Sean Bell will present the results of his artistic residency at Studio LOOS. After a week of experimenting with redefining his approach to his own creative practice and early music, the results will be shared and performed. 

The event will have two parts. The first will be an open presentation of the work developed and created during the week in the studio. The second will be a work-in-progress presentation of the piece Songbook: Shakespearian Tales of Woe by composer Robert Nettleship for countertenor and drum kit.

The two parts are parallel processes that explore a similar relationship to early music as a style and concept.

• Sean Bell - countertenor

• Robert Nettleship - drum kit

Ticket price: 5 euros

about the artistic research:

So far, in my artistic research, I have worked on using early music songs/repertoire. With the arrangement as my creative tool, I found freedom working within these parameters and built a concept-driven project from preexisting material. Now, I want to explore how I can break out of this framework and create a new starting point for myself. Moving beyond arranging in my practice, how can I bridge the roles of composer, performance artist, and early music singer by focusing on concept rather than form?

As a starting point, I will explore concepts from different styles of early music repertoire. This will be my approach to historically inspired performance. First, an idea or concept derived from the music or the context in which the music was created historically. I will try to work with the fundaments of the music without the notes: text, mood, instrumentation, tonality and timbre. I will experiment with different compositional tools like graphic scores, free improv, electronics, and live recording to have a fresh approach.

The idea for this research came from people’s reactions to my previous work. They would ask if I considered myself as a composer-performer or just a performer? I would answer that I was a singer (like my education states), realizing that composer-performer was maybe an unexplored identity within my artistic work.

“Why do you sing?” - A meet-up for singer-creators 

A collaboration between VoxLAB and Studio Loos

Group meeting Tuesday April 9th at Studio Loos,  7-9pm 

In the first of several planned networking meet-ups, vocalist-creators based in Den Haag have been invited to share and discuss the challenges and inspirations of creating new vocal repertoire and experimental post-operatic forms. Musicologist Jelena Novak, author of Post-opera: Reinventing the Voice-Body (Routledge) will be present to help shape the dialogue and pose questions. Possibilities for international research collaborations between Studio Loos (DH), Voxlab (Oslo) and other artist-led initiatives will be explored.

Composer-performer Kristin Norderval will host both the initial meeting and subsequent follow-up meetings. Themes relevant to post-operatic forms such as body/voice theory, the embodied voice and voice beyond corporeality, and human-computer interaction in technologically augmented environments will be explored. Among the expected results are increased knowledge about post-operatic multimodal creations and methodologies; the establishment of a network of creators, producers, composers and performers interested in exploration of experimental post-operatic forms; and potential co-creations between the Norwegian organization VoxLAB and experimental opera companies based in the Netherlands  

Kristin is a Culture Moves Europe grantee and a Studio Loos 2024 artist in residence. This work was produced with the financial assistance of the European Union. The views expressed herein can in no way be taken to reflect the official opinion of the European Union. 

Queer Sonic Avatars

with Kristin Norderval

In this lecture performance, singer and composer-improviser Kristin Norderval explores themes of resonance, presence, place, and the distortion of time with her mediated voices or “Sonic Avatars." She will perform with EVII, the Expanded Vocal Improvising Instrument for gestural vocal processing that she has developed over the last years. She often refers to the instrument as her digital improvising partner. Norderval’s concert will be followed by a Q&A and a demonstration.

Kristin Norderval’s career has been twofold: as a singer of contemporary music working with composers such as Philip Glass, Pauline Oliveros, Annea Lockwood, Tania Leon, and many others, and as a composer-improviser working with technology. Kristin is inspired by hybridity, interactivity, and the idea that everything one does is site-specific. She blends acoustic and electronic sound, and is fascinated with detuned instruments, machines, and ambient sound. Between 2019 and 2023 Kristin was a PhD Research Fellow at the Oslo National Academy of Opera in Norway, where she developed an Expanded Vocal Improvising Instrument (EVII) for gestural vocal processing using wireless MIDI rings. Kristin has used the EVII in her latest opera, Crane Reflects on a Favor, and in collaborations with Limpe Fuchs, Peter van Bergen, Jill Sigman, and Miguel Frasconi.

