The article eyecatcher.

ARTISTS

KEPP

Artists of the Noisy Coat project

Bernadett Jobbágy was originally trained as a landscape architect, later she turned to contemporary dance. Beside these she is active in many art genres, her poems were published in anthologies her visual works were exhibited in various individual and group exhibitions, also she took part in land art projects and artistic actions.

Anett Hajdú studies fashion design at the Moholy-Nagy University in Budapest. Beside her studies she has already shown her creations at various exhibitions, mainly in Hungary. She is also a founding member of KEPP Showroom, which enables young designers to advert their works.

Adél Kovács has received her education at Moholy-Nagy University of Art and Design, department of fashion design knitwear, in Budapest and the London College of Fashion department of menswear. In her design she is seeking to make use of innovative surfaces and material qualities. Beside her studies she has already shown her creations at various exhibitions. She is also a founding member of KEPP Showroom, which enables four young designers to promote their works.

Eduárd Sík is a former fellow of Kitchen Budapest, he joined the innovation lab in Budapest after experiences in the world of advertising. He studied IT at the Pannon University, while he was working as a graphic designer and later as an art-director. His future image can be described as such:"I am sitting puzzled above the maths tasks of my 15-year-old son, and try to talk him out of the eyeball piercing. On the other hand, I direct my colleagues from my high-tech home office, still believing in the strength of personal communication".

Laszló Kiss was born in 1981 in Hungary. He graduated in 2009 at the Creative Music Technology department of Anglia Ruskin University, Cambridge. His aim is to alter the relationship between the mind and the word with which it interacts using sound and machine. He is a sound designer, electronic musician programmer technocrat, who is currently a senior researcher at Kitchen Budapest.

László Kiss, Eduárd Sík, Bernadett Jobbágy, KEPP Showroom: Noisy Coat

Noisy coat is a fashionista performance tool. The project is collaboration between KEPP showroom and László Kiss and Eduárd Sík who are fellows of the Kitchen Budapest Innovation Lab, Bernadett Jobbágy will bring Noisy Coat in being with her choreographed movements. The idea behind the work is to remind the fashion loving audience of the work that is put in crating and making fashion. In order to do that sounds of different machines typical to sewing workshop (sawing machines, irons, coat hangers and so on) along with environmental sounds were recorded in the showroom to create an interactive noise composition that a dancer brought to life. The movements of the dancer triggered and modulated the above-described sounds. The whole project concentrated around putting clothes and fashion itself into new light and we felt that if we want to be true to ourselves than we have to make the sensors out of textile. That is why we made pressure and bend sensors using conductive textile. The “noisy coat” was performed and exhibited two times at kepp showroom during Design Week 2010 and once at the Contemporary Art Institution in Dunaújváros. At least until now.

Barbara Bucholz - Pedda Borowski

Barbara Buchholz

Barbara Buchholz (* 8 December 1959 in Duisburg) is a Berlin-based german musician and composer. She is one of the leading Theremin-players of the world.

Buchholz studied flute, guitar, bass guitar and singing at the Bielefeld University. She earned her first success as a bass player in the German woman jazz band Reichlich Weiblich. Since the early 1980s she worked on various interdisciplinary projects both as performer and composer. She produced e.g. Tap It Deep - „midified“ Steppdance and music, Human Interactivity and Theremin: Berlin-Moscow.

At the end of the 1990s Buchholz met Lydia Kavina, the grandniece of Léon Theremin; later she went to Moscow and became a master student of Kavina. In jazz and contemporary music she develops new playing techniques and experiments with various sound possibilities for the theremin.

Together with Lydia Kavina, 2005 Buchholz founded the Platform Touch! Don't Touch! for theremin. New compositions for the platform were worked out amongst others by Moritz Eggert, Michael Hirsch, Caspar Johannes Walter, Juliane Klein, Peter Gahn, Gordon Kampe and Sidney Corbett.

Buchholz performs e.g. in a trio with Norwegian trumpeter Arve Henriksen and live electronics performer Jan Bang, tours with Jazz Bigband Graz in the framework of ELECTRIC POETRY & Lo-Fi Cookies and conducts solo performances as well.

