Archive Of Encounters 2012–2014


(Levy Lorenzo, Dennis K Sullivan II / USA)

electronics/theater/percussion - experimental solos and duos
Le corps á corps (for zarb and voice) – Georges Aperghis
A Contest for the Future
(for solo voice) – Russel Podgorsek
Improvisation for Teacups and Light – Levy Lorenzo
(for solo performer) – Mark Applebaum
(for two speaking percussionists) – Rick Burkhardt
Modified Attack
(duo for hacked joysticks) – Radical 2

‘Corpus Callosum’

Georg Wissel (Cologne) - (prepared) alto saxophone a.o. 
Joker Nies (Cologne) - custom made electronic instruments

Héctor Rey – no-input mixer
Rishin Singh – trombone



Patrick Monte & Brian Questa (USA)
sound/video/performance duo
PATRICK MONTE is an interdisciplinary artist, multi-instrumentalist, 
and composer born and raised in Queens, NY. His previous work spans 
a range of media including photography, video, installation, sound, and 
performance and has explored issues including the impacts of technology 
on subjectivity, social disconnectedness, and obsolescence.
BRIAN QUESTA is a New York native avant-garde bassist and composer.

Cecilia Quinteros (Argentina) solo cello
CECILIA QUINTEROS is composer, cellist and improviser. She has studied
cello and guitar in EMPA (Escuela de Música Popular de Avellaneda).
She graduated in the career/workshop of composition on Conservatory
of Superior Music.

Doug van Nort (USA) electroacoustic improvisation
solo + duo with Alessandra Eramo (Berlin/IT) voice
As a performer specializing in truly improvised electroacoustic music,
Van Nort often performs solo as well as with a wide array of artists across
musical styles and artistic media. Ongoing collaborations include Triple
Point with Pauline Oliveros and Jonas Braasch, a duo with If, Bwana and
working as a member of the Composers Inside Electronics.
For my live-performances, compositions, videos and installations I work
with the human voice as a multi-faceted instrument, with a particular focus
on the relationhip between orality and writing. Through the conjunction of
voice, sound, noise, field recording, drawing, gesture and text my work
takes on hybrid forms between music, performance and visual art.

Doris Schmid & Jürgen Palmtag
(Berlin /Switzerland/Baden-Wuerttemberg)
»Es gibt kein Geheimnis«
audiovisual performance

Ein audiovisuelles Portrait der Beunruhigung und des Unheimlichen.
Im Zentrum steht das Verfolgtwerden:
Schauplätze sind nächtliche Szenerien, Zwischentöne im Halbdunkel,
eine mysteriöse Frau, einsame Strassen und eine dunkle Kirche samt Orgel.
Videobilder und Musik sind im Begriff, sich selbst zu verfolgen, geraten aus
den Fugen und werfen dabei Schatten wie unheimliche Doppelgänger.
Bild, Musik, Stimme und Bühnensetting sind eng verknüpft.

Bildende Künstlerin, geboren in der Schweiz, Studium in Basel und Zürich,
(Malerei und Video/Neue Medien), Seit 2000 Videoarbeiten, Installationen
und Kunstprojekte  mit MusikerInnen. Div. Auslandsstipendien in Wien,
Berlin, Paris, Nairs. Lebt derzeit in Berlin.
Studium der Malerei/Grafik an der HdK Berlin, diverse Stipendien, zuletzt
2005/2006 Cité des Arts, Paris, div. Workshops/Lehraufträge, u.a. Staatliche
Akademie der Bildenden Künste, Stuttgart, Hochschule für Künste, Bremen,
Staatliche Akademie der Bildenden Künste, Karlsruhe.
Arbeitet als Bildender Künstler in den Bereichen Zeichnung,Text, Projektion,
Foto, Video. Experimentelle Musik, analog und digital, Soundtracks und
Hörstücke, Konzerte. Eigenes Label: Roruys Imifest.
Lebt in Schömberg-Schörzingen.


(Gerard Lebik, Poland)

Live installation using sound signals of VHS recorders and TV sets

Gilles Aubry
"L'amplification des âmes" 4-channel electroacoustic piece

Bonnie Jones - electronics
Andrea Neumann
- inside piano, mixer
Dafne Vicente-Sandoval
- bassoon
Ute Wassermann
- voice, objects

Chris Cogburn - percussion, transducers
Rolando Hérnandez
- performance with and without objects

Giovanni Lami 

(Italy) audiovisual solo set


(Leipzig) audiovisual trio
Marek Brandt (triPhaze) – electronics, synth, spatial drum, fx

Fabian Niermann – saxophone, prepared clarinet

Inka Perl – live visuals / objects and pictures



Audry Chen (Berlin/USA) – cello
Mike Majkowski (Berlin/AUS) – double bass
Jon Rose (Australia/UK) – violin

Chris Burns (Milwaukee/USA) – live electronics
Bill Hsu (San Francisco /USA) – interactive video

Rozemarie Heggen (Venray/NL) – double bass
Els Vandeweyer (Berlin/BE) – trash guitar



Sumutus: Finnish Poetry Videos
Video poetry, the fusion of poetry and experimental film, is a young and
fast growing genre of art. In the Sumutus Evening, a selection of poetry videos
from Finland will be shown. Finnish poet Mari Laaksonen and Austrian poet
and audiovisual performer Oravin will lead through the evening, giving a brief
talk on the art form of video poetry and introducing the screened artists.
The evening will end with an audiovisual performance.
All films will have English or German subtitles.

Featured video poets:
J.K. Ihalainen (*1957) is a Finnish poet and publisher who has worked
in co-operation with musicians and visual artists. He has published numerous titles
in the last thirty years. His poetry video "Kone" was shown at the Zebra Poetry
Film Festival 2010.

Tytti Heikkinen (*1969) is a poet and media artist with a day job as a graphic designer.
She has published three books of poetry. Her first book, The Warmth of the Taxidermied
Animal, has been translated into English (Action Books 2013).

Joona Ruusuvuori (*1981) is a musician and poet. His first book, Ambulansseja taivaalla
("Ambulances in the Sky“), was published in 2012 at Sanasato. He has been working on
poetry animations for several years.

Mari Laaksonen (*1986) has been the champion of the Finnish Poetry Slam 2013.
Lately she has been working on cutout animations and her thesis on performativity in
Derrida’s writing. Her first book, Galleria Noesis, was published in 2013 at Ntamo.

Oravin (*1984) is an Austrian poet and audiovisual performer. He has lived in Graz,
Reykjavik and Berlin. Since September 2013, he is part of Babelsprech, a network of
young German language poets. Oravin currently resides in Finland and Austria.
His work can be found at

Sumutus us a new platform for Finnish audiovisual poetry. In April and May of 2014,
it organizes a small tour of poetry videos through Austria and Germany.
In November 2014, it will host a small festival in Jyväskylä, Central Finland. 


Ganesh Anandan (IN/CAN/DE)
Johannes Bergmark (SE/DE)
Ignaz Schick (DE)
Eliad Wagner (IL/DE)

Hannes  Buder – guitar
Hannes Lingens – drums & objects

Emilio Gordoa (MX/Berlin) – vibraphone
Adam Pulze Melbye (DK/Berlin) – double bass
Roland Ramanan (London) – trumpet


A highly unlikely crash of splendidly non-conformist improvisers with a never seen combination 
of unusual equipment comprising home-made and prepared string instruments with unusual tunings, 
street junk and toys from flea markets, multi-instrumentalist use of recycled sounds and shoestrings, 
and a personal rack of analog sound modules. The music will range from the explosively collapsing 
romantic to the squeaking fragile animal sounds surprised by falling trees. This could be film music 
for a horror comedy as well as “filmed music” – as the visual part will shock you whenever you 

is the duo of Hannes Buder on guitar and Hannes Lingens on drums. Their music is based on 
mutual understanding and the raw energy of the instant. After playing together in various projects 
for more than seven years, they formed [ro] to explore the intimate and direct exchange of the 
duo format.



Joke Lanz – turntables
Mat Pogo – voice, CD

Kazuhisa Uchihashi – guitar, electronics
Takehito Koganezawa – video

Dave Bennett – prepared guitar
Axel Haller – prepared electric bass
Matthias Müller – trombone


JD Zazie
solo – cut up music (turntable/cd)

Billy Roisz
solo – audio video performance

Trio K
Axel Dörner – trumpet
Rui Faustino – drums
Biliana Voutchkova – violin


Heather Frasch (Berlin / USA)
Sense Boxes
interactive installation for small boxes, fabric, sensors, manipulated sounds & headphones

If one could touch sound, what would it feel like?

In this interactive installation, for small boxes, fabric, & electronics, participants are invited
to discover what a sound would feel like if they were to hold it in their hands. Fabrics and 
materials are choose for their highly textural quality, and then correlated with a sonic partner. 
As each box is embedded with a variety of sensors, participants can push, pull, squeeze and 
stretch the material in order to manipulate the sounds. Hands are isolated. Visual cues are 
removed. Headphones create intimacy. Participants engage with the sensuality of sounds, 
while destabilizing and transforming the tactile micro-universes. 


Heather Frasch (Berlin / USA) – flute, live electronics
Max Murray (Berlin/ Canada) – tuba

Svetlana Maras (Belgrade) – electronics, objects
Michael Thieke (Berlin) – clarinet
Biliana Voutchkova (Berlin) – violin

Félicie Bazelaire (Berlin/Paris) »The Misfit« – double bass


LP launch
Mike Majkowski  (Berlin/Australia) – double bass
'why is there something instead of nothing' out now on bocian records

Piotr Tkacz  (Poznan/Poland)
Seiji Morimoto  (Berlin/Japan)
electronics and devices

Frank Gratkowski  (D) – saxophone, multi channel live electronics


Brad Henkel  (NYC) trumpet
Miako Klein  (Berlin) recorder

Korhan Erel  (Istanbul) computer, controllers, digital sound diffusion
Nicolas Wiese  (Berlin) mixer, samples, analogue sound diffusion

Margarete Huber  (Berlin) soprano, keyboard, cd
Andreas Gogol  (Berlin) modified guitar (el/ac.)
Matthias Pohl  (Bielefeld) electronics



an exhibition by
Franziska Klose
Michael Barthel

(sound installation and objects)

Die Arbeit FORM von Franziska Klose beschäftigt sich mit der Gestalt von
Verbarrikadierungen, die leerstehende Gebäude vor Vandalismus schützen sollen.
Ausgehend von Fotografien entstehen seit 2011 Wandobjekte, die Materialien der
ursprünglich rein funktional entstandenen, provisorischen Konstruktionen als
eigenständige Elemente aufgreifen und die an der Ausstellungswand zur
abstrakten Figur werden.

Kurze Stimmcollagen tönen aus der Arbeit DIE TRÄGER von Michael Barthel, die,
zerteilt im Ausstellungsraum, aus vier Objektpaaren besteht.
Als fortw ährend wechselseitige Spiegelung ihrer Elemente arrangiert, kreist diese
neue Installation von Michael Barthel um die Möglichkeit der eigenen Verortung
in Sprache und Material.