Kristin Norderval is a Culture Moves Europe grantee and an Artist in Residence at Studio Loos. This work was produced with the financial assistance of the European Union. The views expressed herein can in no way be taken to reflect the official opinion of the European Union.

Prior to the lecture performance, Kristin Norderval will lead a Deep Listening workshop. She will also join the conversation Veering Voices, on Friday, 5 April.

Welcome to the presentation of my research in Studio LOOS!

• Kaat Vanhaverbeke – composition, accordion, electronics

• Samo Vidic – composition

• Reina Dreyhaupt – technical support

During the past months, I’ve worked on the creation of new music for an amplified extra-dimensional way of accordion playing (amplifying the movements of accordion playing and using electronics and a surround sound system).

the program:

• Samo Vidic: “Light”

• Kaat Vanhaverbeke: “Kinetically Interactive Soundscapes”

After the concert, I kindly invite you to contribute to the discussion, providing feedback and sharing your impressions and comments.

BLANKSet is an ensemble for new music and improvisation, formed by Vitória Bento (saxophone), Nuno Morão (Basson), André Teixeira (piano), Alejandra Bejarano (double bass), Milena Khalil (eletronics).

With an ardent passion for new music, we'll take a deep dive into the artistic possibilities of daring and unexpected soundscapes. 

This concert is presented after a week of residency in Studio LOOS (made possible with a Makersregeling subsidy from The Hague Municipality), in which we begun to research our personal sound through the music of Cristiano Melli and Daniil Pilchen,

Setlist:

Ensemble improvisation - 

• Cristiano Melli - EROLA's SYMPHONIES HAVE DIFFERENT REMAINDERS WHEN DIVIDED BY A THIRD NUMBER 

• Cristiano Melli - due ragazzi che vanno per una strada a Roma 

• Daniil Pilchen - Two soloist

Intermission

• Daniil Pilchen - Two songs

• Cristiano Melli - MAFAFAGAFO 

This concert is the first presentation of Daniil’s research project at LOOS, ‘Making Time Together.  Collective Experiences of Time in Continuous Ensemble Practice’, in which he explores collective experiences of time in music through my continuous collaboration with Kali Ensemble. 

Showcasing the results of the first of the two workshops with Kali, this instalment will focus on different modes of listening and exploring their potential to influence the musicians’ and listeners’ temporal experiences. In preparing this concert, we pay special attention to the dynamic relationship between the space – in this case, Studio LOOS – and our experiences of time. My inquiry into the acoustic properties of the room, as well as the potential of technology to alter how we perceive them, would not be possible without my artistic collaborators: the sound technician Gregor Connelly and the composer and pianist of Kali, Nirantar Yakthumba.

At this point in my compositional practice, I want to approach the political significance of researching collective experiences of time. In this veritably fucked up world of ours, we are desperately looking for any possibility of hope, yet the slightest expressions of hopefulness get suppressed by cynicism. Perhaps, giving our whole idea of time an overhaul might make brighter futures seem a little more attainable?

Is time an emergent property of human consciousness or an objective physical phenomenon? While there isn’t a definitive answer, there are political consequences for various interpretations of this question. The most common understanding of time is founded on the premise of it being entirely external to us, which leads to its commodification and invites the attitude of scarcity – labour, art, and even personal relationships seem like ‘time-consuming’ activities. If, conversely, we approach time as a product of our conscious effort, it becomes possible to affect each other's time experiences through collective listening practices. Then, in playing music together, we are making and giving each other time rather than spending whatever time is already there. That leads to considering time as a gift rather than a commodity. These two approaches to time – as a gift or a commodity – are mutually exclusive, and this has consequences for the way we see time in our everyday life.

This concert and the research project are made possible with a subsidy from Makersregeling Gemeente Den Haag.

Doors open: 7:30PM
Concert starts: 8PM

buy tickets directly

about the artists

Daniil Pilchen

Daniil Pilchen is a composer based in The Hague. He obtained his Master’s degree in composition from the Royal Conservatoire The Hague in 2020. His thesis, Losing Time, was centred around creating musical interactions based on musicians’ communicating their internal feeling of time rather than relying on external time measures. The human experience of time and the ability of music to shed light on it have since become the core concern of his practice.