Pedda Borowski

Pedda Borowski is graphic designer and artist. He works together with Barbara Buchholz on the visual part of their performance. He uses old analogue technique, overhead projectors and paints live on their glass surface with oil, honey and other paints. This abstract, during the performance always changing painting are projected on the theremin player and the screens behind.

Eric Dunlap - Forward Motion Theatre

Façade projection

Eric Dunlap is co-director of Forward Motion Theater founded in 1995 with media artist Holly Daggers. Their mission is to explore movement and technology through original works combining physical performance and digital media. Using structured improvisation and formalized composition for each work to generate a specialized vocabulary of movement to relay these ideas.

Eric Dunlop spent his formative years touring nationally and internationally as a principle dancer. He is the main curator for FMT’s exhibition series and events, uniting artists that work in collaboration with live-mix video, audio and movement.

His role in FMT is also that of a curator of multi-disciplinary performance through FMT’s EyeWash, an exhibition series featuring VJs and video artists working in collaboration with audio and movement artists that has presented over 150 artists in the past six years.

As a VJ, Eric has performed and created live-mix installations at many venues and special events including the Museum of Modern Art, with James Brown for Diesel for Fashion Week, at Carnegie Hall for CBS’s Up Front, at the Kennedy Center for the Japan! Festival; performing the on stage video for the MySpace live broadcast of rap artist T.I, and with Animal Collective at the launch of the River to River Festival.

Eric Dunlop as a representative of Forward Motion Theater will cover the façade of the Spinning Mill with moving images and animations dedicated to the topic of textile production and industry, designed by the artist.

Agatha Michowska

Agata’s Michowska films frequently encompass multiple functions. They are autonomous and they are parts of larger works and installations. Always done sparingly, without 
narration, they work as moving, live sculptures. Time does not exist for them, a small change ennobles the image, a sound magnifies the meaning. The image scale is very precisely designed. Sometimes we look at a window of a small television screen, like through a telescope, observing a remote, unknown world from afar. Sometimes like through a viewfinder or the tube of a microscope we look inside events, we become discoverers. Another time a large scale projection surrounds and immerses us in an image. We breathe with the space offered by the artist. We do not stand eye to eye, we perceive with our entire body. Sounds saturate reception, permeate and create space. We immerse ourselves in a dreamlike world. In reality which is known, and yet transformed, somewhat dangerous, certainly mysterious. Absorbing like a sea wave, like the smell of lupine, like a forest path, like a new acquaintance. Individual works confront us with many questions, which nevertheless we do not pose, contemplating the image, sound and colour themselves.

PURE GOTHIC STYLE 2004 DVD 42:33; PURE GOTHIC STYLE 2004 DVD 42:33

“The Pure Gothic Style” comes from my former experience in the field of the sculpture and it is the best example of my approach to the video art as a medium suitable for expressing an idea of the sculpture liberated from the matter and existing only as its fantom.

In the 42 minutes long movie, based on the slow rotation of the red texture closed inside the washing machine, I am trying to reveal a relationship between the sculpture, which can be defined as the continuity of an exploration of the form and its variability in time and space, and - life, based on very similar principles. “The Pure Gothic Style” is a reflection upon the two basic ideas determining our whole life - sacrum and profanum, the spirituality and ordinary life consisting repetitive tasks, daily mundane rituals and rituals for spiritual purification.

The texture- in the state of permanent motion, reminds the old gothic draperies, constitutes a visual model of human existence – the infinite process of creation and destruction, leading us to the inevitable end.

The red texture, changing shapes and forms while circulating, plays a role of an anamorphic mirror, reflecting the complexity of the human condition - passions, emotions, dreams, weakness , power, beauty and misery.

Nicolas Wiese

Nicolas Wiese

Nicolas Wiese was born in Itzehoe/Germany in 1976. He is an audiovisual artist and composer/performer, based in Berlin.

In 2005, Wiese graduated in Communication design at the design department of HAW Hamburg. Apart from that, he studied experimental sound design at the University of Arts in Berlin, as well as Sociology and Philosophy the University of Hamburg. Wiese creates works in various media and formats, for different contexts – installation and spatial performance, contemporary electronic composition, relational music and free improvisation, graphic art, radio and experimental film.

