不是音乐会 musiklos 2

andrea neumann;christian kesten;铃木孝子 takako suzuki;robin hayward;于吉 yu ji;张鼎 zhang ding;鳜鱼即兴委员会 marinate fish impro committee
2018-09-7/8; 歌德学院 goethe institut beijing

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记录 documents:
张鼎 zhang ding: safe house #3: vimeo; 腾讯
Andrea Neumann: Solo for Heartbeat, Mixer and Zither: vimeo; 腾讯
Christian Kesten: Uncoloured. Seven Songs: vimeo; 腾讯
Christian Kesten: Contributions, counterpoints & places: vimeo; 腾讯
鳜鱼即兴委员会 Marinate Impro Committee – 8 pieces: vimeo; 腾讯
于吉 yu ji: ooze: vimeo; 腾讯
铃木孝子 takako suzuki: treader: vimeo; 腾讯
照片 photo
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9月7日
18:30-19:30
张鼎 声光装置+演奏:安全屋3#
20:00-22:00
铃木孝子:踏步者(由铃木孝子和罗宾·海华德表演);
于吉:两个O(由于吉表演);
克里斯蒂安·科斯滕:贡献、对应和地点(由安德莉亚·瑙曼、铃木孝子、罗宾·海华德、克里斯蒂安·科斯滕、鳜鱼即兴委员会表演)

9月8日
14:00-15:00
讲座:安德莉亚·瑙曼和克里斯蒂安·科斯滕:声响实验室(labor sonor)和今天的柏林实验音乐
16:00-17:30
安德莉亚·瑙曼:心跳、调音台和竖琴的独奏(由安德莉亚·瑙曼表演);
克里斯蒂安·科斯滕:无色。七首歌(由克里斯蒂安·科斯滕表演);
鳜鱼即兴委员会:八件作品(由赵丛、阿科、李青、李维思、闫玉龙、朱文博、黄浩、颜峻表演)
18:00-19:00 张鼎 声光装置+独奏:安全屋3#

策划:颜峻/撒把芥末
主办:歌德学院
地址:北京酒仙桥路2号,798艺术区创意广场,歌德学院
门票:免费

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详情
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张鼎:《安全屋3#》
灯光声音装置+现场演奏(张鼎)
《安全屋3#》来自张鼎2018年在掩体空间、怀俄明计划、金杜艺术中心同期呈现的个展《安全屋》。他将同一概念于三个不同场域和层面予以呈现,共同构成《安全屋》所探讨的观念内核。五件灯光声音装置,每一小时循环一次的五声部白色空间交响。
现场表演和声光装置持续一小时,参观时可自由走动。建议携带墨镜,以防强光照射。

张⿍
1980年出⽣于中国张掖,生活工作于上海。
张鼎的艺术实践主要以个人展览/项目的⽅式呈现,常包括录像、装置、绘画和现场表演等等。从《工具》(2007)开始,围绕着感官与意志的强度,项目现场构建起一个个荒诞而充满对抗性的场景,而这些场景常常又构成了一种深层的社会隐喻,它们可被看作一系列对舞台场域氛围的解构。场景的置换借力于我们与我们并不完美的感官意识之间的对抗,引发心灵的异置。
当现场表演在《开幕》(2011)中首次出现,并延续至《一场演出》(2014),所有的因素混合而产生的化学作⽤使现场成为情绪氛围扭合而成的雕塑。《⻰争虎⽃》系列张鼎更开始尝试开放艺术家自我的工作方式创造更多可能——在伦敦当代艺术学院(2015)26组风格截然不同的音乐人受邀合作,在旋转镜屋中彼此即兴表演接受挑战;在上海K11美术馆(2016)这种挑战被空间的变幻结构及中国音乐人的加入一再升级并延续至新加坡。
2016年,《风卷残云》项目将外滩美术馆转换成金色监狱,直播了150位VIP晚宴的现场事件。同年,他成立艺术厂牌“控制俱乐部”,以极客、音乐、巨型声音视觉装置等等,建立控制与反控制的某种聚会方式,首个项目呈现声音装置群与传奇音乐人王凡的合作,在废弃的百年建筑中进行。
2017年,张鼎再次回到画廊空间,在香格纳画廊上海制造一个巨大的《漩涡》。2018年的最新个展《安全屋》在北京三个艺术空间展览后,移至歌德学院,由艺术家本人首次现场表演。

