Experimentik #74 / 15. May 2024 / Sabine Vogel / Pip

15. May 2024 / 20:30- (doors 20:00) *no entry during sets

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solo: Sabine Vogel - amplified flutes and objects

duo: Pip

Torstein Lavik Larsen - trumpet, electronics

Fredrik Rasten - guitars

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FB event: https://fb.me/e/8fhcKpba6

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Sabine Vogel bewegt sie sich im Feld der Improvisation und zeitgenössischen Musik. Als Flötistin beschäftigt sich  intensiv mit modernen Spieltechniken, Klang und Improvisation und arbeitet häufig in Kombination  mit Field Recordings und Aufnahmen, die sie in der Natur macht. Dabei bewegt sie sich an einer  Schnittstelle von audiovisuellen Installations- und Konzertformaten und kreiert häufig auch  ortsbezogene Arbeiten, die sich mit Klang, Ort, Zeit, Moment und Erinnerung auseinandersetzen. 

Sie hatte Solo Konzerte und Auftritte innerhalb Europas, Australiens, Amerikas und spielte auf  Festivals, wie ISEA RUHR, Ultima Festival (NOR), Ultraschall Festival, Jazzfest Berlin, Mona Foma,  NOWnow (AUS), High Zero (US), Internationale Ferienkurse Darmstadt etc 

Sie ist Mitglied des Splitter Orchester in Berlin, ihre momentanen Projekte sind: Recorded Landscapes, Land Stages mit Emilio Gordoa, das Duo wassermannvogel mit der Sängerin und Stimmkünstlerin  Ute Wassermann, das audiovisuelle Duo Ornis mit Kathy Hinde einiges mehr. 

Zusammenarbeit außerdem u.a. mit mit Anthony Braxton, Arto Lindsay, George Lewis,Tony Buck, Andrea Neumann, Biliana Voutchkova, Magda Mayas, Marta Zapparoli, Emilio Gordoa.  Stipendien und Förderungen: u.a. Villa Aurora (L.A.), STEIM (Amsterdam), EMS (Stockholm), BCSC  (AUS), INITIAL (AdK), MWFK Brandenburg, Künstlerhaus Lukas, AiR NÖ, Musikfonds.  Veröffentlichungen auf den Lables: creative sources, Another Timbre, Absinth , infrequency,  Mikroton, schraum 

Lehraufträge an der Universität Potsdam und der HMT Rostock.  

Ihr Artikel ‚Tuning-in’ über ihre Arbeit in und in Bezug auf die Natur, erschien 2015 in dem  Magazin ,Contemporary Music Review’. 

Webseite: www.sabvog.de 

Vimeo: https://vimeo.com/user5523081 

Soundcloud: https://soundcloud.com/sabine-vogel 

Bandcamp: https://sabinevogel.bandcamp.com/

photo © Cristina Marx/Photomusix

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Pip weaves long lasting sonic landscapes. Justly intonated harmonies, airy noises and slow melodies construct an organic music where the listener can both surrender to the music and actively explore the multilayered sonic facets.  The duo has existed since 2006 and since then they have developed a characteristic sound in a music encompassing improvisation and collective composition.  Their 2019 release ‘Possible Worlds’ is a one hour long piece utilizing an extended instrumentarium of justly tuned guitars, trumpet and synthesizers, and it documents their pinnacle work as a duo so far.

pipband.com

pipband.bandcamp.com/

https://www.youtube.com/watch?v=NT84eax6AxY

photo © Torstein Lavik Larsen

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Experimentik 2024  is supported by inm - initiative neue musik berlin / field notes

Experimentik #72 / Félicie Bazelaire

Experimentik #73 / Tina Mariane Krogh Madsen

Experimentik #73 / Jo

Experimentik #74 / 15. May 2024 / Sabine Vogel / Pip

15. May 2024 / 20:30- (doors 20:00) *no entry during sets

------

solo: Sabine Vogel - amplified flutes and objects

duo: Pip

Torstein Lavik Larsen - trumpet, electronics

Fredrik Rasten - guitars

---------

FB event: https://fb.me/e/8fhcKpba6

------------

Sabine Vogel bewegt sie sich im Feld der Improvisation und zeitgenössischen Musik. Als Flötistin beschäftigt sich  intensiv mit modernen Spieltechniken, Klang und Improvisation und arbeitet häufig in Kombination  mit Field Recordings und Aufnahmen, die sie in der Natur macht. Dabei bewegt sie sich an einer  Schnittstelle von audiovisuellen Installations- und Konzertformaten und kreiert häufig auch  ortsbezogene Arbeiten, die sich mit Klang, Ort, Zeit, Moment und Erinnerung auseinandersetzen. 

