art's anniversary 2006
EBU - artist info
tuesday january 17, 2006
20:05 - 20:30: RNE (Spain) - Live from Madrid
Duda Dadá (TransNATIONAL TransDADA)
Leopoldo Amigo - Miguel Molina
RNE's contribution to TransDADA Express (ABP 2006, Ars Acustica / EBU)
If something taught Dada to us it was the doubt ("duda", in Spanish), the distrust of all dogmatism, convention or unique imposed thought; by that is not strange to us that they got to refuse themselves affirming that the authentic DADA is ANTI-DADA, because even their same attitude it could become dogma, as the museums already made.
Our gift for this Art's Birthday 2006 is to show in one hand the DADA DOUBT (DUDA DADÁ, in Spanish) in our present society, where the power is becoming from national to global transnational company, but not less destructive by that; and on the other hand showing the DADA SINCERITY (SINCERIDAD DADÁ, in Spanish) offered to us when listening the new unconventional languages (approaching us to praxis of the life). For the accomplishment of this "gift" we will use as the creative DADA methods as the chance, ready-made, public provocation, phonetic poetry, absurd sense of humor, simultaneity, grotesc critic, use and manipulation of mass media..., and why not?, also of a renewable and healthful ANTIDADA view.
Leopoldo Amigo - Miguel Molina
With the collaboration of:
UPV Radio (Polytechnic University of Valencia, Spain)
LEOPOLDO AMIGO (Cuenca, Spain, 1956)
Teacher of Sound Art Workshops in the Polytechnic University of Valencia and in the SGAE of Valencia (Spain). Technical director and founder of the Gabinete de Música Electroacústica of Cuenca (Spain). Investigating visitor in the University of Northwestern in Chicago Illinois and in the University of the State of Michigan in Kalamazoo (USA). At the moment composer and technical assistant in the Radio and Television of the Polytechnic University of Valencia (Spain).
MIGUEL MOLINA (Los Teatinos-Cuenca, Spain, 1960)
An intermedia artist who relates sculpture, audiovisual, sound art, performance and public art. Presently he is an Art teacher of Sculpture Department at Universidad Politécnica de Valencia (Spain). Director of R&D group Laboratory of Intermedia Creations (LCI) that it has made the exhibition and publication of the catalogue and double-CD "Noises and Whispers in Avant Gardes: Early Sound Art Works 1909-1945" (UPV-Allegro Records, 2004) with the sonorous work recovery of the Futurism, Dada, Cubofuturism, Bauhaus, Ultraism, Postism... Recordings: "Political Show" (Cassette, Esfera Azul, 1996), "Música Electroacústica Espaola Vol. 1 (CD AMEE, 1997), "Masclet Virtual" (CD Levante, 1998), "RAS 7 revista de arte sonoro" (CD. Centro de Creación Experimental, 2004).
21:00-21:30: SWR (Germany) - Live from Baden-Baden
Alvin Curran: Art's Birthday 2006.
Program notes for the Baden-Baden event
Art who?? Art Blake, Art Carney, Art Tatum, Art Rubenstein, Art Schopenhauer, Art Rimbaud, Art Speigelman, Art Conan-Doyle, Art Schnabel, Art Ashe? King Arthur? Happy birthday anyway, Art!
Artistically speaking, is there anything shocking left to do? may I amplify the bacteria on my testicles or write music with my own droppings? may I insert a microphone in to a living monkey's brain to better study the protoneurology of spoken-language; may I boil a live Lobster and prepare a sauce of microtonal trombone spit; may I consider murdering (live, on TV of course) the 3rd bassonist in the Symphony orchestra simply because he or she is never heard anyway...
