[ 1: ∞ ] Audio and visual interference #419
Start time: 20:00
Entrance: 5-10 € (up to your offer)
The sound in relation to visual interference following the topic: «scale one to eternity».
Three audio-visual performances created by divers artists who are actively working with the experiment, improvisation, contemporary avant-garde and innovative adventurous art forms.
Lena Czerniawska and Emilio Gordoa: [1: ∞ ] — no.001
Sabine Vogel: Clovelly beach
Don Malfon and Misha Marks: Improvisation & experimental film
Lena was born in Poland in 1989. She lived many years in Wrocław, where also finished her Master in graphics. Recently moved to Berlin. «My biggest love and passion is drawing. I work with sketches, murals, exhibitions and installations although what represents my art the strongest is my work with improvised, live drawing. Most of the time I use the old fashioned overhead projector, but I have also worked with drawing with water, chalk, huge canvas, paper, body of the dancers, walls, floor, self made installations… I improvise solo but I am as well fascinated by cooperating with experimental music, dance and creating the big multidisciplinary ensembles performances.» Czerniawska has collaborated with artists such as Piotr Damasiewicz, Emilio Gordoa, Anna Bogdanowicz, Gerardo si Loureiro, Misha Marx, Jon Rose, Phil Wachsmann, Brianne Curran, Berke Can Ozcan, Ozun Usta, Michał Sember, Nicola Hein, Phillipe Lemoine, Adam Webster, Tomasz Gadecki, Marcin Bożek, Paulina Owczarek, Lan Cao, Sabine Vogel, Clayton Thomas, Jean-Luc Guionnet, and many more…
Mexican composer and vibraphonist based in Berlin since 2012. He’s involved in numerous projects including his work as a soloist and in collaboration with theatre and dance. Emilio is especially focusing on sound art, experimental music, noise, free jazz, improvisation, and contemporary music. He is redefining the vibraphone as a source, treating it with preparations and extended techniques, and is a busy composer as well, writing graphic scores for a variety of ensembles, large and small, for theatre, documentary films and audiovisual. He studied music composition with Julio Estrada, Vincent Carver and Mario Lavista, and percussion with Raul Tudon. He has collaborated with several artist from all around the world such as Nate Wooley, John Russell, Tristan Honsinger, John Edwards, German Bringas, John Butcher, Misha Marks, Axel Dörner, Tony Buck, Tobias Delius, Kazuhisa Uchihashi, Ignaz Schick, Harri Sjöströjm, Frank Gratkowski, Jaap Blonk, Burkhard Beins and Ute Wassermann… Emilio is a current member of the BerIO — Berliner Improviser Orchestra, and other ensembles like the Circuit Training (electro-acoustic ensemble) and founder of the groups Radiation iX, Para.keets, Corso, Dörner-Gordoa-Thieke-Vorfeld Quertet, and M0VE Quintet.
mishamarks.jimdo.com} born in Wellington, New Zealand and grew up near the dairy farming town of Karamea, on the West Coast of the South Island. He started playing guitar when he was six years old and later studied jazz and classical guitar at Massey Conservatory of Music in Wellington for two years before abandoning academic studies. Outside of school walls he became involved in the creative music scene of Wellington, based around the adventurous music venue Happy, where he played regularly with local and visiting improvisers, worked at the bar and was the cleaner. After spending time living in Europe, he moved to Mexico City with the idea of staying for about six months, which has since become nine years. He plays guitar, baritone horn, accordion and latarra (a homemade electric guitar made out of an old metallic first-aid box), in both conventional and unconventional ways. He is active in diverse scenes throughout Mexico City playing numerous projects, such as Generación Espontánea, Carlos Marks, Nabuzenko, Arto Ensamble, Teoqualo, Lágrimas del Cíclope Llorón, duo with with Colombian singer Lucía Pulido, Héroes del Destierro, Tr¿oGlodytas and occasionally with brass bands from the Sierra Norte of Oaxaca. He has performed in festivals such as High Zero (Baltimore) No Idea Festival (Austin TX) Cha'ak'ab Paaxil, (Mérida, MX) Music Matters Festival (Colombo, Sri Lanka) Glatt & Verkehrt (Krems, Austria) Wellington Jazz Festival, Om the Space, (Wgtn, Chch, NZ) Visiones Sonoras (Morelia, MX) and together with musical accomplice Carlos Alegre organizes the experimental music series and festival Derrepente Enderredor, in Mexico City.
Alfonso ˝Don Malfon˝ Muñoz began playing the electric bass when he was sixteen years old, changing to the saxophone at eighteen while studying at a local school in Barcelona. In 2000 he moved to Havana, Cuba, where he studied for five years under the tutelage of Orlando Sanchez (Cuba Jazz), Javier Zalva and Elvira Fuentes while specialising in baritone and alto sax. In 2006 he settled again in Barcelona and joined groups such as planeta imaginario (Progressive Jazz Rock), Filthy Habits Ensemble (set dedicated to the instrumental music of Frank Zappa and Stravinskij), Reptilian Mambo (mambo avant-garde), B.I.B (Orchestra of improvisers of Barcelona), IED8 (Free Jazz and free improvisation), October Equus (Rock, Contemporary) Outerzone (jazz progressive core) among others. In 2013 he moved to Mexico City where he collaborated and joined groups such as Zero Point, SIC, Remi Álzarez 4, Chocolate Smoke Gang, Mexican American Jungle Orchestra Of Marco Eneidi, Spontaneous Generation, Carlos Marks, Teoqualo and other free jazz, improvisation and other outfits. His current experience comes from interpreting in diverse groups, alongside Agustí Fernández, Liba Villavecchia, Tom Chant, Agustí Martinez, Pablo Rega, Nuno Rebelo, Remi Älvarez, Marco Eneidi among others. His work has been published on more than thirty albums, released on Cuneiform Records, Altrock Records, Discordian Records and Audition Records and other labels. With some of these groups he appeared playing at different festivals of jazz, rock, and free improvisation in Europe, South America and Latin America.
As a flute player Sabine Vogel focuses on sound and improvisation, using extended techniques, both acoustic as well as electronic, creating a very personal contemporary language for the flute. Also, she creates site specific work in the natural environment as well as concert installations and performances relating to her work outside in the fields. Projects and concerts lead her around whole Europe, America and Australia. Her current projects are: KOPFÜBERWELLE, a duo for flute and church organ with Australian pianist/organist Chris Abrahams, HATIFNATTEN, a duo with singer and voice artist Ute Wassermann, ORNIS, an audio-visual duo with British artist Kathy Hinde, a trio with Andrea Neumann and Lucio Capece and LANDSCAPE QUARTET, an environmental sound art project with Bennett Hogg, Matt Sansom and Stefan Österjö. She is a member of the SPLITTER ORCHESTER. Sabine Vogel has played and worked a.o. with George Lewis, Anthony Braxton, Arto Lindsay, Tony Buck, Jim Denley, Alex Nowitz, Andrea Neumann etc. She has a teaching position for flute at the University Potsdam and a teaching position for Sound painting – a multidisciplinary composing/sign language- at the University of Rostock.