铃木孝子:《踏步者》
表演:铃木孝子和罗宾·海华德(大号)
编舞家和舞者铃木孝子与大号演奏家、即兴乐手罗宾·海华德的合作,灵感来自她对罗宾的音乐美学的理解,她把它称之为一种特别的“静止的品质”。
90年代末期以来,铃木孝子常去听罗宾的极简主义、大量噪音构成的独奏。她的这件作品的起源,可以追溯到罗宾的第二张个人专辑(《匆忙之地》,2009)的封面:很大的大号喇叭,乐手在后面几乎看不见。这照片上只有空白的空间,椅子,乐手和他的乐器,铃木从中看到了“静止的图像的品质”。
在他们合作的《踏步者》中,大号的声音探索空间的声音和建筑特质,是它开启了舞蹈。这个标题来自罗宾·海华德的唱片《匆忙之地》中的第5曲,是为音准补偿系统大号而写的。它将做为铃木孝子的作品的一部分演出。

铃木孝子
于1965年出生于日本奈良。在东京学习设计之后,她开始跳舞。1986年,她在东京和HBK布伦瑞克艺术大学跟随古川幸训练。1992年起,她开始在柏林和萨沙·沃尔兹合作,加入了“萨沙·沃尔兹与嘉宾”舞团。2006年,她做为编舞,参加了慕尼黑双年展的项目“迷宫哲学之舞”(La philosophie dans le labyrinthe)(由Aureliano Cattaneo作曲)。2008年,她得到德累斯顿舞蹈计划的“潜力艺术家”资助,创作了剧场作品《国王》,在德累斯顿歌剧院上演。2010年,她在德累斯顿欧洲艺术中心创作了第二件作品《科拉使命》。
在她的作品中,铃木孝子和许多乐手合作过,例如Johnny Chang (中提琴)、Dietmar Diesner (萨克斯)、阿克瑟·兑尔纳(小号), Joel Grip (贝司)、村山政二郎(打击乐)、Makiko Nishikaze (钢琴), Pär Thörn (电子原音/写作)。

罗宾·海华德
大号演奏家、作曲家,1969年出生于英国布莱顿。自1998年起他住在柏林。
通过1996以来对“噪音阀”的探索,以及2009年以来对完全微分音化的大号的发展,他为铜管乐器带来革命性的演奏技巧。2012年,部分地出于将微分音大号内在的和声空间视觉化的愿望,他发明了“海华德调音藤蔓”,一套纯律音乐作曲计算机界面。2005年,他创建了锌铜乐团,以实验音乐的态度来探索铜管室内乐。
罗宾·海华德大量旅行,进行独奏和合作的表演,参加过Maerzmusik, Donaueschingen, Ghent Festival of Flanders, Ostrava New Music Days, Wien Modern 等重要音乐节。2016年,因为微分音大号和“海华德调音藤蔓”,他获得了ITEA 组织的吉姆和杰米·赛尔夫创意大奖。
robinhayward.de

于吉:《两个O》
我仿佛正走过一片沼泽地,泥泞,湿黏的泥土粘着我的脚心打滑,肚子跟着脚掌一起下陷;我可能仍埋在床里,只不过过软的床垫使我日渐笨重的身体像被卡在棉花糖里的飞虫,挑不出来,越费力越纠缠;后背开始有些隐隐痛了。要不就像粘土一样粘着床褥好嘞。这里就是我的沼泽,既然无法离开,索性翘起双腿,模仿夏日翘在水面上愚笨的蜻蜓。这样时间可能就会变慢些了。
“两个O”延续之前一系列被命名为“透明的姿势”的行为创作。在现场,我不像跳舞地跳着怪异的舞,不像表演地挪动着身体。这些舞步从哪里来,这些动作又象征着什么,我想我在自己的行为实践中始终在寻找的是一种更接近多余的无意义的身体的身体,以及用相互抵触的身体移动,与周遭私语。“两个O”(OOZE) 基本上不会使用到任何表演道具,舞台上只有我,穿着特制的服装(塑料,白色半透明,类似手术台麻醉服),整个表演过程会使用到声音(前期处理过的音频和现场的即兴声音)。

