Flora Reznik is an Argentinian artist based in The Netherlands, where she develops her work as an artist in the fields of video, performance, installation and text. She is busy with the notions of physicality, territory and time. She studied in Universidad del Cine, obtained a diploma in Philosophy (University of Buenos Aires), while she worked as a video editor in film and TV, and co-funded a contemporary arts magazine. In The Netherlands, she graduated from the ArtScience Interfaculty department, in The Royal Academy of Art, and currently co-curates the artist initiative Platform for Thought in Motion.
Victoria Douka-Doukopoulou lives in The Hague (NL) where she graduated with a BA in artscience from the Royal Academy of Art, The Hague and the Royal Conservatory in 2017. She currently works for the sonic acts festival and runs the experimental publication and distribution project oneacre.online. As a filmmaker, she gathers and assembles the invisible, the unthinkable and the unappreciable and usually turns them into films, sometimes into bio-things. Her work grows and moves, literally — acatalog.allthingsinvisible.online complies stories of the invisible, the unthinkable and the inappreciable. The installation of the three-fold catalogue indexes scores for a performative lecture, a documentary and an archive that can never be actualised as their building material is the invisible itself. The catalogue is mainly words — technical words, English words motivated by the sensitivity of practicing the art of noticing, of looking for traces and ways of knowing and world making.
Marit Mihklepp is an Estonian artist currently living and working in The Hague (NL). She is obsessed with the rich variety of communication forms between human and other beings. She has interviewed an office chair, lived together with slime moulds and river stones, designed the human body odour collection with skin bacteria, drawn cities on the human body. Marit is interested in everyday situations and movements in which she composes physical or imaginary guidelines/repetitions/deviations. In her latest work “Conversations with matter” Marit was investigating the possibility of slowing down the human time to the one of stones.
Yun Ingrid Lee (fka Ingrid Eel) is an artist, composer, and performer interested in failure, hybridity, and collective sensing. Yun’s work investigates histories and power relations in acoustic phenomena and different media technologies. Yun has been 1/2 of Come on you F...., curator of the Paarden Eiland Concert series in Cape Town, and curator of the Bartalk lecture series in The Hague. Yun’s sounds have been released through Another Timbre, Innova Recordings, and The Lab. Yun’s digital publication “Poetics and Politics of Erasure” was recently launched on oneacre.online. Yun will be presenting a remixed lecture on erasure, acceleration, digital identities, camouflage, and other thoughts on noise.
BACK TO TOP
Formed in Manchester in late 2016, Kinder Meccano has quickly gained significant attention across the UK, EU and North America, performing shows in venues such as New York's National Sawdust, Montreal's Casa Del Popolo and Berlin's Rotor Salon and broadcast on NTS Radio, Berlin Community Radio, Reform Radio and BBC Radio 3’s Late Junction. KM are set to release their debut album in 2018.
"Theirs is a world of hidden machine music, amplified by homemade pick-ups, shining 16-bit threads of melody and zen-like process music, mingling performance and playfulness. Very much our sort of thing." The Skinny
"From delicately magical to thumpingly raucous.” Fluid Radio
"Magpies for anything that might produce a good sound.” Late Junction, BBC Radio 3
For the coming episode of Ephemere, the artists Cristiana Vignatelli Bruni and Greta Desiree Facchinato will collaborate for the second time, investigating the sense of touch in relation to the elusivity of sound. A chance to catch epidermic fluctuations through a real time improvisation.
“[Touch] is essentially, a sense of force. Our concepts of force would be very much less well developed were we unable to feel pressure, or to sense competing forces in which an equilibrium is established so that no movements are produced, yet in which the forces can still be felt.” ( E. H., Weber. E.H. Weber on the Tactile Senses , 1846, p.196)
The multidisciplinary artist Greta D. Facchinato develops works which are a combination between field recording, performance, installation and sculpture. Her practice is involved in researching listening as an active access to create new works and to relate to her audience. By coming from the field of dance she is particularly attentive to how we experience sounds. Therefore strong consideration is dedicated to the space and to the materials where the encounters happen, moreover to the position that the body will be invited or restricted to assume. Her works challenge the performance practice within the genesis of tensions in order to reconsider topics of intimacy and public.
