Fr | 27.06.2025 | 17:00 - 24:00 Uhr

Museum Brandhorst: Junge Nacht x Kunstareal-Fest

Programm von Studierenden des klassenübergreifenden Programms "Sound und Experiment", Prof. Florian Hecker.

Ort: Open-Air Programm auf der Wiese zwischen Museum Brandhorst und Pinakothek der Moderne

  

"Das Museum Brandhorst hat Sound und Experiment zu einer Reihe von Performances, Klangarbeiten und Konzerten eingeladen, die in Beziehung zur Ausstellung „Fünf Freunde: John Cage, Merce Cunningham, Jasper Johns, Robert Rauschenberg, Cy Twombly“ stehen. Die Veranstaltung findet am 27. Juni 2025 während der Jungen Nacht und der Eröffnung des diesjährigen Kunstareal-Fests statt.

 

Auf dem „Spirit“ persönlicher Beziehung und der Zusammenarbeit zwischen diesen fünf Künstlern aufbauend, erforschen die Teilnehmer*innen von Sound und Experiment mit ihren Stücken die Bedingungen spektro-temporaler Darstellung, geteilter Zeit und Frequenzbereiche in verschiedenen Sound-Arbeiten und gemeinsamen performativen Konstellationen. Einige der Beiträge im Programm heben zudem den wichtigen, aber bisweilen übersehenen Einfluss des US-amerikanischen Künstlers David Tudor hervor, der eng mit John Cage und Merce Cunningham zusammenarbeitete. Tudors frühe Experimente mit live aufgeführter elektronischer Musik und Klang sind einer Bewegung zuzurechnen, die oft mit selbstgebauten und an größere Gruppen klanggenerierender Geräte angeschlossenen Instrumenten arbeitete. Weitere Ansatzpunkte bieten die Rolle der Organisation E.A.T. (Experiments in Art and Technology) wie auch die Interpretationen der Wahrnehmung und des Verständnisses von Klang in auditiven Szenen sowie deren Analyse und Synthese.

 

Das Programm umfasst neu produzierte Stücke von Sofian Biazzi, Ilinca Fechete & Bradley Leonard, focus baby, Daniel Gianfranceschi, Bruno Haas, Caroline Kretschmer, Maria Margolina, Camilla Metelka, rosi und water lily.

 

Zusätzlich wird an diesem Abend eine Live-Kollaboration zwischen Nik Void und Norbert Möslang, ein Konzert von Spoil (Rosa Anschütz und Jonas Yamer) sowie eine Präsentation des Stücks Equally Loud And In The Same Tempo (1997) von Blimp zu hören sein, wie sich der 2021 verstorbene Sebastian Niessen als Künstler nannte."

 

Weitere Informationen

 

Weitere Informationen zu den Arbeiten der Studierenden:

Sofian Biazzi | de:mo

deːmo is an input/output system inspired by David Tudor's experimental practice with electronic music—in particular, his philosophy of the "instrumental nature", wherein the specific characteristics of a given material determined the necessary methods and tools. The performed piece focuses on exploring the correlation between input and output through manipulation, with particular attention to the human voice: not only as a transmitter of meaning but primarily as raw, shapeable material that is deconstructed, reshaped, and recontextualized from voice to sound. Echoing reflections by Curtis Roads, the performance engages with the compositional challenges posed by working at the level of microsound, where the act of shaping sound brings forward a fundamental tension between formalism and intuitionism. Rather than choosing one over the other, the work embraces this duality—shifting between structured, algorithmic processes and real-time decision-making.

Sofian Biazzi is an audiovisual artist based in Munich. His work explores dynamic, responsive environments that evoke feelings of alienation and disorientation, questioning how digital technologies reshape our perception of physical space.