His audio works are being published by international labels and organisations. There have been prizes of distincion by ETH Zurich (Digital Arts Week), by the Canadadian Electroacoustic Community and DEGEM. Radio broadcasts, among others, on Deutschlandradio Kultur, DRS2 (Switzerland), Resonance FM (UK) and FSK (Hamburg).

Performances/Exhibitions/Concerts/Installations/Screenings have taken place at (selection): Festival Hörensehen 2.0 - Berlinische Galerie (Berlin), Festival Sonikas (Madrid), De Witte Zaal (Gent), Rapid Ear Movement - Muesum Weserburg (Bremen), Weezie - Galerie für zeitgenössische Kunst (Leipzig), Miden Video Art Festival (Kalamata/Griechenland), Altera! Festival (Avellino/Italien), ETH Digital Arts Week (Zürich), 1st Roaming Tehran Biennial (Istanbul, Belgrad und Berlin), Hunt Gallery (St. Louis/USA), Kunstflecken (Neumünster), Museum für Kunst und Gewerbe (Hamburg), Imprimerie (Basel), Galerie Wohlfahrt (Rotterdam), Atelier Mommen (Brüssel), SKAM (Hamburg), Quiet Cue (Berlin), Projektwerkstatt Leipzig, British Film Institute (London).

Yoav Pasovsky

Yoav Pasovsky was born in 1980 in Israel. He began playing the piano at an early age, and started composing shortly after.

In the following years he produced mainly electronic music. Since 2001 his creative focus shifted more and more towards acoustic music.  Pasovsky studied composition with Daniel Ott and Walter Zimmermann in the University of the Arts Berlin, where he is currently teaching.

Pasovsky's works have been performed in numerous festivals in Europe (i.a. ISCM World New Music Days 2006), North America and Asia. He has worked with ensembles such as Ensemble Adapter, Ensemble U3, United Berlin, Red Light New Music, Asian Art Ensemble, Quartet New Generation, Ensemble Zafraan, and the Ensemble Modern Academy.

Pasovsky was composer in residence of the spanish ensemble Taller Sonoro in 2008. Recepient of the Elsa-Neumann-Stipend 2011, Pasovsky's music will be featured at the Munich Biennale 2012 and at the Donaueschingen Music Festival 2012.

'MILL'

Concept / video: Nicolas Wiese
Audio composition: Yoav Pasovsky and Nicolas Wiese

This work aims at vague collective associations derived from historical images of people working – images which are mostly drawn out of context to serve a specific reading.

How does today's viewer perceive these images, considering one's experience of mass media consumption, and one's temporal distance? How do we as observers, if we do it all, observe ourselves and our associative thoughts? What happens to the reading of images under certain methods of processing and juxtaposition?

The aesthetics of this installation bears reference to classic animation film, and combines a 'hauntingly nostalgic' impression with a contemporary digital one. The screen setting avoids rectangular frontal views, and therefore dismisses the normal viewing situation of film and TV. There is no attempt to simulate spatial depth within the frame of a two-dimensional screen panel. The historical imagery is used non-metaphorically – it stands for nothing but for itself. These images are encompassed by extensions through collage, manual drawings and textural interweaving. Whether this means pushing the historical images aside or spotlighting them in a new associative context depends on the viewer's perspective.

The audio part of the installation, conceived in collaboration with Yoav Pasovsky, connects dry sounds of mechanics and machines with atmospheric and ambiguous musical patterns. The mutual amplification of the auditive and the visual part, decidedly shifting between synchronicity and non-synchronicity, results in an ever-rearranging multilayered audiovisual complex.

Nina Czeglédy - Bettina Schülke - Márton András Juhász - László Kiss

Bettina Schülke

Bettina Schülke is an Austrian artist and Ph.D Researcher at the University of Lapland. Her research theme is “Transaction” (Phenomenology of Space and Time Dimensions). She has exhibited widely at internationally prominent venues like the 2nd Thessaloniki Biennale, GR, Shunt Lounge, London, GB; De Winkelhaak Design Museum, Antwerp, BE; Kemi Art Museum; Lume Mediakeskus, Helsinki, FI; the MAK-nite (Museum of Applied Arts), Vienna, AT, textile works at the Austrian Pavilion at the 8.th International Architecture Biennale in Venice, IT. Schülke has lectured at the University of Fine Arts in Vienna, AT, the University of Lapland and the Kemi/Tornio University of Applied Science, FIN.

