{"id":637,"date":"2012-05-05T20:32:20","date_gmt":"2012-05-05T18:32:20","guid":{"rendered":"http:\/\/www.aufabwegen.de\/events\/?p=637"},"modified":"2012-05-05T20:32:20","modified_gmt":"2012-05-05T18:32:20","slug":"hidden-currents-moers-festival-2012","status":"publish","type":"post","link":"https:\/\/www.aufabwegen.de\/events\/archive\/637","title":{"rendered":"Hidden Currents – moers festival 2012"},"content":{"rendered":"

Sa. & So. 26. & 27.05.2012<\/strong><\/p>\n

jeweils 17.30h \u2013 20.00h<\/strong>
\n Eintritt frei!<\/strong><\/p>\n

aufabwegen pr\u00e4sentiert:<\/strong>
\n ~ Hidden Currents ~<\/strong>
\n Die Konzerte im Dunkeln im Rahmen des moers festivals 2012<\/strong><\/p>\n

20-min\u00fctige quadrophonische Konzerte in v\u00f6lliger Dunkelheit von:<\/p>\n

JOHN DUNCAN (USA\/IT)<\/strong>
\n SETH NEHIL (USA)<\/strong>
\n LASSE-MARC RIEK (D)<\/strong>
\n K11\/PIETRO RIPARBELLI (IT)<\/strong>
\n RONNIE SUNDIN (SE)<\/strong><\/p>\n

Studio\/Schlosstheater Moers
\nKastell 6, 47411 Moers<\/p>\n

Bei den diesj\u00e4hrigen Dunkel Konzerten im moers festival geht es unter dem Motto \u201ehidden currents\u201c um Kl\u00e4nge, die aus dem Verborgenen stammen, deren Ursprung und Erzeugung unklar ist. Nicht selten handelt es sich um Kl\u00e4nge, die im Schatten von Musik entstehen und eigentlich als St\u00f6rger\u00e4usche oder Betriebsbrummen gelten: rauschende Tonb\u00e4nder, die sich langsam aufl\u00f6sen, Brummende Verst\u00e4rker, bevor der erste Ton eines Instruments erklungen ist, bis hin zu der H\u00f6rbarmachung von T\u00f6nen, die f\u00fcr das menschliche Ohr normalerweise nur schwer erfassbar sind, wie zum Beispiel die Ortungst\u00f6ne der Flederm\u00e4use.
\nKuratiert von Till Kniola\/aufabwegen im Rahmen des moers festival 2011.<\/p>\n

~ 26.05. + 27.05.2012: H I D D E N\u00a0 C U R R E N T S\u00a0 ~<\/p>\n

Bei den diesj\u00e4hrigen Dunkel Konzerten im moers festival geht es unter dem Motto \u201ehidden currents\u201c um Kl\u00e4nge, die aus dem Verborgenen stammen, deren Ursprung und Erzeugung unklar ist. Nicht selten handelt es sich um Kl\u00e4nge, die im Schatten von Musik entstehen und eigentlich als St\u00f6rger\u00e4usche oder Betriebsbrummen gelten: rauschende Tonb\u00e4nder, die sich langsam aufl\u00f6sen, Brummende Verst\u00e4rker, bevor der erste Ton eines Instruments erklungen ist, bis hin zu der H\u00f6rbarmachung von T\u00f6nen, die f\u00fcr das menschliche Ohr normalerweise nur schwer erfassbar sind, wie zum Beispiel die Ortungst\u00f6ne der Flederm\u00e4use.<\/p>\n

Venue Info:
\nMOERS FESTIVAL
\nStudio des Schlosstheater Moers, Kastell 6, 47441 Moers
\njeweils ab 17:30h
\nWebsite: www.moers-festival.de<\/a><\/p>\n

DAS PROGRAMM
\nAlle f\u00fcnf K\u00fcnstler spielen Programme zwischen 15-20 Minuten L\u00e4nge. Nach 3 Sets gibt es eine Pause von 15 Minuten. Die Reihenfolge der Konzerte wird kurzfristig bekannt gegeben und wird an beiden Tagen unterschiedlich sein. Au\u00dferdem spielen alle Musiker an jedem Tag ein anderes Set; Wiederkommen lohnt sich also!<\/p>\n

26.+ 27.05.2012: jeweils ab 17:30h
\nJOHN DUNCAN
\nLASSE-MARC RIEK
\nK11\/PIETRO RIPARBELLI
\nSETH NEHIL
\nRONNIE SUNDIN
\n<\/strong><\/p>\n