Franziska Klose's work FORM refers to shapes and appearances of barricading 
material, the kind that is placed in front of doors and windows in order to protect 
abandoned buildings from vandalism.
Based on photographs, Klose creates wall pieces out of found materials since 2011 
by which she transforms those purely functional and provisional construction elements 
into autonomous, abstract objects.

In Michael Bathels new installation DIE TRAEGER (>the carriers), we can hear 
short voice collages. The work is spread across the exhibition rooms in four pairs 
of objects. All elements are arranged to permanently mirror each other, and thus 
continue the artists' exploration of speech and material placement – questioning 
localization of the self.

Zur Ausstellung erscheint die Edition
in einer Auflage von 20 Exemplaren, bestehend aus einer CD von Michael Barthel
und einem Heft von Franziska Klose. Sie ist während der Ausstellung erhältlich.

Michael Barthel (Leipzig)  – voice, tapes 

On Structure 
(New York City) – sound-centric performance duo

On Structure is a sound-centric performance duo featuring Jessie Marino and Natacha Diels.
New York based ensemble uses improvised and composed

Sounds {and the fluctuation of these sounds} to brew
Transferable art pieces which may 

Ravage the realms of the performer, audience or space itself.
Uncovering the hidden motions of sound, freeing 

Compositions from the fluorescence of the concert expectation. 


Use of lasers, wigs, electronics, cellosandflutes; 

Repurposing life experiences for music glitches and muscle twitches. 

Eclipse boundaries of the stage.


Pär Thörnvoice, tapes, radio
Jakob Riis – computer

D'incise & Jamie Drouin – objects and electronics



Frank Gratkowski (D) – alto saxophone, clarinet and bass clarinet
Markus Pesonen (D/FIN) – electric guitar and preparations

Philippe Lauzier
bass clarinet, soprano saxophone
Music of the album »Transparence« – Schraum album release.

Stian Omenaas
– trumpet and percussion
Are Lothe Kolbeinsen
– guitar and prepared guitar
Ulrik Ibsen Thorsrud
– drums and percussion


Yoann Durant / SEUL (Paris/FR, Stockholm/SE)
Solo – soprano & alto saxophones, custom-built tubes

Thea Farhadian
(San Francisco/USA)
Solo – Violin & interactive electronics

Emilio Gordoa
– vibraphone
Hannes Lingens – snare drum, percussion
Mike Majkowski
– double bass
Rishin Singh
– trombone


Rant (Berlin)
Merle Bennett
– percussion
Torsten Papenheim
– guitar
play their duo composition: »Uthlande«

Émilie Brisedou
– flute
Chloé Levy
– voice

Emmanuel Madan
spatial composition for objects and amplification


in cooperation with the Institute of Early Music, UdK
annual concert of UdK recorder class
directed by Susanne Fröhlich

The concert focusses on pieces located between music theatre and popular music –
not as a distinction line, but as a journey of discovery.
Opening with the playfull jazzy composition „When Shall the Sun Shine“ by
Paul Leenhouts, quoting well-known American songs, moving on to the
gestural-musical translation of an imaginary text by David Helbich. Could you
imagine a bigger contrast?
Besides pieces by Louis Andriessen, Leo Brouwer and Roderik de Man,
the program includes the music theatre miniature „Pico“ by Hans Joachim Hespos,
the breath-virtuosity of Moritz Eggert's „Außer Atem“ as well as the struggle with
demons in Maki Ishii's „Black Intention“.
The performers: Julia Andres, Luisa Jesse, Yeuntae Jung, Felix Mahr, Gineke Pranger,
Maren Schäfer, Maya Shenfeld, Christoph Stering and Achmed Zmero.



Burkhard Beins: percussion
Michael Renkel: acoustic guitar

Paul Leenhouts: When shall the sun shine (1981, for recorder quartet)

David Helbich: In Stein (2000. for recorder and guitar)
Hans Joachim Hespos: Pico (1978, for recorder solo)
Leo Brouwer: El Arpa el y la Sombra – Omaggio a Toru Takemitsu (1996, recorder solo)
Louis Andriessen: Ende (1981, for recorder solo)

Activity Center

Maki Ishii: Black Intention (1975, for recorder solo)
Roderik de Man: Kage (2000, for recorder and tape)
Michel Petrossian: Èn Èin anéin (1999, for soprano and recorder)
Moritz Eggert: Außer Atem (1994, for recorder solo)
ilski feat. Dr. π


Rudi Mahall: bass clarinet
Jan Roder: double bass
Olaf Rupp: acoustic guitar

Eric Wong (Hong Kong) : guitar & sound processing

 * * *

Cat Lamb (USA) : »Shade Gradient« for voice, viola and oscillators

Todd Capp (NYC) : percussion
Bryan Eubanks : soprano saxophone and electronics
Stephane Rives :  soprano saxophone

Tony Buck : percussion
Magda Mayas : electric piano

* * * 

Arturas Bumšteinas (Vilnius/LT) - recordings
Raminta Kurklietytė (Berlin/LT) - clay whistles

Performance of these two Lithuanian artists explore live and pre-recorded sounds 
of self made clay whistles paired with pure electronic tones and noise.

with kind support of: Cultural Attache of the Lithuanian Embassy in Germany


Antoine Mermet (Berlin/FR)
amplified mouth


Eric Ellingsen (Berlin/USA)
story poem performance


     Arturas Bumšteinas is Lithuanian composer / sound artist working in the fields of 
electro-acoustic and instrumental music, radio art, installations and experimental electronic 
music (under his Refusenik moniker). He is founding member of ensembles Quartet
Twentytwentyone, Works & Days, Zarasai and Wolumen. Since the year 2000 he collaborated 
with many international musicians and artists. His interdisciplinary projects were presented in 
dozens of exhibitions around Europe and festivals where his music and art projects were 
presented include The Holland Festival, Sensoralia / Romaeuropa, Angelica, Vilnius Jazz, 
Kody, Skanumezs, Cut & Splice. His music is published by labels such as Bolt, Cronica, Con-v, 
Sangoplasmo and others. In the year 2013 he was awarded “Palma Ars Acustica” prize for
radiophonic arts.
     Raminta Kurklietytė: Lithuanian-born multi-instrumentalist currently living in Berlin.
Raminta plays saxophone and various folk and self-made instruments in different stylistic
contexts. She also sings Lithuanian folk songs, plays with variety of alternative bands such as
Strange Loopz, Saulalė, Let it Spring, Die Sultaninen etc..  She also collaborates with theater
 directors providing musical accompaniment to their plays.
     Antoine Mermet uses saxophones, voice, laptop, improvisation, composition, production,
remixes, electric devices, fx pedals.
He studied classical saxophone, composition, electroacoustic and jazz in french schools
and conservatory (in Lyon and in the beautiful Beaujolais).
He played at Grrnd Zero (Lyon), Berghain (Berlin), la Fraternelle (Saint Claude),
Gaîté Lyrique (Paris), À Vaulx Jazz (Vaulx en Velin), Café de la Danse (Paris), Sonar (Barcelona),
Petit Festival des Dindes Folles (Rivolet), Cultures ElectroniK (Rennes), Amanita Muscaria
(Toulouse), Fort en Jazz (Francheville), Carrière de Normandoux (Tercé), DV1 Club (Lyon), 
and also in bars, caves, fields and appartments.
     Eric Ellingsen started a practice called SPECIES OF SPACE in 2009. He co-directs and
teaches in the Institut für Raumexperimente, UdK, Berlin, an experiment in art education
started by Olafur Eliasson. Eric has performed in the Serpentine Gallery, London; Palais
de Tokyo, Paris; NBK, Berlin; Frascati Theater, Amsterdam; Museum of Contemporary Art,
Chicago; LIFE IS SPACE, 2, 3, & 4 (Studio Olafur Eliasson), others.
He also combines lectures and performances within many art and architecture departments
such as the ETH in Zurich, Hochschule für Gestaltung und Kunst, Basel, Cornell in the US,
 University of Toronto in Toronto, others. Eric has published poetry and fiction in journals like
 CONJUNCTIONS on- line, Beloit, Nimrod, Colorado Review, PANK, Hobart, Spoon River,
 Requited, Kill Author, many others. He is finishing two books, PHANTOM BUILDER
with a Berlin press, and TRANSLATION WORKS with a press in Brooklyn.

* * *

Sound Quartet feat. Deadpixel
Thomas Bjelkeborn (SE) wii/gadgets/flute/laptop
Philippe Moenne-Loccoz (FR) gadgets/controllers/laptop
Viktor Zeidner
(SE) analogue visual


Emilie Girard-Charest
(Montréal/Canada) solo - cello

plays music by Maxime McKinley & Émilie Girard-Charest.


 Sarah Plum 
(USA) solo - violin / electronics


»Archipel Chagall 1« (1998)                                   
Sidney Corbett
    Selbstbildnis – Arietta
    Die Schrift
    Der Zirkus
    Der Fiedler und der Engel
    Der Abschied

»Jolie Sphinx« (2009)                                       
Christopher Adler

»(Dis)Appearances for violin and computer violin« (2003)*                                     
Matthew Burtner

»come ricordi come sogni come echi« (2012)*                                     
Christopher Burns 

New Piece **                                       
Charles Nichols
     For violin and performance gesture tracking system
     controlling interactive computer processing

New Piece **                                       
Laurie Schwartz

New Piece **                                       
Jeff Herriot
     For violin and electronics 

»Brechung« (2013)   
Philipp Ludwig Stangl     For violin, recorded sounds and video

                                    * european premiere
                             ** world premiere

Sarah Plum presents a program of music for violin alone and with live electronics.

On August 24th, Live at Quiet Cue American violinist Sarah Plum will invite the
audience to venture into the outer edges of contemporary music for violin, with a daring 
program titled “Parameters of Sound.”
Dedicated to music written in the past 5 years 
(with one exception), “Parameters of Sound” will bring forth two World First Performances 
and two European First Performances by composers including Christopher Adler, Christopher 
Burns, Matthew Burtner, Sidney Corbett, Philipp Ludwig Stangl and Laurie Schwartz. 
The array of works on offer– many of which were written for Plum – range from solo violin, 
violin with electronics, and duo for violin and cello, to a duo for acoustic violin and computer 
violin where Plum plays all parts.  

The genesis of this program is Plum’s long-term collaborative relationship with composer
Sidney Corbett.  They have been working together since Plum premiered Corbett’s  solo 
violin piece: Archipel Chagall I at the Landesmuseum Mainz in 1998. Plum recently released 
a CD called Absconditus of world premiere recordings of Sidney Corbett’s music for violin to 
critical acclaim – it has been called “flinty and stark yet atmospheric” by music web,  “ a gem”
by the American record guide and gramophone magazine said that it possessed “a wealth of 
colour and a surprising range of sounds  “.   Since this CD’s release Sarah has toured with an 
evolving program of new music containing many pieces written for her.  She has performed 
at many venues and festivals including Ankunft Neue Musik in Berlin, New York City’s 
Firehouse Space and Unruly Music in Milwaukee Wisconsin where  her performance was 
called “consistently stunning” in the press.