Cristiana Vignatelli is a visual artist and singer from Rome based in The Hague.As vocalist she has collaborated with jazz and electronic groups as well as being active in the musical improvisation field. As visual artist her research explores the experimental aspects of the processing of matter, always on the brink between formalism and its deconstruction. By introducing a sonic dimension in her works she investigates the link between sound and formal element and how this relationship can strengthen or change the perception of space. Her sculptural works and sound installations have been shown in museums and galleries in Italy, The Netherlands and South Korea.
Between 1958 and 1965, the Dutch artist and composer Sedje Hémon kept a chronologically ordered (but not dated) record of 600 numbered notes tracing the development of her method of integrating visual art and music such that music could be “extracted” from visual artwork. Keeping these notes in such a methodical, controlled manner was a way of reclaiming agency within her artistic process and life.
600 Notes is a response to Hemon's text - it's a collection of 600 performed “notes”—actual written notes, musical notes, audio notes, and other plays on the meaning of the word. Between the two of us and the audience, we perform our notes with live and recorded sound, gesture, image, and voice. With every iteration of 600 Notes, a different set of notes comes to the surface.
Andrius Arutiunian is an Armenian-Lithuanian composer and sound artist. His music explores the socio-cultural aspects of specific histories through their sonic artefacts, often dealing with ideas of identity, sonic appropriation and thresholds of noise and sound. Arutiunian’s Armenian-Lithuanian background is also a strong influence on his work, compelling him to look into the layers of personal and shared histories through his music.
Based in The Hague, Arutiunian works, performs, and teaches within both contemporary music and contemporary art contexts. Recent commissions and performances include documenta 14 Parliament of Bodies (DE), Hidden Agreements (together with Modelo62, NL), Contemporary Art Centre (LT), Melos-Ethos (SL), deSingel (BE) and MAZE festival (NL). He often collaborates with various international ensembles (Modelo62, MAZE, Ensemble Klang, Nadar, Slagwerk Den Haag, Synaesthesis and others). Andrius Arutiunian’s works are published by Donemus (NL).
Marianna Maruyama uses the body and voice as primary agents in her performance-based practice. Her work uses only a few elements—bodies and texts, mostly—but they engage a complex web of relations across geographies, histories, and languages. In her performances, publications, and audio recordings, Maruyama attends to the “before and after” moments of an event, extending the life of the creative encounters that inform her practice. One of her primary interests is translation as an artistic method. Recent and long-term works include: Hidden Agreements (with Andrius Arutiunian and Ensemble Modelo62); 600 Notes; Deep Body Massage; How Language Moves; Il Milione; and the workshops How to Lose Your Voice. In 2013, she published Three Movements, an artist’s book dealing with the negotiation of a globally shared life after the nuclear disaster in Fukushima. Following an extensive working period in Japan, Maruyama moved to the Netherlands in 2012, obtained her MA degree from the Dutch Art Institute (where she now tutors in the Master of Art Praxis program), and is an artist-researcher at the invitation of the Sedje Hémon Foundation. Based in The Hague since 2016, she performs in both contemporary art and music contexts. www.mariannamaruyama.com
INK for slide projector and synthesizers
Yael Levy, Nikos Kokolakis, Lam Lai
"Ink" consists on sequence of slides, prepared on spot and interpreted by the musicians. As the title of the piece suggests, the slides contains ink, among found objects as tape and threads. The ink is dropped into the frame of the slide projector and there is a gradual movement created by the ink moving and evaporating. The musicians follow the movement of the changing ink and the air "bubbles" start to appear, and sonify it. The piece was premiered in Rewire festival 2016, and since then was performed on different occasions including MAZE festival in Splendor A'dam, Sound 59 Festival in Perm Russia, and in a collaboration concert with Nikos Kokolakis in Polytechno, Corfu, Greece.
Lam Lai (HK/NL) is a composer/performer. She is active in composing many kinds of works, including instrumentals, electronics, installation, music theatre, etc. As a composer, she tends to create new hybrids of media, exploring sound experiences in music and ways to communicate to the listener via music.
Nikos Kokolakis (GR/NL) is a composer/performer and sound artist. His main compositional interest lies in developing an understanding of sound as space in sonic structures. He is engaged in multidisciplinary artistic approaches and he is an active member of various artists’ initiatives such as Catchpenny Ensemble, focusing in multimedia and collective composition.
