Category: projekte

Francesco Careri is lecturer at the Department of Architecture of Roma Tre University. In 1995 he founded the urban art laboratory Stalker/Osservatorio Nomade, and in 2009 Laboratorio Arti Civiche, interdisciplinar research group which searches for a creative interaction between citizens and the built environment they live in. His main focus is now on informal urban settlements, exploring critically new possibilities of transformation in such contexts, especially through studies and proposals on the living conditions of the Roma People in Italy and Europe. Since 2006 he runs in the Faculty of Architecture the module Civic Arts, a peripatetic laboratory grounded in the walking exploration of neglected urban areas. He is the director of the Master Programme Architettura/Arte/Città (Architecture/Art/City) and coordinator of the Master PIMC (Politics of Encounter and Cultural Mediation), both at the University of Roma Tre. His main publications are the books Constant. New Babylon, una Città Nomade(Testo & Immagine, Torino 2001) and Walkscapes. Walking as an Aesthetic Practice (Editorial Gustavo Gili, Barcellona 2002)

appearance at Tuned City
Brussels / Walkscapes / 29. June 2013

Szilvia Kovács, Economist BA, Sociologist MA, was born in Györ (Hungary). Her interests to social sciences, particularly to sociology and regional studies were extended at Loránd Eötvös University (Budapest) and István Széchenyi University (Györ). She was a junior researcher at the Institute for Sociology of the Hungarian Academy of Sciences until 2012, focused especially on development of large urban areas and urban sprawl. At the moment she is a PhD-student at the Vienna Technical University. She is a recipient of a DOC-team Fellowship of the Austrian Academy of Sciences and concentrates on the topic: »The Artist as Urban Planner – A Social Science Research« (2012-2015). She is married and has a daughter.

http://urbanartresearch.wordpress.com/

appearance at Tuned City
Brussels / Sound::Walk / 29. June 2013

Carina Lesky was born in Bludenz, Austria. She studied English and American Studies at the University of Innsbruck and the Université Charles-de-Gaulle in Lille. At the moment she lives in Vienna, where she has been working as a research associate at the Ludwig Boltzmann Institute for History and Society in the project »Amateur Film Archeology«. She is a recipient of a DOC-team fellowship of the Austrian Academy of Sciences and is currently writing her PhD thesis »Stepping into the Street – Film in Public Space« at the University of Innsbruck. Her research interests are ephemeral film, visual history, cultural and urban studies.

http://urbanartresearch.wordpress.com/

appearance at Tuned City
Brussels / Sound::Walk / 29. June 2013

Anamarija Batista was born in Zenica, BiH. She studied Art History at the University of Vienna and the Academy of Fine Arts as well as Economics at Vienna University of Econimcs and Business. Between 2004 and 2009 she worked as a research associate in the field of health economy. Currently Batista is holding a scholarship of the Austrian Academy of Sciences (DOC-team) at the Academy of Fine Arts in Vienna (Institute for Art and Architecture). Her PhD thesis is about »Sound artists as urban planners – a look at the cooperation between artistic and urban practices«. She curated numerous exhibitions such as »The Common Which No Longer Exists« (2012) or »Retouch the Past_Shaping the Presence« (2013).

http://urbanartresearch.wordpress.com/

appearance at Tuned City
Brussels / Sound::Walk / 29. June 2013

Yuri Landman is an experimental instrument builder and musician. He has made innovative custom guitars and related instruments for leading groups including Liars, Sonic Youth, Half Japanese, Enon, Melt-Banana, Micachu & The Shapes, and The Go! Team. He also specializes in instrument-making workshops including the Home Swinger project, a Gesamt-kunstwerk consisting of a DIY-workshop where people build their own electric instrument combined with an ensemble performance with the participants.

