the move was 1958, but in 2012 it still seems to be an amazing issue.
even if you would have been 100 years old now, i am just 38!
your 4 tapes inspired me to use 2 rooms with 2 speakers, because it s also 4.
instead of composition, i call it installation.
i was too lazy to use the 22 pages of score, so i spent days in bed with programing.
your host was fontana, i share bed and board with fromberg!
my focus is on subjective interpretation instead of aiming for indeterminacy!
i prefer berlin to milan, but i loved my milan residency in 2008!
i used grids made of bricks and loud banging dots.
and i didnt change too much on the classes and parameters.
but i additiononaly devided them in 4 dynamic ranges from drones to high action to make it more mine.
your score was to create a unique performance, but my performance will just start a random process.
so please keep in mind, it s actually a new piece of mine, but it feels like a very nice kind of complicity!
is a multi-disciplinary artist living in berlin. roigk deals with the borders between sound collages, sculptures, installations, film and graphical scores. his artistic strategy lays in the combination of different types of media to one single composition.
aditionally to his work as a fine artist and composer, he is curating concerts and performances at ausland (berlin) and giving lectures on the role of sound in fine art practice and is working with children in educational soundart programs.
ìThe future world will be such a Gleisdreieck. The earth has lived through several transformations based on natural laws. It is experiencing a new one based on constructive, rational, but no less elementary lawsÖ The ‘landscapeí acquires an iron mask.” – Joseph Roth
Gleisdreieck is a U-Bahn station in the Kreutzberg district that is being reconverted today into a park. Built at the beginning of the 20th century, the station immediately became a symbol of urbanization and modernity, and was perceived by several poets as an ìiron heart of Berlin and modernity.”
This landscape that around 1902 acquired ìan iron mask”, is now in the process of acquiring a ìgreen mask,” as a part of the huge urban regeneration process taking place in Berlin. Today, the Gleisdreieck Park is a powerful symbol of a trend in participative, ìgreen” gentrification.
The summer school, organized by Ecole Cantonale d Art du Valais/Sierre (www.ecav.ch) will be based on a preliminary mapping of Gleisdreieck, where the station and the park will be considered as a 0° latitude/longitude to explore the district territory and history.
The working group will develop individual and collective proposals for a presentation / documentation / installation that will be hosted and developed in collaboration with art space ìcomplices” in Berlin.
Teaching staff: Rudy Decelière, Federica Martini, Sibylle Omlin, with the assistance of Petra Kohle. In collaboration with Ingken Wagner.
20:00, 13, Juli, 2012
Michael Pisaro Gary Schultz Johnny Chang
American composer, educator, guitarist. Pisaro studied composition at DePaul University (BM1983) and at Northwestern University (MA1985, DMA 1988). His primary teachers were George Flynn, Ben Johnston and Alan Stout. He taught composition and theory at Northwestern University (1986-2000). Since 2000, he has taught composition at California Institute of the Arts where he is also co-chair of the composition department. His music is preformed frequently in the U.S., Europe and Japan, in music festivals and in many smaller venues. It has been selected twice by the ISCM jury for performance at World Music Days festivals (Copenhagen, 1996 Manchester, 1998) and has also been part of festivals in Vienna (Wien Modern, 1997), London (Cutting Edge, 2007), Huddersfield (2009), Glasgow (INSTAL 2009), Berlin (Maerzmusik, 2010), New York (Amplify: stones, 2011) and elsewhere. In 2005/6, he was awarded a grant from the Foundation for Contemporary Arts.