Yael Levy (IL/NL) is a composer/performer and a visual artist, currently located in The Hague, Netherlands. In her works she explores new models which emerge from the combination of music composition, visual art, performance-art and theater. Yael is an active member in Catchpenny Ensemble, which focuses on multimedia works and collective composition and in Stichting Helicopter which is a visual artists initiative.
Contour Ingólfur Vilhjálmsson
Ingólfur Vilhjálmsson has played contemporary music all over the world as soloist and in his Ensemble Adapter in Berlin. His new solo album has solo works for bass clarinet and contrabass clarinet and contains the modern classics like Donatoni but also new pieces by Alistair Zaldua, Jakob Diehl, Jesper Pedersen and the Icelandic composer Thráinn Hjálmarsson. As a soloist he toured the UK in 2015 and performs more and more as a soloist.
> Thráinn Hjálmarsson: Tinted/Milieu (2017) for contrabass clarinet and electronics.
> Das Medley: for bass clarinet and electronics. As a composer in emergence, if you can call me that, I quickly realized that I had little experience as such and the form took a rather cliché route. “Das Medley” has an elastic form that can be extended, cut in half, partly improvised, moulded and then sewn back together.
Caboto Riccardo Marogna
CABOTO is a graphic-based live electronics performance for a human being and a set of autonomous agents, or scanners. A graphic score sketched on a canvas is scanned by a computer vision system, interpreted and rendered by an audio synthesizer. The graphic score is a map, traversed by a set of semi-autonomous scanners. The performer tries to keep control over these agents, to exploit their glitches, their failures. The graphic score is projected on the screen, creating a visual feedback of the ongoing process. Inspired by the optical sound experiments by pioneers in Soviet Russia during the 30s, the works by Oskar Fischinger, Norman McLaren, Daphne Oram and Xenakis’ UPIC system, CABOTO tries to challenge the boundaries between the concepts of composition, score, performance, instrument. CABOTO is part of a Master Research Project at the Institute of Sonology, Royal Conservatoire (The Hague, NL)
CodeKlavier Felipe Ignacio Noriega and Anne Veinberg
The CodeKlavier is a system which enables a pianist to code through playing the piano as a performative experience.The CodeKlavier repurposes the traditional piano to serve as both a live coding interface and as a musical instrument. In this performance, we will present two prototypes of the system: Huygbrid and CKalculator.
With Huygbrid, we have created a hybrid version of the first two prototypes of the CodeKlavier which focus on different methods of translating the pianistic input to code. These include piano keys being individually mapped to alphanumeric characters and strings, the recognition of musical motifs and mapping these to code snippets, and the recognition of tremolo intervals for integer inputs. The framework allows for parallel coding to be done by the pianist’s two hands and in many ways is a solo duet for the pianist who is in constant interaction, interjection and mediation between coding and playing piano. As a piece, Huygbrid pays tribute to both Constantijn and Christian Huygens.
The CKalculator is the fourth prototype of the CodeKlavier and uses lambda calculus as a base for its computations which are limited to simple arithmetic operations and conditionals. This performance is done in a duo setting where the outcome of the CKalculator operations played by Anne will be used as values for the variables in Felipe’s algorithmic functions that are live-coded in the SuperCollider language.
We would like to thank the Creative Industries Fund NL and our other sponsors for making this project possible.
Felipe Ignacio Noriega and Anne Veinberg are Off<>zz, an ongoing project which explores the possibilities between live coding and acoustic keyboard performance within the classical music sphere. Off<>zz has performed around the world at both music festivals and coding conferences. Since March 2017 they have been working on a new project, the CodeKlavier, that enables the pianist to live code through playing the piano. This project was awarded a start-phase and development-phase grant from the Creative Industries Fund NL alongside private funding. The first work of the CodeKlavier, “hello world”, was the winner of the Uncaged Festival and Conlon Foundation Composition Competition.
Anne Veinberg is a versatile classical pianist encompassing repertoire of a wide range of stylistic influences. She completed her Masters at the Conservatorium of Amsterdam in 2012 and performs throughout Australia and Europe, as soloist, improviser and ensemble player. Through the docARTES program, Anne is a doctoral candidate at Leiden University. Her research focuses on the intersection and interaction of pianistic and live coding performance practices. At home she practises on a Yamaha grand piano, kindly on loan from the Dutch Musical Instruments Foundation. The piano is part of the collection ‘Willem G. Vogelaar’.