http://www.hypercustom.com/

appearance at Tuned City
Brussels / The Intonarumori / 28. June 2013

Wessel Westerveld uses the pseudonym ‚der Wexel‘ when he releases his installations into the wild. Wexels sculptures and installations are inspired by his passion for mechanics. The straightforwardness of his machines is a reaction to the boring, abstract and invisible mode of operation of microelectronics. In order to focus on the beauty of the technical elements he stripped away the function. In his work the function does not determine the shape of an object as is the case in applied mechanics. Using this method Wessel created work that consists solely and purely of mechanics without any discernible function. Later he added the dimension of (mechanical) sound to his installations.

http://www.wexel.nl/

appearance at Tuned City
Brussels / The Intonarumori / 28. June 2013

I’m a visual researcher, currently based in Brussel and flollowing classes at the school of Visual art, La Cambre ENSAV. Born and raised in Reims, i mooved in Bulgaria, after a graduation in Litterature and Cinema, to make a Voluntary service around Art therapy. My main search are around teenagers and generational issues but i’m also working on dance performance and relationship between the body, the movement and space. You can contact me for any questions or suggestions for works and partnerships.

http://asilprod.wix.com/lisalapierre#!about/c10fk

appearance at Tuned City
Brussels / espace intervallaire / 28. June 2013

Kabir Carter’s work moves between performance and installation, and has been exhibited and featured at Galerija Škuc, Ljubljana (2011); PiST Interdisciplinary Project Space, Istanbul (2011); the Frances Young Tang Teaching Museum and Art Gallery, Saratoga Springs, New York (2011); Inter Arts Center, Malmö (2010); Overgaden Institute of Contemporary Art, Copenhagen (2010); Diapason Gallery, New York (2005, 2010); the Studio Museum in Harlem, New York (2009); and museums and art spaces throughout the United States and Europe. He has participated in festivals and biennials including CTM (club transmediale) (2011), Full Pull (2010), Performa (2007, 2009), SoundWalk (2006), Subtropics (2004, 2005), and Unsound New York (2010, 2011). He has received commissions and awards from the American Music Center, Danish Arts Council, Lower Manhattan Cultural Council, and Media Alliance, among others. Writing and reviews concerning his work and activities have been featured in Artforum, the New York Times, Nutida Musik, and Parkett. He holds an MFA from the Milton Avery Graduate School of the Arts at Bard College, where he was a Joseph Hartog Fellow. Carter’s “Working Group for Sound in the Expanded Field” was selected as the inaugural project for smARTpower, an international arts program supported by the Bronx Museum of the Arts and the U.S. Department of State.

http://www.kabircarter.com

appearance at Tuned City
Brussels / Report / 28. June 2013

Composer and sound artist Joanna Bailie was born in London in 1973. Her recent work includes chamber music, installation and music theatre, and is characterized by the use of field recordings together with acoustic instruments. Her music has been performed by groups such as Ensemble Musikfabrik, L’instant Donné, EXAUDI, Ensemble Mosaik, Apartment House, and the Ives Ensemble. She has been programmed at events such as the Venice Biennale, Huddersfield, SPOR Festival, Festival Reims Scènes d’Europe, Darmstadt, and Ultima in Oslo. Together with Matthew Shlomowitz she runs Ensemble Plus-Minus and in 2010 she was the guest curator at the SPOR Festival in Aarhus, Denmark.

http://joannabailie.com

appearance at Tuned City
Brussels / Freezing/Un-freezing the city / 28. June 2013

Dawn Scarfe’s work includes site specific installation, performance and field recording. It uses resonating glass instruments to explore interferences between the senses and help ‚tune into‘ ephemeral aspects of our surroundings. Her ‚Listening Glasses‘ stratify the sound of urban streets into musical tones. ‚Lenses‘ and ‚Tuning to Spheres‘ use wine glasses as resonators to re-sound audio from small speakers. She is currently artist in residence with Forestry Commission England and Sound and Music. Recent exhibitions include ZKM Karlsruhe, TONSPUR Vienna; La Casa Encendida, Madrid and Café Oto, London. She has a PhD in Sonic Arts from Goldsmiths University.

