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Luister
a concert of electronic and acoustic resonating bodies

Luister
a concert of electronic and acoustic resonating bodies

Luister
a concert of electronic and acoustic resonating bodies

vr, 10 november 2017 | 20:30 uur

Tickets

vr, 10 november 2017 | 20:30 uur

Kaarten aan de deur: € 12.50
Voorverkoop: € 12.50
Studenten (op vertoon van collegekaart): € 5.00
CJP: € 10.00
Splendorleden: € 10.00

Tickets

Plaats in agenda

Programma

Luister.
Een concert van elektronische en akoestische resonerende lichamen met de minimalistische pionier Eliane Radigue met ook muziek van composer/performers Elisabeth Schimana, Pia Palme en Anne La Berge. Geheimzinnig, transcendente en een schitterend banket voor de oren nog nooit eerder gehoord in Nederland.

Programma:

WEISSE HÖRGEBIETE – Pia Palme
een feministische atlas van gehoor
voor video, elektronica, contrabas recorder, tekst en lezing
Pia Palme

Occam XVIIIEliane Radigue
Pia Palme – contrabas blokfluit

Just Before – Anne La Berge
Anne La Berge – fluit en stem

Virus #1.7 voor solo fluit – Elisabeth Schimana
Anne La Berge – fluit

Portretten videos #04 Eliane Radigue en #07 Anne La Berge
IMAfiction is het Oostenijkse Institut für Medienarchäologie video portretreeks gewijd aan vrouwelijke mediakunstenaars met een focus op sonische kunst.

“Eliane Radigue has composed electronic music since the sixties. She is the only French woman composer of her generation who can be considered to be a pioneer of this genre, and of minimal music as well. Her music is a slow flux of dense sounds subject to imperceptible mutations. A timeless architecture of deep vibrations speaking not to the intellect or to hearing, but to the entire body. A music which is unsettling if one submerges oneself in it. A music that possesses the monumental subtlety of the movement of oceans.”

— Emmanuel Holterbach

“The powerful nature of Anne La Berge isnt just that she is a virtuoso performer, or that she embraces technology: its that she visibly has fun with it. She mocks and circles around the question, her scientist-daughter mind so sharp that you know she is fully aware of the audience and its perceptions and yet she is not so self-absorbed that she misses being in the moment. Her music and performances do not suffer from cynicism or that kind of post-modern criticism that chides itself from being joyful. Her music is engaging and infectious. As a listener you marvel at her technique and want to know if her stories are true and how she is inspired. As a composer/performer you want to be on stage with her. ”

— Rebekah Wilson

 

Listen
a concert of electronic and acoustic resonating bodies

Listen.
a concert of electronic and acoustic resonating bodies featuring the minimalist pioneer Eliane Radigue joined by composer/performers Elisabeth Schimana, Pia Palme and Anne La Berge. Haunting, transcendent and crushingly beautiful feasts for the ears never heard on Dutch stages until tonight.

Programme:

WEISSE HÖRGEBIETE – Pia Palme
a feminist atlas of hearing for video, electronics, contrabass recorder, text & lecture
Pia Palme – performer

Occam XVIII – Eliane Radigue
Pia Palme – contrabass recorder

Just Before – Anne La Berge
Anne La Berge – flute

Virus #1.7 for solo flute – Elisabeth Schimana
Anne La Berge – flute

Presentation of portraits #04 Eliane Radigue and #07 Anne La Berge
IMAfiction is the Austrian Institut für Medienarchäologie video portrait series dedicated to female media artists with a focus on sonic art.

“Eliane Radigue has composed electronic music since the sixties. She is the only French woman composer of her generation who can be considered to be a pioneer of this genre, and of minimal music as well. Her music is a slow flux of dense sounds subject to imperceptible mutations. A timeless architecture of deep vibrations speaking not to the intellect or to hearing, but to the entire body. A music which is unsettling if one submerges oneself in it. A music that possesses the monumental subtlety of the movement of oceans.”

— Emmanuel Holterbach

“The powerful nature of Anne La Berge isnt just that she is a virtuoso performer, or that she embraces technology: its that she visibly has fun with it. She mocks and circles around the question, her scientist-daughter mind so sharp that you know she is fully aware of the audience and its perceptions and yet she is not so self-absorbed that she misses being in the moment. Her music and performances do not suffer from cynicism or that kind of post-modern criticism that chides itself from being joyful. Her music is engaging and infectious. As a listener you marvel at her technique and want to know if her stories are true and how she is inspired. As a composer/performer you want to be on stage with her.”

— Rebekah Wilson

 

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