Archives for September2013

CAMP-festival in Cluj 2013

CAMP-Festival 2013 in Cluj, Romania 15 – 21 September 2013

International Festival for Visual Music

 

research and rehearsals 15 – 21 september |CASA MATEI andCASA TRANSIT

performances 20 / 21 September 9 pmCASA TRANZIT

symposium 19 septemberCASA MATEI

CAMP exhibition 18 – 21 septemberCASA MATEI

workshop 16 – 21 septemberCASA MATEI

 

Performances

audiovisual performances and concerts created and performed by theCAMPcollective featuring the participating artists.

20 and 21 september at9 pm

Workshop

“do it yourself” sound systems. The materials and geometry of ordinary objects will be used as an analog sound system amplifier. One can amplify sound from old and low power speakers using recycled install pipes and boxes, cans, paper tubes and cardboard boxes sealed with polyurethane foam. Materials proposed by the participants can also be included.

with: Justin Baroncea – architect, visuals artist, performer, Eduard Gabia – performer, musician

Symposiun CAMP-Festival 2013 Cluj

19 september 2013at10 am – 5 pmCasa Matei

“We’re in this Together Now”

A Symposium on Crossmedial Experiments in the Collaborative Arts

The symposium is dedicated to the recently much discussed theme of collaboration in the arts and related fields, with a focus on the performative arts. Particularly in avant-garde or neo-avantgarde experimental projects, collaborative approaches are often deployed as a means to transcend the myth of the solitairy genius artist, but also to bring together various media and technologies in open, laboratory-style environments – for instance in the visual music scene in which theCAMPfestival has been situated since 1999. In the context of this symposium, “collaborative arts” does not simply refer to projects in which several participants are involved, but to those which encourage genuine exchange, interaction, amalgamation and hybridization. The speakers will present and discuss case studies from their respective fields of research and/or practical experience, and contextualize them against the background of contemporary and historic discourses on experimentation, collaboration and performativity. Moreover, a question to be addressed is to which extent the latest rise of collaborative art projects mirrors the postindustrial, digital-based era which increasingly looks for new modes of production and consumption such as “prosumerism” or “wikinomics”.

With: Cornelia Lund, Miron Ghiu, Horea Avram, Jörg Scheller, Mircea Florian

Concept

TheCAMPFestivalwas founded in 1999 by Prof. Fried Dähn and Thomas Maos. Since 2003, it has been organized and run and coordinated byCAMPe.V. (Thomas Maos, Fried Dähn, Stefan Hartmaier, and Martin Mangold) .

The international CAMP(Creative Arts and Music Project) festival is an innovative platform and interactive research lab for sound artists, musicians, and artists in the areas of video, installation, projection and new media. It focuses on new, experimental music in conjunction with light, projection and media art. In what is effectively a laboratory created for a defined period, artists – all of them recognized members of the international avantgarde in their respective fields – collaborate for several days on new forms of audio-visual art, presentation techniques and live performances. The results are showcased to the public in concerts, installations, and performances held alongside the event. Moreover, various topics and aspects are presented and developed in accompanying lectures and workshops.

Each festival is staged at a different location, with a new team of international artists. The unfamiliar spaces, the associated creative criteria, and collaboration with new artists pose challenges that unlock vast creative potential and foster intensive international dialogue. GOAL The development of new forms of artistic presentation in sound and light art, in the context of contemporary and forward-looking creative approaches. International dialogue and collaboration between artists from different backgrounds, with a catalytic effect at both a personal and cultural level.

Read more HERE.

 

Jazz & More 2013

Jazz &More International Festival – the 9th Edition

Sibiu, October 4/5/6 2013

Organiser: INTERZONE Cultural Association

During October 4-6, Sibiu will host yet again the International Improvised Music Festival Jazz & More. This 9th edition of the festival will take place at the Gong Theater, the „St. John“ evangelic church and Atrium Cafe. The director, Mircea Streit, proposes a 100% non-commercial festival, dedicated to a creative audience interested in improvised and new music, one that always asks itself questions regarding the evolution and the developing of music. Jazz & More is a unique experience in Romania, a different kind of festival.

Hosting 17 concerts in only 3 days time, this musical marathon will present jazz, chamber music as well as improvised music. Romanian artists such as Mircea Tiberian, Stylipsticks or String Trio will performs alongside foreign guests in common projects: The Convergence Quartet (Taylor Ho Bynum, Harris Eisenstadt, USA and Alexander Hawkins, Dominic Lash, England); saxophonist’s Sabir Mateen trio as well as Scott Fields (guitar) and his group, Freetet (USA); from Denmark, Lotte Anker (saxophone) and the Angel trio; Eve Risser, Jean-Luc Guionnet, Edward Perraud and Benjamin Duboc (France); Erase trio (Poland); Elisabeth Harnik (piano, Austria) and many more.

Find the complete program and how to buy tickets HERE, on the festival’s official website. 

The festival is sponsored by Sibiu City Hall and the Local Council of Sibiu – through the Cultural House of Sibiu.

