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Evento multimídia reúne música instrumental e vídeos

Publicado por FJSP em Arte e Cultura 13/08/2011

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Audição e visão serão aguçados em concerto gratuito

A Fundação Japão apresenta o evento “Short Short Stories” (Estórias Curtíssimas), que mescla música instrumental e multimídia no dia 27 de agosto de 2011, às 19h, gratuitamente, na Sala Crisantempo, na Vila Madalena, em São Paulo.

O evento conta com exibição de 3 vídeos com execução musical ao vivo, além de apresentações de piano e violoncelo, totalizando 18 peças, tocadas pela japonesa Junko Yamamoto e pela francesa Céline Papion, respectivamente, do conjunto ensemble cross.art, que tem como conceito central combinar a música instrumental contemporânea com outras mídias e formas de arte.

Vídeo e música
Serão apresentados 2 vídeos, para os quais foram especialmente compostas as canções “Moment-performatives spazieren” (composta pelo alemão Oliver Frick) – grande vencedor no 12º Japan Media Art Festival, em 2009 – e “Moment performative Curitiba” (composta pelo norte-americano Joseph Michaels), este filmado em Curitiba, ambos do artista japonês Yukihiro Taguchi, que expõe atualmente no Mori Art Museum, em Roppongi Hills, em Tóquio.
A obra de animação de Taguchi, artista plástico de Osaka radicado em Berlim, produzida a partir de inúmeras fotografias, juntamente com a execução da música ao vivo, possibilita transbordar uma vibração pictórica única.

No caminho inverso, a música para qual foi produzido um vídeo “Clash Music” (composta por Nikolaus A. Huber) revela o sincronismo entre a sonoridade dos címbalos e as imagens monocromáticas produzidas por Sonja Füsti em parceria com Patrick Hilss.

 

Homenagens
O programa do concerto inclui homenagem a compositores emergentes do Japão, Alemanha e Brasil, e durante a apresentação suas partituras poderão ser acompanhadas num telão, todas tocadas por Junko Yamamoto (piano) e Céline Papion (violoncelo), que também participam da I Bienal Música Hoje, que acontece entre os dias 29 de agosto a 04 de setembro de 2011, em Curitiba, no Paraná.

Músicas inéditas de Tomoko Fukui e de Takeo Hoshiya, como “The Cello in February (O Violoncelo de fevereiro)”, e também dos brasileiros Mauricio Dottori, Harry Crowl, Fernando Riederer e Edson Zampronha, que compuseram especialmente as peças para este concerto, serão apresentadas. Da Alemanha, obras como “Child’s Play (Brincadeira de Criança)” de Helmut Lachenmann para piano, “Pression (Pressão)” para violoncelo, ou “Zodiac (Zodíaco)” de Karlheinz Stockhausen, carregam sonoridades que desafiam a primeira audição, fazendo com que o público duvide da veracidade sonora dos dois instrumentos.

 

 

Perfil

Junko Yamamoto
Nascida no Japão, estudou música de câmara contemporânea com Peter Eötvös, em Colônia, e piano com Claude Helffer, em Paris. Atualmente leciona na Universidade de Música, em Stuttgart, desde 2004, além de ser professora convidada na Jinai Univerisdade, no Japão, e na Universidade de Música, em Basel, na Suíça. É também fundadora e diretora artística da ensemble cross.art.
Recebeu o terceiro e prêmio especial para música contemporânea espanhola no “Xavier Montsalvatge Competition“, na Espanha, e prêmio máximo no “Experimental Sound, Art & Performance Festival Tokyo”, além do “Phoenix Evolution”.
Foi requisitada, como artista convidada, para inúmeros festivais musicais, tais como: Strasbourg International Music Festival “Le festival musica” (França), “Bartok International Festival” (Hungria), Musicarama International Festival” (China), “Experimental Sound, Art & Performance Festival” Tokyo e “Takefu International Music Festival”, ambos no Japão.
Suas performances foram transmitidas pelas Südwestrundfunk e Saarländischer Rundfunk (Alemanha), NHK (Japão) e Hungarian Radio 3 (Hungria).