SQ (aka Sound Quartet) imaginary soundscapes, noisy electronic experimentalism, composed 
impro art of electrified sounds and images. It’s an ever changing gathering of electronic/acoustic 
musicians and visual artists in a joint search for new artistic crossroads and territories. The first 
initiative was from musicians Thomas Bjelkeborn (SE) and Philippe Moenne-Loccoz (FR) out 
of experimental research collaborations since 1992 at The Electronic Music Studio in Sweden and 
 Musique Inventives d’Annecy in France. The Sound Quartet perform in concerts with acoustic 
instruments, laptop, wii-controller, motioncontrol, neuroheadset, 3D navigator, gadgets, video 
and vj-ing. The pieces are performed in solo, duo, trio or quartet combinations and is created by 
Thomas Bjelkeborn (SE) and Philippe Moenne-Loccoz (FR) in collaboration with visual artists 
and musicians. A main part of the work for the ensemble is projects with various musicians that 
is associated to the quartet: Paul Pignon (UK), Frøya Dahlø (NO), Josep Lluise Galiana (ES), 
Gregorio Jimenez (ES), Johan Sundberg(SE) and Olle Åberg (SE). Also very important is the  
cooperation with Patrik Sandenor from the visual team Deadpixel. The following musicians 
have appared as guests at various concerts: Edith Alonso (ES), Julian Bonequi (MX), Nina de 
Heney (SE), Anthony Maubert (FR), Mark Pilkington (UK), Koray Tahiroglu (T) and Per Ålund 
(SE). The following have appeared as guest visual artists: Viktor Zeidner (SE) and Michael 
Larsson (SE) for Deadpixel. 

Cellist Emilie Girard-Charest stands out for her eclecticism. She is as involved with traditional 
classical music as she is with contemporary repertoires and interdisciplinary projects. She has 
been able to work with artists of every stripe, for example, with choreographer Andrew Tay, as 
well as the Instant, Éponyme and Émergence theatre companies, interdisciplinary artist Vicky 
Tansey, and publishers Poètes de Brousse. She has also worked with composers Frans Ben 
Callado, Jimmie Leblanc, Charles-Antoine Fréchette and Blaise Borboën-Léonard. With flautist 
Yuki Isami and harpsichordist Jean-Willy Kunz, in 2004 she founded the Allogène ensemble,
a group with varying forces dedicated to mainly Baroque and contemporary music, as well as
improvisation. Girard-Charest is continuing her education at the Montréal Conservatory under 
the supervision of Denis Brott.


Jason Kahn: percussion
Rishin Singh: trombone

Bryan Eubanks: electronics
Richard Kamerman: electronics

Burkhard Beins: percussion
Bertrand Denzler: tenor saxophone


Julia Andres – recorder
Julius Theo Helm – acoustic guitar
Music by Tomi Räisänen and Aziza Sadikova

Biliana Voutchkova – violin
Matthias Bauer – doublebass

Paul N Roth – alto saxophone
Hannes Lingens – snare drum, objects



Nils Ostendorf: trumpet
Chris Heenan: contrabass clarinet
Matthias Müller: trombone

The Schematics
The Schematics is a Swedish/American quartet based in Stockholm. 
The members met and continue to work in the Electronic Music Studio 
of Stockholm, and they are all involved in the city's improvised, electronic, 
and experimental music communities. Svenska Dagbladet (one of Sweden’s 
leading newspapers) rated The Schematics’ latest release, ‘Four Compositions’, 
five out of six. The review goes on to say ”The form is never manifested through 
melodies or rhythms, but in resonant and concentrated conditions. Neither are there 
any intrinsic direction, just a very strong and sensitive sense of now. This is what 
makes The Schematics so very special.”

Katt Hernandez (Stockholm/SWE / Boston/US)_violin
Erik Blennow Calälv (Stockholm/SWE)_bass clarinet
Daniel M Karlsson (Stockholm/SWE / Berlin)_guitar, electronics
Ludvig Elblaus (Stockholm/SWE)_electronics
With support from the Swedish Arts Council.

Trio Jung/Klein/Schoenegg
Fabian Jung: percussion, objects
Stefan Schoenegg: double bass
Yoshiko Klein: Paetzold contrabass recorder


 AnimalNacht is a project of four artists exploring the mimesis and play back of animal sounds,
exploring the unknown area between human, animalistic and artificial sounds. Trumpet & conch,
voice & birdcalls, synthetic sounds and field recordings create sound hybrids throughout multiple rooms.

Liz Allbee

Olaf Hochherz

Felicity Mangan

Ute Wassermann


Kayaka & Simon Whetham (JP/UK)
duo performance 'Oculto'
light / shadow / bass clarinet / field recordings / objects

Alexander Markvart (RU)
solo - guitar and live electronics

'bravura in the face of grief' (NO/DK)
Danielle Dahl: saxophones
Anders Vestergaard: drums

Lise-Lotte Norelius (SE)
solo - live electronics

Kayaka is an experimental/ noise/ electronica composer, live performer, born in Tokyo,
based in Europe (London, Berlin).  She plays electronic and acoustic (bass clarinet, drums,
bass guitar, gadgets …etc.) and has a unique, self-taught style of recording and composing.
Her music is sometimes called “sonic surrealism”, includes recordings of living sound.
Live sets are mostly improvised and different each time and she also collaborates with many
artists from all around the world.  She is a curator of an independent label, Pighole Records
since 2007, where she exposes hers and others’ experimental music containing some daily
things freely holding onto strong individual concepts.

Over the past eight years Simon Whetham has developed a practice of working with sound
recordings as a raw material for composition. These are often environmental sounds he has
captured employing a variety of methods and techniques, in order to obtain discreet or obscured
sonic phenomena.
In removing sound from it's source, sometimes amplifying it significantly, it becomes abstract –
familiar yet otherworldly.
More recently, when presenting work in a performance or installation, for him the space and
the objects within become instruments to be played.
​Simon has a large number of works published through many specialist organisations, including
Touch Music, Cronica, Dragon's Eye, Monochrome Vision and Entr'acte; has performed extensively
internationally; collaborated with artists from musicians to performance artists, painters to video
artists, dancers to poets; has run listening and field recording workshops in UK, Colombia, Chile
and Australia; and received a large number of commissions and awards for projects and installations
– notably 'Active Crossover'.

Alexander Markvart (born 1987 in Kemerovo) is an avant-garde musician, member of theater
projects and organizer of events and festivals. He uses in many projects and performances a wide
 range of musical instruments: as quite common - piano, guitar, accordion, saxophone, trumpet,
analog synthesizers, electric drums, flute, laptop, etc., and also various objects, wires, appliances,
etc. Stylistically he works in a lot of musical genres from radical free improvisation, noise,
hardcore, to well-structured projects, minimal techno and post-folk.
Founder of such polystylistic musical formations as Studio of Unconscious Music (SUM)
and Siberian Improvisation Company (SIC). Also in different years is a member of another 
experimental bands - Inorganic Blossoming, PSVSV, Cherubs, Importunate Twins, Sekta Phoenix.
Works and plays concerts in various projects with different musicians: Edyta Fil (Poland), Ilia
Belorukov, Sergei Letov, Nikolai Rubanov, Alexei Borisov, Léon (Switzerland), Plaistow
(Switzerland), Stefano Ferrian (Italy), Simone Quatrana (Italy), Gleb Uspensky, Boris Afanasyev,
Sergei Lavlinsky, Max Evstropov, Dmitri Smirnov, Stanislav Makovsky, Nikolai Chrust,
ByZero, St.Petersburg Improvisers Orchestra and others.
One of the founders of independent label / art group "Akt-Produkt".
Organizer of festivals and concerts in the Kemerovo. The most significant of which are the festival
of different arts "Theses", Night at the Museum of Fine Arts, theater festival "Oncoming Traffic".
 Site editor of

Bravura In The Face Of Grief plays improvised music, exploring textures and timbres with
a attentive presence and sensitivity to the sound and each other. Since 2009 BITFOG has been
performing at festivals and venues in Scandinavia and the rest of Europe – mainly as a duo but
also in collaborations with other improvisers. The duo recorded their debut album in October
2012, which is to be released in 2013.
Danielle Dahl (Saxophones)
Norwegian saxophone player and composer. Danielle is interested in the extremes of sonic
variations possible on the acoustic saxophone, combining subtle and minimal means of expression
with the aesthetics of noise and free jazz. Collaborations include: Toshi Nakamura, Jim Denley,
Espen Reinertsen, Bernd Klug and Daniel Lercher.
Anders Vestergaard (Drums)
Danish drummer based in Copenhagen mainly involved with improvised music of different kinds.
Exploration of sonority, texture, dynamics and rhythm is central to his approach to improvisation,
 as well as his combination of extended percussion techniques and traditional drumming. Anders
has worked with i.a.: Børre Mølstad, Maria Bertel, Niklas Adam, and Henrik Nørstebø.

Lise-Lotte Norelius, born 1961 in Kungsör (Sweden), electroacoustic composer / performer of
live-electronics and percussion. Percussionist since 25 years, with a background in trad. african
music, experimental rock, worldmusic and free improvisation. She played with various groups a.o.
Bitter Funeral Beer Band and Anitas Livs, where she during many years, developed a personal
sound with percussion and sampled sounds.



William 'Bilwa' Costa – laptop, electronics, raw materials
Klaus Janekdouble bass, laptop, electronics
Luca Marinipercussion, electronics
Nicolas Wieselive sound manipulation, non-laptop-electronics

P600 is an electro-acoustic quartet.

P600 experiments with a range of acoustic, electro-acoustic and acousmatic sound.
In addition to the large soundsystem, controlled by Nicolas, each musician has
a personal sound system. This allows for a micro-to-macro and audible-to-inaudible
sound dynamic.

The P600 is an event-related potential (ERP), or peak in electrical brain activity measured by 
electroencephalography (EEG). It is a language-relevant ERP and is thought to be elicited by 
hearing or reading grammatical errors and other syntactic anomalies. Therefore, it is a common 
topic of study in neurolinguistic experiments investigating sentence processing in the human brain.

The P600 can be elicited in both visual (reading) and auditory (listening) experiments, and is 

characterized as a positive-going deflection with an onset around 500 milliseconds after the stimulus 
that elicits it; it often reaches its peak around 600 milliseconds after presentation of the stimulus 
(hence its name), and lasts several hundred milliseconds. In other words, in the EEG waveform it is 
a large peak in the positive direction, which starts around 500 milliseconds after the subject sees or 
hears a stimulus. The P600 was first reported by Lee Osterhout and Phillip Holcomb in 1992. 
It is also sometimes called the Syntactic Positive Shift (SPS), since it has a positive polarity and 
is usually elicited by syntactic phenomena.


Britta Pudelkomovement
Thomas Gerwin prepared banjo

is a acoustic-kinetic duo from Berlin.

