All events in the series

For this Outbound event, the violinist Aisha Orazbayeva (Kazakhstan) and the visual artist Lily Wittenburg (Berlin) create a performative installation to question the notion of movement by exploring the different relationships they have with their instruments, to one another, as well as to the movements of the audience in space.

Light and sound, different materials with different time intervals, come into contact for a moment, mix and separate according to the position of the observer. Two forms of expression from different substances. Simultaneously and autonomously. Trying to feel something unknown in the concrete materiality of what is recognisable.

 

Aisha Orazbayeva is a Kazakh-born London-based violinist with an interest in filmmaking. She has released two critically acclaimed solo albums on Nonclassical and PRAH recordings featuring her own compositions, and has performed internationally in venues such as New York’s Carnegie Hall. Recent releases include Bryn Harrison's Receiving the Approaching Memory with Mark Knoop on Another Timbre, vinyl EP Seeping Through with Tim Etchells on PRAH recordings and Scelsi's Duo vinyl EP for violin and cello on SN variations. Aisha regularly performs with ensembles Plus-Minus and Apartment House. Her music video for Leo Abrahams’ Steal Time single was recently premiered on Clash Music magazine. Aisha's third solo album Telemann Fantasias played using contemporary/extended violin techniques was released in November 2016.

 

Lily Wittenburg examines, in her work, material spaces and architectures on their intangible properties. She translates her observations into installations, drawings and films. Large, space-grabbing works are created, as are complex drawings and assembled film collages. Often, she combines the different media for her exhibitions.
Her work revolves around real places and events, which are analyzed from a personal angle. It is important for Wittenburg to have her own relation to the material and not to draw from archives of the world, but from what is specifically seen. Starting from these realities, the artist often develops spatial models of worlds of experience with her works. Spatial structures with their physical and social conditions are of interest to her, because they determine our humanity in one place. Whether we meet or not at what time a speech is possible is determined by the built reality. Wittenburg detects tactile perceptions of space and builds fields around her concepts for her complex works, at the center of which is the real concept as a leeway.

Lily Wittenburg studied at the Hochschule für bildende Künste in Hamburg from 2002-2008. Her work was shown in individual and group exhibitions at home and abroad, such as the Kunsthaus Hamburg, the Kunstverein Hamburg and the KM Galerie, Berlin. She received the working fellowship of the Freie und Hansestadt Hamburg in 2012 and was a scholarship holder at the Künstlerhaus Lauenburg in 2013. In 2015 she received the sponsorship award of the Arthur Boskamp Foundation in Hohenlockstedt.

 

Listen to the radio show below

An investigation into the different ways people are connected to music.
This Outbound event considers that when an audience gathers to listen to a performance, everybody in the room is physically touched by sounds at the same time. It's an invisible link that everybody shares. At the same time, electronic music generated by and through computers has redefined the physical relationship and possibilities between the artist, their instrument, and their public. Nur presents, precisely crafted sounds pre-produced in her studio while Vanessa Gageos uses the audience's physical presence to create and manipulate sound.

Nur lives and works in Cairo, Egypt. Her sound displays the influence of “Musique Concrète” and Electroacoustic music, as well as her deep interest in Islamic religious music and ethno-musicological research and compositions. She is particularly fascinated in integrating the human element within the electronic music context, which is why she frequently uses vocals, body sounds and field recordings in her work.
Vanessa Gageos lives and works in Berlin and Bern. By using self-explanatory representations of fundamental human ideas, Vanessa Gageos combines natural with technological elements and phenomenons in her projects. In her performance “-logy”, she creates noise by physically wiring the audience to the device she wears.

 

Listen to the radio show below:

Out/Un-spoken - The inherent poetry of the voice


 

Due to private reasons on Sofia's side that are beyound anyone's will, we are sorry to announce that we have to cancel this performance.

 

This Outbound event explores different approaches to enhancing and manipulating the rhythmic qualities and aesthetics of the voice, and the poetry it conveys through other meanings than that of just "words".

 

 

Sofia Jernberg is a singer and composer, born in Ethiopia in 1983. Sofia’s singing vocabulary includes sounds and techniques that often contradict a natural singing style. She has dug deep into split tone singing, pitchless singing and distorted singing. As an improviser, her main focus lies in the blending of improvisation and composition.

Katharina Hauke is a Berlin based audio-visual artist.
The MikroKontrolleur is the most recent practical outcome of our ongoing artistic research on working with vocals and electronics live on stage. It is an interface which enables a vocalist to expand the possibilities of her voice through live sound manipulation.

Eco's echoes - Sounds and environment

 

The last Outbound of 2017 presents two ways of approaching environmental issues through sounds.

 

PMWGR 1.0 No Plug Sound Machine is a project by Samira “Night by Night” Allaouat. It explores the idea of a future where resources that we hold as fundamental to life will no longer exist.
Consider a hypothetical crisis situation: imagine yourself re­starting from point “zero”, keeping in mind all the advanced technologies we’ve created up until that point, and then recreate those comforts, but without the power supplies we commonly take for granted.
Within PMWGR 1.0, mechanics, electronics, nature and human collaboration coexist and support each other in the the same time and place. The light theremins and the LEDs are powered using electricity from earth batteries made from potted plants, and the mechanical core is a gramophone activated with man power.

 

The environmental project The Awful Plastics plays plastics inside faux trash islands. Plastic lasts for 450-1,000 years, they are not disposable, they are awful.
The Awful Plastics create constantly changing sonic narratives, performative movements and visual landscapes. They are delighted to have discovered that the possibilities for plastic improvisational composition are endless.
Together collectively They have been experimenting with sound for over 70 years. They were born in Korea, Canada and Germany. They are all assigned female at birth but some of them are genderqueer and some are cisgender. They are transfeminist multidisciplinary artists who are obsessed with ASMR (autonomous sensory meridian response).
For this Outbound event, The Awful Plastics will be Jean P’ark, Hannah Levin and a special guest tbc.