Nina Czeglédy

Nina Czeglédy, artist, curator, educator and writer works internationally on collaborative art& science& technology projects. She has exhibited widely, won awards for her artwork and has lead and participated in workshops, forums and festivals worldwide. Czegledy curated and presented numerous international touring projects and published extensively. Aura,Aurora, Areosphere/Atmosphere (with JanineRanderson), What will you do to cool the earth? (with Greg Judelman and Daniel BarberÍ)and The Visual Collider are recent collaborations. The Visual Collider (together with Marcus Neustetter) premiered in Korcula and was shown in New York and Banff. Czegledy is a Senior Fellow, KMDI,University of Toronto, Associate Adjunct Professor Concordia University, Montreal, Honorary Fellow, Moholy Nagy University Budapest, member of the Leonardo/ISAST governing board.

Laszló Kiss

Laszló Kiss was born in 1981 in Hungary. He graduated in 2009 at the Creative Music Technology department of Anglia Ruskin University, Cambridge. His aim is to alter the relationship between the mind and the word with which it interacts using sound and machine. He is a sound designer, electronic musician programmer technocrat, who is currently a senior researcher at Kitchen Budapest.

Márton András Juhász

Márton András Juhász, was born in 1983 in a small Hungarian city near the Austrian border. Marton’s father is an electronic engineer, his mother a nurse, so he became involved early in the sciences. He got his first computer while in primary school in 1990, his first milestone was writing his own ascii art demo 3 years later. He learned programming, electronics, biology early, but also loved to play guitar and take photos. At 17, he won the 1st prize of the Innovative Science Fair in Hungary and became a university student at Universitat Scientiarum Szeged. During these years he patented some of his ideas including nervous system controlled artifical limbs and played in a rock band. Marton had several photo exhibitions, simultaneously teaching biorobotics and running a computational biology laboratory in the Hungarian Academy of Sciences. Since the summer of 2008 Marton is a researcher and coordinator in Kitchen medialab Budapest. His favourite works are Murmur study, iGarden, Where is your art.

Aura/Aurora

Aura/Aurora is the most recent phase of an ongoing art & science project presenting an interactive interpretation of the Polar Lights, - Aurora Borealis and Australis, the magnificent, mysterious and dynamic natural spectacle that hasretained a near-mythical status in most cultures over centuries. The dazzling geo-specific phenomenon, typicallyobserved in the Polar Regions is not only a brilliant spectacle but it also makes dramatically visible the invisible world of electromagnetic activities.

Aura/Aurora is a real–time audio-visual installation combining visuals, sonic and on-line internet-linked components. It has been argued that an artwork can hardly compete with the actual experience of a natural phenomenon therefore we aimed at an alternative approach by developing an installation with a range of components by engaging active audience participation. A series of visual images are also included in the exhibition, these digital images represent experimental installation elements in form of abstract enigmatic fields of color.

Aura/Aurora the interactive light-installation (LED RGBs) is ideally situated in a distinct dark space. On entering this space, little is visible in the dimmed light; the spectacle of the moving lights is initiated through the physical movement of the visitor by motion sensors that trigger the lights and sound by tracking the visitor’s movements.

There is only some, but significant scientific evidence about the sounds of the Aurora. Resonating ambience design should support the installation by creating the audio sphere as an artistic interpretation of the natural phenomenon. A collage of nature sources in electronic transformation along with synthesizer-generated sounds should enhance the visitors’ senses to the big picture in eyes and ears. The ultimate aim is to create a seductive experience for the visitor to evoke a real or imaginary experience of the Aurora.

Phill Niblock - Katherine Liberovskaya - Al mArgolis

Katherine Liberovskaya

Katherine Liberovskaya is a video/media artist based in Montreal, Canada and New York City. Involved in experimental video since the 80s, she has produced numerous videos, video installations and performances shown around the world. Since 2001 her work mainly focuses on collaborations with composers/sound artists mainly in live video+sound performance. Among these: Phill Niblock, Al Margolis/If,Bwana, Keiko Uenishi (o.blaat), Zanana,Hitoshi Kojo, Tom Hamilton. David Watson, Anne Wellmer, David First, and many others.