于吉
目前工作生活于上海和维也纳。她的创作以雕塑和装置为主,亦涉及行为及影像。她的近期展览包括:“SOON ENOUGH: ART IN ACTION” Tensta美术馆,斯德哥尔摩,瑞典(2018);”HUGO BOSS亚洲新锐艺术家“外滩美术馆,上海,中国(2017);“何不再问:正辩,反辩,故事”第十一届上海双年展,上海,中国(2016)等。同时她也是上海的非盈利艺术机构上午艺术空间的创办人之一。
http://www.yuujii.org

克里斯蒂安·科斯滕
作曲家、声音艺术家、互动媒体艺术家、人声表演者、表演艺术家。通过发声行为的生理/物理活动和声音自身的物理特性,他探索声音和空间之间的关系。他的作曲作品包括乐器、人声、场地定制作品和剧场作曲。
科斯滕曾在柏林艺术大学专注学习实验音乐。他曾为纽约Object Collection、洛桑Rue du Nord、柏林Solistenensemble Kaleidoskop、伦敦We Spoke等团体创作委约作品,并为柏林Radialsystem V剧场、乌帕塔Schauspielhaus 、洛桑2.21剧场、纽约本体论实验系列等创作整场作品。他曾为维也纳MUMOK 当代艺术美术馆创作场地定制作品。他曾在欧洲、北美、日本发表独奏表演。科斯滕获得过Civitella Ranieri基金会、柏林文化议院、西门子音乐基金会、新音乐国际、Lukas Ahrenshoop艺术馆、洛杉矶Villa Aurora等机构的奖励和资助。
科斯滕是口工乐团(Maulwerker)的成员和“口工表演音乐”系列活动的艺术总监。他是“声响实验室”系列演出和2016年的“声响实验室:移动音乐,编舞家为乐手作曲”的共同策划人之一。
http://www.christiankesten.de/

安德莉亚·瑙曼
1968出生于弗莱堡。在柏林高等艺术学院学习钢琴。1994年以来,主要做为乐手和作曲家,活跃在新音乐和实验音乐领域。
她是柏林“实时音乐”(echtzeitmusik)场景的主要塑造者和发展者之一。这是一个噪音、电子、当代作曲、表演艺术和声音艺术的场景。(参见 wolke-verlag 出版的《实时音乐,一个自我定义的柏林音乐场景》‘echtzeitmusik berlin selbstbestimmung einer szene’一书)。她是“声响实验室”(Labor Sonor)的组织者之一,这是创办于2000年的实验音乐、电影和表演一书系列活动。她在作曲和即兴之间、电子和自制音乐之间、乐器和表演性的音乐之间的融合地带积极活动,常和“Les Femmes Savantes”、“Phosphor”等乐团,以及Sophie Agnel, Burkhard Beins, Sabine Ercklentz, Bonnie Jones, Annette Krebs, Hanna Hartman等乐手合作。
曾在欧洲、美国、加拿大、墨西哥、阿根廷、俄罗斯、澳大利亚和日本等地残加音乐会和音乐节。

鳜鱼即兴委员会
即兴委员会是颜峻发起的一个松散的音乐团体,成员不固定,主要是活跃在北京的年轻乐手。自2011年开始活动以来,它会在每次演出时加上一个名字,例如“屋顶即兴委员会”、“东风即兴委员会”。
即兴委员会在成员各自的创作之外,探索各种不合常规的可能性。他们可能会按照一定结构演奏,也可能不经过事先讨论而各自同时表演,其结果可能是游戏,可能是实验,可能和音乐无关。他们是“即兴”这种精神的实践者。
盛洁,赵丛,阿科,李青,李维思,闫玉龙,朱文博,黄浩,颜峻