Felipe Ignacio Noriega is a composer, programmer and live-coding artist born in Mexico City. He collaborates in various settings where a common subject is the incorporation of coding as a performative and aesthetic principle. Ignacio graduated Cum Laude from the Masters in composition at the Conservatorium van Amsterdam in 2013. He has won various composition competitions and grants in the Netherlands including the Young Artist Fund Amsterdam 2015 and the ADE SoundLab 2016.
A Nomad’s Guide to Listening Budhaditya Chattopadhyay & Justin Bennett
A Nomad’s Guide to Listening considers the sounds of everyday as offering an entryway into a poetic-contemplative mood in which an itinerant traveller may indulge involving post/retro-cognition. Instead of being judgmental and negotiating the navigational objects in everyday sounds by deciphering their immediate meanings, the traveller may prefer to remain detached as an elevated self and engage with the meditations and musings triggered by a nomadic mode of listening. Arguably, these poetic-contemplations and streams of thought emanate from the phenomenal world, but transcend towards the realm of mindfulness as an inward resonance of listening. listen
Budhaditya Chattopadhyay is a media artist, researcher, and writer, with a PhD in artistic research and sound studies from the Academy of Creative and Performing Arts, Leiden University, The Netherlands. Currently, Chattopadhyay is a Mellon Postdoctoral Fellow at the Center for Arts and Humanities, American University of Beirut. Prior to the PhD, he has graduated from India’s national film school, specializing in sound recording, and completed a Master of Arts degree in new media and sound art at Aarhus University. Focusing on sound as his primary medium, Chattopadhyay produces works for installation and live performance broadly dealing with contemporary sociopolitical issues of climate crisis, human intervention in the environment and ecology, race and migration. Conceptually, Chattopadhyay’s work inquires about the materiality, objecthood, site, and technological mediation of sound, and addresses the aspects of subjectivity, contemplation, mindfulness, and transcendence inherent in listening. His works are published by Gruenrekorder (Germany) and Touch (UK). Chattopadhyay is a Charles Wallace scholar, Prince Claus grantee, and Falling Walls fellow, and has received several residencies and international awards. Appearing in numerous exhibitions, concerts, conferences and festivals, Chattopadhyay’s works have been exhibited, performed or presented among others in Transmediale, Berlin; ZKM Karlsruhe; TodaysArt Festival, The Hague; Donau Festival, Krems; Museo de Arte Moderno de Medellín; IEM, Kunstuniversität Graz; Sonorities Festival, Belfast; RE-NEW Digital Arts Festival, Copenhagen; RRS Museo Reina Sofía Radio, Madrid; Q-O2, Brussels; Sluice Screens, London; Akusmata, Helsinki; Overgaden Institute of Contemporary Art, Copenhagen; CTM, Berlin; Errant Bodies, Berlin; Hochschule Darmstadt; SoundFjord, London; Deutschlandradio, Berlin; Institut für Neue Medien, Frankfurt; Quartair Contemporary Art Initiatives, The Hague; CPH PIX; and Nikolaj Kunsthal, Copenhagen. Chattopadhyay has an extensive list of scholarly publication in the areas of contemporary media, cinema and sound studies in leading international peer-reviewed journals, most notably in Organised Sound, Journal of Sonic Studies, The New Soundtrack, Music, Sound, and the Moving Image, SoundEffects, Ear │ Wave │ Event, Journal for Artistic Research, Communication and the Public, Leonardo Electronic Almanac, Seismograf, and Leonardo Music Journal, The MIT Press.
Justin Bennett (1964, UK) is an artist working with sound and image. He studied sculpture and electronic music and much of his work combines the two aspects of sound and space. Bennett makes work for public spaces as well as galleries, museums and concert venues.
His work with sound combines spatial recordings of environmental sound with the resonances of buildings and materials. He often uses these recordings together with spoken words to immerse the audience in a story or to subtly change their perception of a place.
Recent projects include:
- "Multiplicity" residency at Overtoon, Brussels. 2017.
- "Vilgiskoddeoayvinyarvi" audio walk, Kola Superdeep Borehole, Russia. 2016. for Dark Ecology.
- "Blueprint" an animated film-score for live improvised music. 2015.