 

 

Céline Papion
Nascida em Orléans, na França, estudou – primeiramente – com Raphaële Sémézis, posteriormente com Ophélie Gaillard e Professor Philippe Muller, em Paris. Na época, já havia ganho diversos prêmios, antes de mudar para Staatliche Hochschule für Musik und Darstellende Kunst, em Stuttgart (Alemanha), em 2004, onde estudou sob orientação do professor Jean-Guihen Queyras, completando seu treinamento artístico em 2008. Em julho de 2010, termina sua pós-graduação, como solista, com o professor Francis Gouton na  Musikhochschule, Trossingen, também na Alemanha.
Como solista e música de câmara, participou de diversos festivais como o Rouffiac d’Aude Festival (França), Taïnan International Summer Music Festival (Taiwan), Amsterdamse Cello Biennale (Holanda), Händel-Festspiele (Göttingen), Festival European Church Music Schwäbisch Gmünd (Stuttgart) e Festival Klang.körper Köln (Colônia), todos na Alemanha.

 

 

Programa

Clapping Music – Música para as Palmas das Mãos (1972)
Steve Reich (*1936)

Third Part for J. S. Bach’s two-part Invention in D minor BWV 775 – Parte 2 de Invenção em D menor BWV 775 da Terceira Parte para J. S. Bach (1985)
Helmut Lachenmann (*1935)

Alento I (2011/estreia mundial)
Fernando Riederer (*1977)

Zodiac: Virgo & Libra & Scorpio – Zodíaco: Virgem e Libra e Escorpião (2011/estreia mundial)
Karlheinz Stockhausen (1928 – 2007)
Arranjo para violoncelo e piano de ensemble cross.art

Moment Curitiba – Momento Curitiba (2011 estreia mundial)
Música para o filme “Moment performative Curitiba” (2009)
filme de Yukihiro Taguchi (*1980)
música de Joseph Michaels (*1977)

Between the thunder and the echo – Entre o trovão e o eco (2011/estreia mundial)
Edson Zampronha (*1963)

Zodiac: Saggitarius & Capricornus – Zodíaco: Sagitário e Capricórnio (2011/estreia mundial)
Karlheinz Stockhausen (1928 – 2007)
Arranjo para violoncelo e piano de ensemble cross.art

The cello in February – O violoncelo em Fevereiro (2008)
Takeo Hoshiya (*1979)

Zodiac: Aquarius & Pisces – Zodíaco: Aquário e Peixes (2011/estreia mundial)
Karlheinz Stockhausen (1928 – 2007)
Arranjo para violoncelo e piano de ensemble cross.art

Pression – Pressão (2010)
Helmut Lachenmann (*1935)

Intervalo (10 minutos)

Entre os quereres, onde o desejo? (2011/estreia mundial)
Mauricio Dottori (*1960)

a color song on G – uma música cor sobre G (2011/estreia mundial)
Tomoko Fukui

Zodiac: Aries & Taurus – Zodíaco: Áries e Touro (2011/estreia mundial)
Karlheinz Stockhausen (1928 – 2007)
Arranjo para violoncelo e piano de ensemble cross.art

Child’s Play (Seven little Pieces) – Brincadeira de Criança (sete pequenas peças) (1980)
Helmut Lachenmann (*1935)

Tillandsia stricta Solander – Bromélia (2011/estreia mundial)
HarryCrowl (*1958)

Zodiac: Gemini & Cancer & Leo – Zodíaco: Gêmeos e Câncer e Leão (2011/estreia mundial)
Karlheinz Stockhausen (1928 – 2007)
Arranjo para violoncelo e piano de ensemble cross.art

Chasse au moment – Em busca do momento (2011/estreia mundial)
música para o filme “Moment – performatives Spazieren” (2008)
filme de Yukihiro Taguchi (*1980)
música de Oliver Frick (*1973)