They are also working together with Ingo Reulecke in the trio BIT.


Pierce Warnecke (US/FR/DE) – live electronics, speaker array, installation

Nothing is connected, everything is isolated.
Beginning with all objects exposed in their most reduced state, the piece develops as cable and
device connections are made by the performer. ‘Variations” uses electrical hums and various types
of feedback (room, mixer, computer) to build improvised layers of drone and noise, broken by
field recordings and realtime object manipulations processed via custom software.

Valerie Kuehne (Brooklyn, NY) – cello, voice, objects

Valerie Kuehne is a cross-pollinated work of chaos. Fusing together music, performance art,
narrative, and experimental curation, she has been told that, "if this music thing doesn’t work out,
she’d probably make an awesome cult leader." (Boston Public Space).
After moving to New York to study Philosophy at The New School, Ms. Kuehne has systematically
bifurcated her time between touring the planet, performing in as many unexpected settings as
possible, and building a community for experimental music and performance art in New York.
Her series, The Super Coda, is an experimental cabaret that has united electrifying performers
5 years running.
Ms. Kuehne’s work operates under principles of surprise, and investigates obsession, comedy,
decay, forensic pathology, sex, hypnogogia, viscera, death.

Lars Åkerlund
(SWE) – electroacoustic music

Born in 1953, Lars Åkerlund studied composition at New Music and developed electronic music
at Stockholm's EMS (Electronic Music Studio). In the late 80s he formed the proto-Techno trio
Lucky People Centre and has spent much of the past two decades writing music for high profile
choreographic and film projects in Sweden.
"The electronic sounds of Lars Åkerlund crunches irascibly, sparkles and vibrates like under a
high voltage wire. Suggestive, changing and impossible to withdraw from."
L.H. Sveningson / Göteborgsposten


Marcello Busato - Drums
Chris Abrahams - Dx7
Arthur Rother - Guitar
Andrea Ermke - Mini discs & Mixing board

Antez & Seiji Morimoto
Duo - Percussion / Objects / Electronics

Sean Ali - Double Bass
Pascal Niggenkemper - Double Bass

Sink was formed in 2004 in berlin. Though the music is improvised, Sink play, perform,
sound and feel as a band with a distinct band sound. Their sound ranges from Berlin-typical
echtzeitmusik related sound scapes which can, but need not, result in a minimalistic groove.
Sink have contributed a track on the 2 disc compilation album "Special Berlin Issue" on the
label Improvised Music from Japan. They are busy mixing new recordings and are planning
to release those.

Antez is a percussionist is a sculptor who explores the sound matter by interviewing the 
physical perception of sound. He call his instruments a device, he diverts the objects of their use.
He studied drums with the musician Jacques Givry, electroacoustic music with composer Xavier
Garcia. It play improvisation and offers sound installations, he has worked in theater, dance, film...
Nominated "Logos Award" for the best concert 2012, winner of Belluard Bolwerk International 

contest 2002.
Antez played in the bands: Art moulu, La Cellule d'Intervention Metamkine, A contrario...
Cie: Abîme, La Sallie, Ile désirée.
Musicians: Yann Gourdon, Seijiro Murayama, Tim Hodgkinson, Joris Ruhl, Jérôme Noëtinger...

Seiji Morimoto born in Tokyo 1971, studied musicology at the Kunitachi College of Music, 
graduating in 1996. During this period he began to play sound performances and create sound 
installations.In 2003 Morimoto moved to Berlin, has performed and exhibited in many international 
festivals in Japan and Europa. He is interested in the uncertain acoustic appearances between usual 
objects, for example water and stones, and the technical medium.

PascAli is a contrabass duo featuring Sean Ali and Pascal Niggenkemper that is dedicated to
exploring the terra incognita of music, sound and improvisation. The “prepared” bass is a central
theme and method of PascAli’s music. Augmenting their instruments with kitchenware, aluminum
cans, balloons, mallets, lampshades, and almost any other kind of found object imaginable, PascAli
creates entire worlds and soundscapes out of the noises their basses produce in this altered state.
This unique bass duo, unique even among the tiny world of bass duos, makes music that ranges
from serene contemplation to manic frenzy, invoking the sounds of space and stillness on the one
hand and visceral percussiveness on the other. Liberating the bass from its traditional role as an
accompaniment instrument, PascAli brings the bass into the foreground with a tireless mission
discovering and unlocking new vistas of sonic and aural experience.


Antje Vowinckel & Hilary Jeffery
duo – organ/objects and trombone

Christoph Funabashiguitars & objects
plays John Zorn’s “The Book of Heads”


Antje Vowinckel is a sound artist, radio artist and performer. 
She creates radioplays and sound art sompositions for a variety 
of public radio stations such as WDR Studio Akustische Kunst,  
DRadio, SWR, BR, NDR. Her piece Call me yesterday has been
 broadcasted  in fifteen countries. Works have also been presented 
on various festivals e.g. ZKM Karlsruhe, Biennale Bonn, Prix Italia, 
Festival Alicante, Prix Europa, Goethe-Institut Lissabon, Hammer 
Museum Los Angeles. In recent years, she has also created  musical 
live performances e.g. organ and objects.
Her focus  in radio art is on the musicality of the spoken word; language 

improvisation (speakviews)  and composition with dialects. She has been 
awarded with Karl-Sczuka-Förderpreis, Plopp-Award, Prix Europa, 
ZKM-award „Ferrari recouté“,  Ars Acoustica Award of RNE Madrid 
and was artist in residence in Los Angeles, Rom, Paris. After the concert  
she is going to Nodar/Portugal for a concert performance.

Hilary Jeffery is a composer and trombonist, based in Amsterdam 
and Berlin. As a trombone player Hilary is known for his genre-bending 
abilities, crossing between different styles and areas of music including 
contemporary avant-garde (Ensemble Hiatus, zeitkratzer, The Barton 
Workshop), rock, techno and electronica (Germ, Sand, Mount Fuji 
Doomjazz Corporation), jazz, funk and pop (Franz Hautzinger’s Third 
Eye, High Birds, Jimi Tenor), improvised music and free jazz (EARR 
Ensemble, Splitter Orchester, Apa Ini and countless ad hoc groups).
Music has been Hilary’s main activity since 1990 which started with a 
journey to the Sahara Desert, accompanied by a trombone. This journey 
and the sense of silent-space experienced there has been a continuous 
influence on his work ever since. Since 2005 he began to express this 
clearly with a new group called Lysn which plays music for inner-space, 
composed using new notations, unusual instrumentation, drones and live 
electronics. Hilary has received several composition commissions 
including pieces for Slagwerk Den Haag, David Kweksilber Big Band, 
GRM Acousmonium, Lysn and Apa Ini.
His contribution to music is available in different settings on various 

labels including Aquarellist, Col Legno, FMR, Dilemma Records, 
Important Records, New World Records, Soul Jazz Records and Sub Rosa.

Christoph Funabashi has been playing 
John Zorn’s “The Book of Heads“ 
for a few years now and his complete recording of this set of 35 etudes 
for solo guitar has just recently been released on the label schraum
He will present a selection of these challenging pieces which make use 
of a great variety of playing techniques and preparations as well as 
Zorn-typical jump-cuts through all kinds of genres. In his performance
he seeks for a balance between an accurate interpretation and the 
improvisational freedom demanded by Zorn. 


Nora Krahlcello 
Sidney Corbettguitar
Jason Levispercussion
Margarethe Meierhofer-Lischkadouble bass 
Daniela Petrydouble bass

ANSGAR WILKEN – cello and pedal

RISHIN SINGH – objects
"until at last Ares, whose interests were threatened, came hurrying up,
set him free, and delivered Sisyphus into his clutches"


ADACHI Tomomi (Japan)
voice / electronics
Annette Krebs (Berlin)
electronics / guitar


Maria Horn (Sweden/Berlin) – electronics


Johannes Bergmark (Stockholm)
amplified objects
Pär Thörn (Sweden/Berlin)
tape recorders, radio, objects

ADACHI Tomomi is performer, composer, sound poet, installation artist, occasional
theater director. He studied philosophy and aesthetics at Waseda University in Tokyo. He has
played improvised music with voice, live electronics and self-made instruments. He had composed
works for his own group "Adachi Tomomi Royal Chorus" which is a punk-style choir. He has
performed contemporary music: vocal, live-electronics or performance works by John Cage,
Cornelius Cardew, Christian Wolff, Tom Johnson, Dieter Schnebel, TAKAHASHI Yuji, YUASA
Joji and Fluxus including world premier and Japan premier as Cage’s “Variations VII,” “Europera
5,” and “Waterwalk”. He is the only performer of sound poetry in Japan and has performed Kurt
Schwitters' "Ursonate" for the first time in Japan. He has made several sound installations and
original instruments (e.g."Tomomin", his hand made electric instrument is familiar with many
Annette Krebs works within the field of electroacoustic music, combining tones, noises,
field-recordings and recordings of words. Like in an acoustic collage, fragments of language are
integrated as musical materials with tonal and rhythmic abstract instrumental sounds, noises and
Maria Horns music endures a dreamlike state both gloomy and agressive. Sculpted out of
the raw building blocks of electronic music, her music is sparkled by an elaborating approach
pushing boundaries from one extreme to another. Her music has an intimacy running through it
and can be described as a collision between painfully slow changing clusters and digital punk.
Johannes Bergmark: from Stockholm, specializing in amplified objects in improvised
music. Experimental musical instrument builder, electroacoustic- and text-sound composer, piano
technician. Makes sound sculptures/-installations/-environments, performance art, lectures, makes
pedagogical projects and workshops.
Pär Thörn is a writer, conceptual artist and musician currently active in Berlin. In his books
he mostly works with ready mades, conceptual frameworks and meta poetical investigations.
As a musician he performs with radio, prepared speakers and tape recorders. A practice where he
emphasizes the mechanical aspects of the technology and the unpredictableness of the radio.
He has performed with among others Axel Dörner, Keith Rowe, Leif Elggren and Lina Selander.


Burkhard Beins Re-Make/Re-Module  I

20:00  Vernissage
Sound Installations: »Sekante« (2007) – »Modulation I« (2013)
20:30 Live-Performance »POR« (2001) by Burkhard Beins
21:00 Live-Remix-Solo by Valerio Tricoli 

Burkhard Beins Re-Make/Re-Module  II

Sound Installations: »Sekante« (2007) – »Modulation I« (2013)
free admission

Burkhard Beins Re-Make/Re-Module  III

20:00  Finissage
Sound Installations: »Sekante« (2007) – »Modulation I« (2013)
20:30 Live-Performance »POR« (2001) by Burkhard Beins
21:00 Live-Remix-Solo by Penelopex

gefördert von der initiative neue musik berlin e.v.

Making use of all three rooms as well as the long corridor of the Quiet Cue venue,  
Burkhard Beins' Re-Make/Re-Module juxtaposes his newly conceived sound
installation Modulation I with his former installation Sekante.
Both works are based on the principle of strings spanned across the room which are
then fixed to resonators and excited by electric propellers. On the opening and closing
events Beins will perform his earlier hand-played version POR, from which both
installations were derived. Furthermore, invited sound artists Valerio Tricoli and  
Penelopex will perform live-remix versions, each filtering the sonic material of
Sekante, Modulation I and POR through their personal lens.