- "Hyperforum" an installation at Maxxi museum, Rome using 3d sound from public places. 2014.
- "Secret Garden" a sound work for mobile devices Amstelpark, Amsterdam. 2014
- "Dream Map" an audio guide for an area of Sao Paolo, Brazil. 2013.
- "Telettrofono" an audio walk on Staten Island, commissioned by the Solomon R. Guggenheim museum, NYC. 2012.
Bennett often collaborates with other artists including BMB con., HC Gilje, Vermeir & Heiremans, Renate Zentschnig, and plays improvised music in various contexts.
Let the Rain in Reiko Yamada, Jihae Ko, Kay Patru
Relative humidity. Wind. Barometric pressure. Temperature. Micro variations that shape the very way we experience air. Open your ears and let the space be what it always was: sacred. Let's invite them in
- Concept / Sound composition: Reiko Yamada
- Performance / Collaboration: Jihae Ko, Kay Patru
Reiko Yamada Composer and sound artist Reiko Yamada is originally from Hiroshima, Japan. In recent years, her work has centered on a research in the aesthetic concept of imperfection in a variety of contexts. Yamada holds a doctorate degree in composition from McGill University and has received numerous prestigious awards and fellowships, including a Radcliffe Institute for Advanced Study fellowship (Harvard University, 2015-2016) and the Artist-in-Residency at the Institut für Elektronische Musik und Akustik (IEM, University of Performing Arts in Graz, Austria, 2016-2017).
Jihae Ko Dance artist and Alternative medicine therapist based in Amsterdam. In recent years her work deals with somatic movement and energy work through the sensory and the perceptual, as a way of investigating the co- creative relation between body and environment. She is committed to bridging art and therapy as a path where creativity and inter-personal growth meet.
Kay Patru Dance & Movement improvisation teacher and bodywork practitioner based in Amsterdam. His work focuses primarily on developing improvisation and somatic awareness tools designed to awaken the innate intelligence of the body. His work is deeply inspired by body oriented practices and self-inquiry methodology as tools for creativity and well being.
Songs of Little Sleep Jaap Blonk
Songs of Little Sleep for voice and electronics, is a disturbingly engaging collection of songs on the topic of insomnia. The voice sounds go into quite extreme ranges of extended vocal techniques. An important element are the stereo vocals, a technique I have been working on for many years. The electronics are based on analog synth sounds, partly chaotic and unpredictable. Texts are included too, in Dutch or fake Dutch, as well as in English. Sound poetry might happen also, along with alien intrusions (as we cannot predict our dreams).
Jaap Blonk (born 1953 in Woerden, Netherlands) is a self-taught composer, performer and poet. He went to university for mathematics and musicology but did not finish those studies. In the late 1970s he took up saxophone and started to compose music. A few years later he discovered his potential as a vocal performer, at first in reciting poetry and later on in improvisations and his own compositions. From around the year 1995 on Blonk started work with electronics, at first using samples of his own voice, then extending the field to include pure sound synthesis as well. He took a year off of performing in 2006. His renewed interest in mathematics made him start a research of the possibilities of algorithmic composition for the creation of music, visual animation and poetry. As a vocalist, Jaap Blonk is unique for his powerful stage presence. He has performed around the world, on all continents. With the use of live electronics and visuals the scope and range of his concerts has acquired a considerable extension. Blonk’s recorded output comprises some 40 titles: CDs, vinyl, books and cassettes. From his sound poetry scores he developed an independent body of visual work, which has been published and exhibited.
And now for something completely similar (live electronics improvisation) Giuliano Anzani & Chris Loupis
Giuliano Anzani (IT/NL) is a sound designer and composer based in The Hague. His practice is focused on the development of generative environments and digital interfaces for live electronics. By combining stochastic processes and improvisation, he aspires to explore new musical vocabularies and interactions.
Chris Loupis (GR/NL) explores his musical interests primarily through the process of performing with feedback techniques. He is currently concerned with basing his practice on the outcomes that stem from the dynamical coupling of — and with — systems composed via modular synthesis and analogue electronics.
They have been playing music together as part of the improvisational electroacoustic quartet Miloš Cathals since 2016.
For this upcoming performance, they will experiment on improvising as a duo act, with the curiosity of pursuing a slightly different approach and output to what their past collaboration has yielded.