Clash Music – Música Ruidosa
filme para a música “Clash music” (1988)
música de Nikolaus A Huber (*1939)
filme de Sonja Füsti & Patrick Hilss (2010)

 

 

Mais informações sobre os compositores e as músicas do programa (em inglês)

Steve Reich (*1936)
Recipient of the Pulitzer Prize for 2008, Steve Reich has been called ‘America’s greatest living composer’ (The Village Voice),‘…the most original musical thinker of our time’ (The New Yorker) and ‘…among the great composers of the century’ (The New York Times). A leading pioneer of Minimalism, Steve Reich’s music has been influential to composers and mainstream musicians all over the world. His music is known for its steady pulse, repetition and a fascination with canons. He combines these rigorous structures with propulsive rhythms, seductive instrumental colour and harmonies drawn from non-Western and American vernacular music, especially jazz.

 

Clapping Music (1972) is a minimalist piece written for two performers and is performed entirely by clapping.
A development of the phasing technique from Reich’s earlier works such as Piano Phase, it was written when Reich wanted to (in his own words) “create a piece of music that needed no instruments beyond the human body”. However, he quickly found that the mechanism of phasing slowly in and out of tempo with each other was inappropriate for the simple clapping involved in producing the actual sounds that made the music.
Instead of phasing, one performer claps a basic rhythm, a variation of the fundamental African bell pattern in 12/8 time, for the entirety of the piece. The other claps the same pattern, but after every 8 or 12 bars s/he shifts by one eighth note to the left.

 

Helmut Lachenmann (*1935)
„It is all too easy to dismiss the work of Lachenmann as „musica negativa“, in the deprecatory manner that the term was used by Hans Werner Henze in his attack on this composer. What is at play is the fact that Lachenmann’s music forces the listener to confront and question their ingrained expectations from and responses to music, in an attempt to extend and further illuminate one’s powers of perception. This is far from mere nihilism.“ 
(Ian Pace, Musical Times)
Third Part for J.S. Bach’s two-part Invention in D minor BWV 775 (1985)
Helmut Lachenmann composed the third part for Violoncello for the piece “Invention in d-moll BWC 775” for Piano.

 

Fernando Riederer (*1977)
was born in Rio de Janeiro, Brazil.
Between 1997 and 2002 attended the EMBaP (School of Music and Arts of Parana, Brazil) studing composition with the Prof. Maurício Dottori. Since 2003 Fernando lives in Vienna, Austria and studied electronic composition at the University of Music and Dramatic Arts of Vienna. Since 1995 has been partipating of Festivals, competitions and projects at diverse European countries and Americas, such as Biennale of Contemporary Brazilian Music of Rio de Janeiro and Wien Modern (Vienna).
At 2006 Riederer, Dufek and Breidler fund “Platypus – Verein für neue Musik”, (www.platypus.or.at). The group organises projects such as Marathon of Compositors – Festival to Youth Contemporary Music, international exchange projects and the Ensemble Platypus.

 

Alento I (World Premiere) is the first of three pieces with different formation. There are a homage to the young dead musician – and good friend of my – Franco Bueno (1980-2009).  The ground of the pieces is a simple element of Buenos piece alle Sterne.  One small element is used to create one permanent expansion. (Fernando Riederer, 2011)

 

Karlheinz Stockhausen (1928-2007)
Widely acknowledged by critics as one of the most important but also controversial composers of the 20th and early 21st centuries, Stockhausen is known for his ground-breaking work in electronic music, aleatory (controlled chance) in serial composition, and musical spatialization.
He was educated at the Hochschule für Musik Köln and the University of Cologne, and later studied with Olivier Messiaen in Paris, and with Werner Meyer-Eppler at the University of Bonn.
His works, composed over a period of nearly sixty years, eschew traditional forms. In addition to electronic music—both with and without live performers—they range from miniatures for musical boxes through works for solo instruments, songs, chamber music, choral and orchestral music, to a cycle of seven full-length operas. His theoretical and other writings comprise ten large volumes. He received numerous prizes and distinctions for his compositions, recordings, and for the scores produced by his publishing company.
He died of sudden heart failure at the age of 79, on 5 December 2007 at his home in Kürten, Germany.