Al Margolis (If Bwana)

Al Margolis (If Bwana) has been an activist in the 1980s American cassette underground through his cassette label Sound of Pig Music; was co-founder of experimental music label Pogus Productions, which he continues to run. Active under the name If, Bwana since 1984, making music that has swung between fairly spontaneous studio constructions and more process-oriented composition. He has collaborated with video artist Katherine Liberovskaya on a number of videos as well as performed with her on numerous occasions.

Phill Niblock

Phill Niblock makes thick, loud drones of music, filled with microtones of instrumental timbres which generate many other tones in the performance space. Simultaneously, he presents films / videos which look at the movement of people working, or computer driven black and white abstract images floating through time.

Set one

Live Video by Katherine Liberovskaya with Live mixing of audio pieces by Phill Niblock

 

In this live set Niblock mixes between audio pieces based on diverse field recordings which are very different from his music compositions. Liberovskaya mixes video with Jitter/Max/MSP from a vast personal database of clips shot over the past fifteen years.

   

Set two

Music by Phill Niblock

 

Hurdy Hurry  (1999, 15:30) Jim O'Rourke, hurdy gurdy, recorded samples

 

No Title (22:20, 2003) Franz Hautzinger, trumpet, recorded samples; Gordon Allen, live

 

Poure  (2008, 23:28) for cello, Arne Deforce, cello; recorded samples ; commissioned by the Centre de Recherches et de Formation Musicales de Wallonie, CRFMW, Liege, Belgium

 

Images by Phill Niblock  

Video from the "Movement of People Working" series

Share Krakow

Elektro Moon Vision, Minoo, Neonbreaker and Kuba Garścia -  guests representing Share:Krakow from Poland will serve improvised and unpredictable audiovisual evening. You can expect a trip to unique multi-projection visual and sound spaces where everybody can join and augment it.  Bring your toys and join!
In cooperation with Share:Bremen.

SHARE is a global organization dedicated to supporting collaboration and knowledge exchange in new media communities. Local SHARE groups hold free, open jams and workshops in their communities. Participants bring their portable equipment, plug into our system, improvise on each others' signal and perform live audio and video. SHARE happens weekly to monthly in cities around the world.

Elektro Moon Vision: MAPPING Project in the Spinning mill of the Textile Museum

title: Abstract  Illumination

audio-visual project based on indoor mapping technique created in real-time where projection is strictly space specific and inspired by the interior.

Recently Elektro Moon Vision made an interactive mapping installation at WRO 2011 Media Art Biennale in Wroclaw, Poland, where the projection was based on authors software using movement detectors.

Elektro Moon Vision

Elwira Wojtunik and Popesz Csaba Láng - Polish-Hungarian duet of visual artists founded in 2004. They create unique visual live-acts, wide-format projections, a/v performances, video-installations  based on live experiments with the video surface inspired by Extended Cinema and urban spaces. Regularly invited to participate in the international events presenting new media art (e.g. sound:frame in Vienna, LPM in Rome, VJ Fest in Istanbul, WRO Media Art Biennale). Their works were exposed at the salon-projektionist VJ-art gallery based in Vienna, during the famous Notte Bianca in Rome at the Palazzo delle Esposizioni and also included in the Cho-ping DVD compilation published by WEF and ‘Zachęta’ Nationally Gallery of Art in Poland.  In 2010 they participated in Artist-in-Residence program of MuseumQuartier in Vienna completed with an exhibition at Electric Avenue (MQ).

Founders of Share:Krakow.

Kuba Garścia

Kuba Garścia< was born in Krakow, Poland. Author of Intermedia installations, video maker, VJ, post-producer and designer. He has been studying Intermedia on Krakow Academy of Fine Arts. In 2010 he presented video-mapping as a diploma. He was participant of many international new media workshops and festivals. He had a few authors exhibitions and on live shows.

Wojciech Łuczyński /vj Neonbreaker/

I'm interested in video-art since i've first saw vj performance, about 10 years ago. Thas was a liquid kind, based on live chemical reactions. Currently i've evolved into digital pixels, this is my matter, thing thats most interesting for me.

In my live performances i love to use decayed tape parts converted to digital image, all available digital noises, damaged files, all kinds of partially crippled pictures, from flooded photos to pixelated web downloads.