 

Maria Margolina | Osaka 70, 25 Revisited

Osaka '70, 25 Revisited is a live audio piece based on historical audio and video archive material from the 1970 World Exposition in Osaka, exploring the media narratives of the time by placing them in parallel, contrast, and, at times, in antagonistic relation to one another. These archival fragments are re-contextualized in light of the upcoming Expo 2025, drawing connections across time to examine the shifting role of global exhibitions and how they function as arenas of
ideological display, cultural projection, and political tension. Held under the theme Progress and Harmony for Mankind, Expo '70 was the first world exposition in Japan and remains the most visited in history. It marked a high point in postwar techno-nationalism and staged visions of modernity within a Cold War framework. The Expo also played a pivotal role in the history of art and experimental music. Contributions by musicians like David Tudor, Karlheinz Stockhausen, and Eliane Radigue reflected the ambitions—and contradictions—of avant-garde practices within state-sponsored contexts. At the same time, the Expo unfolded amid deep political unrest: the legacy of Hiroshima and Nagasaki, the Vietnam War, the American occupation of Okinawa, as well as domestic student protests, including actions by the Red Army Faction. Within Japan, artists and activists organized protests, such as the Anti-Expo Festival and the Expo '70 Destruction Joint-Struggle Group, as well as symbolic interventions like Satō Hideo's tower occupation, raising questions about artistic responsibility, complicity, and resistance. The piece draws on archival broadcasts, news reports, and documentaries from Japan, Germany, the Soviet Union, the UK, and the USA to expose how language, ideology, and media production intersect. Speech becomes both material and message—framing, filtering, and enforcing meaning. The performance is realized live using a Roland SP-404 sampler. This deliberately reduced setup draws from established traditions of sample-based music while rethinking their compositional possibilities within the context of radio art and live audio documentaries.
Maria Margolina is a sound and media artist based between Munich and Berlin.

 

Ilinca Fechete & Bradley Leonard | Phase Portrait: Dacia

Phase Portrait: Dacia is a performance-based work that draws on György Ligeti’s Concert Românesc (1951), composed during a period of intense restriction under Hungary’s authoritarian regime. Though the piece outwardly adopts acceptable stylistic references, namely folk motifs and traditional orchestration, it was ultimately banned after a single rehearsal. Its rejection stemmed not from overt dissent but from subtle compositional decisions, which were only truly understood much later: microtonal inflexions and tuning tensions embedded within otherwise sanctioned musical forms. This work begins with those buried gestures. A selection of passages for horn is performed live and interpreted not only through conventional musical techniques but also through a digital environment that responds to expressive parameters in real time. Drawing on Guerino Mazzola’s theory of performance fields, a mathematical model for describing continuous transformations in tempo, intonation, and dynamic motion, this system maps live performance input to dynamic modulation.
These mapped vectors serve to articulate the internal motion of the piece. Rather than reinterpreting Concert Românesc in a traditional sense, the performance treats it as a site of gestural potential, a musical surface under which compressed expression is stored. By expanding and amplifying the piece’s internal vectors, the work seeks to make audible what remains largely invisible in the score itself: not only the affective contour of Ligeti’s resistance but also how gesture and constraint can coexist in a single compositional form. A secondary projection of the modulated horn signal is rendered physically through parabolic reflection and ultrasonic breakup. Projected as a focused beam and demodulated only upon contact with a distant surface, this component extends the work’s gesture beyond the body of the performer, placing the act of listening at a spatial and temporal removal and echoing the delayed audibility of suppressed expression under state control.
Bradley Leonard is a conceptual sound artist, musician, and sculptor. Ilinca Fechete is a time-based [software] artist and researcher based in Munich.

References:
Mazzola, G. B. (2013). Topos of music: Geometric logic of concepts, theory, and performance. Birkhauser

 

water lily | mumbling hum

Make a soft, somewhat muffled, evenly vibrating sound!

Scientific studies have shown that self-generated vibrations help lower the pulse and blood pressure, reduce stress, and improve sleep; they thus provide calmness and relaxation. Humming playfully activates our vagus nerve. It is part of the parasympathetic nervous system. When you hum, subtle vibrations are transmitted to your brain, particularly via the nerve pathways of the vagus nerve. The vagus nerve is our resting nerve and is also known as the relaxation nerve. Vibrations of a certain intensity and frequency penetrate deeply into the muscle tissue, causing the muscles to contract and relax. There is sung humming, produced by the human voice or also animal humming, produced by wing or tail beats. Humming sounds are naturally produced, for example, by the flapping wings of insects such as bees, bumblebees and mosquitoes. In the case of the pennant-tailed hummingbird, the air flowing past the tail feathers creates a buzzing sound during flight. Some insects use the buzzing sound as a means of communication. For example, mosquitoes gather in so-called dance swarms. As a sung form, humming serves a musical function. The sounds are produced with the voice, in which the pitch and depth of the tone can be variable. Unlike regular singing, there is neither a text nor actual syllables, somewhat resembling timbral textures. You hum to fill the silence between you and yourself. A wordless conversation that opens a gateway to a dreamlike state, a lullaby of self-talk. Coloured in soothing melancholy.