Naomi Hennig (Berlin) – new video installation
Vast Schemes
Landschaft ohne Menschen \ landscape without humans

Die Highland Clearances, die systematische Vertreibung der ländlichen Bevölkerung aus dem Norden
Schottlands, gehören zu den bei Marx beschriebenen Unrechts-Episoden der früh-kapitalistischen
gesellschaftlichen Umwälzung. Fragmente lange vergangener Landnutzung verbleiben hier und da im
ungestört-romantischen Panorama. Die Sprache der vor Jahrhunderten dezimierten Galen aber ist ein
Gespenst, das wieder zum Leben erwacht, im Europa der vielen Identitäten.

Die Recherche verknüpft unterschiedliche Aspekte dieser Geschichte, wir stellen fest:
ein bearbeitetes Land wird niemals eine Landschaft sein.


Jonas Kocher  &  Gaudenz Badrutt (Switzerland) – accordion and electronics

Mit freundlicher Unterstützung von Pro Helvetia, schweizer Kulturstiftung und Kanton Bern 

Noid (Vienna) & Michael Vorfeld (Berlin)
cello and percussion


Nathan Bontrager (Cologne/USA) –
cello and voice solo


Mike Majkowski (Berlin/Australia) & Morten J. Olsen (Berlin/Norway)
double bass and rotating bass drum

Ingólfur Vilhjálmsson (Berlin/Iceland) &  Brian McKenna (Amsterdam/CAN) –
bass clarinet and video

Klaus Janek (Berlin) & Bryan Eubanks (USA) –
double bass and electronics

Ingólfur Vilhjálmsson clarinetist was born in Iceland and lives in Berlin. He studied in Amsterdam
with Herman Braune, Harmen de Boer and on bass clarinet with Harry Sparnaay and Eric van
Deuren. He has a great preference for the bass clarinet which he performs regularly also as a solo
instrument. He received a scholarship as a member of the Ensemble Modern Academy 2006-2007.
Ingólfur is a member of Adapter ensemble, (Berlin) and his other chamber activities include Duo
Plus with accordionist Andrea Kiefer and also a duo with percussionist Tobias Guttmann (Duo
He has worked with many composers of his generation and given concerts in Germany, Holland,
Finland and Iceland, including in festivals like, März Musik (Berlin), Invention (Berlin), Dark Music
 Days, Frum- (Reykjavík) and De Suite (Amsterdam). Ingólfur has worked with known composers
such as Hosokawa and with Lachenmann on his avant-garde landmark piece Dal niente. His playing
has been recorded by the WDR, The Icelandic Radio and the Hessische Rundfunk.
Brian McKenna studied visual art and music in Lethbridge and Amsterdam where he lives and works.
Mike Majkowski is a double bassist / composer / person born in sydney, australia, 1983.
Active in the fields of jazz, improvised, and composed music as a performer, collaborator and
organiser since 2001. works as a soloist + with a number of collaborative projects.
Focusing on the development of a spectral music for double bass in which particular high-speed
physical actions are used to generate independent sine-tone-like harmonic layers - with the aim of
creating a sense of stillness. the music explores the relationship and contrast between physicality
and sonority.
Morten J. Olsen is a musician, sometimes composing - once in a blue moon involved in other arts.
Born in Stavanger, Norway in 1981. He has lived 5 years in Amsterdam and is since 2006 based in
Berlin. He works with an array of international figures and is a member of many bands.
"Rhythms are relations between what you believe and what you used to believe."
Bryan Eubanks
(b. 1977, WA.) is a musician primarily active within the traditions of experimental and live electronic
 music. He works with unstable instruments that incorporate open-circuits, samplers, radio
transmission, feedback, digital synthesis, the soprano saxophone, and other acoustic instruments.
His compositions and installations involve practical research into computer music, generative
composition, electronics, and sound localization in an effort to bring into being situations that
examine transformations in the perception of sonic space/time.
Klaus Janek
born 1969, in Bolzano Italy, studies classical doublebass with M. Muraro, attends workshops with
D.Holland, P.Kowald. L.Butch Morris, Jaribu Shahid.
Explores experimenal music and works on sound research on the acoustic and processed doublebass.
Works on the extension of music vocabulary in creation and perception. Composes music for tv,
dancetheatre and a houseopera, soundcreation for Meta Design, Berlin. Concert and festival
appearances in EU, USA, Russia, Israel, Canada, China, Malysia and Japan.



Daniel M Karlsson (Berlin/Stockholm) - »Ruins in the distance« solo set; computer music

Gerald Fiebig (Augsburg) - »Herbstblätter I«
Electroacoustic composition based on texts and voice by Michael Herbst

Heidrun Schramm & Nicolas Wiese (Berlin) - duo set; concert installation / spatial performance


Christian Kesten – solo vocal pieces

Gabriel Dharmoo (Montréal) – solo vocal improvisation

Stefan Roigk – lecture-collage performance


Annette Krebs - »Lumina« for bass clarinet, guitar and electronics.
Ricardo Tejero: Bass clarinet
Annette Krebs: guitar / electronics

Nils Ostendorf / Louis Laurain - trumpet duo

William "Bilwa" Costa
- sound
Emily Sweeney - movement
Stina Nilsson - movement
Sheri Burt - movement



 is a research platform based in Berlin & Mexico City exploring topics related with
irritation, data corruption, propaganda, design, hidden signals amplification and psycho-acoustics.
An ongoing collaboration between Mario de Vega (MX/D) and Victor Mazón Gardoqui (ES/D) which
includes electronic devices production and design, workshops, site-interventions and publications in
different formats.

A4 is a compendium of works archived in a memory card placed inside a beton block.
Edition of 25. Beton w/silkscreen, 210x297x40 mm, 6 Kg, 4 Gb.

Performances at 8PM: 
Victor Mazón Gardoqui solo, Mario de Vega solo


Burkhard Beins
»POR« (concert installation, 2000)

Tom Rojo Poller
"Sprechmaschine|Urgeräusch" for transducers and voice samples (2012, UA)

Claudio Rocchetti (Berlin/IT) - dusty analogue devices

Korhan Erel (Istanbul) - computer
Gülsah Erol (Istanbul) - cello
Gunnar Lettow (Hamburg) - electric bass, objects, electronics



Maria Norseth Garli (Norway) - voice

PIRX (Germany)
Marion Wörle - laptop 
Maciej Sledziecki - guitar

D'incise (Switzerland)
Julian Bonequi (Mexico/Berlin)
Rodolphe Loubatière (France)
percussion and amplified objects


Konzert Minimal presents 
2008 (2) from 'Found Words' series by
Manfred Werder
Johnny Chang
Hannes Lingens
Koen Nutters
Manfred Werder

Isak Edberg (Stockholm/SWE)_live electronics
Mats Erlandsson (Stockholm/SWE)_live electronics
Victor Lisinski (Stockholm/SWE)_balinese gamelan instruments, live electronics

Edberg/Erlandsson/Lisinski are exploring ways of blurring the boundaries
between composition and improvisation.



Brad Henkel (New York City) - Trumpet
Miako Klein (Berlin) - Recorders
Audrey Chen (Berlin) - Cello, Voice 

Heather Frasch (Berlin/USA) - Flute
Max Murray (CAN) - Tuba

dak~ [dak.tilde]  

glamorous noise // digital wonky-free-jazz // live-electronic

David Borges - Samples, processing
Damian Marhulets - Electronic percussion
Kostia Rapoport - Keys


Burkhard Beins performs POR (concert installation, 2000)

Hannes Lingens solo: snare drum and objects

Hui-Chun Lin (Taiwan/Berlin)_cello
(Belgium/Berlin)_live electronics


Burkhard Beins, born 1964 in Lower Saxony, lives in Berlin since 1995.
As a composer/performer, working in the non-academic fields of experimental music,
he is known for his widely abstracted use of percussion instruments in combination with
selected objects. Since the late 1980's he is performing at internationally renowned venues
and festivals throughout Europe, North America, Australia/NZ and Asia.

Hannes Lingens is an improvisor/composer on drums and accordion. Born in Hamburg
in 1980, he studied drums with Michael Griener and Guenter Baby Sommer in Dresden
before moving to Berlin in 2006.
His interest in various forms of exploratory music gave him the opportunity to work
with such diverse artists as Tetuzi Akiyama, Sven-Ake Johansson, Christof Kurzmann,
Olaf Rupp or Matthias Schubert.
He has performed in internationally renowned festivals and venues throughout Europe,
Japan, Israel and the USA.

C-drík (aka Kirdec) is a vegan artist, academically trained musician, dj, singer, composer
and drummer. He is a former student of electro-acoustic composer Annette Vande Gorne.
Of Greek, Zairian and Belgian descent, born in Congo (former Zaire) C-drík grew up in
Belgium and also lived in the Netherlands. He is an eternal voyager and performed in
numerous countries across North America, Europe, the Middle-East, Africa and Asia.
He started his first project in 1989 and juggles in between many projects and
electronic genres.
Hui-Chun Lin, born 1979 in Taiwan -- Classical piano and cello education --
Studied with Professor Peter Bruns at Dresden Conservatory -- Postgraduate studies in
improvisation with Tilo Augsten at the University of Music and Theatre Leipzig -- Worked
as solo cellist and ensemble musician -- Improvisation, theatre music, contemporary music,
dance performance, classical music, world music and cello solo with live electronics.


Andrea Pensado
solo_digital electronics, voices

Alessandra Eramo (Berlin/IT)
solo_analog electronics, field recordings, voices

Andreas Stoiber (Berlin) solo_no input mixer

Antoine Chessex (Berlin/CH) solo_saxophone

Berlin-based Italian sound artist and performer Alessandra Eramo will present her intuitive,
non-narrative musique concrète collage, to move beyond the sound into the more visceral layers
of poetic expression. With distinctive vocalisations, lautpoesie eruptions and dynamic use of
analogue electronics, she investigates sound and its relationship to real and imaginary
territories, challenging concepts like “identity”, “intimacy/fragility”, “unexpected/unknown”,
therefore the concept of “noise”.

Andrea Pensado works with sound as a performer, composer and teacher. She has been
using digital media and live interactive musical systems since 1995. She studied in Argentina
and Poland where she graduated with honors in Composing. At first, she composed mainly
for acoustic instruments. However, she gradually felt more attracted by different sound realms.
Today, the abrasive digital noise of her improvisations is far away from her earlier pieces.
Harsh dense layers of sounds, often interwoven with her voice, combine hybrid synthesis
and sampling techniques to create a highly personal sound language, which reflects an
intuitive, emotional and paradoxically also logical approach to music making.
She currently lives in the US.