声响实验室
2000年由格里高利·赫兹、安德莉亚·瑙曼、史蒂夫·怀斯曼创办,这是一个在正式机构之外活动的新的实验音乐平台——每月一次的音乐会、表演一书和录像。目前由佛南德·法拉、克里斯蒂安·科斯滕、安德莉亚·瑙曼、亚瑟·奥特和德里克·谢尔利共同策划,在柏林市中心一个叫做艺术生活(KuLe)的小空间举办。
声响实验室已经成为柏林一个充满活力和创造性的音乐社群的聚会地。它是“实时音乐”的交流平台之一。“实时音乐”意味着和“实验音乐”接壤的新音乐、电子原音即兴、垃圾流行、前卫摇滚、噪音、声音一书、表演一书,还有独立电子乐。相对于演绎其他作曲家或者为其他人作曲,“实时音乐”场景的成员更多是自己演奏自己的作品。这些作曲家-表演者的独奏或者合奏作品,常常基于长期的合作。“实时音乐”场景是“柏林还原主义”等受到国际瞩目的现象的发源地。目前,它的主角们常常在 MaerzMusik 声响艺术沙龙、Donaueschinger Musiktage、Wittener Tage für Neue Kammermusik或者达姆施达特暑期班这样的场合发表作品。
《实时音乐,一个自我定义的柏林音乐场景》(echtzeitmusik berlin selbstbestimmung einer szene)(德英双语,Wolke 2011)这本书编选了场景中40位作者关于它的历史、理论和实践的文章。俄罗斯厂牌 Mikroton 配合出版了一套 3 CD套装 。2013年以来,英国厂牌another timbre 开始出版实时音乐乐手的“柏林系列”。
实时乐手们是一个国际网络中的一部分。在过去的17年里,来自30多个国家的超过500位乐手在“声响实验室”表演。
通常,一次演出有3个节目,每个20-30分钟。演出总是在周一。
laborsonor.de

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english
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september 7th
18:30-19:30
Zhang Ding: sound/light installation + performance: Safe House 3#
20:00-21:30
Takako Suzuki: Treader (performers: Takako Suzuki & Robin Hayward);
Yu Ji: OOZE (performer: Yuji);
Christian Kesten: Contributions, counterpoints & places (performers: Andrea Neumann, Takako Suzuki, Robin Hayward, Christian Kesten and Marinate Fish Impro Committee)

september 8th
14:00-15:00
lecture: Andrea Neumann & Christian Kesten: Labor Sonor and today’s experimental music in Berlin
16:00-17:30
Andrea Neumann: “Solo for Heartbeat, Mixer and Zither” (performer: Andrea Neumann);
Christian Kesten: Uncoloured. Seven Songs (performer: Christian Kesten);
Marinate Fish Impro Committee: 8 pieces (performers: Ake, Zhao Cong, Li Qing, Li Weisi, Huang Hao, Zhu Wenbo, Yan Yulong and Yan jun)
18:00-19:00
Zhang Ding: sound/light installation + performance: Safe House 3#

curated by Yan Jun/Sub Jam
organized by Goethe-Institut China
address: Goethe-Institut, Originality Square, 798 Art District, No. 2 Jiuxianqiao Road, Beijing
ticket: free

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Zhang Ding: SAFE HOUSE 3#
Audio-visual Installation + live performance
SAFE HOUSE 3# is works from Zhang Ding’s solo exhibition SAFE HOUSE which was simultaneously presented in the Bunker, the Wyoming Project and the KWM artcenter in 2018. His latest works constituted a discussion which explores the core of the same concept in three differentiated sites and dimensions. Five audio-visual installations, a white spatial symphony of five parts that goes on for an hour.
During the installation/performance, audience are welcome to walk around.
Please wear sunglasses, intense lights!!

