kuratiert von Christian Wolfarth
Lê Quan Ninh - Nothing
After every performance, I might as well throw up my hands and shout: “Still nothing!!” Every time, I sense there’s nothing left, that everything that might have been affirmed, fled. Nothing really showed up, nothing happened, nothing was retained by anyone. Everything was spent because there was nothing to spend. There was no void to be filled, no loss in need of comfort, no tears to dry, no joys in need of celebration. There’s never anything memorable about a performance. It’s in vain.
Maybe just the amount of time that passed, a time that lacks the quality of assault or fading away, a simple stretch of collective lived time that gets melded with my perception. So what exactly was I doing during all that time, with sounds? What took hold of me that in turn made me use them, make them appear, state them aloud, and then leave them behind in nothingness? What persuaded me to choose such an unproductive, useless activity?
https://www.lequanninh.net/
Enrico Malatesta - LRLR
LRLR is an open project, aimed at broadening my personal research on percussion instruments and their surfaces, that will be used in order to explore the relations between sound, space and
...
show more
kuratiert von Christian Wolfarth
Lê Quan Ninh - Nothing
After every performance, I might as well throw up my hands and shout: “Still nothing!!” Every time, I sense there’s nothing left, that everything that might have been affirmed, fled. Nothing really showed up, nothing happened, nothing was retained by anyone. Everything was spent because there was nothing to spend. There was no void to be filled, no loss in need of comfort, no tears to dry, no joys in need of celebration. There’s never anything memorable about a performance. It’s in vain.
Maybe just the amount of time that passed, a time that lacks the quality of assault or fading away, a simple stretch of collective lived time that gets melded with my perception. So what exactly was I doing during all that time, with sounds? What took hold of me that in turn made me use them, make them appear, state them aloud, and then leave them behind in nothingness? What persuaded me to choose such an unproductive, useless activity?
https://www.lequanninh.net/
Enrico Malatesta - LRLR
LRLR is an open project, aimed at broadening my personal research on percussion instruments and their surfaces, that will be used in order to explore the relations between sound, space and body, touch-based perception and the vitality of materials to percussive acts. LRLR comprises multiple trajectories of research whose final output revolves around percussion music: from writing texts to the realization of scores/instructions for solo and percussion ensembles; from the formalization of listening exercises, to the development of an audio recordings archive in which the surface of the skin instruments is documented as field of actions.
www.enricomalatesta.com
Gerry Hemingway
There is no hiding place as a performer of solo music. It is an intimate dialogue with the listener and performer offering a unique opportunity to engage in the singular identity, energy, imagination, humor delivered from the reservoir of experience a musician can bring to a performance. I gave my first solo performance fifty years ago in 1974. My inspiration to explore this challenging musical universe was initially inspired by Wadada Leo Smith and others of the AACM, who themselves had focused on this possibility only a few years before. But it also came from the legacy of earlier masters of my instrument such as Max Roach and Papa Jo Jones who I experienced many times at the start of my musical journey. In fact, my early solo work always included tributes to these remarkable musicians as I embraced the tradition of assimilating the influences that inspired me. Every solo performance I offer is unique to the space where it will occur. Walcheturm is a magnificent acoustic where together we can share the detail and infinite possibilities of being present.
https://www.gerryhemingway.com/
show less