Water lily is a Munich-based sculptor and sound artist working at the intersection of text and poetry.

 

Camilla Metelka / Daniel Gianfranceschi | Echos As Embodied Sound / Getting To Where You Are

Under the title Echoes As Embodied Sound / Getting To Where You Are, Camilla Metelka and Daniel Gianfranceschi present two sound- based works, expanded through cinematic and movement-based elements—performed simultaneously and asynchronously. The piece employs experimental improvisational techniques and entropic psychoacoustic developments, in which each part is treated equally, creating an open space for unpredictable actions. Camilla Metelka's performative concert Echoes As Embodied Sound unfolds as a multilayered exploration of time, space, and perception. Through concurrently evolving acts, the performance engages with both an environment in which time itself becomes perceptible—as evoked in her spoken poem Time As Scape—and the material conditions of the surrounding architecture. The experimental film, also titled Echoes As Embodied Sound, enters into dialogue with the museum's spatial structures, including Walter De Maria's Large Red Sphere. In parallel, a site-specific choreography emerges in direct response to the physical structure of the stage, generating sonic and kinetic gestures. The echo as a spatial impulse becomes the concept for a stage experiment.
Daniel Gianfranceschi's offering played simultaneously, engages in an improvisational, guitar-based drone crescendo. Building the piece like a sculpture – through the use of an infinite sustainer and various effect pedals -the composition is crafted life, favouring the spontaneous over the rational. Informed by a reduced compositional approach and read under the scope of Saussure's notion of the "sound picture" – images that suggest an impression of sound – the piece also serves as a sonic transmutation of La Monte Young's directive of "drawing a straight line and following it", where open chords become synonymous with segments of infinite possibilities. Music at large – which rarely becomes and, mostly, is – is a self-evident, tautological concept, creating the impression that all its parts are always "in order". But what happens when this isn't the case?

References:
EAT (Experiments in Art and Technology): 9 Evenings – Theater & Engineering, pamphlet, 1966
Massimo, S. (2023). The Performative Power of Architecture. Anna Halprin’s Dance Deck as the Source of her 'Transformational Dance’. Itinera, (25)
Burt, Ramsay. Judson Dance Theater: Performative Traces. Routledge, 2006
Bonnet, François J.: The Music To Come, Shelter Press, 2021 Grimshaw, Jeremy Neal: Draw a straight line and follow it. The music and mysticism of La Monte Young, Oxford University Press, 2012
Cage, John: Silence. Lectures & Writings, Marion Boyars Publishers, 1994
Sadowski, Thorsten: David Tudor. Teasing Chaos, Kehrer Verlag, 2021

 

Caroline Kretschmer | aura_

In aura_, Caroline Kretschmer presents a composition that probes the limits of perception through reduction and precise intermedial gestures. The work explores resonance not only through auditory frequencies but also through light as a modulating force. Psychoacoustic effects and environmental frequencies are used as conceptual tools to shift perception and render spatial structures sensually tangible. Sound and light modulate each other into an immersive field of experience.

In an age of sensory overload, constant connectivity, and growing dependencies, aura_ proposes slowness and spatially distributed listening as deliberate counterpoints. The use of drones, field recordings, and live-modulating light as spatial and atmospheric elements creates a tactile interplay between sound, material, and environment. The stage becomes a resonant structure—not merely a site of presentation but an active part of an open, vibrating system.

The title aura_ suggests an atmosphere—an ephemeral presence shaped by subtle interrelations. Reduction is employed as a sharpening strategy to amplify what often escapes notice in everyday structures—the hum of infrastructure, the friction between surfaces, and the flicker of artificial light. How do the systems we move through—spatially, sensorily, socially—shape us? And what happens when we attune ourselves to them rather than tune them out?

aura_ follows the idea of contingency: light responds to frequency, sound to visual impulses. This mutual modulation unfolds in a field of sonic reduction, spatial presence, and intermedial perception—echoing practices that move beyond fixed categories of composition, space, and body while engaging questions of interconnectedness and dependency.