Antoine Chessex is a swiss composer, saxophone player and experimental musician born
in 1980 in Vevey. His sonic researches include compositions for ensembles, solo works,
transdisciplinary collaborations and sound installations. Chessex´s works are based on the
exploration of the physicality of sounds and spaces.
His solo works feature dense layers of sustained pitches reacting with the architecture of the
space or massive clouds of amplified sax resulting in intense live actions in total immersion in
the sound. He presents his works worldwide and appears at numerous international venues
and festivals in the United States, Japan, China, Russia and all around Europe.

Andreas Stoiber aka. Krach:

... let me be your music industry! ...

... because technological devices are part of our nature ...

... hot hot hot ...

... yeah ...


Cia Rinne (Berlin/SWE) – voice
»notes for soloists« and other works

Michael Barthel (Leipzig) – voice & tapes

Adam Asnan & Gregory Buettner (London/Hamburg)
electroacoustic duo

Cia Rinne (Gothenburg 1973) writes visual poetry and conceptual pieces using
different languages that she performs, at times incorporating her texts into exhibitions,
most recently in her solo show at the Grimmuseum Berlin (2012). Her publications
include zaroum (2001), the online work archives zaroum, notes for soloists (OEI Editör,
Stockholm 2009), and the sound work sounds for soloists (in collaboration with Sebastian
Eskildsen, 2012). Cia will read the notes for soloists and new works.

In Michael Barthel's Arbeiten ist die Verortung Thema: Schutz, Zuflucht, Heimat –
die Möglichkeiten, die diesen Begriffen eingeschrieben sein wollen. In seinen Performances
ist es die Sprache die diese Möglichkeiten umkreist, berührt und stockt. Deckung sucht und
sich selbst überläßt - mit sich, ein Chor.

Adam Asnan is a London based composer-performer of musique concrète, acquiring
an MA under the supervision of Denis Smalley in 2009.
Adam's work promotes the aesthetic potential of fixed (recorded), amplified sound, and
the instabilities of a format; the auditory 'image' subject to intervention, or the whims
of its artifice.
Gregory Buettner lives and works as a musician and artist in Hamburg. Since 2000
his main focus is on sound art and electroacoustic compositions. He performed at several
festivals and concert series in Europe and China, composed music for dance and performance,
radio, video and sound installations. In 2004 he launched his label 1000füssler which releases
experimental music in small editions.


Joke Lanz & Olaf Rupp (Berlin) – turntables and acoustic guitar

Jetzmann (Hamburg) – electronics and electric guitar

Joke Lanz (b. 1965 in Basel) is one of the most prolific and profound artists working
in the border zones where performance and body art meet Improvisation and Noise.
In his Sudden Infant guise, Lanz creates a unique blend of physical sound poetry and
epileptic noise bursts, using contact microphones, loops, tapes etc. The result is an
extreme form of musique concrète that juxtaposes spasmodic gibbering with a battery
of disorienting electronics.
Olaf Rupp started at the age of twelve as an autodidact to play what might be called
today Improvised Music. His way of holding the guitar in an upright position is inspired
by chinese Pipa players. He refined some playing techniques like rasgueados, arpeggios
and tremolos in such a way that they can be used for overtone and cluster effects to create
new, 'virtual' sounds. He sometimes describes his music as 'analog granular synthesis' or
'sonic pointillism' because the intrinsic colour of every note or a group or notes is more
important than the melodic or harmonic burden we may or may not put on them.
He played among others with Lol Coxhill, Michael Wertmüller, John Zorn, Paul Lovens,
Joe Williamson, Butch Morris und Tony Buck.

Jetzmann: Producing non-academic electronic music and music for modern dance
(choreographers and dancers: Jenny Beyer, Anja Müller, Chris Leuenberger,
Begüm Erciyas). Coproducing radio show 'Radio Gagarin' (Makramée-Gruppe),
FSK Hamburg, together with Asmus Tietchens.
Former bands: Blue Kremlin, Die Erde, Kriechkeller, Rossburger Report, Pankow (Italy),
Mastino, Jetzmann/Liquidski, Audiotubbies, Modernste Technik.


Quiet Cue #092 – Solo Exhibition:

Israel Martínez (Mexico)

»Private, public and some impositions«
(video, sound, mixed media)

opening: Saturday, July 28th, 5PM
open on July 29th and 30th, 2-7PM

The work of Israel Martínez (Mexico 1979) has been developed in a wide range of
proposals and using various media, aiming to generate a reflection on the relationship
between sound, music and society. In the mid-nineties he began writing for underground
fanzines in Mexico, since then he has gone through various territories such as creating
music at the intersection of electroacoustic, experimental music, field recording, spatiality,
time, silence and imagery, summarizing it in what some critics and curators have been
described as “visual music”. But he has also made ​​audio works without a musical language:
video installations, site specific projects, actions, interventions, graphic works through
photography, typing, photocopying, and some other media.

In Public, private and other impositions Martínez questions the thin line between
private habits and public activities. Where does the individual and intimate end? Where
does the collective start? When is a public action illegal? Is society ready to resume the
coexistence in common areas or does it live in a kind of isolation? In a country like Mexico,
it is difficult to distinguish this due to the hectic daily dynamics, lack of respect for privacy
and physical space of the people, corruption and, often, disinterest or apathy of the same
society for asserting its rights and respect others.

Quiet Cue is happy to present Israel Martínez' first solo exhibition in Europe.
After the (early!) opening on 28th, there will be an immersive live concert by Martínez
plus electroacoustic concerts by other international artists. Also the finissage on the 30th
will be joined by renowned live acts.

Israel Martínez (Mexico) – electroacoustic solo set

Mario Verandi (Berlin/Argentina) – »Effected« for Bombo legüero
( and live electronics


Tomomi Adachi & Jennifer Walshe (Japan/UK) – voice & electronics duo
Panos Ghikas & Jennifer Walshe (UK) – voice & electronics duo
Damian Marhulets (Hannover/Belarus) »displaced meanings« for turntable and electronics

Mario Verandi is an Argentinean born composer, sound and media artist.
He primarily works with new technologies as an aid to exploring and expanding
the boundaries of sound, space, perception and meaning. A distinct characteristic
of his work is the exploration of the poetic and evocative potential of concrete and
environmental sounds and their incorporation in sound compositions, audiovisual
installations, live performances and radio art pieces.
His works have received prizes and awards in the Prix Ars Electronica Awards (Linz),
European Bell Days Composition Prize (ZKM, Karlsruhe), Bourges International
Electroacoustic Music Competitione (France), Stockholm Electronic Art Awards
(Sweden), Musica Nova Competition (Prague), CIEJ Electronic Music Awards
(Barcelona) and SGAE Electroacoustic Music Competition (Spain).

ADACHI Tomomi (family name is ADACHI), born in Kanazawa, Japan in 1972,
is performer, composer, sound poet, installation artist, occasional theater director.
He studied philosophy and aesthetics at Waseda University in Tokyo. He has played
improvised music with voice, live electronics and self-made instruments. He had composed
works for his own group "Adachi Tomomi Royal Chorus" which is a punk-style choir. He has
performed contemporary music: vocal, live-electronics or performance works by John Cage,
Cornelius Cardew, Christian Wolff, Tom Johnson, Dieter Schnebel, TAKAHASHI Yuji,
YUASA Joji and Fluxus including world premier and Japan premier as Cage’s “Variations
VII,” “Europera 5,” and “Waterwalk”. He is the only performer of sound poetry in Japan
and has performed Kurt Schwitters' "Ursonate" for the first time in Japan. He has made
several sound installations and original instruments (e.g."Tomomin", his hand made electric
instrument is familiar with many musicians). In the field of theater music, he has collaborated
with some experimental theaters and dancers.He also has organized many concerts which picks
up experimental music, sound art, collaboration work and inter-disciplinary performance in
Japan and Germany, include concerts for Chris Mann, Trevor Wishart, Nicolas Collins and
STEIM in Japan.
Recently, he is focusing his activities on solo performance (with voice, sensors, computer,
self-made instruments), sound poetry (especially to the unknown great Japanese sound poetry
tradition), video installation and workshop style big ensemble with non-professional voices and
instruments. Currently living in Berlin.

Jennifer Walshe is a composer, performer and visual artist of whom the Irish Times has
said that "without a doubt, hers is the most original compositional voice to emerge in Ireland in
the last 20 years”. She studied composition at the Royal Scottish Academy of Music and Drama
and at Northwestern University, Chicago, graduating with a doctoral degree in composition in
2002. A winner of the Kranichsteiner Musikpreis at the Internationale Ferienkurse für Neue
Musik in Darmstadt, Germany in 2000, she returned to the Ferienkurse in July 2002 to lecture
in composition. She was a fellow of the Akademie Schloss Solitude, Stuttgart between 2003 and
2004, and from 2004-05 she lived in Berlin as a guest of the DAAD Berliner Künstlerprogramm.
In 2007 she was awarded a grant from the Foundation for Contemporary Arts, New York and in
2008 received the Praetorius Music Prize for Composition by the Niedersächsisches
Ministerium für Wissenschaft und Kultur.
Jennifer Walshe also frequently performs as a vocalist, specialising in extended techniques, and
many of her recent compositions use her voice in conjunction with other instruments. She is also
active as an improviser, performing regularly with musicians in Europe and the USA. Her music
has been performed and broadcast worldwide and she has received commissions from most of
the major European new music festivals.

Panos Ghikas, born 1972 in Athens, Greece is a part-time composition lecturer at
Goldsmiths College, University of London, where he has also completed his PhD in
Composition. He has a Masters in Composition for Film from the London College of Music
and Media and a degree in Physics from the University of Patras, Greece.
He writes music for a variety of arts and media, is a member of surrealist post-pop band The
Chap, a member of new music collective Migrant Sound plays the violin in free-improvisation
group rest and sudden rectum and has been a member of the now defunct Bohman Expanded
His current compositional focus is on applying structures that derive from extra-musical art
forms (poetry/metrics, film/montage) upon a "self-referential" musical material. His works
have received performances in the UK, Germany, Belgium, Greece and Mexico.

Damian Marhulets was born in Minsk in 1980. His musical education has been developing
through playing oboe and piano towards composition and electroacoustic music, that he studied
in Hanover and Cologne. He is a founder and participant of many musical projects spanning
contemporary classical music to live-electronic improvisation, glamourous noise and perverse
pøp. His major interest lies in anti-logocentric territories of sound and anarchitecture of music
data. Damian performed worldwide including Beethovenfest in Bonn, Music Triennale Cologne
and “New Talents” Art Biennale Cologne (Germany), Philharmonic Hall, Essen; ZKM,
Karlsruhe; STEIM, Amsterdam; “Re:New” Digital Art Festival in Copenhagen, “Music21″
Contemporary Music Festival and “Ex.Tempore” Festival for improvised music in Hanover
(Germany), “10Ms” Microsound Music Festival and “PlayWithFire” video art Festival in New
York as well as other music festivals and DJ clubs.
He presented his audio-visual pieces at galleries and museums like Kestnergesellschaft Gallery
(Hanover), Sprengel Museum (Hanover), Art Center (Berlin), Kunstsaele Gallery (Berlin),
Diapason Sound Art Gallery (NY), DAVID vzw Gallery (Ghent) and Gallery Robert Drees



»Floating Rooms At Quiet Cue«

Kristine Marx (NYC) - Video
Maria & Natalia Petschatnikov (Berlin/RU) - Objects, Paintings
Nicolas Wiese (Berlin/DE) - Sound

opening: 8th June, 19h
open on 9th and 10th: 14-19h

Finissage concert; June 10th, 8.15
Jim Campbell aka. the preterite (Berlin/USA) – cassette scratch orchestra
Seiji Morimoto & Nicolas Wiese duo (Berlin/JP/DE)

Quiet Cue is pleased to present the first exhibition in the new expanded space.
The show Floating Rooms at Quiet Cue is a cooperation in the best sense:
Individual artists separately developing works in different media to be brought together
and to relate to each other, following a common idea – given physical spaces
being transformed into spaces of memory, association, imagination, and fiction.