http://www.dawnscarfe.co.uk/.

appearance at Tuned City
Brussels / Listening Glasses / 28. June 2013

27. June 2013
Opening night 19:00h
Kaaistudio’s, Bruxelles

Listening Back and Forth in Brussels
by Valeria Merlini (IT) & Felicity Ford (UK)

Drag + Drop (a social choreography, an urban contemplation)
walk by David Helbich (DE)

ATTANTION! The opening performance at Kaaistudio and the Walk by David Helbich are sold out, but please join us at Curo Hall at 21:00 for the performance:

Marina Rosenfeld: P.A. FOR SOLO PERFORMER
performed by Marina Rosenfeld (US) & Okkyung Lee (KR)
@ Curo Hall

–

28. June 2013
Day 1
Relational Noise

Noise is a notion that generates a multiplicity of meanings. It is highly subjective, complex and difficult to define. On the first day of the festival this topic will be explored through its concrete embodiment in the area around the Botanical Gardens. This part of north-central Brussels is densely layered and manifests a special character of agglomeration and urban compression. The Botanical grounds and building, constructed in 1826, appear today as a curious patch in the city fabric. As a consequence of urban developments starting in the 1960s, the gardens have become surrounded by subway lines, the ring-tunnel traffic system and high-rise buildings, such as the State Administrative Quarter and the recently built Financial Tower.
How is the urban space acoustically defined by such overlapping functionalities? What is happening within and between these structural layers? On Day 1 we will navigate the vertical topography of the city, exploring the subterranean as well as outdoor reaches of a territory extending form the Gardens to the North Train Station.

[lang_fr]Le bruit est une notion qui contient une multitude de significations. Il s’agit d’un terme hautement subjectif, complexe et difficile à définir. Le premier jour du festival, le sujet sera exploré à travers son incarnation concrète dans le quartier autour du Jardin Botanique. Cette partie du nord du centre de Bruxelles est très dense et stratifiée et il en émane un esthétisme d’agglomération et de compression urbaine hors du commun. Le Jardin Botanique et son bâtiment ont été construits en 1826 et font de nos jours figure d’étrange îlot au sein du tissu de la ville. Suite à un processus de construction entamé à la fin des années ’50, les jardins ont depuis été entourés par: le métro, le système routier des tunnels de la petite ceinture et de hauts immeubles, comme la Cité administrative de l’État et la Tour des Finances construite plus récemment.
Comment l’espace urbain se définit-il sur le plan acoustique et comment est-il créé par son utilisation et par le chevauchement de ses différentes fonctionnalités? Que se produit-il dans et entre les différentes couches structurelles? En cette première journée nous visiterons des lieux hauts et bas et nous explorerons l’intérieur et l’extérieur dans une zone qui s’étend jusqu’à la Gare du Nord. [/lang_fr]

[lang_nl]’Noise‘ (lawaai) is een notie met een veelheid aan betekenissen die erg subjectief, complex en moeilijk te definiëren is. Op de eerste festivaldag wordt dit onderwerp verkend in zijn concrete belichaming in de wijk rond de Kruidtuin. Dit noordelijke deel van het Brusselse stadscentrum is erg dicht gelaagd en ademt een bijzondere esthetiek van agglomeratie en stedelijke compressie uit. De Kruidtuin en het Botanique-gebouw werden gebouwd in 1826 en vormen nu een vreemd eiland in de stadsstructuur. Door opeenvolgende bouwprojecten vanaf eind jaren ’50 raakten de tuinen ingesloten: door de metro, de tunnels van de kleine ring en hoogbouw, zoals het Rijksadministratief Centrum en de recent gebouwde Financietoren.
Hoe wordt de stedelijke ruimte akoestisch gedefinieerd en gecreëerd door zijn gebruik en de overlapping van zijn verschillende functies? Wat gebeurt er tussen en binnenin de structurele lagen? Op deze eerste dag bezoeken we hoge en lage sites, verkennen we de binnen- en buitenkant, in een gebied dat zich uitstrekt tot aan het station Brussel-Noord.[/lang_nl]

symposium

Relational Noise
@ Centre Rosocha beginning 10:00h

performances before/within the symposium

Felicity Ford & Valeria Merlini – Shorts: Listening to Tuned City from within and without
@ Centre Rosocha, beginning 10:00h

