Posts Tagged “Performance”
Doldrums @ Schmiede, 20.9.2010
by depart on September 8, 2010
Depart & Schmiede present Reverb.On IV
DOLDRUMS
20.9.2010, Alte Saline, Hallein
in the doldrums
where there is no direction but no guidance
where there is nowhere to go but no standstill
where there is no time but not a single moment
where there is nothing but no focus on any sense
where there is noone but nobody, you and the others
where there is no reason but no nonsense at all
O snail
Climb Mount Fuji,
But slowly, slowly!
Chukwa’s Approach
by depart on September 3, 2009
Reverb.On 3: Chukwa’s Approach
Thursday. 24.09.09, 17.00h / 17.30h / 18.00h, Salzwelten Salzburg/Hallein
Depart and Stefan Fraunberger present a new Performance in the series REVERB.ON in cooperation with Schmiede and Salzwelten Salzburg: Chukwa’s Approach.
Inspired by concepts of Minimal Music and especially by the work of La Monte Young (“The Tortoise, His Dreams And Journeys”) an orchestra of 53 people is going to play a single chord throughout the whole performance. Situated about 100 meters below ground on a lake within a salt-mine the musicians and the audience are invited to experience the vibrancy of a mountain.
Due to limited space we ask you to register in advance (Gabriele Krisch, 0699 10716582, chukwa@depart.at)
More Information: www.salzwelten.at | www.schmiede.ca
This Performance is supported by Land Salzburg / Podium09.
German:
Das Künstlerduo Depart (Leonhard Lass, Gregor Ladenhauf) hat 2007 im Rahmen der Schmiede die Reihe Reverb.On ins Leben gerufen.
Mit dieser Performance-/Konzertreihe widmet sich Depart zeitgenössischen und ungewöhnlichen Konzepten und Kompositionen. Diese werden in ihrer musikalischen Form nahe am Original präsentiert, aber um aktuelle visuelle und performative Aspekte ergänzt. Ganz bewusst liegt hier der Fokus auf Kompositionen die bereits den Charakter von „performed installations“ in sich tragen.
2009 haben sich Depart von den Konzepten und insbesondere dem Werk „The Tortoise, His Dreams And Journeys“ des amerikanischen „Minimal Music“- Komponisten und Mitbegründers der Fluxus Bewegung La Monte Young inspirieren lassen.
Die dabei in Zusammenarbeit mit Stefan Fraunberger entstandene Eigenproduktion „Chukwa’s Approach“ wird nun in einem ganz besonderen Rahmen präsentiert.
Depart kooperieren mit der Schmiede und den Salzwelten Hallein um diese Performance in der Kulisse des unterirdischen Salzsees auf zwei Booten etwa 100 Meter unter der Erde zur Aufführung zu bringen. Ein 53-köpfiges Orchester wird auf zwei Booten inmitten des Salzsees das Publikum mit einem schwebenden, ewig vor sich hin mäandernden Akkord in reiner Stimmung konfrontieren. Depart runden zusätzlich mit Videoinstallationen in den Stollen der Salzwelten dieses Gesamtkunstwerk ab. Reverb.On zielt besonders darauf ab, zeitgenössische Konzepte durch stimmige und holistische Präsentationsformen einer neuen Öffentlichkeit zugänglich zu machen. Eine einzigartige Erfahrung für Menschen mit Sinn für das Wesentliche und Fans experimenteller Musik !
Diese Performance wird gefördert vom Land Salzburg im Rahmen von Podium09 (www.podium09.at).
Am Donnerstag, 24. September 2009 wird „Chukwa’s Approach“ dreimal aufgeführt. Auf Grund des begrenzten Platzangebots auf den Booten ist eine Voranmeldung erforderlich. Treffpunkt am Eingang zu den Salzwelten Hallein am Dürrnberg (Ramsaustraße 3, 5422 Bad Dürrnberg) 17.00 (Beginn und Einfahrt 17.15), 17.30 (17.45), 18.00 (18.15).
Anmeldung: Gabriele Krisch, +43 699 10716582, chukwa@depart.at
Weitere Infos unter: www.salzwelten.at | www.schmiede.ca
I am sitting in a Room
by depart on September 25, 2008
(photos by cornelia auinger)
“I Am Sitting In A Room”:
respiratoratorium room ringing resonant ruckus
performance for one performer, two loudspeakers, two microphones, on-body-projection and delicate sound balancing
duration: ca. 45 min.
original composition by Alvin Lucier (1970)
who’s talking when and where, hip or square, what moves the air ?
In the second incantation of the Reverb.On Series in 2008, DEPART and Richard Eigner devoted themselves to the piece „I Am Sitting In A Room“ by Alvin Lucier. This idiosyncratic electroacoustic composition summons a physical component of compact spaces, their inherent resonance.
A short text, which is selfreferential and recursive both on the room situation and itself, is spoken into a microphone, recorded and fed back into the room very closemouthed in a kind of acoustical mantra until the rooms own resonant frequency is overdubbing the initial signal beyond recognition.
Richard Eigner and Gregor Ladenhauf were responsible for the acoustic implementation of this concept that was first realised in 1969 by American composer Alvin Lucier (*1931).