JOHN DUNCAN<\/strong> (USA\/IT)<\/p>\n

\"\"<\/p>\n

John Duncan portrays his work as a catalyst, inciting a transmission of energy through which he seeks to compel the audience to actively participate in the process of investigation and self-discovery. He smashes VLF crackle, modulated shortwave bursts of noise and tectonic rumblings with a metaphorical hammer (literally, a computer), in order to unleash the white hot\/black hole intensity of a technology as it interferes with the body’s electromagnetic frequency. With the movement from an irritable data-stream purity to the gossamer haze of shortwave distortion to gaping drones of treated vocal vibrato, a trajectory is set deep into the heart of the sonic architecture expanding beyond the metaphors of a structural blueprint, exploring the psychoacoustic properties of a complex series of fictional spaces. Each room is saturated with an anxiousness for what may be on the other side of the door. The resolution of this anxiety is an interlocking network of chambers that resonate and breathe with a luminous, profound beauty.
\n–Jim Haynes, The Wire
\nTo call Duncan’s work ‚extreme‘ means the extremities are reached as much through intense noise as through a delicate haze, through assaults on the emotions from impacted sound as through the subtle touch of lighter, composed gestures. It is thanks to the consistent balance between these diverse elements that the result is never the same: listening to a Duncan CD is like following a timeless formula in which each sound occurs as if it were heard for the first time, always assuming a new character.
\n–Daniela Cascella, Blow Up
\nPhoto: Melissa Pasut
\nwww.johnduncan.org<\/a><\/p>\n

 <\/p>\n

LASSE-MARC RIEK<\/strong> (Gruenrekorder, Hanau)<\/p>\n

\"\"<\/p>\n

Lasse-Marc Riek, geboren 1975 in Bad Segeberg, arbeitet als Klangk\u00fcnstler im Bereich Akustische \u00d6kologie, Bioakustik und Soundscape-Komposition. Riek ist Mitbegr\u00fcnder des H\u00f6rverlags Gruenrekorder. Zahlreiche Ver\u00f6ffentlichungen, Auff\u00fchrungen und Auszeichnungen auf internationaler Ebene.
\nPhoto: Lasse-Marc Riek<\/p>\n

www.lasse-marc-riek.de<\/a>
\nwww.gruenrekorder.de<\/a><\/p>\n


\nK11\/PIETRO RIPARBELLI<\/strong> (IT)<\/p>\n

\"\"<\/p>\n

Pietro Riparbelli is a philosopher, composer and sound-multimedia artist based in Livorno (Tuscany). His compositions have been published by TOUCH (UK), Radical Matters Ed\/Label (IT), Aurora Borealis (UK), Actual Noise\/20buckspin (US), Afe Records (IT), Boring Machines (IT), Old Europa Cafe (IT). He is working in Italy with the Enrico Fornello Contemporary Art Gallery. Riparbelli\u02bcs performances and installations have been presented at D\u02bcAmelio Terras contemporary art gallery (NY), Equinox Festival
\n(London), Nuit Blanche (Paris), Magazzino d\u02bcarte moderna (Rome), Palazzo delle Papesse (Siena), Flora (Florence), Fundaci\u00f3 T\u00e0pies (Barcelona), Base progetti per l\u02bcarte (Florence). He works with performances, sound installations and recorded works and in the last three years has been collaborating
\nthrough selected projects with Massimo Bartolini, Nico Vascellari, Philippe Petit, Fabrizio Modenese Palumbo, Influx, Francisco Lopez, Christina Kubisch, Seth Cluett, Burial Hex, Yannick Franck and others. He is a curator and executive producer of the meta-curatorial practice platform „Metasound“, spin-off of the publisher Radical Matters – Editions\/Label directed by SG, to investigate the dimension between music and contemporary art: http:\/\/www.radicalmatters.com\/metasound<\/a> “<\/p>\n

Artist Statement
\nMy work arises from the study of the Phenomenology of perception with particular reference to the dichotomy between Visible\/Invisible strictly connected with the studies about the concept of sound landscape. I usually compose works in relation to the environment or to experimental practices of
\ncollaborating with other artists (for instance \u201cChthonian Music\u201d has been composed with sound sources by Francisco Lopez, Christina Kubisch, Massimo Bartolini, Seth Cluett, Y.E.R.M.O., Francesco Brasini, Luciano Maggiore, Gianluca Becuzzi, Andrea Marutti, Philippe Petit, Deadwood, Burial Hex, Aderlating, Utarm, Nordvargr, L’Acephale) About the environmental works I usually make a deep investigation of particular places, making recordings like field recordings or recordings of signals from short wave radio receivers and VLF receivers, in order to compose conceptual works about the selected sites; together with a deep study about the history of the place on which I\u02bcm working on. This is the case of works like \u201c4 Churches\u201d \u2013 by Touch Music – that has been composed with sound sources taken from some Cathedrals or \u201cVoices from Thelema\u201d that has been recorded within Thelema Abbey in Cefal\u00f9 utilizing
\nshort wave radio receivers. In some of my works I also play organ voice, drum and other instruments, but I never use digital sound sources. I\u02bcm interested in reconfiguring the sound panorama through its transcendental aspects to create a dimension that is not only sound but mainly a total perceptive dimension that bring ourselves to find out a new kind of perception. I realize works as PIETRO RIPARBELLI especially related to the world of Contemporary Art. So each work arise from a conceptual idea turned into sound. The field in which I principally work is linked to the perception of the sound landscape and to the perception of inner states of consciousness related to other dimensions of awareness.
\nPhoto: Pietro Riparbelli
\nwww.pt-r.com<\/a>
\n<\/strong><\/p>\n