What city, just tell me one, has a monument to the Unknown Avant Garde Artist? To the poor irreverent poet of streets and gibberish - the poet who vomits visions of deadly mushrooms in society's face, while society politely applauds. Have we been duped? are we all simply writing demented pop-songs for the Bourgeoise? Do they pay us to thrill them with unthinkable thoughts and lead them like personal-trainers to the precipice. What has the troubled brew of all these upstarts, lunatics, and raving dog-chasers gotten us? An Ursonata and a Urinal. Myths, lies, defamation, memory loss, and fame and remarkably a world-wide following dedicated to subversion and disorder. People still have meat-eating teeth and scary facial expressions, very loud military drums; many continue to savagely destroy and plunder everyone and everything in their paths. So I ask, Art what? Avantgarde where? Ars Dadium, why? and after all the world's endless tragedies and failed rebels, I ask again: may I still have my Utopian dreams and may I please wake and desire to revolutionize society with gentle drips of water from my noise archive? Yes now! in these times of global-babel, airport shopping, Internet flu, cell-phone war and iPod gruel. May I what if whenever will ABC stand for Artaud, Ball, Cage; Apollinaire, Balla, Cowell; Arp, Beuys, Chiari; Antheil, Batman, Corso... so Duh? that when children learn to read they can quickly get to "D" - to Duchamp- to Joyce and Rejoice to Philadelphia, Providence and beyond as in Cage's own "an alphabet" and finally to Zed and Zev the absolute last stop on this tram-line. Everybody out! Out is where real-time begins. Here, the Transdada Express stops for a Vodka, burps, and takes on atomic fuel. Hand me a Dumbeg and a Santur, I will show you the place - the geographical point between east and west where Scelsi lived in Rome, just opposite the Zurich Bahnhof which some say is the real center of the world - from which everything comes and everything goes.
It was three years ago that Alowys stepped out of the Cafe Voltaire and walked into the Zurich Bahnhof pushing his luggage cart and yodeling his heart out; could I stand there dumb and not let my life be changed, could I not let those pure cow-pie harmonics carreening off the high walls and glass roof not enter into my FAKE BOOK.. this was a once in a lifetime gift, just like blowing into Scelsi's long tibetan horn..a whole reincarnation in a public place- such was this story.. This, my babble comes from a reflection on being part of this contentious uproar of hope and discontent which surely since the beginning of time has inspired poets and musicians and painters actors and dancers to represent ideal places and transcendent times, beyond the sweat, the space, joy, pain and stench of life and death. Hence my own rambling rant, my own necessary reality check on Art's Birthday.
True, I am one of those fools - a lumpen court-jester of the world who makes rabbits jump out of loudspeakers and rivers dissolve into hard-disks. Yes, this is what I do. So tonight in Baden-Baden like every night I will sit at a keyboard, just like Bach and Mozart, Beethoven and Thelonius Monk and Kurt Schwitters and I will play the story of my life - helterskelter aggregates and sequences of found sounds - that form a spontaneously made Alphabet of liberation, so that both you and I never forget that we can exit from this platform, leave this train station whenever we want - a vocabulary of objects, accidents and memory, perched gently on a bed of cow bells, Elk's mating calls, John Cage's softly spoken words, the exquisite choral sound of the SWR Chamber Choir, the sound of tin cans rolling, shofars blaring, lost mountain tribes of Swiss yodelers, the sound of Merce Cunningham whistling and dancing, the calls of children, the skidding auto wheels, train brakes squealing in frequencies heard only by bats, one million geese taking flight, slowed down basket balls, lions roaring, backward rappers, tricksters honking on saxophones, my mother's out of tune piano, birds and bees, bells and fog-horns, rattle snakes and roulette wheels, shofars and cooking beans, it's all there on my midi-Dada-keyboard connected to my Dada-Laptop and comes to life through my Dadafingers.. during this brief radio-voyage on the TransDadaExpress.
21:30-21:45 GMT RAVEL - Radio Belgrade (Serbia & Montenegro) - Live from Belgrade
Veljko Nikolic: Rien san amur
The origin of the project is, as Serbian counterpart to Dadaism, zenithism of the Balkan mastermind (barbarogenious) Ljubomir Micic, whose art manifesto the title was taken from.
Radiophone work is based on phone (sound audio matrix) of the effects from the end of World War I and the beginning of reparation, with all, from this period, known sound civilization symbols, opposed effects of the rich and singing nature of Balkans. And it is made of a sound-play of musical- rhythmical structuralized themes from orchestral suite of Sharpentier (Eurovision music symbol) and Beethoven's IX Symphony - Ode to Joy (music symbol of EU). This work is performed by Percussionist group of the author of "Institute" - on archaic wooden, stone and metal instruments, vocal group of Biljana Krstic "Bistrik" with characteristic vocal flourishes and passages, Dragacevo Brass Orchestra and Royal String-Players of " Saint George", led by Petar Ivanovic - with characteristic Balkan ethno- elements.