Sie hatte Solo Konzerte und Auftritte innerhalb Europas, Australiens, Amerikas und spielte auf  Festivals, wie ISEA RUHR, Ultima Festival (NOR), Ultraschall Festival, Jazzfest Berlin, Mona Foma,  NOWnow (AUS), High Zero (US), Internationale Ferienkurse Darmstadt etc 

Sie ist Mitglied des Splitter Orchester in Berlin, ihre momentanen Projekte sind: Recorded Landscapes, Land Stages mit Emilio Gordoa, das Duo wassermannvogel mit der Sängerin und Stimmkünstlerin  Ute Wassermann, das audiovisuelle Duo Ornis mit Kathy Hinde einiges mehr. 

Zusammenarbeit außerdem u.a. mit mit Anthony Braxton, Arto Lindsay, George Lewis,Tony Buck, Andrea Neumann, Biliana Voutchkova, Magda Mayas, Marta Zapparoli, Emilio Gordoa.  Stipendien und Förderungen: u.a. Villa Aurora (L.A.), STEIM (Amsterdam), EMS (Stockholm), BCSC  (AUS), INITIAL (AdK), MWFK Brandenburg, Künstlerhaus Lukas, AiR NÖ, Musikfonds.  Veröffentlichungen auf den Lables: creative sources, Another Timbre, Absinth , infrequency,  Mikroton, schraum 

Lehraufträge an der Universität Potsdam und der HMT Rostock.  

Ihr Artikel ‚Tuning-in’ über ihre Arbeit in und in Bezug auf die Natur, erschien 2015 in dem  Magazin ,Contemporary Music Review’. 

Webseite: www.sabvog.de 

Vimeo: https://vimeo.com/user5523081 

Soundcloud: https://soundcloud.com/sabine-vogel 

Bandcamp: https://sabinevogel.bandcamp.com/

photo © Cristina Marx/Photomusix

-------------

Pip weaves long lasting sonic landscapes. Justly intonated harmonies, airy noises and slow melodies construct an organic music where the listener can both surrender to the music and actively explore the multilayered sonic facets.  The duo has existed since 2006 and since then they have developed a characteristic sound in a music encompassing improvisation and collective composition.  Their 2019 release ‘Possible Worlds’ is a one hour long piece utilizing an extended instrumentarium of justly tuned guitars, trumpet and synthesizers, and it documents their pinnacle work as a duo so far.

pipband.com

pipband.bandcamp.com/

https://www.youtube.com/watch?v=NT84eax6AxY

photo © Torstein Lavik Larsen

-----------------

Experimentik 2024  is supported by inm - initiative neue musik berlin / field notes

Experimentik #72 / Eric Bauer & Carina Khorkhordina

Experimentik #73 / 17. April 2024 / Jo / Tina Mariane Krogh Madsen / Patiño & Schuttel

17. April 2024 / 20:30- (doors 20:00) *no entry during sets

solo: Jo - glasambel

solo: Tina Mariane Krogh Madsen - electronics, objects

duo: Patiño & Schuttel

Rubén Patiño - laptop

Kay Schuttel - vocals

FB event: https://fb.me/e/xUioREk8K

title photo © Seiji Morimoto

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Jo puzzles crooked tone songs from field recordings in which she deeply steps into the world of the sound sources and discovers her own musical terrain by falling in love with hidden and dirty sounds, shaping them sensitively and developing a unique feeling for combining them. For live performances, Jo developed a peculiar instrument, the glasambel, to present her music in her very own way. She started to make music just few years ago and has released since then the albums "Bumblebee", "Splinter Guard" and "Amino Titu". At the Experimentik, Jo will mainly perform songs of her recent release "Empty Salt". She has worked in several cooperations with Bleedingblackwood, Mute Swimmer, Drekka, and Alligator Gozaimasu.

