Invisible Architecture (Chrs Galarreta and Janneke van der Putten)
Invisible Architecture is a collaborative project by Chrs Galarreta & Janneke van der Putten. Minimal changing vocal tones and electromagnetic sounds of broken hard disks meet in the speakers to modulate each other. This results in a very physical and intense sound experience that enhances the acoustics of the spaces where they play.
Tilde (Attila Faravelli, Nicola Ratti and Enrico Malatesta)
Tilde is trio that consists of Attila Faravelli, Nicola Ratti and Enrico Malatesta. They create sonic interventions, which are at the same time separated from and responding to each context, site, space and environment, where they perform, as if caring about this gap or just dealing with it expanded and destabilized both the performers and their surroundings. With objects, a snare drum and few analog synthesizer’s modules they address the mutual relationship between artificially produced sound and specific sonic spaces, which respond with unlimited aural possibilities, both imagined and real.
“This performance tries to address the problem of live electronic music that has haunted it from its very beginning and that has always been interesting for me – how can the audience relate to what the performer is doing? What makes the live electronic music really live? In my case every visible action causes an audible reaction, so in a way ‘what you see is what you get’. By using various light sources and sensors I explore possibilities of this instrument, which doesn’t try to imitate any existing model, but rather tries to create something new”.
Kacper Ziemianin
Kacper Ziemianin – is an artist with a classical musical education, who has experience in various musical genres, encompassing black metal, through to broken electronic music to ambient, noise and circuit bending. Sound travels led him to the Hague, where he is currently studying Sonology at a music conservatory. He graduated in Sonic Arts at Middlesex University in London, after which he also studied at the Music Academy in Krakow under the supervision of professor Marek Chołoniewski, in Berlin (UDK) and under the tutorledge of Dr. Alberto de Campo in Amsterdam at STEIM. He has also performed in a couple of musical groups, and has taken part in several projects under various pseudonyms. Ziemianin creates audio-visual installations, sound design for movies and was the author of the, “Polish Deli” broadcasted on London-based radio Resonance FM (2010-2013), where he promoted Polish music and independent art. He has performed and exhibited in Ireland, England, Finland, Germany, the Netherlands and Poland. In 2004 he received the “Dolina Kreatywna” award for his musical piece, “Trans-formation”. Currently Ziemianin is busy building his own musical instruments and modifying already existing constructions, as well as interactive audio-visual installations.
At Wonderwerp he will be presenting his latest performance with a light sensitive interface.
“This live performance is a result of a research that has taken few years and is now in its final stage. It consists of a hardware and software design. The hardware part is an interface with 24 light sensitive resistors, which allows to control computer software with changing the amount of light. The software part is a computer programme that allows for generating and manipulating sounds in real time. This performance tries to address the problem of live electronic music that has haunted it from its very beginning and that has always been interesting for me – how can the audience relate to what the performer is doing? What makes the live electronic music really live? In my case every visible action causes an audible reaction, so in a way ‘what you see is what you get’. By using various light sources I explore possibilities of this instrument, which doesn’t try to imitate any existing model, but rather tries to create something new”.
Tilde
Tilde is a sonic intervention trio composed of Attila Faravelli, Nicola Ratti and Enrico Malatesta.
“Our aim is realizing sound actions which are at the same time separated from and joined to a specific context, as if caring about this gap or just dealing with it could expand/destabilize both ourself and what’s around us.
We utilize some spare objects, a snare drum and few analog synthesizer’s modules to provoke a mutual relationship between artificially produced sounds and some sites that happen to grab our musical interest. Far from being an empty container to our actions, these sites react by affording some of their unlimited aural possibilities, both imagined and real. Our interventions (as much in the open air as in the controlled environment of a stage concert) are structured as if they were emanating from the way that we, in so far as perceiving bodies, are able to listen to a specific space’s character, to the shape and material constitution of the physical objects that it contains and to our own tools’ and instruments’ behaviour under certain conditions”.
Attila Faravelli (1976) lives and works in Milano (Italy). In his practice he explores the relationship between sound, space and body.
His music has been released by the labels Die Schachtel, Senufo Editions, Boring Machines, Presto!? and he presented his work in Europe, USA, Cina and South Korea. In 2010 he partecipated to the 12th International Biennial of Architecture in Venice. Since 2011 he curates The Lift, series of experimental music concerts in Milano. In 2012 he was chosen as the italian curator for the Sounds of Europe project.
He is founder and curator for the Aural Tools project, a series of simple objects to document the material and conceptual processes of specific musicians’ sound production practice. Aural Tools are acoustic devices for relating sound to space, the listener, and the body in ways unavailable through traditional recorded media such as CDs or LPs.
Enrico Malatesta (1985) is a percussionist active in the field of contemporary music; his personal activity and research is aimed to extend the sonic and multi material possibilities of percussion instruments through simple gestural techniques, able to realize complex polyrhythms and multiple sounds between performer, instrument and space’s vastness.