While video artist Kristine Marx (NYC) utilizes still images of the Quiet Cue rooms
(which she never visited before the exhibition) to create a surreal visual time-motion,
Maria and Natalia Petschatnikov (Berlin/RU) juxtapose their fountain-objects with
a series of small scale paintings that reconsider and re-interpret photographic
representation of public spaces and their history. Nicolas Wiese (Berlin/DE),
multidisciplinary artist and Quiet Cue co-founder/curator, supplies a sound
installation constructed out of tiny acoustic fragments which were recorded
on-site over a long time span, being spatially diffused and interfering with
the others' works in a subtle manner.

As a creative lab for intermedia processes and cooperation, Quiet Cue celebrates
its new spatial possibilities with this extraordinary show up to its core interest, and
making a mark for its future ambitions.


The works and the artists

Floating Room (Quiet Room), 2012, animated video, dimensions variable

This video work consists in part of reconfigured photographs and
drawings of the gallery’s interior. Because I had not visited the site
myself, I relied on emailed photographs and hand-drawn plans as my
reference point. With these images, I imagined how to reconstruct the site
adding my own associations in the gaps. The constructed imagery is then
projected as a video back onto the gallery’s actual space. The fragmented
imagery moves from photographic representations to a diagrammatic idea of
space to open connections of forms (for example, when the moon turns into a
hanging lamp). One point in the video is loosely linked to another. The
piece always returns to the theme of an interior (both physical and
psychological) in process, simultaneously being constructed and

The video is silent. Because Quiet Cue generally hosts music performances,
I wanted to have musicians as part of the piece. The element of chance is
at work here, as the musicians will plan their performance without seeing
the video, and the video was created without any particular sound in mind.

Kristine Marx is a video and installation artist based in New York City.
She has had solo exhibitions at Plane Space (New York City), Fringe (Los
Angeles), Big & Small/Casual (New York City), and at the Berliner Liste
with Herrmann & Wagner (Berlin). She has collaborated on several multimedia
performance projects with composers Akemi Naito and John Supko and
musicians Greg Beyer and Erin Lesser. She has received grants from Goethe
Institut, The Mattress Factory, NYSCA, and The Experimental Television
Center. In addition to working as an artist, Marx writes essays and reviews
on film for PAJ: A Journal of Performance and Art. She presently teaches at
the University of the Arts in Philadelphia.

The twins Maria & Natalia Petschatnikov (*1973, St. Petersburg)
work as an artist duo in the border region between painting and installation. After
finishing their education in the United States and in France they have participated
in numerous international artists' residency programs throughout Europe.
Maria and Natalia Petschatnikov are represented by Wagner+Partner Gallery.
They have taken part in such international art fairs as Arco Madrid, Art Cologne,
Art Karlsruhe and Vienna Art Fair. The Petschatnikovs have shown their work in
such art institutions as: the Irish Museum of Modern Art, Kunsthalle Mainz, Künstlerhaus
Wien, Kunstverein Harburger Bahnhof, Hamburg, Wagner+Partner Gallery, Berlin.
Their most recent project is currently on view in Beton 7 Art Center in Athens.
Solo exhibitions are planned in Kunstverein Mûnsterland and in Heike Strelow Gallery
in Frankfurt in 2012-2013. They are recipients of Aleksander Reznikov Award 2009 in
Vienna, Studio-grant of the Berlin Senat 2010, the Kunstfonds Work-stipend 2012.
Maria & Natalia Petschatnikov live and work in Berlin.
The Petschatnikovs choose to focus on seemingly insignificant phenomena that are part
of our daily lives. With imagination and wit, they manage to tease out new and surprisingly
profound perspectives on the everyday world; they find the extraordinary within the ordinary.
Maria and Natalia Petschatnikov are not sociologists, their methods are not those of
documentarians, their motives not those of field researchers. Rather, they look for their motifs
as they stroll through the city and collect, and the photographs they take while doing so
become the basis for the painterly or sculptural engagement with the objects.
It seems that these calculatedly focused images and installation-like stages achieve
associative spaces thanks to the disparity of their media. A narrative level thus comes
into being, and spaces open up that want to be filled with one’s own stories, memories,
and ideas. The Petschatnikovs also emphatically invite the viewer to make connections
between their various projects, as between the various media that they utilize.

The project for Quiet Que - is a series of seven water fountains (a week long cycle).
Each fountain is a still life as well as a place. Recognizable domestic objects covered
with painted ceramic tiles, integrated into geometric interiors and accompanied by
a water feature are ironic commentaries on the aesthetic of swimming pools, shower
rooms and other public spaces. In the installation for Quiet Que, a comparison is being
drawn between the interior character of table fountains and the series of miniature oil
paintings on velum, documenting foyers of 24 stations of the Berlin's U8 subway line.
During the time of the GDR, the U8 line went through both the eastern and western
sectors of the city. Seven stations located in the east were closed to the public for
almost 40 years and became known as ghost stations. Miniature paintings and
kinetic sculptures create a labyrinth of brightly colored rooms filled with
subjectively perceived stories of Berlin’s past and present.


Float/Scatter, 2012, multi-source sound installation

This sound work consists of processed and collaged recording fragments.
All the recordings have been taken in the Quiet Cue studio space during the
last two years - many different musicians and instruments, different microphones
and different spatial settings, different occasions like rehearsals, concerts, tests
and research.
Similar to Kristine Marx' treatment of visual information in the Floating Room video,
Wiese's sound installation transports the 'memory' of the Quiet Cue space back into
the space itself. The crucial difference is the fact that Marx has never visited the space;
thus her artistic appropriation is that of an outside perspective.
Wiese, on the other hand, knows the space very well – it's his own studio and
venue/gallery. The sounding memory particles cannot be separated from his own
personal memory. Therefore he unfolds a subjective audio portrait, which has grown
over a long period of time and will automatically stand in multi-directional relation
to the guest artists' works in this exhibition.

Nicolas Wiese is an audiovisual artist, designer and composer/performer
of electroacoustic music. He is working in Berlin-Neukoelln since 2006.
Wiese creates works in various media and formats, for different contexts –
installation and spatial performance, contemporary electronic composition,
relational music, graphic art, radio and experimental film.
Performances, installations/exhibitions, and film/video screenings
have taken place at (selection):
Berlinische Galerie / Berlin, REM series / Museum Weserburg, Bremen,
Weezie Gallery for Contemporary Art Leipzig, Festival SONIKAS / Madrid,
De Witte Zaal / Ghent, Neue Musik in St. Ruprecht / Vienna, Galerie
Hunchentoot / Berlin, Imprimerie / Basel, Hunt Gallery / St. Louis, USA,
Miden Video Art Festival / Kalamata, Greece, Haus am Luetzowplatz / Berlin,
Hafriyat Karakoy / Istanbul, Wohlfahrt / Rotterdam, Raum 2 / Mannheim,
Museum for Arts and Craft / Hamburg, ETH Digital Arts Week / Zurich,
Duotone Arts Festival / Kelowna, Canada, Altera! Festival / Avellino, Italy,
Hoerbar / Hamburg, SKAM / Hamburg, Atelier Mommen / Brussels,
British Film Institute / London.


Morten J. Olsen
solo – percussion

Ye Hui & Yan Jun
duo – audiovisual performance

D´Incise – laptop, objects
Cyril Bondi – percussion, objects

CD release launch:
Nils Ostendorf – trumpet
Chris Heenan – contrabass clarinet, alto sax
Michael Vorfeld – percussion


Andreas Trobollowitsch (Vienna) – guitar, ventilator

"extract #1" (18" min)

"extract #1" is a performance for one ventilator, one acoustic guitar
and one performer. Converted ventilators which use cello-bow hair
instead of propellers set the strings into oscillation.
By the circling cell-bow hair, soundscapes arise through the soft,
smooth picking of the guitar strings. The permanently modifying
overtone layers are reminiscent of an electronically generated
sound aesthetic.

Andreas Dzialocha (Berlin) – electric bass

"miniaturen und zwischenspiele" for electric bass solo


Axel Haller (Berlin) – bowed electric bass
Johannes Tröndle (Vienna) – cello

Listening to it drags you into a world of low frequencies, crackling
sounds and beautifully set single notes that captures the attention
like eavesdropping on a very intense and deep conversation between
two philosophical minds.
In order to develop and elaborate this conversation, Tröndle and Haller
have creatively extended their techniques to drive the attention away
from the actual nature and ability of the instrument straight towards
the substance of this duet.

OBLIQ + Abrahams

Pierre Borel - alto sax
Derek Shirley - bass synth
Hannes Lingens - drums & objects
+ Chris Abrahams - DX7


Michel Doneda & Nils Ostendorf duo
CD release concert - absinth 023

M. Doneda (F) – soprano saxophone
N. Ostendorf (Berlin) – trumpet

Michael Thieke & Biliana Voutchkova duo

M. Thieke – zither, clarinet, electronics
B. Voutchkova – violin

Mike Majkowski solo
double bass


»Folgen Sie mir pausenlos«

Ein Speakview mit automatischen Sprechern

Von Antje Vowinckel

Neun Personen - Musiker und Künstler- gehen über Landepisten und Trampelpfade
des ehemaligen Berliner Flughafen Tempelhof hinein in Hangar 6. Mit Headset-Mikro
und einem individuellen Audioguide verfolgen sie nacheinander den selben Weg.
Dabei sprechen sie ohne Unterbrechung.
Sie "filmen" sprechend ihren Weg ab, zerlegen ihn in einzelne Bilder. Aus diesen
Sprechströmen montiert die Radiokünstlerin Antje Vowinckel ein Hörpanorama der
"Tempelhofer Freiheit". Verschiedene Perspektiven überlagern sich, es entsteht eine Art
akustisches Schielen. 