Daniil’s music is closely intertwined with his research into collective experiences of time in musical practices. Understanding time as an emerging property of consciousness affected by social interactions necessitates increased attention to the relationships between musicians and audiences in his pieces. To facilitate these interactions, he employs various compositional strategies and listening techniques engaging the materiality of sound. This practice revolves around Songs, an ongoing series of chamber pieces on which he has been working since September 2019.

Kali

Kali is an ensemble based in the Hague. Our ensemble consists of Giuseppe Sapienza (clarinet), İdil Yunkuş (violin), Beste Yıldız (cello), and Nirantar Yakthumba (piano/keyboard).

We explore music that challenges us to have a direct encounter with its manifold — i.e., the dynamic spatiotemporal structures that generate sonic, and hence, musical forms — through different modes of listening. Thus, over the past years, we have developed close and ongoing

relations with composers who share our aesthetic vision. Their collaboration with our ensemble continues to be crucial to the formation and development of our sound.

Gregor Connelly

Gregor Connelly (1999) is an aspiring sound artist and composer, currently enrolled as a Bachelor's student in the Art of Sound program at Royal Conservatoire the Hague .

Having spent his early years learning the traditional forms of Western music, he has set his course on the exploration of contemporary and experimental art forms, recognising their imperative role in forming new modes of cultural perception and shaping the way in which we interact with our environment. With this in mind, he aims to uncover the particularities of our time and connect them with more perpetual structures and ideas.

How simple and yet how difficult can it be to make music?

Musique concrète (2015-2020) by Cecilia Arditto and a percussion player consists of several shorter pieces for everyday, second-hand objects (such as a sewing machine, scissors, ventilators or string telephone), tape and slide projectors. The two performers manipulate those sounding objects as well as the slide projectors at different spots of a darkened space, which results in a site-specific performance, a dialogue between musicians, objects, and architecture. Experiencing this cycle might also give the audience a kind of ASMR feeling. Question your tea spoons, French writer Georges Perec once wrote. Well, could you question them by making music with them?

Cecilia Arditto studied at the Conservatorio Julián Aguirre, in CEAMC Buenos Aires and at the Conservatory of Amsterdam, where she graduated cum laude. Arditto’s music is performed all over the world: Borealis Festival (Norway), Darmstädter Ferienkurse (Germany), Innovations en Concert (Canada), and Festival Rümlingen (Switzerland), among others. She won the first prize in the prestigious Rychenberg Orchestra Competition 2020. Her cycle Musique concrète represented The Netherlands at the ISCM World Music Days Festival 2022 in New Zealand. She won the first prize of the National Opera in Mannheim in 2021 by writing an opera based on Albert Camus’ most famous book L’étranger.

ticket price: free

However, we ask you to use the payment form below to reserve your spot!

The Interactive Interdisciplinary Improvisational Orchestral Machine (IOM) - Artificial Improvisation Machine (AIM) is an artistic research project by Peter van Bergen developed in collaboration with software programmer Johan van Kreij. The pursuit of IOM-AIM is the design and realization of an interactive improvisation machine, an "orchestra" consisting of human improvisers in combination with computers, speakers, beamers, microphones, sensors, and cameras.

The following day the PhD research culminates with a public PhD defense.

Event start: 6PM

Event price: free

STILSTAAN IN DE WOLKEN (STANDING STILL IN THE CLOUDS) by Mia Kogelman

What do you see? What do you hear? Do you know what you see and hear? Do you look? Do you listen? Are you able to look and listen? I see an overwhelming world with crowds, chaos, and many impressions. I sometimes lose the connection through it. The sense of connection with myself, with others, and with the world. How do we keep the feeling of connection, or how do we find this sense of connection back in today’s life?

On the 12th of February, the created multimedia performance, where Mia merges written and created music, text, and visual art, will premiere at Studio Loos.

Mia is grateful for the support of the Norma Fund.

Enjoy an evening of music, new ideas, and reflection with the Floris Kappeyne Trio!