His solo performances and collaborations have been presented throughout Europe, North America, Japan and South Korea and he has recordings published by the labels Presto!? Records, Second Sleep, Senufo Editions, Entr’acte, Alku, Aural Tools, Weighter Recordings, Triscele Registrazioni, Consumer Waste. Enrico Malatesta has been stage musician for Teatro Valdoca between 2007-2013 and he is curator of Grande Stagione, an indipendent platform for experimental music in Cesena and neighboring areas.
Nicola Ratti (1978) began his musical career as guitar player. Lately his approach is focused on beat-analog experimentation and sound installation. He is currently working with: Giuseppe Ielasi (bellows), Attila Faravelli as Faravelliratti, Tilde, a trio with Enrico Malatesta and Attila Faravelli. He played guitar from 2007 to 2013 in the desertic soundtrackband Ronin. He has performed live in Europe and North America, and his albums had been released by Anticipate, Preservation, Die Schachtel, Entr’acte, Senufo Editions, Holidays Records, Megaplomb, Musica Moderna, Boring Machines, Coriolis Sounds, Zymogen. He collaborates also with visual artists such as Alessandro Roma and Blisterzine/NastyNasty. Since September 2013 hs’e the curator of a series of events concerning sound and performance hosted by O’ in Milano called The Variable Series. He’s one of the promoters/artists of Auna since its firts edition (sept. 2012), an electroacoustis music festival conceived as a research/exchange moment between italian based artists.
Invisible Architecture
Invisible Architecture is a collaborative project by Chrs Galarreta & Janneke van der Putten. Minimal changing vocal tones and electromagnetic sounds of broken hard disks meet in the speakers to modulate each other. This results in a very physical and intense sound experience that enhances the acoustics of the spaces where they play.
Chrs Galarreta has been active in the South American experimental scene since 1995. The sublime and the uncertainty are present in his actions, he gets them using broken electrical appliances, homemade audiovisual instruments, field streamings, field recordings, feedback systems, the induction of errors in the software-hardware and in the way to play musical instruments. He transduces imperceptible physical phenomena for humans to an audible dimension (as electromagnetic fields or sub-aquatic sounds). He is mostly interested in the exploration of the aforementioned interfaces and auto-regulated systems to apply them to create immersive experiences, experimental songs and des-compositions, hacking the human perception of space-time as a form of civil disobedience and social auto-reorganization.
Galarreta comes from an autodidact formation and in 2013 he developed his independent projects at the Institute of Sonology in The Hague. Today he lives between France and The Netherlands. His work has taken him to make concerts, installations, performances, lectures and workshops in Latin America and Europe, such as festival “Hydrophonia” (Barcelona, 2010), Academy of Fine Arts, (Vienna, 2013 & 2014), Plateforme Intermédia / La Fabrique (Nantes, 2011) and Aural – Sound Art Festival (México D.F., 2009). Galarreta is founder and member of the independent label and association Aloardi (since 1998) and of bands like Sajjra (current solo experimental-song project), DiosMeHaViolado, Evamuss (as soloist), Azucena Kantrix (with Wilder Gonzales), Tica (with Fabiola Vasquez) in Peru, Miasma (with Sergio Sanchez T.) in Mexico, 50 Otages (with Mathieu Finisterre, Bernard Bruit and Julien Ottavi) in France among others. He collaborated with artists, labels and collectives around the world such as Gabriel Castillo, Zbigniew Karkowski, Jorge Castro (Cornucopia), Leo Sabatto (Armenia), Pablo Reche, Anton Mobin, David Kraapoola, Dave Phillips, Jorge Haro, Sub Rosa, Microbio Records, APO33, Platoniq, Sonic Art Networks, Manuel Rocha Iturbide, Tsonami, Sebastian Ortiz, Ignacio Rus.
Janneke van der Putten presented her site-specific installations, voice-based performances, sound pieces, participatory events and workshops at among others: ‘Recreation Ground’, W139, Amsterdam (2013), ‘Urban Modes of Listening’, Tuned City, Qo2, Brussels (2013), ‘Handmade Homegrown 8’, Theater Dakota, The Hague, NL (2013); ‘Three Artists Walk Into A Bar…’, de Appel, Amsterdam (2012) and ‘NMElindo Radio’, São Paulo Art Biennial, São Paulo, BR (2012). Previously van der Putten worked with different people, from a hunter to a sonic marine engineer, as well as with choirs and colleagues, a.o. with Gabriëlle Barros Martins and Rory Pilgrim. In 2013 Janneke did the vocals of Siavash Akhlaghi’s electroacoustic work for Wave Field Synthesis, which premiered at the Institute of Sonology. In the winter of 2013-2014 van der Putten was artist in residence at the Castle, Centre International d’Art et du Paysage at the Île de Vassivière in France, where she continued her work and daily practice ‘All Begins With A: inspired by the SUNRISE’. She holds a Master of Music from the Master Artistic Research at the Royal Conservatory & Royal Art Academy, The Hague (2013), a Bachelor degree with Honors from the Textile department at the Gerrit Rietveld Academie in Amsterdam (2009), studied at the San Francisco Art Institute in 2008 and learned from the Indian classical Dhrupad singing by Amelia Cuni and Marianne Svasek since 2009. Janneke van der Putten is born in Amsterdam and currently lives in Rotterdam, The Netherlands