Mit: Dave Ball, Clarisse Cossais, Axel Dörner, Fernanda Farah,
Shelley Hirsch, Sven Ake Johansson, Annette Krebs, Chico Mello, Antje Vowinckel

Produktion: DRadio Kultur 2012
Länge: 50'


 Sam Pettigrew (Sydney/Australia) - double bass + objects - solo

Sam Pettigrew & Diego Chamy (Berlin/Argentina) - performance - duo

Gary Rouzer
(Alexandria/USA) - prepared bass + objects
Gunnar Lettow
(Hamburg/GER) - prepared bass + electronics

'Fundstücke' is the duo project of Gary Rouzer (USA) and Gunnar Lettow (Germany),
started in 2009 as an online collaboration. In 2011 they released the results of their efforts
on the debut CD Fundstuecke.
This is their first encounter in real life.

Burkhard Beins
(Berlin) - percussion + objects
Bertrand Denzler
(Paris/CH) - tenor saxophone


Louise Desbrusses (Paris/FR)_texts and voice

Ralf Haarmann (Berlin/DE)_electro acoustic music

Christiane Hommelsheim
(Berlin/DE)_voice and loops

»Le coeur rectifié«

In „Le coeur rectifié“ the texts of the french author Louise Desbrusses
meet the improvised loop music of the duo haarmannhommelsheim.


Julius Holtz (Berlin/DE)

»Paraconsistent Invention« (2010)
electroacoustic composition
based on the noise of the city and so called
trance-inducing monochrome sounds


Bill Kouligas (Berlin/GR)

solo set: analogue electronics

Rebecca: --- variations
duo -
Kai Fagschinski clarinet
Michael Renkel acoustic guitar, objects

quartet -
Nils Ostendorf trumpet
Andy Graydon processed field recordings
Markus Pesonen guitar
Klaus Janek processed and acoustic doublebass


Rdeča Raketa (Vienna)
Maja Osojnik & Matija Schellander.
duo - bass paetzold recorder, cassette recorders, toys,
electronic devices, modular synthesizer, computer.

Wolfgang Musil - electronics
Stefan Fraunberger - zither
duo (Vienna)

Andrea Neumann (Berlin)
solo - prepared inside piano


Helena Gough (Berlin/UK)
solo - electroacoustics

Pia Palme (Vienna)
solo - sub bass recorder and electronics

Tamara Wilhelm & Susanna Gartmayer (Vienna)
duo - diy electronics & contra alto clarinet

“Using the real world as a source. Exploring the qualities of a sound.
A process of uncovering, of revealing hidden details and turning
perspective on its head. Searching for beauty in situations that might
be considered ugly or irrelevant. A commitment to the potentials and
possibilities of all things in the shadows. A fascination with states of
stasis, by matter that appears to be still yet is always in motion.
Searching for sounding movements that change our perception of
time and textures that slowly evolve, rotate and turn in on themselves.
To listen, rather than just to hear with dumb ears. The power of sound
as a transformative experience, a place for uncertainty and substance.”
Helena Gough
Composer and subbass-recorder player Pia Palme is internationally
known for both her versatile musical life and her pursuit of the new in more
alternative contexts. Studies of music in Vienna (recorder, oboe, composition),
graduation from the conservatory of Vienna. Improvisation at Naropa University,
Colorado. Mathematics and projective geometry at the Technical University of
 As a composer, Palme sketches out well-conceived concepts, often
creates interdisciplinary works, or works especially for the venue itself. [...]
Palme plays the six foot high subbass-recorder, designed in 2007 by Swiss
manufacturer Kueng. She performs her own works, and has inspired many
composers to write especially for her (among others: Joanna Wozny, Jorge
Sanchez-Chiong, Hannes Kerschbaumer, Katharina Klement).
She also developed an electronic set-up, which she uses as a soloist and in
ensembles. She modulates and processes external sounds, amplifies her
recorder in various ways and combines the sounds with live-electronics.

Tamara Wilhelm - studied Computer Music and Electronic Media in Vienna.
Sound installations, electroacoustic music, member of experimental pop
band z.b.:... and the Vegetable Orchestra.

Susanna Gartmayer - bass clarinet, contra alto clarinet, alto saxophone.
Born 1975 in Vienna. Studied painting and printmaking at the Academy of
Fine Arts, Vienna. Concerts since 2004. She is interested in abstract sound
landscapes but equally in complex rhythmic patterns or energetic free jazz.
Susanna Gartmayer is playing in experimetal rock bands, various ensembles
for improvised and organized music and also in The Vegetable Orchestra.


Klaus Filip (Vienna) – computer music, programming, composition
Klaus Filip is a performer/composer/programmer and is maybe the
first viennese musician, who used the laptop on stage at around 1993.
The main focus of his current work is sinewaves, whose subtle and
adducent sounds are used in a wide dynamic range depending on
the project; that could be a noisy set with Chulki Hong or playing at
the odor detection threshold with Radu Malfatti.
Some other collaborators:
kai fagaschinski, werner dafeldecker, dieb13, christof kurzmann,
boris hauf, christian fennesz, jason kahn, john butcher, sabine marte,
gilles aubry, noid, mattin, red white, cynthia schwertsik, cordula bösze,
silvia fässler, taku unami, oblaat, taku sugimoto, toshimaru nakamura,
tim blechmann, ivan palacky, burkhard stangl, eddie prevost, john tilbury.

Dafne Vicente-Sandoval (Paris) – bassoon
After studying classical music, Dafne Vicente-Sandoval commits herself to
contemporary music. She works with many European ensembles such as
Ensemble Modern while putting a strong emphasis on personal projects:
curating Tokyofeel workshops in Palais de Tokyo in 2007, current collaboration
with composers in order to enrich the the solo repertoire of her instrument
(Julio Estrada, Richard Barrett, Michael Maierhof).
Her instrumental research, outreaching bassoon's sound carachteristics by a
renewal of existing extended techniques, drove her naturally to improvisation.
Her personal approach centres on the elaboration of a sonically acoustic universe,
which finds itself close to electronics in the microtonal complexity emanating from
multiphonics. As an improviser, Dafne Vicente-Sandoval plays in the duo
Either/Or with chelist Severine Ballon, and in Axolotl with Xavier Lopez.

Bilwa (various cities US/EU) – laptop
William Bilwa Costa is a sound artist, electronic musician, and improvisor.
He currently works internationally, generating research/ lab/ performance
projects, actively cultivating opportunities for artists to work together on
new interdisciplinary explorations.

Shingo Inao (Berlin) – tosso (self-made string & sensor instrument)
Sound artist, performer. He studied media art and performance at Kunitachi
College of Music (Tokyo) and Bauhaus University Weimar.
His activities have two facets: performance and exhibition. By performance,
he uses often his self-made instrument "Tosso" that enables the player’s
movements to be set into a musical expression through sensor technology.
His performances were presented at several festivals:
Berlin Fashion Week (2012), Transmediale Berlin (2010), Electro mechanica
St.Petersburg (2010). His sound installation and object are currently represented
by Galerie Mario Mazzoli Berlin.


Boris D Hegenbart [#/TAU] (Berlin)
composer / artist Hegenbart
meets 19 friends in a box,
a showcase for the forthcoming release:

Myr & Limpe Fuchs (Vienna/Peterskirchen)

Richard Bruzek - piano, electronic devices
Daniel Lercher - live-electronics, horn
Vinzenz Schwab - live-electronics
Limpe Fuchs - self built instruments, sound sculptures

She + It

Laura Mello + Andreas Stoiber (Berlin/Vienna/Brazil)
popkritische Musikpreformance

A woman wearing speaker glasses and a robot
are investigating the reception of latin music
in Europe during the 1970s.


Lin Hui-Chun (Berlin/Taiwan) - Cello
Hugues Vincent (Paris) - Cello and electronics

Biliana Voutchkova (Berlin/Bulgaria) - Violin
Andrea Sanzvela (Berlin/Spain) - Viola
George Donchev (Berlin/Bulgaria) - Double Bass

Voutchkova/Sanzvela/Donchev with
Nicolas Wiese (Berlin) - Prepared sound manipulation


Alessandro Bosetti »Mask/Mirror«

Heather Frasch »For Solo Flute«

Matija Schellander & Enrico Malatesta
(Austria/Italy) double bass and percussion

Mask/Mirror is a sampler to process recordings of spoken language in real time. 

The sampler follows both sound and meaning criteria in sorting, organizing and processing
samples and in formulating utterances. 
It is a software tool based on max/msp and a speech
recognition software interacting with my own voice during performances. It's also a state
of mind enabling expanded spoken and vocal improvisation, expanded communication and
It has been developed in collaboration with Harvestworks Digital Arts Center in New
York and STEIM in Amsterdam.
 Mask/Mirror has to do with virtually everything but at the
same time it does not have anything special to do with anything special. 
As well as being
a blank mask I can put on my face - and my voice - it's also a mirror that let me browse and
talk to my memory while I am watching into it. 
All mirrors are masks and vice versa. Both
are tools enabling identity.


Heather Frasch
is a composer of acoustic and electroacoustic music. Also, she performs
frequently as an improviser and experimental flutist, and creates sound installations.

Her music has been performed at various festivals such as: The Moscow Autumn Festival,
SICMF in Korea, Electroacoustic Listening Room Project, 60x60 project, NYCEMF, SEAMUS,
ICMC, Third Practice Electroacoustic Music Festival, SF Tape Music Festival, among others.
She received the George Ladd Prix de Paris in 2008, and Nicol De Lorenzo Prize in
Composition in 2010 and 2008.

Matija Schellander (born 1981 in Bilčovs) lives and works in Vienna, Austria.
Studies: computer music and double bass.
Works in the field of improvised & contemporary composed music.

Enrico Malatesta (born 1985 in Cesena, Italy) is a percussionist active in the field of
contemporary, electro-acoustic and improvised music. He studied classical percussion
instruments at the “Bruno Maderna” Conservatory in Cesena, delving into both the
orchestral and soloist repertoire.
His personal activity and research is aimed at the redefinition of the role of the percussionist
in different contemporary areas, studying the acoustic dimension and the material quality
of percussion instruments.
Besides his ongoing solo projects he’s also active performing works from the soloist repertoire
of the 20th Century, including graphic scores by J.Cage, M.Feldman, K. Stockhausen, E. Brown.


Michael Renkel
, guitar, electronics, objects
Burkhard Beins, percussion, objects, electronics

Axel Dörner
, trumpetörner
Noid, violoncello

Activity Center [...] This music adds new meaning and new vitality to the "genre" of guitar
and percussion improv - in fact it ignores the genre altogether and creates something better.
Other improv players dream, in their politically correct and polite way, of leaving enough space
for their fellow collaborators to perform... Activity Center go one stage further, and create that
space - defining huge areas of interactive possibility between the notes. [...]
The Sound Projector

Axel Dörner [...] Dörner's careful, lightly inspiring presence is always opening up possibilities [...]

Noid [...] Haberl mixes an intensity verging on sadism with humour to create challenging,
but fascinating music.
BBC Online


Ulrich Müller
, guitar, processing
Klaus Janek, doublebass, processing


Biliana Voutchkova, violin/voice
Klaus Janek, bass/electronics
Ingo Reulecke and Katharina Meves, dance

Grape Shade is dedicated to expanding the relationship between music/sound,
dance/movement and improvisation.