2011
- SONIC
BLUE RED TRACINGS |
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28/JAN/2011
BRIG-GLIS, Zeughaus Kultur
22h00, Performance
23h00, Diskussion
Dauer/durée: 40min
Sonic blue red tracings
Performance von und mit
Johannes S. Sistermanns (D)
Ros Bandt (AUS)
CHF 30.-/20.- (erm.) Einzelvorstellung/Tageskarte
CHF 30.-/20.- (réd.) spectacle/carte journalière
Reservationen/Reservations:
Zeughaus Kultur Brig-Glis
Tel: 027 923 13 13
E-mail: info@zeughauskultur.ch |
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PROGRAMM
SONIC BLUE RED TRACINGS
Blue and red dyed hair, japanese paperrolls, transducer, piezo, loudspeaker,
laptop
Composer/Performer:
Ros Bandt, Australia
Johannes S. Sistermanns, Bornheim
Duration: 40’00
world premiere/UA: 17.6.2010 t-u-b-e München
realization while: Artist-in-Residency 2008 University of Wakayama, Japan
supported by 'Arts Victoria' Melbourne
The
piece investigates the changing identities and cross cultural
influences brought, experienced and exchanged by the two artists in a
foreign place, Wakayama Japan, represented in the colours of red and blue
hair. Their encounters and exchanges are interpreted through a range of
media, paper, red and blue hair dye, suspended paper hair paintings which
are amplified, electro-acoustic spatial sound, illuminated coloured scores,
digital images, installation and live action sound painting and performance.
Identity | Difference | Cultural Setting - The red and
blue pigments, commonly used by the artists in hair dye, are symbols of
difference and identity which can blend, contrast and fuse to transform
themselves, the space and the acoustic environment into a resonant and
illuminated immersive sound environment. The room becomes a place of sonic
exchange, trading and sharing familiar, foreign, exotic sound gestures
between cultures, a room to experience, to wonder, hear, feel the relationships
of different cultures coming together through surround sound, light, illuminated
coloured notations and sound performance. The sum of the parts yield a
series of mutations not possible without the collaboration. The created
work will change and mutate in each cultural setting. The mediated paper
and hair will render these differences in each performance as a reminder
of the powerful role culture, time and place play in our daily lives.
Kami. The two artists created the piece as guests of
Wakayama university working in a studio on the 6th floor of the Forte
building in Wakayama Japan. This common foreign context sharpened the
experience of exchange. After seven days of experimentation, photography,
sound recording, filming, and amplified sound hair painting by the artists,
it was found that the Japanese word for paper and hair is shared, Kami.
The rendering of identities through different media had left the visual
traces on the paper, and the sound in the air and memory, the hair and
paper becoming one in a time space shared by two people. |
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BIOGRAPHIEN
JOHANNES
S. SISTERMANNS realisiert seine Kompositionen in Elektroakustik,
Musiktheater, KlangPlastik, Hörstück, Performance sowie Urban
Environment. Er wurde in ‚The Tao of Voice’-Methode von
Prof. Stephen Cheng, New York unterrichtet und nahm Unterricht in klassischem
nordindischen Gesang (B.H.U. Banares / Calcutta). 1976-84 Studium an
der Musikhochschule Köln, u.a. Neues Musiktheater bei Mauricio
Kagel, Klavier bei Klaus Runze und Rhythmik bei Holmrike Leiser. 1989
wurde er in Musikwissenschaft promoviert. Konzerte, Ausstellungen, Vorlesungen
und längere Stipendienaufenthalte führten ihn nach Japan,
VR China, Japan, Australien und den USA. Ausstellungen und Aufführungen
bei internationalen Festivals (u. a. Knitting Factory New York 1995,
Donaueschinger Musiktage 1996/1999/2005, Melbourne Festival '97, Goethe-Institut
Tokyo 1997/Kyoto 1998, EXPO 2000 Hannover, Adelaide Festival 2000, Theater
der Welt Duisburg 2002, Conceptualisms Akademie der Künste Berlin,
Internationale Sommerferienkurse Darmstadt 2004/2006, Turning Sounds
Warschau 2005, Donaueschinger Musiktage 1996/1999/2005, 20. Dresdner
Tage für zeitgenössische Musik 2001/2006, ISCM World New Music
Days 2006 Stuttgart/2010 Sydney, 1. Shanghai International Electroacoustic
Music 2006, Invenionen Berlin 2008, ACMC 2008 Australasian CompMusic
Conference Sydney) sowie Radiostationen (WDR Köln ‚Studio
Akustische Kunst’, SWR, DLR, HR, RBB, SR, ABC Radio Sydney, ORF
Kunstradio Wien). Er erhielt zahlreiche Stipendien u. a. von der Kunststiftung
NRW Düsseldorf, Kultusministerium NRW Düsseldorf, Heinrich-Strobel-Stiftung/SWR
Freiburg, Konrad-Adenauer-Stiftung Berlin, The Japan Foundation Tokyo,
Filmstiftung NRW Düsseldorf, ZKM Karlsruhe, Artist-in-Residence
CACSA Adelaide/Australien, Universität Wakayama/ Japan, AEAF Adelaide/Australien,
Composer-in-Residence VICC Visby/Gotland, EMS Stockholm sowie Preise
u.a. 1995 ’Zeitgleich’ Kompositionspreis ORF Radio + TRANSIT
Innsbruck, 1997 Karl-Sczuka-Förderpreis SWR Baden-Baden, 2003 2.
Preis ‚Gedenkstätte’-Wettbewerb Diakonie Kehl, Deutscher
Klangkunst-Preis 2008 WDR, Skulpturenmuseum Marl, Initiative Hören.
Von 1997 - 2010 ist er 2. Vorsitzender der DEGEM, Deutsche Gesellschaft
für Elektroakustische Musik. 2004/2006 ist er Dozent bei den ‚Internationalen
Ferienkursen für Neue Musik' in Darmstadt.
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ROS BANDT is an internationally acclaimed sound artist,
composer, researcher and scholar. Since 1977 she has pioneered interactive
sound installations, sound sculptures, and created sound playgrounds,
spatial music systems, and some 40 sound installations worldwide. She
has curated many sound performances, exhibitions and events. Her original
works are recorded on New Albion Records (USA), Move Records (Melbourne),
EMI/ABC, and Wergo (Germany). In 1990 Bandt won the Don Banks Composers
Award, being the first woman to do so. Other awards include the inaugural
Benjamin Cohen Peace Prize in the USA and the Sound Art Australia Prize
funded by the ABC and the Goethe Institute. She has been commissioned
by the Paris Autumn festival, the Studio of Acoustic Art, WDR-Cologne,
Transit and ORF Vienna and was one of the six exquisites in the International
Sound Art Festival in the USA. She collaborates with many interdisciplinary
artists and has been a founding member of three ensembles: La Romanesca
early music ensemble, the cross-cultural Back to Back Zithers, and the
improvisatory LIME. Bandt is a prolific writer on sound and her book,
Sound Sculpture: Intersections in Sound and Sculpture in Australian Artworks,
(Fine Arts Press) is the first audio visual profile of Australian sound
art. She is an honorary senior research fellow at the Australian Centre,
the University of Melbourne, where she directs The Australian Sound Design
Project, the first on-line soundart gallery, searchable data-base and
web site merging soundart practice with academic research. She teaches
sound art studios at the VCA and RMIT and is in demand as a keynote speaker
on sound, here and internationally. |
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