\nSETH NEHIL<\/strong> (USA)<\/p>\n

\"\"<\/p>\n

Seth Nehil is a composer, performance-maker and visual artist.\u00a0 With over 14 solo and collaborative albums on international labels, his music is characterized by its physical tangibility, dynamic impact and stochastic structure.\u00a0 He has created original sound scores for theater and dance, and recently debuted Children’s Games, a fusion of sound, video and live performance.\u00a0 Seth Nehil has been an editor of arts publications, an organizer of performance festivals and a curator of exhibitions.\u00a0 He currently teaches sound at the Pacific Northwest College of Art in Portland Oregon.
\nPhoto: Seth Nehil
\nwww.sethnehil.artdocuments.org<\/a>
\n<\/strong><\/p>\n

 <\/p>\n

RONNIE SUNDIN<\/strong> (Malm\u00f6, S)<\/p>\n

\"\"<\/p>\n

Sound and visual artist Ronnie Sundin (b.1973) has been recording and producing his own music for more than 15 years covering a wide range of styles within electronic and experimental music. During the second half of the \u201990s he operated under the name Bad Kharma with a string of self produced releases on his own BonBon Records imprint which showcased an interest in noisy tape collages combining influences from The Hafler Trio, Merzbow and Illusion of Safety. During the first half of the \u201900s however, he investigated a gradually more and more quiet approach utilizing plenty of field recordings from his extensive archives combined with computer processed and electronic sounds in an attempt to create dreamlike, sensitive hypnagogic states presented on releases on critically acclaimed labels such as Ground Fault (US), F\u00e4llt (N.Ir), H\u00e4pna (SE) and Antifrost (SP) and Komplott but in recent years we have seen him revisit to the more loud noise oriented field he explored earlier.
\nDrawing: Ronnie Sundin
\nwww.ronsun.se<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Sa. & So. 26. & 27.05.2012 jeweils 17.30h \u2013 20.00h Eintritt frei! aufabwegen pr\u00e4sentiert: ~ Hidden Currents ~ Die Konzerte im Dunkeln im Rahmen des moers festivals 2012 20-min\u00fctige quadrophonische Konzerte in v\u00f6lliger Dunkelheit von: JOHN DUNCAN (USA\/IT) SETH NEHIL (USA) LASSE-MARC RIEK (D) K11\/PIETRO RIPARBELLI (IT) RONNIE SUNDIN (SE) Studio\/Schlosstheater Moers Kastell 6, 47411 […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[185,226,227,228,4,198,186,225,229],"tags":[],"class_list":["post-637","post","type-post","status-publish","format-standard","hentry","category-festival","category-john-duncan","category-k11pietro-riparbelli","category-k11pietro-riparbelli-r","category-konzert","category-lasse-marc-riek","category-moers_schlosstheater","category-ronnie-sundin","category-seth-nehil","entry"],"_links":{"self":[{"href":"https:\/\/www.aufabwegen.de\/events\/wp-json\/wp\/v2\/posts\/637","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.aufabwegen.de\/events\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.aufabwegen.de\/events\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.aufabwegen.de\/events\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.aufabwegen.de\/events\/wp-json\/wp\/v2\/comments?post=637"}],"version-history":[{"count":9,"href":"https:\/\/www.aufabwegen.de\/events\/wp-json\/wp\/v2\/posts\/637\/revisions"}],"predecessor-version":[{"id":651,"href":"https:\/\/www.aufabwegen.de\/events\/wp-json\/wp\/v2\/posts\/637\/revisions\/651"}],"wp:attachment":[{"href":"https:\/\/www.aufabwegen.de\/events\/wp-json\/wp\/v2\/media?parent=637"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.aufabwegen.de\/events\/wp-json\/wp\/v2\/categories?post=637"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.aufabwegen.de\/events\/wp-json\/wp\/v2\/tags?post=637"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}