Sa, 04.09.2021, 17:00 Uhr

LEFT OF THE DIAL:CiaoCiaoCello + Axel Dörner Angela Anzi Peter Strickmann Zimmermann/Lienhard

LEFT OF THE DIAL:CiaoCiaoCello + Axel Dörner Angela Anzi Peter Strickmann Zimmermann/Lienhard

LEFT OF THE DIAL CiaoCiaoCello + Axel Dörner Angela Anzi Peter Strickmann Tizia Zimmermann + Pablo Lienhard CiaoCiaoCello + Axel Dörner CiaoCiaoCello dance on the fine line between terror and joy with surprising improvisations that seem to emerge from a primal sonic place: music before the rules were written and after they fell apart. (Elliott Sharp) Lorena Izquierdo – voice Axel Dörner – trumpet Beat Keller - feedbacker electric guitar Axel Dörner Axel Dörner was born in 1964 in Cologne, Germany. At the age of nine he began playing the piano and at the age of eleven he began playing the trumpet at a local music school. In the period 1983-1986 he studied trumpet with Jon Eardley in Cologne. Later, from 1988 to 1989, he studied piano at the Arnhem Conservatory, the Netherlands, and from 1989 to 1994 piano and trumpet (with Malte Burba) at the Musikhochschule in Cologne. Axel Dörner is one of the most unique voices on the experimental music scene and most active as a musician and composer. He developed a completely different language for the trumpet in the late 1990s. Most of the ensembles he is a part of are characterized by a non-hierarchical collaboration of the musicians involved. The own language that he created is based on the use of the trumpet of sound textures and white noise, in addition to his use of the microtonal trumpet. Axel Dörner is characterized above all by his versatility: he plays more traditional bebop, as well as free classical jazz or electronic music or composition in real time collaborating with many other artists and musicians. Beat Keller Electric guitarist, guitarist, composer and sound engineer based in Winterthur, Switzerland and Berlin, Germany. Beat Keller is amongst the important Swiss musicians in the field of experimental and improvised music. Through the exploration of extended playing techniques, guitar tunings and the use of an electric feedbacker guitar, he has developed a unique musical language. Beat Keller has played together with many major exponents of the Swiss and international scenes and performs regularly around the world at festivals and renowned concert venues. Concert tours have taken him several times across the whole of Europe, to the USA, Asia and Southern Africa. As a composer, Beat Keller has, so far, mainly achieved recognition with Keller’s 10, the Haiku String Trio and the NDR Big Band. The CD releases by Keller’s 10 (“Keller’s 10” in 2008 and “TWO” in 2013) as well as by the Haiku String Trio (2016) were enthusiastically received by international press and critically acclaimed as excellent (among others in Concerto, Jazz‘n’more and Cadence Magazine). Keller’s 10’s debut album won “Best Debut Release 2008 (worldwide)” awarded by the American magazine All About Jazz. Beat Keller is currently a member of the groups Cao-Keller-Siedl (VN, CH, AT), Joke Lanz & Beat Keller (CH/D), Ciao Ciao Cello (ESP, CH, GB), Saadet Türköz & Beat Keller (CH), Werner Puntigam & Beat Keller (AT/CH), Ed Wouldn't (NO, CH, D), RKM Roth-Keller-Meier (CH), Cara Stacey's Like The Grass (SA), Weiss-Keller-Domeniconi (CH), Tilo Weber’s Animate Repose (DE), Keller’s 10, Gunfire Orchestra (SA, NO, CH) and Jason Kahn/Beat Keller (US, CH). Lorena Izquierdo Aparicio Lorena Izquierdo Aparicio is a Valencian poet, singer and performance artist living in Valencia and Berlin. She has performed at the Festival of Sound Art and Electroacoustic Music in Spain and NIPAF, the Nippon International Festival of Performance Art in Japan, among others. In her pieces she explores different concepts and experiences with body, space and objects. Using action, voice and poetry, she combines all these elements in a relational anarchy. She has extensive experience in free improvisation and has been working on her own compositions since middle school. She is theoretically concerned with experimental art and relationships to experience and knowledge, as well as the possibilities of living a life of dissidence that might be happier. She departs from normative discourse by using the absurd, delirium, fragility, intuition, and intensity to find other forms of articulation and move away from the standardization of behavior in what she calls Action Poetry. Through the unusual use of her voice as sound, sculptural and action material, and with musicians in various formations, she has deepened her work in recent years at her current residence in Berlin. Lorena Izquierdo is interested in observing and expanding consciousness and the senses. In parallel with her artistic activity, together with Mario Montoya she runs the independent platform Diàleg Obert, from which she organizes and curates various cultural projects, such as the international training program Listen to Valencia at Teatre El Musical, La Mutant