The trio was founded in 2012 by the pianist. The band members met in their teens and have been playing together ever since.

After the release of their debut album "Interchange" in 2018, the trio released "Synesthesia" in 2019. Since Floris completed his studies in classical piano, he and his trio are working on a new album in 2022.

Floris Kappeyne - piano and compositions

Tijs Klaassen - bass

Wouter Kuhne - drums

"Amplifying Agency”  - Research Presentation, midterm evaluation of PhD Artistic Research - open to the public, and including a public discussion

Working with trained singers unfamiliar with audio technology and improvisation, Kristin explored how an interactive audio processing system that creates pseudo-random permutations of the singer's voice can function as a digital improvisation partner. The research included 1.a comparison of different sound designs & speakers 2.an observation of the singers' physical and musical responses to the different systems 3.the development of environments for real-time audio processing that accommodate the operatic voice on her own terms.

Kristin was interested in exploring the balance needed between chaos and control, predictability versus surprise. Kristin's ultimate goals was twofold: 1. to design an audio processing system that allows for mobility and enables performers to manipulate their own voices in real-time, independent of a visual interface, and 2. to identify a sound design that allows for an ideal acoustic balance between an unamplified, embodied operatic voice and the sampled, edited and detuned voice(s).

PhD artistic researcher Kristin Norderval (Norway), Spanish soprano Mar Ameba (ES), Norwegian countertenor Sean Bell (NO), software designer Max Frimout (NL), Gerriet Sharma (Germany) designer IKO 3D speaker.

The lecture is the final presentation of Kristin’s research, a day after the performance “Place, Manner, Time….“, which is a culmination of the research.

“Place, Manner, Time…. “ – works for voice, live electronics and multiple speakers

Kristin Norderval – Voice, live electronics, wireless controllers

Gerriet K. Sharma – Live electronics, IKO 3D speaker

Anja Hertenberger – Performance, Interactive textiles   

Mar Pino-Charlez – Voice, wireless controllers

A concert of works developed to resonate the space with the acoustic voice and through multiple speakers including the IKO 3D speaker, hemispherical speakers, and specially designed micro-speakers created from metallic thread coils.

Kristin Norderval has been investigating the challenges of designing live electronic processing for opera singers. Kristin is an Artistic Research Fellow at the National Academy of Opera in Norway and is on exchange this year at the Institute of Sonology in Den Haag. Her research involves the development of real-time audio-processing environments that accommodate the operatic voice on its own terms. Kristin’s ultimate goals are twofold: to identify a sound design that affords a balance between the unamplified, embodied operatic voice and its sampled, processed and disembodied voice(s), and to design an audio processing system that facilitates mobility and allows performers to manipulate their own voice in real-time, independent of a visual interface. 

This year in Den Haag Kristin has been exploring how an interactive audio processing system that creates pseudo-randomized permutations of the singer´s voice can function as a digital improvising partner for classical singers, balancing between chaos and control, predictability and surprise. She has been refining controller mappings that rely on aural and haptic cues, and investigating multiple sound designs and loudspeaker systems.  

For Saturday´s concert Kristin has invited Berlin-based composer Gerriet K. Sharma to join her, along with interactive textile artist Anja Hertenberger, and the young Spanish opera singer, Mar Charlez Pino. Anja Hertenberger worked with Kristin earlier this year and developed a way to receive mediated vocals wirelessly to tiny embroidered coil speakers and transport them in the palm of her hand. On the macro level, Gerriet K. Sharma has been developing and composing for the IKO 3D Audio Speaker by IEM & Sonible: a 20-sided compact speaker system based on Higher Order Ambisonics (HOA) that offers a very different way of working with spatialized sound. With the use of complex algorithms, the IKO is able to send focused sound beams in any direction. Using wall and ceiling reflections to establish a distinct sound space in any location, it can produce high quality immersive sound even in small spaces. Kristin and Gerriet have been working together with the classical voice students from the Royal Conservatory to explore live processing of the operatic mediated voice in the IKO environment. 

