KONFRONTATIONEN 2013 | 34th edition | 18-21 July________________________________________________________ organized by VEREIN IMPRO 2000 / Jazzgalerie Nickelsdorf s o u n d a r t # 5: THE LISTENING ROOM Attila Faravelli: "Aural Tools" pictures Christine Schörkhuber: "point of view" pictures Robert Mathy: "Volume" pictures Sivan Eldar/Anna Adler: "compositions for leaves" pictures noid: "under the windmill" pictures Wolfgang Fuchs: "V.I.P." pictures ________________________________________________________ Festival overview
Attila Faravelli: "Aural Tools"
Sound is an act, it's the action of listening by a body in a space and time. Aural Tools are objects intended to make a listener listen to himself while listening.
Aural Tools, founded and curated by Attila Faravelli, is a series of multiples who's aim is to document the work of selected musicians by investigating specific processes (material and conceptual) of sound production. It is a series of acoustic devices for relating sound to space, to the listener and to the body in alternative ways than CDs or LPs.
For SOUNDART 5 @ Konfrontationen Attila Faravelli will present a series of tools which have been developed in the process of sketching the Aural Tools multiples. Behind the A.T. project lies the belief that sound is the act itself of listening by a specific body, in a specific space and time. Listening is, at its core, a form of interference and interaction.
During the exhibition, people will be provided with simple tools to listen to themselves while producing sounds and to interact with the installed sounds already present in the space.
http://attilafaravelli.tumblr.com http://www.auraltools.com http://theliftseries.tumblr.com
Christine Schörkhuber: "point of view"
Eine abseits im Raum positionierte Lampe und eine Wasserfläche erscheinen zunächst als zufällige Objektverteilung. Nur von einer Perspektive, des "Point of Views" aus betrachtet, spiegelt sich das Licht der Lampe im Wasser und macht dadurch eine kaum hörbare Sinustonkompositon als Schwingung im Wasser erfassbar. Die Beziehung des Selbst zu seiner Positionierung im Raum und seine phänomenologische Wahrnehmung von Objekten konzentriert sich in der Reduktion auf eine einfache und dennoch wirkungsvolle Intervention.
Robert Mathy: "Volume"
Volume is a sound installation which uses the exhibition room as a sound object.
Volume consists of 30 electric engines mounted on different material surfaces part of the exhibition environment. Each engine is equipped with a small metal spike. When an engine gets activated, the spike knocks on the surface of the object on which the engine is mounted and produce a specific sound.
With the arrangement of the sounds in time and space, I try to explore the architecture and the tonal characteristics of the materials in the room. The work should evoke a shift, from our visual spacial perception, to a more auditive spacial perception. Crucial for the tone colour are the materials existing in the room. The score adapts every time in every room where the installation is exhibited; so every time the work has its distinctive sound qualities.
Sivan Eldar in collaboration with Anna Adler: "compositions for leaves"
"Compositions for Leaves" is part of a series of works that explore the choreographies and sounds of natural objects: dry leaves are set in motion and allowed to dance in duos, trios, quartets...
For SoundArt #5, Sivan Eldar is joined by artist Anna Adler to create an interpretation that is unique to the space and its surrounding environment. Adler's intervention includes two meditative gestures that create a physical record of movement and memory in space.
"Ash Mounds" (Ash from Kleylehof house, collected and sifted 2013)
Sifted piles of ash under each leaf imply a temporal connection between the leaves and the floor, a physical shift of the floor from hard concrete to soft powder. In this subtle transition the floor is able to absorb the movement of the leaves, which make marks in its surface, creating a miniature landscape through texture, shadow and line.
"Ink Stain Score" (for leaves) India ink, butcher paper, dried maple leaves 2013
A large "tapestry" composed of two panels documents the movement of the leaves, dipped in ink. The leaves drag, twist, and scratch along the surface of the (paper) floor, creating a sporadic, minimal, and at times messy rendering of their own fleeting gesture.
A native of Tel Aviv, Sivan Eldar has studied sound design at the School of the Museum of Fine Arts and composition at the New England Conservatory (BM). She is currently a fellow at UC Berkeley where she is working towards her PhD in composition and new media. Sivan's works have been performed in Europe and the US at historic halls such as Paris' Salle Cortot, Odessa's Philharmonic Theatre, Tuscany's Palazzo Mansi, and Boston's Jordan Hall. Her recent works range from orchestral to chamber to solo to art installation.
Sivan has been the recipient of awards from the Hearst Foundation, the Boston and New England Conservatories, the Dorfman International Composition Competition, the Accademia Musicale Chigiana, and most recently the Fulbright Foundation. She currently teaches composition and analysis at the John Adams Young Composers Program, and harmony and ear training at UC Berkeley's music department.
photo by ypatio grigori
noid: "under the windmill"
beauty and monstrosity - what do we need to live?
"under the windmill" is researching different possibilities to meet this machines nowadays populating the landscape - fascination, scare, annoyance, curiosity.
Wolfgang Fuchs: "V.I.P."
Subtle and scarcely audible interventions in the auditorium of the Jazzgalerie will render homage to numerous, already dead musicians who have played remarkable concerts in Nickelsdorf.
pictures showing some feedback from the audience.
there is still hope...RIP!