Since over 10 years she is curating the concert series at Orange 'Ear.

www.orange-ear.de

photo © Orange 'Ear

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Tina Mariane Krogh Madsen is an artist and researcher, who works in the intersection between performance art, sound, open technology, and matter. Madsen is currently a doctoral candidate in artistic research at Aalto University School of Arts, Design and Architecture (FI), working with environmental, ethico-aesthetic performance art and affective relations in the context of climate change. They are further a certified facilitator of Deep Listening workshops from the Center for Deep Listening, Rensselaer Polytech Institute (US). Madsen has performed internationally in many formats and contexts, examples are: Grüntaler9, Berlin (DE); Liebig12 Gallery, Berlin (DE); Spanien19C, Aarhus (DK); Arts in the Environment Symposium, Helsinki (FI); Goethe Institut Bulgaria, Sofia Underground Performance Art Festival (BG); Art II Biennial (FI); Third Space, Helsinki (FI); Affects Interfaces Events / Aarhus University (DK); electropixel, Nantes (FR) 1000fryd, Aalborg (DK); KunstCentret Silkeborg Bad (DK); Kiasma, Museum for Contemporary Art, Helsinki (FI); Performance Art Bergen (NO); SOLA Festival, Helsinki (FI); Walking Landscapes (DK); Brolandingerne, Aalborg (DK); Akusmata, Helsinki (FI); Gallery Oksasenkatu 11 , Helsinki (FI); Titanik Gallery, Turku (FI). Madsen is further the founder and curator of performance protocols, a nomadic platform for instruction-based art and collaborative processes.

https://tmkm.dk/

https://tinamarianekroghmadsen.bandcamp.com/

https://soundcloud.com/tmkmadsen

photo © Till Bovermann

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Patiño & Schuttel are interdisciplinary artists working across sound and performance. Among the duo's most recent works, No Laughing Matter (Club Trasmediale 2020) a performance that explores the physical act of laughing in relation to bodily presence and acousmatic sound and Ethereal Walk (Unsound Festival 2020), a guided sound walk designed to be experienced simultaneously in multiple locations around the world. Kay Schuttel's practice investigates the performativity of daily gestures, the evolution of corporeal vocabularies, and the intersection between choreography, visual art and text. Intrigued by social codes and unwritten rules embedded in everyday behavior, Schuttel explores the performative aspects of the habitual, focusing on the genesis of new languages and bodily movements generated by the evolution of communication tools, recording devices, and mediated daily rituals.

www.patooo.net

www.kayschuttel.com

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Experimentik 2024  is supported by inm - initiative neue musik berlin / field notes

Experimentik #72 / 20.March 2024 / Félicie Bazelaire / Eric Bauer & Carina Khorkhordina

20. March 2024 / 20:30- (doors 20:00) *no entry during sets

Solo:

Félicie Bazelaire - double bass

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Duo:

Eric Bauer — extended electronics

Carina Khorkhordina — trumpet

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FB event: https://fb.me/e/3jnksg6QY

title photo © Seiji Morimoto

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Félicie Bazelaire is a cellist and doublebass player, based in Paris. Alongside her studies in classical music, she is interested in open and experimental artistic forms, improvisation and singular musical writing. Félicie Bazelaire has played with groups such as Onceim and Ensemble Hodos. She also works in small ensembles on improvised, composed and poetic projects with David Chiesa, Léo Dupleix, Patricia Favreau, Emmanuel Lalande and Silvan Schmid. Curious about original writing concepts, Félicie Bazelaire has developed an original repertoire for solo double bass with pieces by Pierre-Antoine Badaroux, Patricia Bosshard, Laurent Pascal, ... L'épaisseur innombrable, by d'incise was released on the AlbertineEditions label, Basse seule, by Bertrand Denzler, on the ConfrontRecordings label and Music for strings, d'Hannes Lingens on the Wandelweiser label. Félicie Bazelaire composes and improvises pieces for herself that question gesture and the use of the instrument. Inspired by the Fluxus movement, she hijacks and misuses double bass and bows. Félicie Bazelaire is currently taking part in the Pianoïse project and performing in the musical theatre piece Baubo with the La Vie Brève company. Félicie Bazelaire's latest project is a multi-track doublebass solo inspired by her inner sound space through the phenomenon of autophony. In the form of an electro-acoustic composition, OTOS will see the light of day in 2024. Félicie Bazelaire is a member of the Chatons sous la pluie association and regularly organises concerts and exhibitions at Les 26 Chaises in Paris.

photo © Jjg

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Carina Khorkhordina on trumpet and Eric Bauer on extended electronics are both autodidact musicians active in the field of improvised music. The duo started in early 2018 in Berlin and is exploring an extensive variety of possibilities, from transparency of small sounds and microscopic changes/disturbing silences to loudness and density. The duo has a complementing/oppositional setup of Eric's wide range of instruments — analog modular synthesizer, sampler, objects, elements of percussion and strings and Carina's trumpet on the other side. Their live performances are often characterized by an extensive use of space and movement. They have regularly collaborated with other musicians and artists and, aside from the duo activities, are playing together in Slurge (with Wolfgang Seidel on drums and electronics and Burkhard Beins on electric bass). The duo has released their debut tape on tmrw> label in 2019, followed by the second album presenting their site-specific work on Zoomin' Night in 2023. In addition to their live concert activities, since 2020 they have been focusing on site-specific outdoor performances in Berlin. https://www.khorkhordina.org/bauer-khorkhordina/

photo © Carina Khorkhordina

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Experimentik 2024  is supported by inm - initiative neue musik berlin / field notes