Zhang Ding
born in 1980 in Gansu, China, lives and works in Shanghai.
Zhang Ding’s practice is mainly presented through his solo exhibitions/projects, including videos, installations, paintings and live performances, etc. Starting from Tools (2007), constructing absurd scenes full of contrasts and conflicts that focus on sensory perception and will power became his way of demonstrating and interpreting metaphors of societal references, which may also be seen as a series of deconstructed mise en scenes. The scenic displacement created a psychic displacement whereby we were confronted with our imperfect senses, our ‘fallible omniscience’.
In Opening (2011), live performance was brought into his project for the first time, and remained to presenting all the way to Orbit of Rock (2014). In these projects, chemical interaction generated by all the in-between stimulation transformed the sites into environmental sculpture of twisting emotion and atmosphere. From Enter the Dragon series, Zhang Ding experimented further and explored more possibilities in his work by opening up the sole artistic authorship to the public – 26 musicians of various genres and styles were invited to collaborate in spinning mirror maze by making improvisation with each other at the ICA London (2015); the sensory challenges was updated over and over again by the variable space and participation of the Chinese musicians at the chi K11 Museum Shanghai (2016) then extended to the Enter The Dragon III Singapore.
In 2016, Devouring Time, Zhang Ding transformed the Rockbound Art Museum into a golden jail, and live-streamed the event of 150 VIPs having dinner party together. The same year he also initiated the art label CON TROL CLUB, which is the parties of both controllability and anti-controllability by integrating of geeks, immersive A/V installations, music etc. The launch project was activated by his sound installations and legendary musician Wang Fan at a historical ruin in Shanghai.
In 2017, ZHANG Ding was back to the gallery space for creating an immense VORTEX in the ShanghART Shanghai. In his latest solo exhibition SAFE HOUSE in 2018, he constituted a discussion which explores the core of the same concept in three differentiated dimensions and sites – the Bunker, the Wyoming Project and the KWM artcenter.

Takako Suzuki: Treader
performer: Takako Suzuki and Robin Hayward (tuba)
The choreographer and dancer Takako Suzuki, who has worked with Sasha Waltz since 1992, derives inspiration in her collaboration with the tubist Robin Hayward from his musical aesthetic, to which she ascribes a special ‘quality of stillness’.
Since the late ’90s Takako Suzuki has been a frequent listener of Robin Hayward’s minimalistic, largely noise-based solo music. The starting point of her work lies in the task of covering his second solo CD/LP (‘States of Rushing’, 2009), whose sleeve shows the huge dimensions of the tuba’s bell, behind which the musician almost disappears. In this photo, where we see an empty white space, a chair, the musician and his instrument, Suzuki sees the ‘quality of a picture of stillness’.
In their collaboration ‘Treader’, the sound of the tuba is used to explore the space acoustically and architectural. It initiates the choreographical process. The piece is named after the fifth track of Robin Hayward’s CD ‘States of Rushing’—’Treader’ (2009) for compensating-system tuba—which will be performed within the piece.

Takako Suzuki
Takako Suzuki was born in 1965 in Nara, Japan. After her design studies in Tokyo, she began to dance. In 1986 she started her dance training with Anzu Furukawa (JP) in Tokyo and at the HBK Braunschweig. Since 1992 she has worked with Sasha Waltz (DE) in Berlin and has since participated in diverse productions by the dance company ‘Sasha Waltz & Guests’. In 2006 she took part as choreographer in the opera production La philosophie dans le labyrinthe – music by Aureliano Cattaneo – as part of the Munich Bienniale. In 2008 she received emerging artist funding from Tanzplan Dresden for her theatre project Empire in the Kleinen Szene / Kammerbühne at the Semperoper Dresden. In 2010 she created her second production Collavocation in Hellerau – European Center for the Arts Dresden, through Tanzplan Dresden. In her own works, Takako Suzuki chooses multidisciplinary approaches and works with various musicians such as Johnny Chang (viola), Dietmar Diesner (saxophone), Axel Dörner (trumpet), Joel Grip (bass), Seijiro Murayama (percussion), Makiko Nishikaze (piano), Pär Thörn (electroacoustic/author).