Partners: the Polish Cultural Institute in Bucharest, the Austrian Cultural Forum Bucharest and the Danish Jazz Federation.

FALSE FESTIVAL 2013

FALSE FESTIVAL 2013 @CNDB, September 15-17

 

 

 

Sâmbăta Sonoră invokes the concept of false / resistance to false: having never intended to organize a music festival, we now have to fake it.

“Magic exists” – thus announces the yearly recurring and largest music festival in RO happening now and dedicated to the memory of composer &c George Enescu – and needs a wand and top hat. It is useful and grossly lacks contemporary sense. This makes us want to demonstrate without falling into repertory that there must be yet another ear inside the ear. Capable of perceiving also non-academic, experimental music. It feels like work and is a system of production and open network distribution and this is where we stand. Quantitative and qualitative proofs via London-Bucarest-Tel Aviv will be presented instantly for a non-delirious musical space and time. Program below.

But is it legit? Even though unpopular &musical institutions are incapable of taking it seriously without patrimonialist/comercial &status arguments, this “non-academic experimental music”, fairly easy to recognize due to its lack of interest in harmony (magic, according to the new calendar), only breaks with the past in order to acknowledge a premise, the new &non-organisational sound. Nothing unheard of here &so-called False Festival isn’t made in ivory towers of corporate nostalgia &is more a superspecialized platform. We call upon this false festival music to do what it knows how to do best: sound problematic &in touch with other art forms of the present-real, be rare and accesible to all those who realise that it only sounds strange &already anachronistic if associated with a self-image &too familiar &too inspired from life, ultramodernist, more efficient, more dehumanized. If this is its postmodern condition &anything is possible musically, why even bother to define it negatively in relation to the magical kind, which always asks where is the absolute? &why doesn’t it keep that safe distance with tradition? Because this is the false perspective, and what’s further ahead must appear larger than what is at hand.

(re)Capitulating: the phenomenon to be perceived is so sensible that it appears false. No graduated link with the past will make it seem any more real. Its specificity is activist. It poses problems and offers no solutions for a festival we can’t afford and have no way out of.

It has: international activists and local exponents, sounds capable of reaching deeper than the classics, possible links between musicians and organizers: Sâmbăta Sonoră and

Cafe OTO (UK)

Maybe the world’s busiest small performance space, Cafe OTO opened in London in April 2008 with the aim of providing a home for creative new music that exists outside of the mainstream, hosting an evening programme of adventurous live music almost seven nights a week. Hamish Dunbar, Cafe OTO programmer, presents Paul Abbott, a quietly innovative presence in London’s improvised music scene working with electronics and self-built instruments before more recently dedicating a good part of his energy to the radical potential of an unadorned drumset, notably as one third of lll人 with Seymour Wright and Daichi Yoshikawa. His practice focuses on the heuristic aspect of free improvisation – as a process of discovery, learning and dialogue. Paul has worked with musicians including Eddie Prévost, Otomo Yoshihide, Evan Parker, Seymour Wright, Toshimaru Nakamura, Sebastian Lexer, Guillaume Villtard, Daichi Yoshikawa and Benedict Drew.

Primate Arena (IL)

The longest running and most consistent platform for freeform, free spirited and experimental music in Israel. Curated by Eran Sachs and Alex “Drool” Yunowitch, Primate Arena has been active since 2008 and includes concerts, a radio program, an international festival, tours, panels and many additional activities, which have successfully raised the profile of experimental music in Israel and has nurtured a community of adventurous local musicians including Maya Dunietz and Yoni Silver, as well as hosted visiting internationals such as Blood Stereo, Dave Philips, Jérôme Noetinger, Fritz Welch, Arnaud Rivière, Ignatz Schick, Daniel Padden, Bob Ostertag and many others. Both Sachs and Yunowitch (as well as their guest musician Yoni Silver) are also members of Ensamblul Hyperion, dedicated to the works of Romanian Spectral composers Iancu Dumitrescu and Ana-Maria Avram.

Guests (RO)

Sillyconductor

Dyslex

Mihai Balabaș

Dan Michiu

Fierbințeanu

Programme

Sunday, 15th of September: 6pm – Romanian showcase (short sets) – @ National Center of Dance

Monday, 16th of September: 6pm – London, Tel Aviv, Bucharest: experimental music scenes, discussion with the programmers invited – @ Control Club

Thusday, 17th of September: 8pm – Concert Primate Arena and Paul Abbott – @ National Center of Dance

This initiative is possible through the support of British Council, CNDB and Control Club; big thanks to Florin Cojocaru for the sound.

Media partners: TATAIA, modernism.ro, metropotam.ro

Director of the festival: Octav Avramescu

Elena Apostol

Elena Apostol was born in Focsani, Romania. She studied composition at the University of  Music in Bucharest with Liviu Danceanu. In present she is a candidate for a doctor’s degree at UNMB, at Liviu Danceanu’s class.
She composed choral, chamber and orchestral music. Her works have been selected and performed at several music festivals. She is a member of The Union of Composers and Musicologists from Romania, SNR-SIMC and ARFA.

Website HERE