In 2018, Outbound reflects on our universal experience of time by looking at how the various invited artists interpret time in their own work. Temporal reality, dynamics of change and our experiential encounters with time will be challenged through the confrontation of the different ways to treat its passage: cyclically, linearly, reflectively, and repeating indefinitely.

 

Jessica Ekomane seeks physical effects by playing with rhythmical structures and adding psychoacoustic elements to her compositions. Her latest project consists in a quadraphonic performance exploring the way our perception is affected by the surrounding space and the standards of the concert ritual itself. Integrating errors as part of her process, her work questions the ideologies and yearnings behind technology.

 

La Manta is a contemplative devotional drone music duo made up of clara de asís (ES) and golem mécanique (FR). The two musicians are devoted to researching music in many forms. For this project they use electric bows on guitar strings, a drone box and voice to produce a hypnotic trance music, which beauty is dense and simple at the same time.

 

Clara de Asís is a Spanish composer, guitarist and performer based in France. Her work highlights simplicity and active listening as means of music-making. She uses different combinations of objects, materials and sound sources, involving electroacoustics and minimal approaches.

 

After studying classical literature , Golem Mécanique made her own education in arts, painting and music. Music as the synthesis of her expectations.
The voice was her first weapon but  it was not enough to explore the land of unseen. Her three Lp released on the french netlabel Nowaki is a trilogy fed by Voodoo, the main line of research of her works.
Now the new born can walk by herself. The desire for mystical is strong.
A personal ancient cult  reconstituted with machines never domesticated but still mastered. Voice, noises and samples. Words, cries and silence. trying to create a poetry of sounds. A policy of concrete sounds.

 

Listen to the radio reportage Lou Drago made about this event for Cashmere Radio:

In 2018, Outbound reflects on our universal experience of time by looking at how the various invited artists interpret time in their own work. Temporal reality, dynamics of change and our experiential encounters with time will be challenged through the confrontation of the different ways to treat its passage: cyclically, linearly, reflectively, and repeating indefinitely.

 

“As an artist i didn’t think much about what I was doing at that time. It was more of a survival strategy. I had to leave my comfort zone,” says Elsa M’bala aka AMeT, reflecting on her relocation to Yaoundé, the capital of Cameroon, in 2012. Elsa M’bala left her guitar and practice as a singer-songwriter in Münster, Germany, to move back to Cameroon—and shifted towards working with digital sonic tools and cyberspace. In Cameroon she began recording people in taxi buses without their knowledge, embarking on a process of disidentification: unlearning what she knew, tapping into unknown, unfamiliar spaces. She listened to these recordings in order to process memories: from her childhood in Cameroon, her coming of age in Germany, her research trips in various African contexts, and her presence back in Yaoundé.

This has been a continuous identity quest, a process of coming to grips with her sense of belonging, and alternative collective histories. In her practice M’bala works with her own recordings as well as archival materials to piece together historical facts, narratives, and their impact on today’s world, creating a living archive that is made tangible through the power of sound.

—Aïcha Diallo

 

Scent Club is an artistic collective and community of people, that come together to research, produce projects and collaborate focusing on the sense of smell.  In the past, they have developed a variety of works such as installations, workshops, olfactory tours, and olfactory portraits. Their mission is to offer the opportunity for people to switch focus and tune into their sense of smell thus enhancing a particular experience or providing one that caters directly to the nose.

 

“The most beautiful thing we have discovered has to be the fact that albeit the sense of smell is extremely subjective it has the capacity to bring people together, it connects people and opens people up not only to their memories and associations but also to one another.” 

 

Current core members include founding members Mareike Bode, Max Joy, Alanna Lynch, Eeva-Liisa Puhakka, and Chaveli Sifre along with Tobias Esselborn and Aleksandra Pawlowska.

 

Listen to the radio reportage dj shluchT made about this event for Cashmere Radio:

In 2018, Outbound reflects on our universal experience of time by looking at how the various invited artists interpret time in their own work. Temporal reality, dynamics of change and our experiential encounters with time will be challenged through the confrontation of the different ways to treat its passage: cyclically, linearly, reflectively, and repeating indefinitely.

 

Classically trained percussionist, improviser and composer, Sylvain Darrifourcq is a prominent figure of the generation of improvisers who eagerly started questioning boundaries. Rigorous, demanding yet with an undeniable sense of humour, he is today a much requested musician. He collaborated with many french, european and american personalities such as Joëlle Léandre, Tony Malaby, Michel Portal, Louis Sclavis, Marc Ducret, Andrea Parkins, Akosh S, Kit Downes...
In 2009 he won a « Victoire du Jazz » with Emile Parisien Quartet, of which he was the drummer during more than a decade.

Keen on questioning temporality, space and rupture in music, he reaches today a very personal and radical language, which is built around the concepts of «poly-speed» and «physicality».

 

Using simple and functional components, Zimoun builds architecturally-minded platforms of sound. Exploring mechanical rhythm and flow in prepared systems, his installations incorporate commonplace industrial objects. In an obsessive display of simple and functional materials, these works articulate a tension between the orderly patterns of Modernism and the chaotic forces of life. Carrying an emotional depth, the acoustic hum of natural phenomena in Zimoun's minimalist constructions effortlessly reverberates.

 

Listen to the radio reportage Elizabeth Davis made about this event for Cashmere Radio: