Kommande program

Datum:

  • XKATEDRAL

    Datum: 
    14 Nov 2019 - 19:00

    XKATEDRAL

    November 14
    19:00 - 00:00
    100kr (80kr student)

    Klara Lewis
    https://klaralewis.com/sounds/index.html

    Tongue Depressor (US)
    https://tonguedepressor.bandcamp.com/

    David Granström
    https://xkatedral.bandcamp.com/album/david-granstr-m-ephemeris

    Mattias Hållsten
    https://kalkatrazcassettes.bandcamp.com/album/st-nicolai

  • Jacek Smolicki: Para-Archives (open rehearsal)

    Datum: 
    15 Nov 2019 - 19:00

    Jacek Smolicki
    Para-Archives
    Open rehearsal of three performative soundscape compositions.
    Friday, November 15, 7pm
    Tickets: free

    1. Per Aspera Ad Astra (2018-)

    Per Aspera Ad Astra is an ongoing artistic and media archaeological exploration of our persistent desire to connect with the non-human, and, more specifically, the extraterrestrial. The project takes the form of a performative soundscape composition built successively of archival material and sounds characterizing technologies used historically to establish contact with aliens. The archival recordings include glitches from digitized interviews with UFO witnesses from the Sweden's Archive for the Unexplained, snippets from the famous Voyager Golden Record, radio signals received lately from distant territories beyond the Solar System, and reenactments of historical messages sent by USSR and USA into space via early radio transmission technology. All this material is gradually intercepted and deconstructed by remediations of Stanisław Lem's deliberations on the inherently flawed idea of establishing contact with other-than-human residents of the deep space and time.

    more on : http://smolicki.com/perasperaadastra.html

    2. Quivering Stillness (2016-)
    (Soundscape composition based on field recording sessions at Gliwice Radio Tower, Gliwice, Poland and Belle Isle, Richmond, Virginia)

    Even though we can not hear them in a literal sense, the present is always to some degree infused with and infected by the echoes of the past. In the places affected by tragic events, these echoes seem somewhat much more detectable. What is presently aural therein seems not so much representative of the current, but rather misrepresentative of the gone and absent. Even though sounds such as human laughter and bird chirping refurnish the atmosphere, these places seem to resist this enforcement of a new identity; they reject the condition of today and instead remain stubbornly suspended somewhere between the gone and the present

    Performed through the means of sound, photo and video recording, Quivering Stillness is an ongoing exploration and documentation of sites affected by military conflicts, political unrest and ruination.

    more on : http://para-archives.net/quiveringstillness

    3. Inaudible Cities (2019-)

    What stories about the city can be revealed when our attention shifts from the central to peripheral, visual to sonic, from the extra- to infra-ordinary?

    Inspired by Italo Calvino's Invisible Cities, Inaudible Cities is an exploration of the suburbs of Stockholm resulting in a series of short stories describing diverse facets of the city life from the perspective of its peripheries. As aesthetic and critical modes of engaging with the place I turn to listening and creative audio-visual field recording techniques. The interest in urban peripheries is followed by an interest in peripheral sonic situations in which mundane elements of natural and cultural realms, infrastructures, and debris become leading actors and storytellers. Echoing the Oulipo's fascination with constrained techniques of writing, when exploring Stockholm suburbs, I follow a self-imposed set of instructions. As a structuring device I use the Stockholm subway map to visit all end stations on each line (thirteen in total). After getting off I spend maximum 130 minutes exploring each station's vicinity through intuitive wandering guided by my sense of hearing, and creative field recording and mapping techniques (including contact microphones, hydrophones, electromagnetic field detectors, binaural microphones, accompanies by photo camera, GPS receiver among other tools). For those who live at the end of the subway line, that final stop does not feel like the last, but the first one. Similarly to me, during my exploration the periphery becomes the center.

    more on : http://para-archives.net/inaudiblecities

    Jacek Smolicki (b.1982, Kraków) is a Stockholm-based interdisciplinary artist, designer, researcher and soundwalker exploring intersections of aesthetics, technology, documentation and everyday life. In his design and art practice, besides engaging with existing archives and heritage, Smolicki develops new techniques for mapping, (field-)recording, experiencing, and para-archiving human and other-than-human environments. His work is manifested through soundscape compositions, soundwalks, para-archives, site responsive performances, audio-visual installations, creative writing, and experimental cartographies. Between 2020-2023 Smolicki will pursue an international postdoc funded by the Swedish Research Council. His research will explore the history and prospects of field recording and soundwalking from the perspective of arts, environmental humanities, and media archaeology. More on: www.smolicki.com

  • Sound of Stockholm 2019

    Datum: 
    19 Nov 2019 - 18:00 - 23 Nov 2019 - 23:59

    Sound of Stockholm is celebrating 10 years of curious listening between 19-23 November 2019. Spanning across three venues and four days, Sound of Stockholm is a unique opportunity to experience contemporary chamber music, experimental electronica, and sound art - all in one festival!