Pisaroís overarching compositional interests include the exploration of minute sonic and timbral details, silence, and the way in which these two seemingly opposed elements relate over time. In his formative years, the distorted organ and guitars of progressive rock proved catalytic, as did the innovative musical structures, timbres and orchestrations of Eric Dolphy, Booker Little, John Cage and Alvin Lucier. These diverse influences led Pisaro to an interest in the permeable boundaries between timbre and harmony that would become a determining factor in his compositional aesthetic. Beginning in the early 1990s, exposure to works emanating from the Berlin-based Wandelweiser collective cemented his compositional and philosophical trajectory. The composers associated with Wandelweiseróincluding Antoine Beuger, Jürg Frey and Radu Malfatti, use works from the American Experimental school, beginning with Ives, as points of departure for their unconventionally scored and often verbally instructional creations. Pisaro joined the collective in 1995, since which time they have published his compositions. Since that transitional year, he has created over 120 works for a wide-ranging variety of instrumental, orchestral and electroacoustic forces. Several have adopted post-Cagian schemas for opening up performance situations, such as the two ìSpace” pieces for audience (1994 and 1997 respectively.) Many other compositions involve highlighting of the timbral intricacies and decays associated with a single instrument, such as ìBreath,” for solo alto saxophone (1994), ìMind is Moving (I)” for solo guitar (1995) and, more recently, ìFade” for solo piano (2000.) ìHearing Metal 1” for recorded tam-tam and sine tones (2007) was composed in close collaboration with percussionist Greg Stuart, whose role in Pisaroís compositional process might be likened to David Tudorís association with John Cage. Works for larger ensemble include ìRicefall” for sixteen performers (2004) and ìA Wave and Waves” for 100 percussionists (2007).
The recording process has become increasingly vital to Pisaroís compositional aesthetic. ìThe Transparent City” (2004-2006) is a series of field recordings imbued with sine tones that emphasize and destabilize ìharmonic” relationships in the recorded soundscapes. More recently, ìAsleep, Street, Pipes, Tones” (2009) and ìJuly Mountain” (2009) juxtapose electronics and field recordings with conventional instruments.
Berlin-based composer-performer Johnny Chang engages in extended explorations surrounding the relationships of sound/silence and the in-between areas of improvisation, composition, performance and listening. Currently working in collaboration with: Antoine Beuger, Lucio Capece, Jürg Frey, Christian Kesten, Annette Krebs, Radu Malfatti, Koen Nutters, Morten J Olsen, Michael Pisaro, Derek Shirley, Stefan Thut.
His articulated performances have been featured in festivals, residencies and experimental music series in both Europe, North America and New Zealand, from Sonic Acts (Amsterdam), Wandelweiser Klangraum Series (Düsseldorf), Hörbar (Hamburg), Klang im Turm (Munich), The Wulf (Los Angeles), Q-O2 workspace (Brussels), Loop-Line (Tokyo), Umlaut festival (Berlin&Paris) to experimental music series/venues in Berlin such as Ausland, Labor Sonor, Quiet Cue/Staalplaat and NK. Since November 2010, Johnny Chang and Koen Nutters initiated and co-curates Konzert Minimal which presents performances and events centered around the music of the Wandelweiser group.
Gary Schultz (born 1982 in Birch Run, Michigan) studied composition at the University of Michigan (BM 2005) and Experimental Sound Practices at California Institute of the Arts (MFA 2010). His music and installations have been featured in residencies at the Museum of Time (Okinawa) and the Center for the Creation of Music: Iannis Xenakis (Paris), and festivals including Dogstar (Los Angeles) and Music We d Like to Hear (London). Recent compositions have explored the use of irrational tunings together with complex samplers that unfold and filter various bodies of sound. Schultz is currently a fellow at the University of Art s Graduate School for Arts and Sciences in Berlin.
Born, The Hague, 1976
Studied at The Royal Conservatory of The Hague and the Conservatory of Amsterdam
Graduated in 2002
Lives and works in Berlin
Plays double bass, objects, consumer electronics, sine tones
He is a musician, composer and organiser of bands, events, concert series, exhibitions,
installations and performance pieces.
He is one of the founding members of the international N collective (2002 - 2009),
and a (founding) member of many bands and projects
with a host of international musicians creating music through structured improvisation,
(liquid) composition or more conceptual operations. His pieces range from post-cagian
compositions for ensemble to conceptual and spatialized sound pieces and environments
for pre-recorded and manipulated music and sound.
He is currently Active in the following ensembles:
TAPE THAT (w/ Christophe Meierhans)
The Pitch (w/ Morten J. Olsen, Boris Baltschun, Michael Thieke)
The New Silence (w/ Morten J Olsen and Johnny Chang)