Kabir Carter – Report
@ Centre Rosocha, beginning 10:00h

installations during the day

Will Schrimshaw – Module for a Comprehensive Instrument
mobile, 12:00–20:00h

Udo Noll – radio aporee – fmwalks/bx
mobile, 12:00–20:00h

Dawn Scarfe – Listening Glasses (walk)
Parc Botanique/Kruidtuin, 12:00–20:00h

Joanna Bailie – Rue Royale / Rue Traversière (installation)
Le Khedive, 12:00–20:00h

Christina Kubisch + Students – Electrical Walks – Electromagnetic Investigations in the Botanical Gardens (walk)
Parc Botanique/Kruidtuin, 12:00–20:00h

Lisa Lapierre & Audrey Lauro – espace intervallaire (intervention)
Parking RAC, (start: 16:00h, 17:00h, 18:00h)

evening performances

Lukas Kühne & Robyn Schulkowsky – Space and Frequency – Rhythm Lab
Noordstation, 21:00h

Wessel Westerveld & Yuri Landman – The Intonarumori
Gesù Kerk/Eglise, 21:00h

29. June 2013
Day 2
Situational listening

This day focuses on sonic methods and strategies of artistic exploration and appropriation of urban space, concentrating in particular on the physical and psychological influences that shape the way we hear. The program consists of an interconnected series of site-specific sound walks, interventions, performances, installations and lectures. The public is asked to come prepared for extensive outdoor walking in the zone that stretches between South Station and the Cemetery of Ixelles. The objective is not merely to stroll between the sites of artist presentations, but rather to discover and participate in the city, its situations and incidental sounds experienced along the way.
The framework of this day evokes Guy Debord’s model of the ‘dérive’, with its meandering strategies and subjective mappings though this time with an attention to aural experience of urban situations.

[lang_fr]En cette journée nous nous concentrerons sur les méthodes et les stratégies de l’exploration artistique et sur l’utilisation de l’espace urbain à partir d’une perspective sonore et nous prêterons une attention particulière aux influences physiques et psychologiques qui déterminent notre manière d’entendre. Le programme se composera d’une série interconnectée de promenades sonores spécifiques aux sites visités, d’interventions, de performances, d’installations et de lectures. Enfilez de bonnes chaussures de marche: la zone couverte en cette deuxième journée s’étend de la Gare du Midi au cimetière d’Ixelles. Le but n’est pas de flâner seulement d’un endroit à l’autre où des réalisations artistiques peuvent être vécues, mais de partir à la découverte de la ville, de ses situations et des sons le long du parcours.
Une source d’inspiration pour cette journée fut la ‘dérive’, définie par le philosophe Guy Debord comme un voyage imprévu à travers un pays ou une ville, les contours esthétiques subtils de l’architecture et de la géographie environnantes guidant de manière subconsciente les errants, avec pour objectif ultime de vivre une expérience aussi nouvelle qu’authentique. [/lang_fr]