Also controversial topics, especially based on human body pictures and modern technology mixed together. I am taking part in Share:Krakow events and working with other vj's on building "the scene" in Upper Silesia region.

Pawel Pruski will take part in the Festival under the name Minoo, which is his musical project and his artistic personality as well.

Minoo is a musical project from Poland, chiefly revolves around experimental electronic and jazz. Pawel has been making his music since 2001 but his musical interests used to include minimalistic music as well. Minoo has been bound up with Warsaw Electronic Festival and many other organizations related to art in Poland. His live acts attempt to join groove jazz with modern electronic sound based on hip-hop bits, cut samales and elements of improvisation. Every live performance is a unique presentation of musical experiments.

Simon Pfeffel

Born in 1985 in Nürnberg, graduated in 2005. Studied at the Academy of Fine Arts in Karlsruhe since the Winter-Semester 2006/07 and participated in the class of Prof Silvia Bächli. He went to the Academy of Fine Arts in Stuttgart to continue studies in the sculpture and performance class of Prof. Christian Jankowski . The main interest in the works of Simon Pfeffel lies on the process of the work itself and the recipient, confronted with the work.

Unbelebtes Bewegen/ ”Undead Moving” (Installation/ Performance)

One part of the installation/ performance ”Undead Moving” rises the question, how clothes can be uniforms at the same time. Each character in the installation is like a portrait of a fictive person who may exist, may not, at the same time the figures more or less similar to each other. Clothing not just covers the body but it is more like a suit of armour.

The “shells” are moving simultaneously following to the action of the leading puppet, in movement and rhythm. The characters are moving like a brainless mass, like a menacing army. A living person has to put on clothes of the artist, to don the trouser and the jacket and to “activate” the installation. The installation offers a new point of view on the motions of the human body. If the leading character is activated, the individual actions are melting in the rhythmical motions of the whole group. The individual will lose its importance and the group start to become alive.

Rhythm is the most important motif of the installation, the “shells” look like dead clothing. The artist together with the audience will bring them to life. On the other hand they represent disappeared human bodies. Portraits that one cannot really identify, but the mind tries to create personality “into” the clothing. The clothes of the artist in the shady corner are the leading clothes of the whole group; the artist has the power of the group. It´s like a self-portrait of an artist. The recipient may fill this gap if he/she takes part in the installation.

Ursula Scherrer - Flo Kaufmann

Ursula Scherer

“It wasn't about the perfection of the harmony, but about the inner movement in view of the infinity outside of time. The intuitive realization of the fleeting of all reality led to look for that which was seemingly irreal.” - Lancelot Lengyel, ‘Le Secret des Celtes’

The poetic quality of Ursula Scherrer's work reminds one of moving paintings, drawing the viewer into the images, leaving the viewer with their own stories. She transforms spaces and landscapes into serene, abstract portraits of rhythm, color and light, where the images have less to do with what we see then the feeling they leave behind.

Scherrer is a Swiss artist living in New York City. Her work has been shown in festivals, galleries and museums internationally. Her aesthetic training began with dance, transitioned to choreography and then to photography. She found in the medium of multichannel video a way to express her inner landscapes in the outside world.

Scherrer has worked with the composers/musicians Shelley Hirsch, Michelle Nagai, Kato Hideki, Flo Kaufmann, Domenico Sciajno, Michael J. Schumacher, among others, in the creation of video and sound installations, live performances and single-channel videos. She has collaborated with the choreographer Liz Gerring as well as the light artist Kurt Laurenz Theinert.

Together with Katherine Liberovskaya, Scherrer organizes OptoSonic Tea, a series dedicated to the convergence of live visuals with live sounds.

flo kaufmann - bricolage universelle

"Whether you call it just work, music, or art. There are two main lines in my work; technology, and the alteration of simple things to create complex objects."

Electronic experimental music, sound and video installations. lives and works in Solothurn as „bricoleur universal“, sound and electronic engineer. a main topic in his work is converting technological flotsam like typewriters, vacuum cleaners or x-ray machines into electronic musical instruments.

Dumpster diving and fleamarkets are often the start for new objects and instruments and generate a steady flow of obscure and fresh installations or concerts.

Another important theme is mechanical sound recording in all its nuances. From homemade vinyl disc recordings to engraved 500ml beercans......