Together with his DEPARTner Leonhard Lass, who is responsible for the visual translation of the piece, performer Gregor Ladenhauf adds to the piece as voice and screen at the same time. A speaker transforming into a projection screen of his own voice, gradually disappearing like this voice during the course of the composition.
original text:
„I am sitting in a room different from the one you are in now. I am recording the sound of my speaking voice and I am going to play it back into the room again and again until the resonant frequencies of the room reinforce themselves so that any semblance of my speech, with perhaps the exception of rhythm, is destroyed.
What you will hear, then, are the natural resonant frequencies of the room articulated by speech. I regard this activity not so much as a demonstration of a physical fact, but more as a way to smooth out any irregularities my speech might have. ” (Lucier 1970)
“Using the ideas of Alvin Lucier’s piece “I Am Sitting In A Room”, Richard Eigner & DEPART unlocked the secret sounds of Schmiede Hallein’s fabulous spaces.”
,,Every room has its own melody, hiding there until it is made audible.”
„I am sitting in a room different from the one you are in now. I am recording the sound of my speaking voice and I am going to play it back into the room again and again until the resonant frequencies of the room reinforce themselves so that any semblance of my speech, with perhaps the exception of rhythm, is destroyed.
What you will hear, then, are the natural resonant frequencies of the room articulated by speech. I regard this activity not so much as a demonstration of a physical fact, but more as a way to smooth out any irregularities my speech might have. ” (Lucier 1970)
Shown: September 22, 2008 at Schmiede Hallein, Salzburg, Austria
sound installation and soundboard control: Richard Eigner
video projection, programming, setdesign: Leonhard Lass
sound installation and performance: Gregor Ladenhauf
Vexations
by depart on September 7, 2007
“Vexations”:
on & on & on, till the beak of yawn
play a loophole into your headpeace
performance for two piano players, projected video and stream of consciousness writing.
original composition (1893) by Erik Satie. duration ca. 1200 min.
our resume: Vexations is a challenge, a practical joke and a timemachine.
eriksatieeriksatieeriksatieeriksatieeriksatieeriksatieeriksatieeriksatieeriksatieeriksatieeriksatieeriksatie
“Je m’appelle Erik Satie comme tout le monde.”
we perform satie.
wir verformen satie.
we do it for us.
wir tun es für uns.
we do it for you.
wir tun es für euch.
we do it because it is not important to be done.
wir tun es weil es nicht wichtig ist dass es getan wird.
we do it because we would like to do it.
wir tun es weil wir es gerne tun möchten.
we are two people playing piano and one computing and showing the difference.
wir sind zwei, die klavier spielen und einer, der die differenz berechnet und zeigt.
we will play it note for note.
wir werden es note für note spielen.
you will hear it note for note.
ihr werdet es note für note hören.
afterwards nothing will be the same.
danach wird das nichts sein wie es war.
Short piano piece to be repeated 840 times. Performed at Schmiede Hallein 2007, first incantation of the Reverb.On Series featuring Dorian Concept.
Des Gesprächfightfadens
by depart on Juni 16, 2005
“Des Gesprächsfightfadens”:
word of the wings stutters & flutters
a language re-de-re-construction performance for two performers, video backdrop, disillustrative commentary and sound
duration: ca. 45 min.
DEPART’s germanguage desastroy, a veritabledance lingo-limbo. Dramatized worldplayhem.
A staged piece with toadloads of glimmericks fallinglong upwards from heaven’t scene and hertz beforeplay.
In DEPART’s “Des Gesprächsfightfadens” there is no dramatic plot per se as in conventional theater, but there are recurring themes and ideas, more like in a musical composition. This work relies heavily on DEPART’s belief in the controlled overflow of sensoric input. The audience is supplied with a sheer mass of wordplay in order to provoke a struggle for perception and conscious processing of input. The more you struggle to get everything, the less interesting the piece will be. But if you are able to relax and let your thoughts wander freely, as in a kind of mediational state of mind, you might be able to grab one meaning here, or one there but go along with the flow of the piece easily. The goal of this endeavour is to create a certain state of consciousness where the seemingly superfluous and absurd action supporting the piece becomes a sort of focus of attention itself. Then it starts being a kind of kinetic sculpture of its own, providing DEPART’s beloved “impressures”, moments of pure experience, where an absurd constellation of actions and objects suddenly is not regarded as artificial anymore but experienced like a mountain, a lake, or a leaf. Totally self-evident and understood. To achieve this kind of complexity, DEPART were refining and distilling very thoroughly, even pedantic, to make sure there is still enough funk left in this painstakingly constructed language puzzle.
Unfortunately or thankfully, this piece is virtually impossible to translate into other languages.
Commissioned by ARGEkultur Salzburg, Land & Stadt Salzburg.
Shown December 15th and 16th, 2005 at ARGEkultur, Salzburg, Austria
Performers: Georg Hobmeier, Gregor Ladenhauf
Video: Leonhard Lass
Sound: Gregor Ladenhauf
Parts of this piece are also in effect in disguise as an installation called “GESPRAUM”, shown at paraflows07 exhibition, Vienna, Austria