[lang_nl]Dag 2 focust op methodes en strategieën voor de artistieke exploratie en het gebruik van de stedelijke ruimte vanuit een klankperspectief. Er wordt speciale aandacht besteed aan de fysieke en psychologische invloeden die de manier waarop we horen bepalen. Het programma bestaat uit onderling verbonden reeksen van site-specifieke klankwandelingen, interventies, performances, installaties en lezingen. De zone die op dag 2 centraal staat is vrij groot en strekt zich uit van het Zuidstation tot aan het kerkhof van Elsene. We raden de deelnemers dan ook aan om stevige wandelschoenen aan te trekken. Het doel is niet enkel om langs de aangeduide plaatsen te kuieren waar je artistieke realisaties kan beleven, maar ook om onderweg de stad met haar eigen situaties en klanken te ontdekken.
De ‘dérive’ die gedefinieerd werd door filosoof Guy Debord, vormt een bron van inspiratie voor deze dag. Het is een ongeplande tocht door een landschap of een stad waarbij de reiziger onbewust geleid wordt door de subtiele esthetische contouren van de architectuur en geografie rondom hem. Het ultieme doel van de ‘dérive’ is het opdoen van een volledig nieuwe en authentieke ervaring. [/lang_nl]

symposium

Situational Listening
Block 1 @ Maison du Peuple, beginning 11:00h

Situational Listening
Block 2 @ Galerie Rivoli, beginning 15:00h

installations, walks, performances and interventions during the day

Will Schrimshaw – Module for a Comprehensive Instrument
mobile, 12:00–20:00h

Udo Noll – radio aporee – fmwalks/bx
mobile, 12:00–20:00h

Stalker/ON – Brussel Navigator. Walking across the edge in between: urban/rural, us/others, past/future, citizens/institution. (walk)
Maison du Peuple, 12:00 (start) – 18:00h

Guy De Bièvre – Soundwalk Passacaglia (walk)
Maison du Peuple, start 12:30 and 18:00h
limited places, please register early!

Akio Suzuki – oto-date (listening points)
various locations, to be visited any time (a map will be provided soon)
guided tour, 17:00h (start at Maison du Peuple)
limited places, please register early!

Lee Patterson – The city Tunes Itself (listening points)
Parc Paulus/Place Herman Dumont/Parc Tenbosch/Abbaye de la Cambre
(headphones and player needed, available at info point), 12:00-20:00h

Roberta Gigante – Closer (installation)
location tbc (info at info point), 12:00-20:00h

Pierre Berthet – Extended transducers and low tension small motors (installation)
Abbaye de la Cambre, 12:00-20:00h

Sybille Deligne & David Zagari – Les Porteurs (intervention)
mobile, 12:00-20:00h

evening performances

Franziska Windisch – Sonata For 4 Cardinal Points
Place Marie Jansonplein
19:00h

Rie Nakajima – As Far As Your Tortoise Goes
David Maranha & Patricia Machás – Penumbra
Maison du Peuple
21:00h

–

30. June 2013
Day 3
Ephemeral Atmospheres

The resonances and atmospheres that either catch our attention or pass unnoticed are an interesting aspect of city sonority. Determining the precise nature of such characteristic instances has become a central tenet in recent sonic theories. An attention to diverse notions of ambience will serve asthe starting point for the festival’s concluding day in Haren, situated at the north-eastern edge of the Brussels Capital Region.
Despite the  presence of a nearby airport and high-speed train link, Haren still maintains its tranquil atmosphere of the chicory farming village it once was. Though today this quietude is precariously nestled between abandoned industrial buildings and large scale construction sites for an expansive prison and the new NATO headquarters.

[lang_fr]Les résonances et les atmosphères qui tantôt attirent notre attention, tantôt passent totalement inaperçues, représentent un aspect intéressant du paysage sonore de la ville. Cet élément d’une philosophie sonore complexe servira de point de départ pour la dernière journée du festival à Haren, à la limite nord-est de la Région Bruxelles-Capitale.
Malgré la présence bruyante de l’aéroport, la ligne de train à grande vitesse, les différents sites industriels abandonnés et les chantiers pour le futur quartier général de l’OTAN ainsi que pour une nouvelle prison, Haren a su préserver son atmosphère paisible de village de cultivateurs de chicons d’antan. Au programme de la troisième journée: des artistes ainsi que des théoriciens qui exploreront et discuteront les thèmes de l’atmosphère, de l’ambiance et de l’esthétisme de l’écologie.[/lang_fr]

