• View
• Edit
• History
• Print

Experimenta10

Musical Four Letters (Voice and Film) by Marcus Bergner

Four letter words having anything to

to do with music were written directly

upon an old Mexican film, memorised.

Scrambled Speech by Myriam Van Imschoot

In Scrambled Speech, Myriam Van Imschoot breaks language apart in what seems stammering but in fact is a neurological scramble, shake and scratch of thought, always too late or too soon, never in time.

Bats of Bangalore by Till Wyler Van Balmoos & Nikolaus Witty with students of Srishti Institute of art, design & technology

In his essay “What is it like to be a bat?”, Published in 1974, the philosopher Thomas Nagel discusses the difficulty of grasping the consciousness of one’s counterpart. What does a world look like if you only perceive it via the reflected sound waves of the echosounder?

Till Wyler von Ballmoos’s work revolves around the interplay between audience, performative spaces and live music and sound. The choreography of unstable events in performances and narrations of paradox situations are his artistic research focuses. He studied Music Theater at the University of Music and Theater Munich/Germany from 2006 to 2011 and classical violoncello at the University of Arts Bern/Switzerland from 1990 to 2004.

Nikolaus Witty is a freelance dramaturge who deals with music theatre, performance and theory. Since 2010 he has worked as lecturer and curator of performance philosophy workshops and seminars in Berlin, Munich (Germany) and at festival steirischer herbst in Graz (Austria). From 2012 to 16 he created several video installations in Munich and Stuttgart (Germany).

Hemant Sreekumar is an Indian artist with a background in art history, fine arts and digital media. He does performance art with synthetic audio using principles of emergence + also produces visual media including prints and light based works. His works respond to notions of decay, generative bias and loss of semantics.

Ron Schneider; Influenced by Techno, Krautrock, Noise, Ambient and Drone music, Ron Schneider taught himself how to use and abuse everything he could find in rehearsal rooms: drums, bass guitar, synthesizers, amplification techniques, tape recorders, microphones or effects. Ron performs solo and with groups, like Transistors Of Mercy whose notorious real-time improvised live shows and acoustical installations span over eight hours and longer; making use of unusual instruments or self made electro-acoustic devices.