Live Ammunition! / Conjured Geographies
wed 12 sep20:00 – 22:00First performanceMaschinenhaus, EssenMaschinenhausPast event
In the 2013 work Live Ammunition! Music for Clapping, String Quartet and Live Electronics a string quartet and polyrhythmic patterns of clapping recorded in the studio are overlaid in multiple tracks and structured so that a densely woven sonic landscape develops over the course of four movements. The piece is driven by motives of anger, of conflict and of structural change; by a recognition that there is a price demanded for transformations that are seething under the surface, and by an interest in forms that allow for risk and emotional investment – forms that teeter between compulsion and collapse.
In his compositions, multimedia works, installations and performances, the Cairo-based Egyptian artist, musician and writer Hassan Khan explores the conceptual and communicative role of art – art as a language that is capable of exposing cultural and social structures in completely individual ways – especially in breaking with traditional conventions by negating or deconstructing them.
Live Ammunition! Music for Clapping, String Quartet and Live Electronics
Komposition, Live-Elektronik: Hassan Khan
Komposition, Live-Elektronik: Tarek Atoui
In Tarek Atoui’s performance Conjured Geographies the infinite various sound material gathered from a wide range of sources is reconfigured as heterophony, as a process of never-ending figural play, taking cue from the ‘tarab’ in Arab music. The ‘tarab’ is less a musical genre than the pleasure derived from music once a state of ‚melotrance‘ has been reached as a result of being exposed to music over a certain amount of time. During this performance matter and body articulate themselves mutually, “while collapsing all geographical, temporal, and physical boundaries.” (Tarek Atoui)
Tarek Atoui is an artist and composer, working within the realm of sound. His work often revolves around performances that develop from extensive research into music history and tradition, and explore new methods of collaboration and production. At the core of his work is an ongoing reflection on the notion of instrument and how it overlaps with the acts of composing and performing.
Atoui’s use of sound challenges and expands our established ways of understanding and experiencing this medium. His project WITHIN, for instance, departs from Deaf Culture to find new ideas for building instruments, composing and performing. On The Reverse Collection, instruments of unknown age and origin in an anthropology museum, get played and recorded then a new collection of instruments is created from exclusively listening to these recordings.
Atoui has presented his work internationally at the Sharjah Biennial in the United Arab Emirates (2009 and 2013);the New Museum of Contemporary Art in New York (2010); Mediacity Biennial in Seoul (2010); the Haus Der Kunst in Munich (2010); Performa 11 in New York (2011); dOCUMENTA 13 in Kassel, Germany (2012); the Serpentine Gallery in London (2012); the 8th Berlin Biennial (2014), the KunstenFestivaldesArts in Brussels (2017) and The Mirrored Gardens Space in Guangzhou, China (2017). He recently presented the Reverse Collection one of his leading projects at the Tate Modern in London and was appointed co-artistic directors of the 2016 Bergen Assembly, a triennial for contemporary art in Norway. Tarek Atoui currently lives and works in Paris, France.
Introduction And Further Information
Funded by Kunststiftung NRW.