Composer and arranger of the project : Veljko Nikolic alias Papa Nik and Mikan Obradovic
Sound engineer: Zoran Jerkovic and Slobodan Stankovic
Director: Arsenije Jovanovic
Editor of the project: Predrag D.Stamenkovic
Duration: with official jingle, announcement and withdrawn, total 15 minutes live realization.
21:45 - 22:12: ORF (Vienna)
Free networks/radios - Live from various places in the world
Information to be announced by ORF.
22:12 - 22:30: Radio Russia - Live from Moscow
"Lullaby" is the title of the piece we are going to present. It's sound composition for (1) a child
(pre recorded - it will be twelve past midnight in Moscow), (2) a city -live line from the streets,
(3) a world - from satellite and other available sources on line, (4) and a live
sound performer Valeriy Beluntsov playing various sound devices and/or acoustic instrument(s).
22:30-23:00: Czech Radio (Czech Republic) - Live from Prague
Pavel Fajt: Drum Trek
Pavel Fajt (*1957)
musician, percussionist, performer and teacher
1980-87 engagements in theatres in the city of Brno (e.g. Divadlo Husa na provázku)
since 1983 professional musician (bands Nukleus, Ma ana, Jet § jsme se nedohodli)
1983-90 a founding member of Brno-based rock band Dunaj (known as Kolektiv)
since 1985 duo with Iva Bittova
1988 participation in the Mimi Festival in France, playing with guitarist Fred Frith
1989 a project with French guitarist Ferdinand Richard and Iva Bittova
1990 project Joseph Boys with Vladim r V clavek and Marcus Therofal (The Blech)
1991 a tour with The Vogel Europas band and a project with Fred Frith (Music Unlimited 91)
since 1992 duo with American percussionist Jim Meneses (Songs for the Drums)
1994 a project with Anna Homler and Geert Waegeman (Macaronic Sines, Corne de Vache)
since 1993 solo concerts, film and theatre engagements (Ctibor Turba, Christine de Smedt in Belgium)
since 1994 duo with Mikol Chadima (Transparent People project)
1995-2001 the band Pluto (1997 Contemporary Music Festival Victoriaville, Canada)
summer 1997 scenic music for the performance Maska (Komedie theatre)
1998-2001 theatre project Hamlet (Nebesk-Pracha-Fajt)
since 1998 duo with Stepanida Borisova (Yakut National Theatre)
2000-2001 The Danubians (Denio, Fajt, Hajnoczy, Kenderesi)
since 2000 duo with Wendy Zulu (Ladakh 5-6-7)
since 2001 solo project DRUM TREK[Author ID1: at Thu Oct 6 09:00:00 2005 ][Author ID1: at Thu Oct 6 09:00:00 2005 ]
23:00 - 23:30: ORF (Vienna)
Free networks/radios - Live from Vancouver
Information to be announced by ORF.
23:30 - 24:00: ORF (Vienna) - Live from Vienna
Art's Birthday 2006: TransDADAexpress - live in and from Vienna
Kunstradio is celebrating the 1.000.043th Art's Birthday live on air from 8.30 to 10.00 p.m.
and from 11.05 to midnight, on site at the ORF Kulturcafe in Vienna and on line: kunstradio.at.
Among others, following artists, writers and musicians are participating and contributing to the
Viennese birthday party: the Vienna-based girl -trio Schwestern Brüll who dedicate their
performance to Raul Hausmann's poems and texts, due to the motto "Only a dead dadaist is a
good dadaist", Fritz Ostermayer will explore dadaist voices whilst the artist duo Sergej
Mohntau will perform "acoustic palindromes", i.e. songs which can also be listened to backwards,
for "Klavierscheitern" ("piano failure") various renowned musicians and composers are invited to
give a try playing an instrument they don't really know how to play. The musician Helge Hinteregger
is mixing a live 5.1 radio collage of the events and presents in the hour before midnight.
