Musik und Diskurs
Mittwoch, 2. November 2022 · 19:30 Uhr
mit: Susanne Kogler (Diskurs) · Pia Palme (Medienkomposition, Video) · Electric Indigo (Live Performance) · Veza Fernández (Workshop zum Thema Stimme) · Elaine Mitchener (Live Performance) · Séverine Ballon (Violoncello, Live)
Eine Veranstaltung, die das Album fragility of sounds (Ventil, 2022) und das Buch Sounding Fragilities. An Anthology (herausgegeben von Irene Lehmann und Pia Palme, Verlag Wolke 2022) als Ergebnisse des PEEK Projektes On the fragility of sounds (2019-2022) in den Fokus rücken will.
Elaine Mitchener is an experimental vocalist, movement artist and composer, whose work encompasses improvisation, contemporary music theatre and performance art.
Born in East London to Jamaican parents, Elaine studied voice at Trinity College of Music, London and currently studies with Jacqueline Bremar. She has performed at numerous UK and European festivals, venues and galleries including Aldeburgh Music, London Contemporary Music Festival (LCMF), 56th Venice Biennale, Wysing Arts, Café Oto (London), Bluecoat (Liverpool), SAVVY Contemporary (Berlin), Purcell Room (Southbank Centre, London), Huddersfield Contemporary Music Festival, ULTIMA Festival (Oslo). She has worked and performed in a wide variety of contexts with an array of leading musicians, composers, directors and visual artists. Elaine is co-founder of the experimental jazz quartet the Hawkins/Mitchener Quartet and a regular vocalist with the ensemble Apartment House. She created the role of Hannah/Voice singing with tenor Mark Padmore, in the opera CAVE, by composer Tansy Davies with libretto by Nick Drake, co-commissioned by the London Sinfonietta / Royal Opera House and directed by Lucy Bailey which premiered in June 2018.
Susanne Kirchmayr aka Electric Indigo works as musician, composer and DJ. Her name stands for the intelligent interpretation of techno and electronic music. She started her DJ career 1989 in Vienna and worked at the legendary Hard Wax record store in Berlin from 1993 to 1996. In 1998 she founded female:pressure, the international network for female*, non-binary and transgender artists in electronic music that was awarded with an Honorary Mention at Prix Ars Electronica 2009. She feels equally at home in the Berghain DJ booth as on the live stages of Europe’s and North America’s most adventurous festivals. Electric Indigo’s compositions premiered at festivals like Wien Modern, CTM and Heroines of Sound. In 2018, Imbalance Computer Music released her debut album 5 1 1 5 9 3. Her album Ferrum came out on Editions Mego in March 2020. The Republic of Austria awarded Electric Indigo the Kunstpreis Musik 2020.
Important works further include multichannel compositions like „Structuring Contours“ – premiere at Klangspuren Festival 2011, „Chiffres“ – premiere at e_may / Wien Modern 2012, „109.47 degrees“ – premiere at Dunkle Zeiten Festival 2014, „MORPHEME“ – premiere as audiovisual multichannel concert together with Thomas Wagensommerer at CTM Festival 2015, „Hierarchy Glitch“ a commissioned work for Klangforum Wien, together with Vessela Dantcheva – premiere at Eclat Festival, Stuttgart, 2019, „Ferrum A/V“ – premiere of the audiovisual surround sound concert at musikprotokoll, Graz, 2020, and „Brittle“ – commissioned by „Fragility of Sounds“ 2020, funded by the Austrian Science Fund [FWF]. Her composition „Brittle“ was relased on Ventil Records in spring 2022
Pia Palme (Vienna) is a composer and artistic researcher with a focus on experimental forms of music theatre. Known for her ecological and multidisciplinary concepts, her practice interacts with writing, movement, and visual art. Important music theatre works include ABSTRIAL (2013); the piece MY ROOM, UNTIL YESTERDAY (2017) developed with a group of seventeen young people; DUSK SONGS and MATTETOLINE (2019); and the collaborative opera WECHSELWIRKUNG (2020) with dancer Paola Bianchi, soprano Juliet Fraser, and ensemble PHACE. The backbone of her work is the physicality of performance, a theme she regularly revisits as a musician with her bass recorders. Her collaboration with the composer Éliane Radigue led to the realization of pieces for bass recorder as part of Radigue’s OCCAM collection. From 2019-2022 she directed the PEEK artistic research project On the fragility of sounds (Austrian Science Fund FWF) at the University of Music and Performing Arts Graz, exploring, composing, and producing new formats of music theatre and composition; she cooperated with musicologist Christina Fischer-Lessiak and theatre scholar Irene Lehmann. Palme’s music is presented worldwide and at festivals such as Wien Modern, Klangspuren Tirol, hcmf Huddersfield, Ars Electronica Linz, Ultima Oslo, Q-O2 Brussels. Her recognitions as artist include the Outstanding Artist Award of Austria (2015), scholarships and residencies such as from the Kone Foundation Finland (2022), Sound and Music UK, the City of Vienna, the Örö Residency Programme Finland, Uncool Residency Switzerland, and The Banff Centre of the Arts, Canada.
With theatre scholar Irene Lehmann, she published the anthology >Sounding Fragilities< in 2022.
Veza Fernández is a voice, dance and performance artist navigating different scenes and forms of expression. Her art entangles singing, writing, dancing and speaking practices that collaborate polyphonically with each other as passionate forms of study and performing, all in visceral expression. The sentimental, the strident, the hyperbolic, the poetic, the transverberating are her preferred materials. She studied English and Spanish Studies before pursuing a career in the Arts. After years of choreographing, she developed a screaming practice with Christina Lederhaas and a writing practice together with Christoph Szalay. In 2021, she graduated from the DAS Choreography Masters. In 2014 she won an audience prize for her solo Calamocos. In 2015 she was awarded with the danceWEB scholarship. In 2016 the Austrian city of Graz granted her a prize of excellence for her labour as an ‘Ausdruckstänzerin’ in the city. Her work has been shown in Tanzquartier Vienna, brut Vienna, Sophiensaele, DeSingel and Gessnerallee, among others.
Susanne Kogler combines aesthetic, analytical and historical perspectives in her research, specifically focusing on music from the 19th to the 21st centuries. Her numerous publications address language and music (song, opera, music theatre), modern and postmodern aesthetics (music and nature, temporal forms, performativity, expression, gesture, electronics, multimedia), contemporary creation and gender issues. Current interests concern the methodology and possibilities of music history and critical aesthetics in the digital age, the change in cultural topographies, music (science) after 1945 and research on the Third Reich.