Saturday´s concert will be followed on May 8 by a research presentation at Studio Loos from 12.30-15.30 

LINKS to Kristin´s work with wireless motion controllers & to the IKO 3d speaker:

https://artisticresearchweek.khio.no/2021/01/20/flying-blind-kristin-norderval/#  

https://iko.sonible.com/en

For their second album, Tijs composed eight pieces inspired by the loss of his youthful care-free existence during the Covid-19 pandemic.

The young Amsterdam-based band combines arco bass melodies, energetic compositions and the subtle use of synthesizers within the classic jazz quintet lineup. The colour palette of the ensemble refers to the sounds of classical composers such as Messiaen, Theo Loevendie, Ravel and Alban Berg within an improvisational setting. Their playing and interaction is based on mutual feelings of absolute equality, respect and friendship.

Over the last few years the band won the 2018 Keep an Eye the Records edition and the Sena Performance Award at the Dutch Jazz Competition of 2020. The release of their debut album ‘Clavius’ in 2019 was met with critical acclaim. The record was presented throughout the Netherlands.

After the long hiatus caused by the COVID-19 restrictions - Éphémère, curated by Marie Guilleray is back!

Ticket price: Pay what you want!

There is a limit of guests we are allowed to host. More information will come soon.

The doors open at 20:00 and the concert starts at 20:30 sharp.

We ask everyone interested in coming to the event to register to secure a spot!

Program:

- Guy Livingston, piano

Born in Tennessee, with degrees from Yale, NEC, and the Royal Conservatory of the Netherlands, pianist Guy Livingston wowed critics and audiences with his Don’t Panic Project. Sixty composers each wrote one minute for Livingston, and he was featured on NPR, in The New York Times, Le Monde, Sports Illustrated, and the CD was praised by the Atlanta Constitution as the ‘party record of the year.’ Livingston is based in Europe and used to travel widely as a pianist before covid. He has recorded three CDs for the Wergo label, and appeared as soloist with the Orchestre Nationale de France and the Chicago Symphony. Major productions include the Nuit de John Cage, the Antheil Centennial Festival, and the William Bolcom in Paris Festival. He won the Bronze and Silver medals for best international music documentary at the New York Radio Festival Awards. He is currently organizing a festival of musical silence in The Hague.

http://guylivingston.com/

- Hydra Ensemble (Machinefabriek + cellists Nina Hitz and Lucija Gregov, and bass player Goncalo Almeida)

Rotterdam-based quartet Hydra Ensemble features cellists Nina Hitz and Lucija Gregov, double bassist Gonçalo Almeida and Rutger Zuydervelt on electronics. The ensemble is a juncture of four distinctive expressions finding common ground – together they form a four-headed entity that emerges from highly pensive collective improvisations, creating an intricate patchwork of concurrent melodic lines, textural explorations and expansive drones. Its sonic language exists on the cracks of free improvisation, minimalism and experimental foreboding ambience; and is as ominous and majestic as the multi-headed Greek mythical animal they are named after.

https://machinefabriek.bandcamp.com/album/voltas

Composer and double bass player Gonçalo Almeida (1978) was born in Lisbon, now lives in Rotterdam where he ​plays in a variety of projects that range from modern jazz, jazzcore to free jazz and free improvisation. He is the founder and main composer of groups Lama Trio, Albatre and Hydra Ensemble; member of The Attic, Cement Shoes and Spinifex – among many others. Almeida has also worked in collaboration with multimedia and video artists, contemporary dancers, theatre makers and poets, worth to mention Arnold Dreyblatt and Julyen Hamilton. Cellist Nina Hitz (1973) was born in Switzerland and is currently living in Rotterdam, The Netherlands. She completed her graduate studies in Baroque cello at the Royal Conservatory in The Hague. As a very active and questing spirit who constantly seeks the unknown in life and music, she is active with experimental music, free improvisation and theatrical performances. She is a member of James Fulkerson and Frank Denyer's legendary contemporary music ensemble, The Barton Workshop, just as Jason Köhnen's The Kilimanjaro Darkjazz Ensemble and The Mount Fuji Doomjazz Corporation. Croatian cellist, improviser and artist Lucija Gregov's (1993) work describes and explores new sonic landscapes: adding to her instrumental cello practice, she integrates analogue synthesizers and processed field recordings to her compositions. Her research work titled Liquid Artist is an ongoing exploration on intersection of art, social science and philosophy and it contains thoughts, facts, subjective opinions and analysis of collected materials related to themes of flow, hierarchy, idealism, connectedness and inherited meaning. Rotterdam-based composer and sound artist Rutger Zuydervelt (1978) started recording under the alias Machinefabriek in 2004. His music combines elements of electro-acoustic experiments, minimalism, field recordings, ambient, drone and noise. The music can be heard as an attempt to create sonic environments for the listener to dwell in. Finding tension in texture, tone and timing, the result can be very minimalistic at first glance, but reveals its depth upon closer listening, because as he says: the devil is in the details.