and CCCC. At her residence in Berlin, she actively participates in and co- organizes events that affect all of her interests. These include the Atmo _ sph ä re series at Backsteinboot Gallery and Reflections at Loophole, Dissidents at PAS, which take place monthly and connect performing arts, improvised music - acoustics, electroacoustics, noise and Butoh dance. Angela Anzi sound objects/installation“In my artistic practice, I explore the agency of sound and objects through sculptural and performative arrangements.” Deviating from her practice of creating sonic installations and performances through sculptures made of various materials in intimate settings, Angela Anzi is planning to create a more spacious layout of her approach to aural explorations in a site specific manner. Tizia Zimmermann + Pablo Lienhard Tizia Zimmermann: accordion Pablo Lienhard: no-input mixer Zimmermann / Lienhard are a finely tuned team. Since 2018, they regularly perform and improvise together in various constellations and contexts.?"kaputt" is the debut album of the duo. It captivates through its singular combination of instruments and the virtuosity with which the acoustic and electronically created sounds have been combined and blended. The result is a challenging and at the same time very beautiful music, which can only just be situated somewhere between Ambient, Drone, Noise, and contemporary music. „Doomsday. Gloom. Smouldering piles of scrap, here and there a burning stack of tires. Among all this a half-wrecked machine giant, about to explode, limping through the desolate landscape. This is the mental image conjured up by "kaputt": At first, we hear a technoid droning, whistling, crashing – from which eerily familiar and still strange accordion sounds suddenly emerge. "kaputt" (meaning "broken") is an expressive album title. The sounds make a broken impression, and the musical conventions of consonance and meter are also broken, a result of the search upon which Zimmermann / Lienhard have embarked: the search for the broken sound. Pablo Lienhard's no-input mixing proves to be extremely versatile: his acoustic spectrum ranges from pneumatic drill to grinding hammer drill to a base-heavy droning didgeridoo and twittering birds. Tizia Zimmermann coaxes sometimes delicate, then again almost violent seeming tones from her accordion, which she skilfully interweaves with Lienhard's electronic tapestry. Her bellows blow a last breath into the machine giant, and the keys rattle along – just as befits a broken lung. With their project, Zimmermann / Lienhard impressively demonstrate how much choreographic fine- tuning must surely provide the basis for such a deliberately "broken" sound. Coincidence, it appears, is a crucial element here, and yet, the field is at most only partially left to chance. Perhaps "kaputt" is itself also a machine. It draws us in as we listen and twists us - at times impaled by a piercing tinnitus - through the wringer. That one emerges from all this feeling slightly shattered, should definitely be considered part of the program: an intensely exciting acoustic experience.„ Simon Leuthold (translation by Rhea Blem) Peter Strickmann Peter Strickmann is an artist who performs, installs and manipulates sound activities in public and domestic environments. Using simple and sparse means, he strives to create a collaborative sound and listening practice that oscillates between action and perception, focusing on the vibrating "thing" and its social, acoustic, and theatrical feedbacks. While collaborating with various improvising music groups or noise makers and exhibiting in a variety of contexts, he observes the potency of sound/sound production and the habits of listening in various everyday or extraordinary situations. He studied audiovisual art/sound art and public art at the Hochschule der Bildenden Künste Saar, Saarbrücken. He performs solo and as a member of various free music, noise and performance groups, currently with Spemakh, Riffels, Pony and Reter and Planet Dance Ensemble. He used to organize events with the Neuer Saarbrücker Kunstverein and initiated the noisy-free- music concert series at Fasanerie SB. He founded the Schnarcharchiv and runs the miniature publishing house ismellpainter together with artist friends. Labels that have released some of his solo, duo or group sounds on cassettes and vinyl are: Rayon (UK), meudiademorte (D), Stenze Quo (NL), SPAM (D), Ana Ott (D), econore (D). Venues where he has exhibited his work include: zeitraumexit Mannheim, Stadtgalerie Saarbrücken, Staatliche Kunsthalle Baden-Baden, FFT Forum Freies Theater Düsseldorf, Literaturarchiv Saar-Lor-Lux- Elsass, Kunstmuseum Stuttgart, Titanik Galleria Turku, Saarländische Galerie Berlin, Prima Kunst Kiel and Bundeskunsthalle Bonn, among many others. Presented by “Verband für aktuelle Musik Hamburg”, curated by Felix Mayer and Tim Huys OPEN AIR at: PARKS! Bullerdeich 6 20537 Hamburg

Eintritt: Spende
Ort: PARKS! | Bullerdeich 6