 

Zodiac (1975) consists of twelve melodies, each representing one sign of the zodiac. Described by one early critic as “melodic naïveté” in the form of “cheerful, empty-headed little tune[s]” (Kenyon 1980, 78), Tierkreis has proved to be Stockhausen’s most popular composition. Tierkreis was originally written for music boxes as a component part of a theater piece for percussion sextet titled Musik im Bauch (Music in the Belly). These twelve melodies (with or without their accompaniments) form an autonomous work which can be played by any suitable instrument, and exist also in versions to be sung.
On the initiative of the Committee for Art and Culture of the City Council of Cologne, from 6 July 2009 the melody from Tierkreis corresponding to the current Zodiac sign is played daily at noon on the newly restored 48-bell carillon in the tower of the Cologne Town Hall, as a tribute to the composer.

 

Joseph Michaels (*1977)
was born in Oberlin, Ohio, USA. He recently completed his dissertation, the topic of which was the music of Erik Oña, and received his doctorate from Northwestern University (Chicago, USA). Michaels’ music has been performed throughout North America and Europe by such ensembles as the Eastman School Symphony Orchestra, Michigan State Trombone Choir, Verederos Flute and Percussion Ensemble, Tarab Cello Ensemble, Scott Kluksdahl, Ensemble SurPlus, Ensemble Cross.Art, Ensemble Cordiale, and Ensemble Gelber Klang. His music for acoustic and electronic instruments explores extended techniques, alternative intervals and tuning systems, as well as music in combination with other artistic mediums, like film, theater, and the visual arts. Michaels lives in Stuttgart, Germany.

 

Moment Curitiba (World Premiere )
The music for the short film “Moment” by Yukihiro Taguchi acts as both accompaniment and antagonist. The constant movement of the film is translated into repetitious, quick rhythms, or the music decreases to a slow pace either in one or both instruments, thereby creating tension with the inertia of the film. The music was written for Céline Papion and Junko Yamamoto and completed in the summer of 2011. (Joseph Michaels, 2011)

 

Moment-performative curitiba (Curitiba, Brazil, 2009 Time 4:51)
ein Privat Haus Take down and that part of Wood Material using for project.
almost 2 month take out it in the curitiba city.  that became to the table and bench for the party, seesaw game and capoeira stadium(performance event) etc…
one day i met one family, who lived that Haus long time. They sad “we are so happy! because our House is living still” (Yukihiro Taguchi, 2011)

 

Taguchi Yukihiro (*1980), the Berlin-based artist has garnered much attention in recent years for his unique “performative installations,” which combine elements of drawing, performance, animation and installation. His video works show everyday objects such as furniture and even the floorboards in his studio dancing as though imbued with spirits of their own. Made by joining still images together, the works are animations in the classical sense, but they also provide hints for the present.

 

Edson Zampronha (*1963)
has received two awards from the São Paulo Association of Art Critics, Brazil, and he won the 6 Sergio Motta Award, the most outstanding prize on Art and Technology in Brazil. He has received commissions from different groups and institutions, as from the Museum of Applied Arts, in Cologne (Germany); from the designer María Lafuente (Spain), and from the São Paulo State Symphonic Band. His compositions are included in two CDs fully dedicated to his works (Sensibile and Modelagens) and in other fifteen CDs released by different record labels and institutions. He is a researcher at the University of Valladolid ; a senior professor at the Music Conservatory of Oviedo, and a Consulting Professor at the Valencia International University, all in Spain. He has a Ph.D. in Communication and Semiotics – Music – by the Pontifical Catholic University of São Paulo. He is the author of the book Notation, Representation and Composition (Annablume, São Paulo, 2000).