Experimentik #71 / DuChamp

Experimentik #70 / Claudia Risch + Francis Heery + Jung-Jae Kim

Experimentik #71 / February 21. 2024 / Peter Cusack / Kaffe Matthews / DuChamp

February 21. 2024 / 20:30- (doors 20:00)

3 x Solo:

Peter Cusack - field recordings, guitar

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Kaffe Matthews - live processing the Ripley and Worm. 15th century alchemical systems

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DuChamp - no-input mixer

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FB event: https://fb.me/e/1clG9gmh3

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Peter Cusack is a field recordist and sound artist/musician with a long interest in the sound environment. He initiated the “Favourite Sounds Project, which started in London and has since taken place in Beijing, Prague, Manchester, Taranto, Hull, Berlin, Braunschweig. His project ‘Sounds from Dangerous Places’ (sonic journalism) has investigated the soundscapes of sites of major environmental damage like the Caspian oil fields, the Chernobyl exclusion zone and the Aral Sea, Central Asia, and asks the question, “What can be learnt about dangerous places by listening to their sounds?”. He is a member of Crisap (Creative Research into Sounds Arts Practice) at the University of the Arts, London and during 2011/12 was a guest of the DAAD Berliner Künstlerprogramm. His current work – field recording, audio streaming, soundwalks, guitar playing on location – often concerns the environmental crises as it is heard close to home, particularly in Berlin where he lives.

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Kaffe Matthews is a pioneering music maker who works live with space, data, things, and place to make new electroacoustic composition. Site, accessibility and the physical experience of this music has always been central to her approach and so she has also invented some unique interfaces – the sonic armchair, the sonic bed and a variety of sonic bikes which enable new paths into composition for makers, and ways in to listening for wide ranging audiences.

2021 and she developed the breathing Enviro Bike to enable riders to hear music made by the pollution of the air as they ride.  Summer 2022 saw the Buzz Bike in street compositional research in Berlin, now ready to make new vibrational composition.

Today, Matthews is back live on stage with no laptop. Instead a new DIY instrument the Ripley, a noise filter system designed on alchemical discoveries made by G.Ripley, a 15th British alchemist, flanked by 2 processing ipads.

Long concerned with community and the environment, Matthews has also established the collectives ‘Music for Bodies’(2006) and ‘The Bicrophonic Research Institute’(2014) where ideas and techniques grow within a pool of coders and artists using shared and open source approaches, publishing all outcomes online.

Since 1995 Matthews has performed and taught worldwide, receiving awards such as the NESTA Dreamtime Fellowship; Honorary Professor of Music, Shanghai Music Conservatory; a Scottish BAFTA with Mandy McIntosh & Zeena Parkins; Distinction Prix Ars Electronica Sonic Bed_London and Honorary mention for cd cécile. She is the first woman to have received the Edgar Varèse guest professorship, computer music, TU Berlin. Kaffe has also been releasing solo works on Annette Works since 1996.

photo © Samuel Carnovali

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DuChamp is an Italian scientist, musician and curator based in Berlin, religiously devoted to drone. She released albums for Boring Machines ("Nar"), Idiosyncratics ("Sculpture"), Full Body Massage ("A Blazing World"). Since 2017, aside baritone guitar and keys, DuChamp incorporate real field recordings in her music, related to her personal memory, into her drone compositions, by adding layers of sounds and noise in attempt to recreate some kind of apophonias.