    Line-up:

    Alfred Jimenez (SE)
    Claudia Molitor (UK)
    Eighth Blackbird (US)
    Hiro Kone (US)
    Hunjoo Jung (DE)
    Kali Malone & Leila Bordreuil (US/SE)
    Kim Myhr (NO)
    Olimpia Splendid (FIN)
    Outside In (SE/FR)
    Pinquins (NO)
    Sidsel Endresen & Stian Westerhus (NO)
    The End (NO/SE)
    Vinyl -terror & -horror (DK)
    Yuri (DJ-set, DK)

    WORKSHOP: VEMS Electroacoustic Youth Workshop
    and of course... BABYRAVE!

    More info / Website: https://soundofstockholm.se/

    The festival is a collaboration between some of the most prominent organizations of the Stockholm experimental music scene.

    Sound of Stockholm is supported by Stockholms stad, Stockholms Läns Landsting, Kulturrådet, Nordisk Kulturfond.

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    Fylkingenproduktion

  • INSIDE

    Datum: 
    24 Nov 2019 - 18:00

    Concert-installation
    By Eva Sidén & Christian Rønn

    Admission 150kr
    Student/pensioner 100kr

    This version of "Inside" is for two grand pianos (one prepared with special made objects), 7-channel electronics and video. The 7- channel electronic part of the piece is created with recordings from the Organ and the Grand Piano in the concerthall Studio Acusticum in Piteå, using a large array of microphones, capturing both the very near sounds as well as the reverberation from a long distance.
    Additional mixing at EMS (Elektronmusikstudion, centre for Swedish electroacoustic music and sound-art) in Stockholm.

    Video-footage from inside the instruments and concerthall have been manipulated and adopted into an accompanying visual-experience as a part of the installation.During our residency in Piteå in 2018, the word “Inside” became a more and more obvious theme; relating for different reasons and with different connotations, to Piteå as a city, the building that houses Studio Accusticum, as well as the instruments, and to our daily work harvesting sounds in the instruments.

    Eva Sidén is a swedish soundartist, composer and pianist within the field of art music. She composes both instrumental and electroacoustic music as well as sound- and video-installations. Her works contains both composition, performances and room-spatialisation with video and sound often in cross-artistic contexts.
    Eva Sidén studied at the Royal Institute of Art in Stockholm, at Academy of Performing arts in Prague,
    Janáček-academy of Performing arts in Brno and at
    IRCAM, Paris.
    www.evasiden.se

    Christian Rønn is a danish soundartist, composer, electronic musicproducer and performer. Studied Organ at The Royal Danish Academy of Music (DKDM) in Copenhagen, and free playing has always been part of the output, as well as a great interest in textural transformation, feedback and transcendence in general. As a composer he works within the areas of electronics/electroacoustics, often combined with fixed composition and free playing. www.chrstianronn.dk

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    Medlemsproduktion: Eva Sidén

  • Media Matter: Evening with Media-Archaeological Research and Artistic Practice

    Datum: 
    27 Nov 2019 - 19:00

    This event is organized in conjunction with a conference at Stockholms Universitet taking place between 27 November 2019, 9.00 AM - 29 November 2019, 5.00 PM.

    Free entrance

    As the field of media archeology has manifested simultaneously in various areas of media theory, media historiography, contemporary digital culture, media art, and electronic literature, questions of materiality have moved to the forefront. Media archaeologists have shifted scholarly attention from “messages,” narratives, or contents to the mechanisms of mediation, obsolete and forgotten material relics, and alternative modes of production of the past.

    Such theoretical and practical concerns not only allow us to approach media arts with a fresh critical vocabulary, but also highlight the common grounds between archaeologically informed studies of media and artistic practices. Indeed, scholars such as Erkki Huhtamo have long credited media arts as an important instigator of media archeological research. Archaeological artistic practices may open alternative modes of production of the past, for they facilitate going beyond the linearity of writing, as Wolfgang Ernst claims.

    By bringing together scholars and artists in various areas – from sound and moving images to digital textual and game forms, the Media Matter: Media-Archaeological Research and Artistic Practice conference will further discussions and reflexive engagement with how artworks have informed archaeological approaches. Equally important, it will also provide an opportunity to consider how the work done by media archaeologists have come to influence artistic engagements.

    Artists:

    Jin Sangtae, Seoul, South Korea. One of the pivotal musicians of the Seoul South Korean electronic and improvised music scene, Jin Sangtae performs with non-musical objects collected through his experience, projected into instruments, and then re-organized into the space. He uses hard drives and several materials that can be connected as his main instruments, and he also plays laptops, radios, car horns and electronics.

    Lina Selander, Stockholm, Sweden. Photographer, filmmaker, and installation artist, Lina Selander explores in her work historical junctures in the history of media technologies and political systems, as well as the condition of images as memories, imprint, and representations. Her work has been shown internationally, including in Moderna Museet and the 2015 Venice Biennale.

    Ola Nilsson, Stockholm, Sweden. Artist who works across a variety of media such as installations, objects, text art, sound art and text-/sound art. His work originates from his interest in time, place and analytical processes. During the past few years, he has focused on memory, identity and the fragile construction of life.