================= VERDI Satelite =================
20:05 - 20:30: SR (Sweden) - Live from Stockholm
A live-concert/party from the Modern Art Museum in the city centre of Stockholm with composer and
sound-artists ke Parmerud (b. 1953) and Anders Blomqvist (b. 1956) performing live with lap-tops,
electronics and synthesizers around the theme of DADA. Also text-sound pioneer Lars-Gunnar Bodin
(b. 1935) doing a live sound-poem based around the ideas of DADAISM.
Swedish Radio Ltd. will broadcast 4 hours from a live-party which also will include sound-artists,
musicians, composers Dror Feiler, Hanna Hartman, Midaircondo, Hans Appelqvist, Anne Pajunen etc.
This concert/Party is arranged in collaboration with the Swedish Radio P2, The Modern Art Museum,
Insitute of Electroacoustic Music in Stockholm and experimental web-channel SR c.
20:30 - 21:00: DeutschlandRadio Kultur (Germany)
Live from Berlin
Art's Birthday 2006 at Deutschlandradio Kultur
an event of the Klangkunst department at Deutschlandradio Kultur and TESLA im Podewil'schen Palais Berlin
Composition and live electronics: Tetsuo Furudate & Georg Klein
Vocal performance: Miho Iwata, die maulwerker (Michael Hirsch, Ariane Jeßulat, Christian Kesten, Steffi Weismann)
Artistical direction: Marcus Gammel
Producer: Götz Naleppa
Live broadcast: "Konzert im Deutschlandradio", 20 - 22.30 CET
Re broadcast: "Klangkunst", Deutschlandradio kultur, 27.1., 0.05 - 1 CET
For the common celebration of Art's and Dada's birthday at EBU, Deutschlandradio Kultur will be facing east: The live performance at the Berlin TESLA (former Podewil) concert space shall hover around the Dada movement in Japan.
Already in the early 1920s, several artists and writers such as Tsuji Jun, Takahashi Shinkichi and Murayama Tomoyoshi took up Dada in the land of the rising sun. Their impulse was carried on in the 1960s by a large dada movement which is most commonly associated with the GUTAI group. More recently, Dada has resonated with the Japanese noise scene - so much so that one of it's senior representatives is referring to dada in his stage name: merzbow.
Particularly interesting - from our point of view - is the connection between Japanese Dadaism and spirituality. Takahashi Shinkichi for instance went on to be a Zen monk after his involvement with Dada. His poetry reveals some striking relations between the artistic movement and Zen: Both share a deep will to tear down popular reality concepts, a radical nihilism, an urge to question everything and anybody. Many parts of Zen literature, such as the Koan or certain Haiku-poems, can look quite similar to Dadaist poetry.
On the other hand, European Dada sports strong spiritual roots, although they tend to be obscured by it's mundane flamboyance. Only think of Johannes Baaders' personality cult or of Hugo Ball's turn to catholic mysticism. Some Dadas were even directly inspired by Buddhist thought, as can be seen in Walter Mehring's text "Enthüllungen" (in Dada Almanach), out of which our working title Dadayama is drawn.
For the live performance on Art's Birthday, we have deliberately approached two very different personalities: Georg Klein and Tetsuo Furudate. Both will be basing their compositions on syllabic material from German and Japanese Dada-poems. Five vocal performers will play with this material live on site. Georg Klein will match up four members of "die maulwerker" (an experimental vocal ensemble founded by Dieter Schnebel) with one particular loudspeaker each - a kind of sound mirror, that echoes, transforms and feeds back their utterances. Tetsuo Furudate has invited Miho Iwata, a Japanese performer living in Krakow, to join his work.
For their concert situation, Klein and Furudate have transposed the title of their performance into a spatial arrangement: "dada" can be translated from German as "therethere" and "yama" means "mountain" in Japanese. According to this, there will be a flat tribune with two symmetrical sides in the middle of the concert space. A single listener coming in has to decide on which side he wants to sit (on flat cushions on the tribune, no chairs).
DADAYAMA will last 60 to 90 minutes, starting around 8.05 PM CET. It will be composed out of harsh cuts between sections from each of the composers and material from the satellites.