[lang_nl]De resonanties en atmosferen die de aandacht trekken of juist onopgemerkt voorbijgaan, vormen een interessant aspect van het klanklandschap van een stad. Dit onderdeel van de complexe klankfilosofie is het vertrekpunt van de laatste dag van het festival in Haren, dat aan de noordoostelijke rand van het Brussels Hoofdstedelijk Gewest ligt.
Ondanks de lawaaierige aanwezigheid van de luchthaven, de hogesnelheidstreinverbinding, verschillende verlaten industriële sites, de bouwwerf van het toekomstige hoofdkwartier van de NAVO en een nieuwe gevangenis, heeft Haren de vredige atmosfeer van het witloofkwekersdorp dat het ooit was, behouden. Op dag 3 staan kunstenaars én theoretici op het programma die het zullen hebben over atmosfeer, omgeving en de esthetica van ecologie. [/lang_nl]

symposium

Operative Ambience @ GC De Linde
beginning 11:00h

installations during the day

Will Schrimshaw – Module for a Comprehensive Instrument
mobile, 12:00 – 20:00h

Udo Noll – radio aporee – fmwalks/bx
mobile, 12:00 – 20:00h

Flavien Gillié, Alexia Goryn & Margaux Nessi – Haren visité
Cité Hamesse, 14:00 – 18:00h (ongoing)

Martin Howse – enclosed detection environment (EDE)
Keelbeek, 14:00 – 18:00h (ongoing)

performance

Akio Suzuki & Aki Onda – ma-ta-ta-bi
Black Buddah, 17:00h

evening performances

Zoë Irvine – Eloquent Voice: Lies and Other Truths
ZENIAL (Lukasz Szalankiewicz) – Connection Reset by Peer
Black Buddah, 20:00h

–

Tickets: conference €5 – performance €5 – day pass €8 – festival pass €25  –
for reservations send us an e-mail!

–

You can download the complete program brochure as pdf: TC Brussels 2013

http://www.tunedcity.net/brussels/TC_brussels.pdf

My main research areas lie in nineteenth- and twentieth-century literature and culture. Specific interests include the relationship between literature and science, place and nation, sound studies and oral history, and, most recently, reading. My first monograph, Senses of Vibration (Continuum 2012), is an investigation into how vibration took on key importance in many areas of nineteenth-century literature and culture, signalling a change in how people thought about the world and their own bodies and minds. I have recently extended this work further into the twentieth century with a collection, Vibratory Modernism, edited with Anthony Enns (forthcoming with Palgrave 2013).

My interests in oral history, place and nation have taken shape in various publications, including Place, Writing, and Voice in Oral History (Palgrave 2012) and Mysticism, Myth, and Celtic Identity, coedited with Marion Gibson and Garry Tregidga (Routledge 2012). My second monograph, entitled Rocks and Ghosts: The Literature and Landscapes of ‘Celtic’ Britain, is contracted with Manchester UP.

http://www.roehampton.ac.uk/staff/Shelley-Trower/

appearance at Tuned City
Brussels / Between Speeds: Sirens, railway shocks, street noises, and more sirens / 28. June 2013

Christoph Cox teaches philosophy and art theory at Hampshire College and the Center for Curatorial Studies, Bard College. He is the author of Nietzsche: Naturalism and Interpretation (1999) and co-editor of Audio Culture: Readings in Modern Music (2004). Cox has curated exhibitions at the Kitchen, the Contemporary Arts Museum Houston, and other venues. His essays on philosophy, art, and music have appeared October, Artforum, the Journal of Visual Culture, the Journal of the History of Philosophy and other journals and magazines. Cox is currently working on two books, a philosophical book about sound art and experimental music, and an anthology examining the impact of new realist and materialist philosophies on artistic discourse and practice.