Robin Hayward
The tuba player and composer Robin Hayward was born in Brighton, England in 1969. Since 1998 he has been based in Berlin. He has introduced revolutionary playing techniques to brass instruments, initially through the discovery of the ‘noise-valve’ in 1996, and later through the development of the first fully microtonal tuba in 2009. In 2012 he invented the Hayward Tuning Vine, partly out of a desire to visualise the harmonic space implicit within the microtonal tuba. In 2005 he founded the ensemble Zinc & Copper to explore brass chamber music from an experimental music perspective. Robin Hayward has toured extensively both solo and in collaboration, and been featured in such festivals as Maerzmusik, Donaueschingen, Ghent Festival of Flanders, Ostrava New Music Days, and Wien Modern. In 2016 he received the ITEA’s Jim and Jamie Self Creative Award for his work with the microtonal tuba and Hayward Tuning Vine.
http://robinhayward.de/

Yu Ji: OOZE
It seems that I’m walking across a swamp. The wet and sticky mud adheres to my soles, making it slippery; my belly is sinking with my soles. Perhaps I’m still trapped on the bed and the overwhelmingly soft mattress makes my body more ponderous each day, resembling a winged insect stuck in the cotton candy which can hardly get out – the harder it tries, the more entangled it gets. My back starts to hurt a little bit. Why not just glue to the bed like the clay? Here is my OO-ze. Since I can’t leave, I may simply lift my legs like the goofy dragonflies on the water surface with their legs up in the air in summer. In this way, time may flow more slowly.

Yu Ji
Based in Shanghai and Vienna currently, Yu Ji deals primarily with sculpture and installation, yet her diverse practice includes also performance and video. Her current exhibitions including: SOON ENOUGH: ART IN ACTION, Tensta Konstahall, Stockholm, Sweden; HUGO BOSS ASIA ART: Award for Emerging Asian Artists, Rockbund Art Museum, Shanghai, China; Why not Ask Again? Maneuvers, Disputations and Stories- 11th Shanghai Biennale, Shanghai, China. Meanwhile, Yu Ji is the co-founder of the not-for-profit artist run space Am Art Space in Shanghai.
www.yuujii.org

Christian Kesten
Christian Kesten is a composer, sound and intermedia artist, vocalist and performer. His work explores the relation between sound and space by focusing on the physical activity of creating the sound and the physicality of the sound itself. His compositions include instrumental, vocal, site-specific works and composed theatre.
Kesten studied music, with a concentration in experimental music, at UdK Berlin. He has been commissioned by ensembles such as Object Collection New York, Rue du Nord Lausanne, Solistenensemble Kaleidoskop Berlin, We Spoke London a. o. and realized full-evening’s pieces in spaces such as Radialsystem V Berlin, Schauspielhaus Wuppertal, Théâtre 2.21 Lausanne and Ontological Experimental Series New York, among others. He has also created site-specific works at Museum for Modern Art MUMOK Vienna and delivered solo performances in Europe, North America, and Japan. Kesten has received awards and grants by the Civitella Ranieri Foundation, the Berlin Cultural Senate, Ernst-von-Siemens-Musikstiftung, International Society of New Music, Kuenstlerhaus Lukas Ahrenshoop, Villa Aurora Los Angeles.
Kesten is a member of the ensemble Maulwerker and artistic director of the series ‘maulwerker performing music’. He co-curates the concert series ‘Labor Sonor’, and the LABOR SONOR festivals, in 2016 ‘LABOR SONOR : MOVING MUSIC. Choreographers compose for musicians.’ Teaching positions and guest lectures in Europe, Israel, North and South America.
www.christiankesten.de

Andrea Neumann
Born 1968 in Freiburg, Studied classical piano at the Hochschule der Künste, Berlin. Has been active primarily as musician and composer in the fields of new music and experimental music since 1994.
She has been significantly involved in the formation and development of the “echtzeitmusik” scene in Berlin, which borders on fields as varied as noise, electronica, contemporary composed music, performance, and sound art. ( See ‘echtzeitmusik berlin selbstbestimmung einer szene’ published at wolke-verlag ). She has co-organized “Labor Sonor,” a series for experimental music, film and performance in Berlin since 2000. She has engaged in intensive cooperations in the mixed border areas between composition and improvisation, between electronic and hand-made music, between instrumental and performative music with ensembles like “Les Femmes Savantes”, “Phosphor” and with musicians like Sophie Agnel, Burkhard Beins, Sabine Ercklentz, Bonnie Jones, Annette Krebs, Hanna Hartman o.a.
Concert and festival performances in Europa, USA, Canada, Mexico, Argentina, Russia, Australia and Japan.