After the end of Furudate's and Klein's performance, a mix of satellite streams will lead over to the evening's second live act: rrröstfrisch. Sound-concert for Raoul Hausmann by Valeri Scherstjanoi. This part of the program will be provided by radio TESLA and curated by Andreas Hagelüken.
Born in Tokyo. Started his career in experimental firm and video art in 1981.From middle of 80's,he gradually turned into music through performing art,contributing to the development of the Japanese noise music in ist early period with other pioneers such as Merzbow.
He spreads his activities over Europe since 1998, with many concerts not only CD releases, collaborating with Zbigniew Karkowski,Kasper T. Toeplitz and Leif Elggren.
His experimental noise opera "Othello" premiered at Podwil in Berlin in 2001. He stayed in Berlin as a artist residence of Podewil in 2003. During this period he had premieres of "Wozzeck" at Podewil in Berlin and "Auditory Sence of Mr.Roderick Usher" at Dresdner Zentrums für zeditgenössische Musik (DZzM) in Dresden. "Auditory Senced...." won the BLAUE BRÜKE prize 2003.
He has collaborated with Achim Wollscheid, Lillevän, Akemi Takeya and .....
Born in 1964 in Öhringen, South-Germany, lives in Berlin.
Study of sound engineering at the Technical University in Munich and Berlin, later on philosophy of religion and ethno-musicology at the Freie Universität Berlin. Assistant from 1991-94 in a project on the visualizing of sound for deaf people at the Technical University of Berlin. Lecturer at Freie Universität Berlin in ethno-musicology on "Music & Religion" in 1999 and 2000.
Since 1996 he has worked freelance as composer, with film music ("amor fati", Internationale Filmfestspiele Berlin 1997), solo works with live electronics, works for ensembles (International Gustav-Mahler-Composition Prize 1999, Austria), and also music for theatre (Peer Gynt with Peter Zadek / Berliner Ensemble, 2004). Studies on computer music and sensor controlled live-electronics at the Electronical Studio of the Technical University of Berlin.
21:00 - 21:30: RAI (Italy) - Live from Rome
EBU Ars Acustica Special Evening - 17th of January 2006 (19-23 GMT)
Art's Birthday 2006: Trans DADA Express
Roma, sede RAI di via Asiago, Sala A
time-slot sul satellite Verdi: 20-20.30
Maurizio Giri (10' c.a.)
per arpa ed elettronica
prima esecuzione assoluta
Lucia Bova, arpa
brano commissionato dalla Federazione CEMAT
Produzione: studio dell'autore
Invenzione per viola e elettronica (6')
Luca Sanz, viola
produzione: Agon, Milano
Michelangelo Lupone (12')
Ciclo Astrale (parte seconda)
per violino, nastro magnetico e live electronics
Produzione: CRM, Roma
Martina Mazzon, violino
Electric Wave (9')
Luca Sanz, viola
produzione: IRMUS, Milano
James Dashow (13'42'')
per arpa ed elettronica
Intermezzi e sipari elettroacustici di Walter Prati
Regia del suono e live electronics, Maurizio Giri e Fabio Cifariello Ciardi
22:00 - 22:30: Radio Tesla (Germany) - Live from Berlin
rrröstfrisch. Sound-concert for Raoul Hausmann
by Valeri Scherstjanoi
Berlin in the 1920s: in the midst of postwar turmoil, the city becomes the arena of the avantgarde. Quotation from the milieu: with the strongest emotions all words are shattered! Hausmann counters:you cant make a poem like the people. Why Dada? Dada does and Dada does not. S-o-u-n-d-p-o-e-t-r-y is the spiritual child of Dada and russian Futurism.
Valeri Scherstjanoi delves into the depths of s-o-u-n-d-art; with original texts from Raoul Hausmann, Alexej Krutschonych, Carlfriedrich Claus and his own soundtexts.
rrröstfrisch in the Transdadaexpress to Arts birthday celebration: January 17, 2006 at TESLA!
Valeri Scherstjanoi Born in 1950 in the USSR, studied German and Literature at the Krasnodar University. In 1979, relocated to the GDR. Lives and works in Berlin since 1981 as a freelance sound-poet, radio play author, and text artist. Since 1997, art books published by the Hybriden-Verlag, Berlin. Numerous performances at international festivals of soundpoetry in Germany and abroad. Hans-Erich-Nossak Award 2003 and Sylt Quelle 2005. Numerous publications.
