), Cimatics (Brüssel), MIT (Boston)




*WORKSHOP*
Monday 25 Sept (module I) and Tuesday 26 Sept (module II) - from 10:00 -
17:00 each day.
Workshop holder: Sven König

The 1st half of the workshop will cover the historical and contemporary
concepts of spatial audio in music and cinematic sounddesign. Sven will
highlight the performative practice of spatial electro-acoustic music.

The 2nd half will be hands on: The participants are invited to create their
own soundfield on the Ambisonics-system. This will be possible in all
DAW`s.

The participants are asked to bring their Laptop and an audiointerface if
available.

Cost: €50 for module I only (max 20 participants)
€100 for modules I and II (max 10 participants)


*TICKET INFORMATION*

Ticket installation: 5-10euro up to your offer (tickets available at the
door during the event)
Ticket performance: 10-15euro up to your offer (max 20 people)
Tickets for the performances and the workshop are available from
https://www.eventbrite.de/e/exhibition-12-klang-raum-skulptur-performances-
workshop-tickets-37097851673
<https://l.facebook.com/l.php?u=https%3A%2F%2Fwww.eventbrite.de%2Fe%2Fexhibition-12-klang-raum-skulptur-performances-workshop-tickets-37097851673&h=ATMESm98URAyXqgmFL3Q9kwDmXQ7lolEkfjRggjPJe32srAc9D2SApsI66rLu6r8sac8wIbNEZMTeGzLIqOnAFja14htqyPm3zXyTj7XgS88PVVpRLcBE0j1zXnT2-vaJKcU8zCYfuwXk0NW7juLHdqwu0ZcOO8FrQKTWZc>


*With kind support of Initiative Neue Musik Berlin, Monat der
zeitgenössischen Musik, KEF, Reckhorn and Poltergeist by Koma Electronik*


Best regards, Lieke Ploeger

-- 
SPEKTRUM | art science community
Bürknerstr. 12
U8 Schönleinstrasse
12047  Berlin
www.spektrumberlin.de


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