"LISTENING TO SANDBACK" (2020, first performance)

interactive sound installation at Gallery NEST Den Haag

live streaming on twitch.tv/studioloos

concept, composition Peter van Bergen
software, concept Johan van Kreij
performed by Studio LOOS VanBergen/VanKreij
produced by LOOS
camera Petra Dolleman
interview Cristiano Melli

“field recordings of water sources and layered loops, samples, synthesizers and a sweet, sinister voice”

Leonie will play a laptop live set using and manipulating field recordings of water sources and other environmental recordings from the Swiss Mountains.
She collected these sounds during two residencies in Switzerland as a guest composer for Forum Wallis Contemporary Music Festival, and during her time spent with Pierre Mariétan at Atelier EcoArt.
With many thanks to IGNM-VS / Forum Wallis for the support.

During the second part of the concert Leonie will be playing guitar to Strict Nurse’s lush and hypnotic synth sounds.

Last but surely not least, Strict Nurse will take the stage with her solo work.

Bios

Strict Nurse is the altar ego of @Leilani Trowell. Raised in a strict household in the USA with dreams of becoming a pop star, now residing wildly in the low-lying lands, Strict Nurse improvises with layered (cassette) loops, samples, synthesizers and a sweet, sinister voice to cast a spellbinding soundscape. Modalities of healing, perversion, power dynamics and personal intuition are the current themes in her work. She has recently released a 2nd album on cassette tape on the local Haagse label, Silver Ghosts.

https://strictnurse.bandcamp.com/

Review on the Quietus by Tristan Bath about album: 'C O U R A G E be brave' https://thequietus.com/articles/28443-strict-nurse-cloud-diameter-suren-seneviratne-tape-review

"The title of C O U R A G E Be Brave is perhaps oddly against the grain for an artist with a name like Strict Nurse too – even more unlikely considering the NWW-ian title of the epic sidelength opening track is ‘A Creaking Clock of Bone & Sinew’ – but the album title’s hopeful message fits well into a 21st century tradition of noisy positivity. The music is no less heavy mind, with that vast opener spending 11 minutes treading softly through a greying meadow of distant synth breezes and muted whispering before launching into a distorted heavy assault that sounds like your mate left their industrial techno demos out in the sun for too long (but refuses to play them any quieter). Even so, shafts of light creep quickly in, and this Struct Nurse is clearly handling us with careful assertiveness. And my word do we need it here in 2021 too. "

Actor and writer DENNIS RUDGE at "LOOS CHANNEL live streaming" from Studio LOOS #6

"Almost never is not always and sounds like the words of a rebellious eyewitness, Let’s call this chapter CSI Rotterdam."

Actor and writer Dennis Rudge is an artist cherished by LOOS since 1994.

This edition is centered around renown actor Dennis Rudge who has worked extensively with LOOS during 1994-2001.

central guest: Dennis Rudge
interviews: Leonie Roessler
discussion partner: Peter van Bergen

several historical LOOS videos will be shown, a choice will be made out of:
1994.10.01 LOOS EXTENDED DECONSTRUCTIONS at BIMhuis greatest hits
1996.04.18 loos ensemble hogeschool arnhem
1998.10.03 video LOOS Multi Timbral Orchestra BIMhuis 1
1998.10.03 video LOOS Multi Timbral Orchestra BIMhuis 2
2000.05.14 video loos ensemble empty bottle fest chicago

Join the conversation.