22:30 - 23:00: RTBF (Belgium) - Live from Brussels
Radio piece by Pascal Tison (multi-lingual text) and music by Jean-Paul Dessy (cello) and David
Fortez (live-electronics). More info will appear soon.
23:00 - 23:30: VPRO (Holland) - Live from Hilversum
Live performance BMB con.
BMB con. are Justin Bennett, Wikke 't Hooft and Roelf Toxopeus.
A performance group working with sound, image, and whatever else we can get our hands on.
BMB con. perform with all sorts of things (mirrors, microphones, trees, fire, ice) in
all sorts of places (museums, forests, boats, concert halls, water tanks).
"...make guerilla theatre with hi- and lo-tech."
"...are never quite in control of the mounting chaos...."
The abc of BMB con.
Audience: BMB con. perform in theaters, galleries, museums, concert halls, clubs, streets, trees and rivers. We expect, and we actively encourage, very different audiences for each performance situation.
BMB con.: The question that we get asked most is "what does the name mean?" It had a specific meaning once, of course, but because we keep thinking up new ones, it doesn't really matter any more. Suggestions are welcome.
Collaboration: BMB con. is a collaboration between Wikke 't Hooft, Roelf Toxopeus and Justin Bennett. The work we produce comes out of the conflict between, and the fusing of our individual ideas, actions, obsessions, and experiences. In addition, we occasionally collaborate with other individuals and groups.
Digital: Using digital technology is important to BMB con. in that the same basic ways of working, the same tools, and thus the same structural and gestural ideas, can be applied to different media.
Electricity: The use of electricity and electronics is at once a liberating and a restrictive practice. Liberating because of the possibilities of amplification, action-at-a-distance, communication etc. restrictive because of the reliance on and assumption of the availability of electricity. We are investigating alternative energy sources (e.g. solar).
Fire: Pyrotechnics (flames, gas jets, fireworks, smoke)are often an element of a BMB con. performance. Sonic as well as visual and destructive aspects are explored.
Generation: The electronic generation or synthesis of sound and image for the purpose of simulation is avoided in favour of using the technology to manipulate existing material taken from one 'reality', into another.
History: The story of BMB con. begins imperceptibly sometime during 1989. The exact date is not known. A series of performances and collaborations consolidated the development into a 'group'. The stichting (non-profit foundation) "Leaving the 20th century / BMB con." was formed in 1990 to make things official.
Improvisation: A BMB con. performance consists for a large part of improvisation: action, re-action and interaction. Because BMB con. build up an audio/visual system especially for each space, each performance is unique. Sometimes we use the same basic materials for performances, but the staging, the sound and the sequence of events will be different.
Journeys: BMB con. regularly make journeys to gather sonic and visual information. This is done usually in the form of open-air performances, with or without an audience. We are interested in organizing 'tours' to combine this "outside" work with performances in venues en route.
Kraak-Geluiden: (crackling sounds) can be made by making and breaking elecrical connections, or by putting material under stress.
Light: is always an integral part of the performance. Luminous media like video or projections are used parallel to the sound, by coupling them to the actions of the performers.
Museum actions: The Museum is an institution with colonial intentions towards our instrumentarium. The ongoing series of museum actions are an attempt to make these intentions clear.
Nature: Not seen as simply oppositional to Culture (e.g. in the form of musical instruments and conventions). The work of BMB con. includes an intense involvent with natural acoustic phenomena including animal sounds, flows of water, air, and sand.
Open-air: Working outside, though a favourite pastime of BMB con., is always problematic in terms of power, audience, North-European weather, etc. We are developing a portable "suitcase studio" to facilitate such work.
Programming: By using general purpose computers for sound and image processing, monitoring movements of the performers etc, we are only limited by our own programming skill and our imagination.
Quality: There is a dominant idea that somehow a piece recorded on CD is better (read; more natural) than on, e.g. a cassette. However, this cannot in any way be called objective technical quality. Each reproductive technology has its own individual qualities, utilities, ease of access.