    Joel Danielsson and Louise Öhman, Sweden. An artistic duo whose artistic practice focuses on moving image, photography, text, sound, objects and spatial installations. Through that, they explore a circumscribed theme, which has a re-occurring interest in the ontology of the image. Their work has its focus on the haunting movement, the movement over time and its corruption and continuation. A re-appearing element within their work is the focus on the human will to disrupt the progression of time and its will to petrify the continuous movement and the endeavor to restore its previous positions.

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    Samproduktion Stockholm Universitet

  • Frim på Fylkingen #18

    Datum: 
    12 Dec 2019 - 19:00 - 23:00

    Admission:100kr
    FRIM/Fylkingen member: 80kr

    Etienne Nillesen – solo
    Etienne Nillesen is a performer and composer from The Netherlands currently based in Cologne/ Germany. The snare drum is a core part of Nillesen’s artistic practice. With an instrumental and physical approach, he explores and pushes the limits of the natural acoustics of the snare drum using conventional playing techniques as well as extended techniques and preparations.

    His work involves elements of conceptual and spontaneous composition, structured improvisation, performance, and sound art. Alongside his own work, Etienne is a performer of contemporary music and works with composition, movement and snare drum in a number of interdisciplinary projects. Etienne appears as a composer and performer on over thirty albums of new music, improvised music and jazz.

    His interest in various forms of exploratory music gave him the opportunity to work regularly with artists such as Rudi Mahall, Sebastian Gramss, Axel Dörner, Anne LaBerge, Carl Ludwig Hübsch, Georg Wissel, Michael Vorfeld, Udo Moll, Joker Nies, Katherine Young, Pascal Niggenkemper, Ulrich Phillipp, Michael Thieke, Robert Landfermann, Matthias Schubert, Shelley Hirsch, Wolter Wierbos, Tomeka Reid, Matthias Muche, Nicola Hein, Elisabeth Fügemann, Philip Zoubek, Audrey Chen, Sofia Jernberg, Kaja Draksler, Eve Risser, Henrik Munkeby Norstebo, Weston Olencki, Madison Greenstone, Rie Watanabe, Valentin Garvie, Annegret Mayer-Lindenberg, Cao Thanh Lan, Sarah Saviet, Ensemble Modern.

    Besides being active as a performer Etienne is currently Professor of Music at the ArtEZ University of the Arts in The Netherlands, where he teaches drums and improvised music.

    Judith Hamann – solo
    Judith Hamann is a cellist from Birraranga (Melbourne), Australia. Judith’s performance practice stretches across various genres encompassing elements of improvised, contemporary classical, experimental, and popular music. Currently her work is primarily focused on an examination of psycho-physical materials and manifestations of 'shaking'. Extending shaking from its coding as something involuntary, Shaking Studies considers shaking in the form of micro and macro pulsing: rhythm, tremor, vibrato, wolf tones, and partial activity. Practiced and performed as modules, (like studies or etudes) these techniques have developed into individual components which present the performer with an elasticity of material to navigate in performance, as improvised material within an established framework. However, in this context it is not the performer alone who dictates the rate and responsiveness of shaking, rather, this work treats the cello itself as an actant (in the sense of a source of action), using an extended conception of sphygmology (pulse reading), to dictate the tempo of tremor and rhythmic activity based on a particular set of techniques which make the cello visibly and audibly shake. The relationship established here is one that is symbiotic and generative in its unfolding.

    Judith is a champion of new and rarely performed music, immersive approaches to sound, and engages with a range of interdisciplinary and experimental projects including collaborative work with visual artists Keith Deverell, Sabina Maselli, and film makers Joshua Bonnetta and Benedetta De Alessi. She has also presented installation work in Melbourne, San Diego, the Noosa Hinterlands, and at the Venice Biennale of Architecture. Judith has been an artist in residence at Tokyo Wondersite Aoyama, The Recollets (Paris), Q-02 (Brussels), Kunstmeile Krems Betriebs GmbH (Krems), Cité Internationale des Arts (Paris), and Syros Sounding Paths Residency (Syros). She is also a regular member of the APRA award winning regional music program (2016 tour) and Sonus Ensemble through TURA New Music Australia, working in community in the Kimberley region of Australia.

    Judith has studied contemporary classical repertoire with renowned cellists including Charles Curtis and Séverine Ballon, as well as developing a strong practice in improvisation and sonic arts through collaborative projects both in Australia and internationally. She has worked with artists and ensembles including Australian Art Orchestra, Oren Ambarchi, Dennis Cooper, Sarah Hennies, Mette Henriette, Yvette Janine Jackson, Graham Lambkin, Alvin Lucier, Toshimaru Nakamura, The Necks, Áine O’Dwyer, Stephen O'Malley, Ilan Volkov, Tashi Wada, La Monte Young and Marian Zazeela, and John Zorn. Judith is a member of Golden Fur, Hammers Lake, The Argonaut String Quartet, and has duo projects with Rosalind Hall, Anthea Caddy, and Lori Goldston.

    Judith has performed or composed music released on labels including Saltern, Pogus, Another Timbre, Caduc, and Marginal Frequency.

    Judith holds a Doctor of Musical Arts from UC San Diego, majoring in contemporary cello performance.