Marinate Impro Committee
Impro Committee is a loose form music group initiated by Yan Jun. The members are always flowing. Mainly young musicians based in Beijing. Since 2011, it adds name before the title, such as “Rooftop Impro Committee” or “Eastwind Impro Committee”.
Impro Committee explore the possibilities of unconventional of performance, alongside of the members each own creativity. They might perform according certain structure, or perform individually at same time without communication before hand. The result could be game, or experiment, or even out of music. They are practitioners of the spirit of “improvisation”.
Ake, Zhao Cong, GogoJ, Li Qing, Li Weisi, Huang Hao, Zhu Wenbo, Yan Yulong, Yan jun

Labor Sonor
founded in 2000 by Gregor Hotz, Andrea Neumann, and Steffi Weismann to create a platform for new experimental music beyond established institutions—is a monthly series of concerts, performances, and video, now curated by Fernanda Farah, Christian Kesten, Andrea Neumann, Arthur Rother, and Derek Shirley in a small venue called KuLe in the center of Berlin.
Labor Sonor has become a meeting point for the vibrant and innovative music community in Berlin. It is one of the platforms for the echtzeitmusik-scene. echtzeitmusik means the field of ‘experimental’ music bordering new music, electro-acoustic improvisation, trash pop, avantgarde rock, noise, sound art, performance art, or electronica. The members of the echtzeitmusik-scene perform their own music, rather than interpreting the music of other composers or composing for others. These composer-performers work solo or in collective processes, mostly in long term collaborations. The echtzeitmusik-scene gave birth to internationally recognized phenomena like ‘Berlin Reductionism’. Meanwhile its protagonists present their music on festivals like MaerzMusik Sonic Arts Lounge, Donaueschinger Musiktage, Wittener Tage für Neue Kammermusik, or Darmstädter Ferienkurse.
The book echtzeitmusik berlin. self-defining a scene (german/english; Wolke 2011) collects writings by 40 authors of the scene on its history, theory and praxis. The russian label Mikroton released a 3-CD-set compiling echtzeitmusik berlin. Since 2013 the british label another timbre releases The Berlin Series with works by echtzeit musicians.
Echtzeit musicians are part of an international network. In the past 17 years, more than 500 artists from 30 countries performed at Labor Sonor.
There are usually three sets on one night, each playing or performing for about 20-30 minutes. The shows are always on Mondays.
laborsonor.de

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音乐会简介
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这个音乐会系列的名字叫做“不是音乐会”。
用这样一个名字的原因很简单,因为名字已经不能描述事物。世界上有很多东西没有名字。可能比有名字的更多。
人们已经花费了太多的时间,去争论一件作品是不是艺术、一段声音是不是音乐。然而玫瑰不需要知道自己的名字。如果有人觉得出现在这个系列中的声音不是音乐,也没有关系。
我们希望听到当代的声音。那是当代人用自己的方式,折射出的现实。它不是幻梦,不描摹什么景象,也不安慰谁的心灵。它感动人,但不触动情感或者情绪,而是触动人的生命。它不许诺彼岸,也不保护那个正在失去的故乡。如果说今天的世界变化太快,难以理解,那么它至少可以呼应我们的困惑。它坚持呼应。它是一种简单的坚持。

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about the concert series:
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the name of this concert series is “musiklos”, in english “not music” or “release the music”.
with such a name we have the idea that name is not able to describe things. there are many things in the world have no name. perhaps more than the ones have name.
people have already spent too much time to argue if a work is art or a group of sound is music. but rose doesn’t has to know its own name. that’s totally fine if one think the sounds appear in this series are not music.
we hope to hear sound of contemporary world. which is a reality reflected by contemporary people through their own way. it’s not dream, nor imitation of any scape. it consoles nobody. it touches but not on emotions nor sentiments. it touches life of human being. it promises no othershore and protects no homeland which is dispersing. if today’s world is too complicated to be understood, it could echoes to our confusion at least. it insist to echo. it’s a kind of simple insistence.