http://faculty.hampshire.edu/ccox/

appearance at Tuned City
Brussels / Hearing-Things / 28. June 2013

Hillel Schwartz is a poet, translator, case manager, and independent scholar who has published widely on topics in cultural history. His most recent opus is Making Noise from Babylon to the Big Bang and Beyond (Zone Books). During the 1990s, as Senior Fellow at the Millennium Institute, he worked on strengthening ties among groups using the turn of the millennium as a prompt for concerted action toward a more sustainable world. He contributed substantially to the design of the most widely heralded theme pavilion at Expo 2000 in Hannover, “Planet of Visions.” With a PhD in European History and History of Religions from Yale, he has lectured at the Southern California Institute of Architecture and is currently a Visiting Scholar at UC San Diego, where he helped inaugurate a college devoted to Culture, Art, and Technology.

appearance at Tuned City
Brussels / Missing Persons / 28. June 2013

photo: Sebastien Sighell

a native of korea, okkyung lee has been developing her own voice in a contemporary cello performance, improvisation and composition. with her solid classical training as a foundation, she incorporates jazz, sounds, korean traditional music, and noise with extended techniques to create her unique blend of music.

since moving to new york in 2000, she has performed and recorded with numerous artists such as laurie anderson, carla bozulich, john butcher, nels cline, chris corsano, axel dörner, john edwards, carlos giffoni, vijay iyer, urs leimgruber, thurston moore, ikue mori, lawrence d. “butch” morris, evan parker, wadada leo smith, tyshawn sorey, c spencer yeh and john zorn to name a few.

okkyung has released the following albums: noisy love songs (for george dyer) and nihm on tzadik; the bleeding edge with evan parker and peter evans on psi; duo lp anicca with phil minton for dancing wayang solo cello album i saw the ghost of an unknown soul and it said… on ecstatic peace!; a duo recording with christian marclay, rubbings on my cat is an alien (lp)/ a silnet place (cd); check for monsters with steve beresford and peter evans on emanem. recently she finished working n a duo with paul lytton and another duo albums with john edwards.

she has received a composer commission from new york state council on the arts in 2007 and foundation for contemporary arts grant in 2010.

http://okkyung.wordpress.com/

appearance at Tuned City
Brussels / P.A. Work for loudspeakers and solo performer / 27. June 2013

Known equally as a composer of large-scale performances and an experimental turntablist working with hand-crafted dub plates, New York-based Marina Rosenfeld has been a leading voice in the increasing hybridization between the domains of visual art and music. She has created chamber and choral works, including the performances Teenage Lontano, Cannons and roygbiv&b; a series of acclaimed “orchestras” for floor-bound electric guitars and other quasi-sculptural scenarios; works notated in video, including WHITE LINES and My red, red blood; and since 2008, a series of installation/performance works, often mounted in monumental spaces, such as the Park Avenue Armory in New York and Western Australia’s Midland Railway Workshops, deploying complexes of unamplified live performers and custom loudspeaker installations.

Rosenfeld’s work has been widely presented throughout Europe, North America and Australia, including recent solo projects for the Museum of Modern Art in New York; SPOR, Ultima, Wien Modern and Holland Festivals; the Whitney, Liverpool and PERFORMA Biennials; and many others. Recent collaborative projects include her duo with George Lewis (Sour Mash) and, forthcoming on the Room40 label in spring 2013, a new album featuring the collaboration of legendary Jamaican vocalist Warrior Queen, as well as long-time collaborator, cellist Okkyung Lee.

Rosenfeld received her BA in Music from Harvard and an MFA from the California Institute of the Arts, where she studied with composer Morton Subotnik and conceptual artist Michael Asher, among others. She joined the faculty of Bard College’s MFA program in 2003 and has co-chaired its department of Music/Sound since 2007. Rosenfeld is a 2011 recipient of both a Foundation for Contemporary Arts Grants to Artists award and an Artist Residency from the Headlands Center for the Arts. Previous awards include grants and honors from the New York State Council on the Arts, the New York Foundation for the Arts, the Park Avenue Armory, Harvestworks Digital Media Arts, Experimental Television Center, and Austria’s Ars Electronica competition in digital musics.