Caroline Kretschmer’s artistic practice spans sound, installation, choreographic works and performance. From the interplay and friction of these media, she develops scenarios and actions that seek out and sharpen points of tension and resonance, grounding them in experience as an essential element of her practice.

 

Bruno Haas | Mute And Continue

Bruno Haas is an artist and musician living and working in Munich. His artistic practice centres around themes of impermanence, ephemerality, and the momentary. Particularly the tensions and contradictions that arise when fleeting experiences are translated into fixed, tangible forms - whether through images, language, sound, or physical objects. Mute and Continue is a music live-set that investigates the interplay between structural intention and spontaneous development. While the composition includes a set of predetermined elements —curated sounds, samples, time segments, and recurring motifs —it deliberately incorporates aspects of unpredictability and chance. The result is a constantly shifting sonic landscape where order and disorder interact and co-exist in productive tension. The work draws on a range of musical influences, blending ambient, noise, pop, and club music while also engaging with conceptual and avant-garde traditions. Among these are the compositions of artists such as John Cage and David Tudor, particularly their 1959 collaboration Indeterminacy. Through this approach, Mute and Continue emphasizes unexpected intersections, fragmented textures, accidents and coherence within an evolving auditory space.

 

focus baby | ensemble of stolen voices

ensemble of stolen voices is an experimental sound composition, performed with a digital frequency modulation synthesizer. Four actors as in individual synthesizer tracks are directed in a high-rate voice stealing scenario, generating discohesive quasi-drones. The play is divided into multiple scenes, each defined by a set of conditions which determine both the configuration between the FM-synthesizers voices, as well as their individual character. Improvising, directing and mixing the sounds on stage, the composer/performer appears as the fifth actor in the play. ensemble of stolen voices is a pointillist approach to drone music and subtractive approach to sequencing. Rather than long-durational, ever-evolving tones, a layering of fast, syncopated loops is the reoccurring technique, which invites to transcend a common mode of listening.
focus baby is a Munich-based artist who is invested in the fields of sound, sculpture and writing. Their methods counter-act the prominency of an artist-persona, allowing their own presence and the presence of the audience (or public) to unfold within the work itself.

 

rosi | Wehrhahn

rosi, in a constellation of two, will perform the piece Wehrhahn consisting of 19 scored improvisations:

erwehr

bewehrt

gewehrt

wehrden

wehrsam

umwehren

wehrdens

erwehrend

Nadelwehr

Wehrkleid

Wehrkreis

Wehrsamen

Wehrvogel

Entwehrung

Unverwehrt

Verwehrung

Wehrpfeiler

bewahrendes

Halt zeigendes Signal

rosi is an experimental live music/band project for one to several people. It incorporates "non-musical" sounds and the experimental use of instruments and improvisation. In this formation, the bass guitar, wind controller, voice, guitar, and e- piano are used independently yet in relation to each other. Different tools come into action, searching for interpretations of words containing the syllable “wehr". rosi has performed at venues including Bethanien, Berlin, FFT in Düsseldorf and Kapitel Bollwerk, Bern.

 

 

 

Sa | 28.06.2025 | 18:00 Uhr

Studierende der Klasse für Performance von Prof. Alexandra Pirici zeigen aktuelle Arbeiten.

Ort: FLUX | Pinakothek der Moderne | Barer Str. 40

 

Josefine Pytliks Arbeiten bewegen sich zwischen Performance, Action Painting und Installation. „SMASH“ thematisiert menschliche Beziehungen und persönliche Freiheit. Mit Bezug auf antike Statuen verwandelt sich Lee Kern in „No time for sculpture“ mit Hilfe von Rasierschaum selbst in eine moderne Adaptation einer Statue. Luka Toprak mahlt in einem hölzernen Mörser Kaffee und Kardamom. „Coffee Piece“ ist eine gastfreundliche Geste wider Gewalt, Leid und Not. Zahra Ghadimian imitiert in „The Body of Time“ die Bewegung von Uhrzeigern. In den Wiederholungen spiegelt sich der Fluss der Zeit.

 

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