 

Between the thunder and the echo (World Premiere )
The brief moment that occurs between a thunder and its echo is captured by a lake: the thunder stirs the lake that answers to it with soft and shining waves, and the thunder’s echo fades out in the distance. The waves and the echo have a similar shape and behaviour, transforming this fleeting and beautiful moment into a poetic and rhetorical musical image. (Edson Zampronha, 2011)

 

Takeo Hoshiya (*1979)
Born in 1979. Takeo Hoshiya graduated from Tokyo National University of arts and music in 2002. He studied composition with Jo Kondo and Shin Sato.
In 2003, He founded contemporary music group named “Ensemble Bois” based on Tokyo and he also organized many concerts with his ensemble. He is also menber of the“Ensemble Contemporary α” in Tokyo. In 2005, his work were introduced by the Ensemble Nomad in Huddersfield Music Festival.
In 2007,  he won the Salvatore Martirano Prize at University of Illinois. He is the assistant professor of Sapporo Otani University. In 2010, He was invited for Takefu International Music Festival as a Composer. From 2010, he started his new project “Tokinokatachi record”  http://tokinokatachi.com/ (official website)

 

The Cello in February (2008)
The cello in February was composed in Sapporo city.
I was impressed by scene of February winter in Sapporo. In Sapporo, it snows very much and the temperature is very low every winter.
In this work, there are many quarter tones. and these quarter tones generate “neutral third” which is the most important interval in this work.
This piece is dedicated to the Japanese cellist Tomoki Tai. (Takeo Hoshiya, 2011)

 

Pression (1969-70, Revised Version 2010)
This piece originated as an introduction to “instrumental musique-concrète”. In this sort of piece it is common for sound phenomena to be so refined and organised that they are not so much the results of musical experiences as of their own acoustic attributes. Timbres, dynamics and so on arise not of their own volition but as components of a concrete situation characterised by texture, consistency, energy, resistance. 
This does not come from within but from a liberated compositional technique. At the same time it implies that our customary sharply-honed auditory habit is thwarted. The result is aesthetic provocation: beauty denying habit. 
(Helmut Lachenmann)

 

Maurico Dottori (*1960)
is a Brazilian composer and musicologist. He was a pupil of the great clarinetist José Botelho, at the Villa-Lobos Music School, in Rio de Janeiro. A self-taught composer, he further studied composition for musical theatre in the Scuola di Musica di Fiesole in Florence, Italy, with Sylvano Bussotti and Mauro Castellano. He has a Master of Arts degree from the University of São Paulo, Brazil, and a Ph.D. in Music from the University of Wales, Cardiff, United Kingdom.
From 1992 to 2002 he was Professor of composition and counterpoint at the School of Music and Fine Arts of Paraná, in Curitiba, Brazil. Since 2002, he has been Professor at the Federal University of Paraná in Curitiba, where he also teaches Electroacoustic Music.  He is the director of Nova Camerata, a chamber group specializing in contemporary Brazilian music. Along with his work as composer and teacher, Dottori has also published musicological works; his research includes studies on 18th-century Brazilian and Italian music, and, more recently, on neuro-cognitive systems as they concern the composition of music. Dottori was the recipient of a 2002 Claudio Santoro Composition Prize from the University of Brasilia and a 2011 Funarte prize, both for orchestral pieces.
Like many composers from Rio de Janeiro of his generation, Dottori’s music had initially elements originated in Brazilian late-nationalist aesthetics. Under the influence of other music, especially that of Sylvano Bussotti and John Cage, these elements gradually became less and less important. Dottori’s recent music has an increasingly a post-atonal style, in which structures based on the twelve-tones set are filtered by the sensibility of the ear and aspects such as superstructural ornamentation, which were rejected by the modernist tradition, became prominent.