Instagram live stream
FRIDAY JUNE 12, 2020
20-22 hrs

INSTAGRAM @sahilbahlmusic

RED MAGNET & EINZELGANGER

at "LOOS CHANNEL live streaming" from Studio LOOS #4

Léon Spek and Thijs Geritz are artists cherished by LOOS.

• Red Magnet

Red Magnet is Léon Spek.
He makes drone music inspired by the unimaginable scales and times of the universe, where elements merge into complex structures evolving at unknown tempos in unimagined time.
https://soundcloud.com/red-magnet
https://redmagnet.bandcamp.com/releases

• Einzelganger

Einzelganger is the musical alias of Thijs Geritz, a self-taught musician, radiomaker curator of Kernel Panic at Studio Loos.
All his projects have one thing in common; the use of field recordings as part of the music.
http://www.einzelganger-music.com
https://soundcloud.com/einzelganger

Colophon:
“LOOS CHANNEL live streaming” is produced by LOOS
Curator, Video & Streaming equipment: Peter van Bergen
Technical assistance: Hidde Kramer Music 

"LEO SVIRSKY AND JASPER STADHOUDERS PLAY JOHN/ALICE COLTRANE"

at "LOOS CHANNEL live streaming" from Studio Loos and live shared with Rewire live streaming

this concert is organised in the series "Support Studio LOOS,

sign the petition:
https://petities.nl/petitions/loos-studio-loos-moet-blijven?locale=nl

send a statement": http://www.studioloos.com/statements-and-texts

Leo Svirsky and Jasper Stadhouders are artist cherished by LOOS.

For this concert Leo Svirsky wrote the following text:

I think the first concert I ever saw in the Hague was at studio Loos, it was Han Bennink with Mary Oliver and the Pow Ensemble. My friend Daniel Bitran and I were the only audience, and it was amazing! A year before that I had seen ICP orchestra with Misha Mengelberg at the Library of Congress, and that was a big part of coming to the Netherlands to study. Getting to be part of such a long history is a big privilege for a young musician, one that wasn't really available to me in Maryland. I didn't actually get the nerve to talk to Han until Yedo Gibson introduced us a few years later (we talked about weed) but that was the first of many encounters with legends at Loos, Lawrence D. “Butch” Morris, Tristan Honsinger, and Roscoe Mitchell visited in this past decade. I booked artists like Leila Bordreuil (the second performance of her piece for 3 amplified basses), Hannah Marshall, MSHR, GRID (they played an amazing set while Nick Podgurski was suffering from a kidney stone and had to be taken to MCH right after the set!). I attended many more events over the years as performer and audience. I feel that I am already only addressing people here who are already concerned about the future of the Arts of Art spaces, so it's not necessary to develop here, but I am thinking back a lot to the question my composition teacher Cornelis de Bondt raised quite forcefully with the withdrawal of his scores from the public sphere, what is the role of an artist in a society where so much of the social contract is in bad faith?

Jasper Stadhouders and I will attempt a version of Peace On Earth, both the John and Alice Coltrane versions. We can only hope that in this case the message against all odds transcends the medium."

Colophon:

“LOOS CHANNEL live streaming” is produced by LOOS

Curator, Video & Streaming equipment: Peter van Bergen

Technical assistance: Hidde Kramer Music

The Corona Dialogues

anne wellmer (analog electronics = arp 2600, toys, voice)
johan van kreij (digital electronics = )

Anne Wellmer | nonlinear (D/NL) is a composer performer and sound artist based in the Hague.

I draw inspiration from a love for stories and changing skies, a fascination for generative processes and lists, an admiration for conceptual art, experimental music and absurd scenarios. I am interested in performance environments where acoustic and amplified sounds share the same sonic space and fascinated by the fact that electricity lies at the core of all matter.

Johan van Kreij is a sonologist. His practice covers the fields of composing, improvising, making and executing in the field of electronic music. Cooperating with various artists he has been involved in a wide variety of projects in the field of improvised music, music theatre, dance, architecture and installations.