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Experimentik 2024 is kindly supported by inm

Experimentik #70 / Lucio Capece

Experimentik #70 / January 17. 2024 / Lucio Capece / Claudia Risch + Francis Heery + Jung-Jae Kim

January 17. 2024 / 20:30- (doors 20:00)

Solo:

Lucio Capece - 8 voices Sampler Isla 2400, recorded cello and bass clarinet, sine-sawtooth tones and pulses

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Trio:

Claudia Risch - bass clarinet

Francis Heery - electronics

Jung-Jae Kim - saxophone

FB event: https://fb.me/e/3Ywj3sQuL

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Lucio Capece

Argentinian musician based in Europe since 2002, specifically in Berlin since 2004. Since 2010 he dedicates to offer works focused in the Perception experience, that he performs mainly in solo and in the context of occasional collaborations based in the same interest. He composes his own pieces that may include improvisation and different ways of writing. He uses tools like Flying Speakers hanging from Helium Balloons moved by propellers, Speakers as Pendulums, Analog synthesiser, Sine Waves and Noise Generators, Drum Machines, Ultra- Violet Lights, Sensors as much as the instruments that he has played for 25 years: Bass Clarinet and Soprano and Slide Saxophone. Beyond instrumentation and tools, the main intention is to focus in the physical-social-spatial human experience. Between the late 90 ́s and 2010 he offered music in the context of Electro Acoustic Improvisation, focused in quietness, attentive listening and granular material. Capece has been very active in the Reductionist Improvised Music scene in Berlin, and in the radical minimal scene related with the collective Wandelweiser collaborating mainly as member of the collective Konzert Minimal (2008- 2018) and, since 2006 with Radu Malfatti. In a parallel way Capece developed a 10 years collaboration with legendary Finnish musician Mika Vainio from Pan Sonic, working and releasing radical abstract and beats oriented music as a duo and two different quartets. Capece has performed his own sound interventions in spaces like Kraftwerk Berlin ( The Long Now - Maerz Musik), Hau Berlin (CTM festival), The Cathedral of Bern (Zoom In Festival) The Mambo Museum in Bologna (Live Arts week ),the German Pavilion built by Mies Van der Rohe in Barcelona (Sonar +D Festival), the Halle d ‘Expositions built by Alexandre Gustave Eiffel in Evreux, France (ĹÁtelie series) the Bauhaus Archive in Berlin (directing a piece in which together with musicians Axel Dörner and Robin Hayward played a piece with the kinetic sculpture called “Licht-Raum Modulator” built by Lászlò Moholy-Nagy) , and the Colón Theatre in Buenos Aires where he offered an interactive installation for children. Since 2020 he plays mainly in the context of small Ensembles where he composes the music, or collaborates with others performers-composers like Rahma Quartet, From Scratch New Discantus Quintet, Lost Jockey and Phase to Phase. His goal in this context is to re consider Music making in a Phenomenological way, re- searching in the basic elements that make Music be. He offers currently a Sampler solo set based in a personal research in Just Intonation Ratios, folding and unfolding sounds from Pitch to Pulse and vice versa. He has performed as a musician in recognised experimental music festivals and venues in Europe, USA, Japan, Mexico and Argentina. He has released around 35 Cds and Lps, including 9 solo releases, in labels like Mego Editions, B-Boim (Austria), Pan (Germany), Ftarri (Japan) Another Timbre, Entr ́acte ( UK), Potlatch, (France), Erstwhile Intonema (Russia), etc.

photo © Susi Maresca

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Claudia Risch has developed special playing techniques on the Bassclarinet, which is acoustic of it´s nature and works without additive external resorces. She focusses on the extended sound-material of her instruments like micro-intervals, multi-phonics, sound of breath. Within this variety of elaborated technical possibilities Risch combines, applies and modifies her material to create a refined, nuanced and multilayerd sound. The co-operation with composers (e.g. Thomas Gerwin, Francis Heery), electronics and dancers is an important component in her work.

https://www.instagram.com/claudiarisch07/

photo © Matthias Förster

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Francis Heery (b.1980) is a composer and sound artist. His music is inspired by science-fiction, occultism and animal aesthetics. He is an accomplished improvisor and performs with a setup integrating Max/MSP with acoustic instruments and modular synths. He specializes in long-form, site-specific performances in public spaces. His instrumental works have been performed by the RTE Symphony Orchestra, the Crash Ensemble, the Quiet Music Ensemble, the Talujon Percussion Ensemble and by soloists including Carin Levine, Pascal Galois and Izumi Kimura. He has received funding awards from the Arts Council of Ireland as well as commissions from Galway County and City Councils, the Music Current Festival, the Berlin Natural History Museum, and the Berlin International Sound Art Festival. He produces experimental electronica under the name The Cube of Unknowing, with albums released on Fort Evil Fruit and Eiderdown Records.

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Jung-Jae Kim is a South Korean saxophonist, composer, and improviser based in Berlin free/avant-garde & experimental music scene. He pushes the boundaries of sonic aesthetics and sound definitions, taking a transdisciplinary approach to explore new possibilities and delve into human senses and communication through free improvisation.

photo © Morvarid K

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Experimentik 2024 is supported by inm