 

Entre os quereres, onde o desejo? (World Premiere ) is a short piece. Being 20 seconds long, it is hard not to be something that does not seems to be a fragment, that is, something that has a beginning, a middle and an end. Thus, for that sake, I wrote, deeply hidden, a crab canon; and, from the emotionally intense and deep astrological crab, the piece has acquired its title. (Maurico Dottori, 2011)

 

Tomoko Fukui
Invited or commissioned by “La Biennale di Venezia ‘02”, Daegu(Korea) music festival (‘04), Takefu music festival(‘05), International Summer Course of New Music in Darmstadt(‘94,’96,’06), Seoul Pan Music Festival(‘06) etc. Selected for ISCM World Music Days-Hong Kong ‘02, ISCM World Music Days-Zagreb ‘04. Pieces are performed in many places in Europe or Asia etc. by many performers.
Organizing the Ensemble “next mushroom promotion” which plays contemporary music mainly. This Ensemble got Saji-Keizo prize in 2005 that is given to the Ensemble which held the most interesting and challenging concert in a year in Japan. Instructor of Osaka College of Music and Kanseigakuin Univ. Living in Tokyo.

 

a color song on G (World Premiere )
Color song comes from “Bisbigliando” which means the trill with different fingerings   for the same pitch. This technique is called “color trill “ in English.  I have already composed many pieces which I used such kind of technique and other special technique to get many kind of timbre on one pitch as the series of “ a color song “. This piece is also one of them. This time I chose “G” note just because of the mechanical structure of cello and piano. I would like you to listen to various colors on G.
It must be 15 seconds for a television commercial as the basic length in Japan. Or we have the poetry, “Hai-ku” with a fixed form which is made with only 17 syllable (actually these are 17 mora in Japanese), however it can convey many information, a season, a scene, a imagined scenery, an ideology, feelings, etc.
It would be enough to show something, but very difficult to express something in only 20 seconds. How can I do that…?? (Tomoko Fukui, 2010)

 

Ein Kinderspiel (1982)
“Kinderspiel” (children’s game) is not a pedagogical music or a music intended specially for children either. Childhood and musical experiences related to it are an essential part of every adult’s inner world. Moreover, these pieces resulted from the experiences acquired in my last bigger works (“Tanzsuite mit Deutschlandlied” and “Salut für Caudwell”) i. e. experiences in structural thinking projected on already existing forms and patterns accepted by society like children’s songs, dance forms and very easy models of fingering technique. To me it seemed important not to shift this change of listening and aesthetic behaviour offered in my pieces into an abstract field but to start with a “provocation” where the listener (as well as the composer) feels at ease, where he thinks to be safe. The result of all this is something easy to play and easy to understand: a children’s game but aesthetic, without compromises. (Helmut Lachenmann, 1982)

 

Harry Crowl (*1958)
is a Brazilian composer of classical music born in Belo Horizonte, Brazil. First music studies in his native town. He went on to study in the US with Charles Jones, both privately and at the Juilliard School of Music. Later, he also earned a degree in English and Portuguese in Brazil. Further composition studies under Peter Sculthorpe in Dartington, England. Living in Curitiba, southern state of Paraná, he is currently the Artistic Director of the Federal University of Paraná’s Philharmonic Orchestra and Professor of composition and music history at the School of Music and Fine Arts of Paraná (EMBAP). He also produces and presents radio broadcasts on both classical and contemporary music for the State of Paraná Educational Radio. Harry Crowl’s production comprises all genres of instrumental and vocal music ranging from solo to orchestral, from songs to opera. There are 130 pieces on his catalogue to this date. His music has been performed and broadcast all over the world. As a musicologist, he discovered, compiled, edited and published some important late 18th century music by Brazilian composers of religious music.

 

Tillandsia stricta  solander (World Premiere )
Tillandsia stricta solander is a bromeliad found in the coastal regions of southern Brazil. The piece suggests a very brief sight of it. Something like a musical photo.
(Harry Crowl, 2011 )

 

Oliver Frick (1973*)
working as musician since 1992. studied composition, musictheory and new media in Stuttgart, Paris and Freiburg i.Br. since 2007 working as ,Tonmeister’ at the State Opera Stuttgart and teaching ,Klanggestaltung’ at the Stuttgart State Academy of Art and Design, since 2008 teaching computermusic at the State University of Music and Performing Arts Stuttgart. His works are being performed around the world by various ensembles like ensemble recherche, ensembla ascolta, mutare ensemble, ensemble cross.art e.g.