http://www.marinarosenfeld.com

appearance at Tuned City
Brussels / P.A. for solo performer / 27. June 2013

David Helbich; Berlin 1973; artist; studied composition and philosophy in Amsterdam and in Freiburg/D; lives and works since 2002 in Brussels. He created various experimental works on stage, on page, online and in public space. His trajectory moves between representative and interactive works, pieces and interventions, between conceptual work and actions. A recurrent interest is the understanding of an audience as active individuals and the search for an opening up of experiences in an artistically restricted space.

http://davidhelbich.blogspot.com

Aifoon is an educational arts organization that focuses on listening and sound in its research on silence.

In 2003 we asked primary school children: ‘How do you experience the road from home to school?’ and we challenged them to render this experience by means of sound recordings and compositions. Since then Aifoon has worked with a diverse range of target groups at school, in leisure time and in an artistic context. Today, our portfolio counts about two-hundred in-depth workshops and activities in and outside of Flanders.

When we speak about ‘Sound’, this does not refer to music or voice, but to recorded sounds that have been defined and/or manipulated by the participants themselves. Sounds are more than just vibrations; they carry content (feelings, intentions…). During every workshop our goal is to hand participants the tools to express nonverbally, by means of sounds how they experience the world.

Conceptually, Aifoon works as an open and creative laboratory that takes silence as its starting point. A “relative” silence to which the participant can add sounds, register and structure them in an intuitive and poetical way. While participants engage in this activity, Aifoon makes them aware of their surroundings, of different ways of listening, of the musicality that sounds carry within them and can induce in combination with other sounds. By making silence spatial, we offer each person the (dis)comfort and possibility to experiment and improvise, a blank page on which they can determine themselves, free from trends and conventions, to communicate about their experience.
Aifoon’s activities has several aspects, which blend into each other:
Sound observation:  We practice keeping our ears wide open, listening attitudes and the confrontation and analysis of the everyday acoustic ecology surrounding us. Examples are sound walks, drawing sounds, listening to photographs.
Sound recording: Participants get to work with various sounds stemming from their immediate surroundings. These sounds are either incited by means of objects found in these surroundings or they are simply part of the surroundings. During some workshops we experiment with types of microphones (underwater or shotgun microphones), playback systems (an mp3 player’s earphones versus a ghetto blaster, modified or not) or sound synthesis. An example of the latter is the generation of sounds by means of synthesizers or causing short-circuits in an open electrical circuit, such as a crackle box.
Sound composition: creating sounds and structuring them into compositions can take place as a group by means of graphic scores or as a classroom soundscape made with one microphone.  Aifoon’s main focus, however, is individual expression: every participant expresses his- or herself in a personal soundscape, using a computer and sound software.
Sharing: the results of our workshops continue to resonate throughout our website, the expositions and events we organize in cooperation with arts centres, and also in The City Rings, the international exchange project for which partner countries remix each other’s sounds.

http://www.aifoon.org/english.php

Stalker/ON is a collective subject, found in 1995, that engages research and actions within the landscape with particular attention to the areas around the city’s margins and forgotten urban space, and abandoned areas or regions under transformation that are referred to here as “Actual Territories.” Stalker promotes interventions based on the spatial practices of exploration, listening, relation and on creative interactions with the environment, its inhabitants and their “archives of memories”. These processes aim to generate social and environmental relations that are self-organised and evolve over time. The sensitive and dynamic mapping of territories and communities generated through these processes remains easy to access. These interventions promote knowledge sharing, collaborative projects and raise the awareness of communities towards their territory and their cultural environment in search of new practices, poetics and politics of coexistence in the emerging beyond-city dimension for a possible social change.

www.stalkerlab.org

www.osservatorionomade.net

primaveraromana.wordpress.com

appearance at Tuned City
Brussels / Brussel Navigator. Walking across the edge … / 29. June 2013
Brussels / Workshop / 21–26. June 2013