 

Chasse au moment (World Premiere of the revised version for violoncello and piano)
In the movie “Moment – performatives Spazieren” the timber piling of a room promenade through summery Berlin. Yukihiro Taguchi is moving them one after the other and takes photographes of the constellations. These frozen moments were mounted to a film which results in a tremendous ride through the artificially crafted moments – each an artwork of its own, fugitive, only lasting for a short instant – just as long as it takes to take a photograph for freezing the moment. This constant melting of the moment is an inevitable fate of music, in which it is deeply rooted as it is an artform which only exists in time and cannot be paused or stopped without the music vanishing or being destroyed. The work of the composer is therefore a search for the perfect moment and the attempt to keep it – over and over again – a hunt for the moment.
(Oliver Frick, 2011)

 

Moment-performatives spazieren (Berlin, 2008 Time 4:36)
Floorboards in a gallery are torn up from the floor and propped up neatly against the wall. Then those floorboards move out of the window into the city of Berlin. The floorboards combine in various ways, lining up or crawling forward, depending on which part of the city they are in. The artist took around 2,500 pictures of floorboards arranged in various ways and made those photos into an animation. (Yukihiro Taguchi, 2011)

 

Nicolaus A. Huber (*1939)
Huber’s concentration on the periphery of what generally seems normal or natural, and thus harmless, in the treatment of musical material lets him accede to music alongside which a space for utopias and speculative thought has been cleared: a stance that makes him one of the few guarantors for progress in music.

 

Sonja Füsti was born 1975 in Leonberg, Germany. First she studied visual arts at the Staatliche Akademie der Bildenden Künste in Stuttgart/Germany. After her degree she continued with media arts and scenography at the Hochschule für Gestaltung in Karlsruhe with Michael Simon and Penelope Wehrli until her diploma in 2005. During her studies she worked with Christoph Schlingensief. Besides that she developed own interdisziplinary works in the field of Music theater and Performing arts. Since her diploma she worked as an freelance assistant stage designer at The Göteborg Opera (director: Philipp Himmelmann). In 2006/2007 she worked as an assistant for stage and costume design at the Schauspielhaus Bochum/Germany and from 2007 to 2009 at Münchner Kammerspiele Munich/Germany. 2009 and 2011 she is fellow of Akademie Schloss Solitude Stuttgart/Germany. Next season, she will work as stage and costume designer for »2012 – Das Ende der Welt« directed by Chris Kondek, and will be responsible for costume design in the team Nübling, Gerstner, Wittershagen for »Ubu«, a coproduction in Essen and Amsterdam.

 

Patrick Hilss (born 1979), studies graphic design und szenography at the HfG
Karlsruhe; since 2002 he is working as a freelance designer and photographer, among others for Zentrum für Kunst und Medientechnologie (ZKM) Karlsruhe, Schirn Kunsthalle Frankfurt; Since 2003 Patrick Hilss works as artistic assistent for Christoph Schlingensief, since 2004 he is responsible for the archive of Christoph Schlingensief and realized he realized several websites for him during that time.

 

Clash Music (1988) A piece for two real time cymbal players and a virtual, third cymbal player
Equally the third player appears on the stage. Contrary to the two real cymbal players the third one appears two only as a video image. The video is an abstracted sampling from the playing of the two actual player. Real time and conserved time constitute a temporally limited ensemble.
The videofootage of the two player was divided into samples and recombined after the musical basic principles of the composition „clash music “. Synchronism as central requirement of the trio experiences a deviation regarding „the video player“ consciously. Black-and-white aesthetics, reduction, off-centering, strong granulation and picture noise lead to a visual and acoustic discrepancy between the real and the virtual player. Visual beat deviation, double exposure and alienation leave doubts open to the third player and throw questions about their role on stage. These irritating moments accompany the viewer over the entire duration of the video play. (Sonja Füsti, 2010)