Cells, Sounds & breeding Souls
New Music meets Bio Art – an experimental life cycle in three parts
Hanna Hartman Apricots (2015) for bass clarinet, violin, piano with wooden apricots, playback and bricks
Damian Scholl Intimacy (2014) for violin and piano
Christian Pedro Vasquez Miranda El árbol y el viento (2019, world premiere) for bass clarinet, violin and piano
Benedikt Bindewald piece of mind (2019, world premiere) for bass clarinet, violin and piano
Fara Peluso Unbodies I (performance, installation)
download program: Rezeption
In a three part concert series the Trio Transmitter for new music along with Bio Artists Fara Peluso and Margherita Pevere explore the life cycle of an artwork: its creation, reception, and deconstruction. In Cells, Sounds & breeding Souls these three stages of being are represented in different forms of expression, growing out of connections built between contemporary music and the artistic-scientific exploration of living materials.
Fara Peluso presents a breathing Bio-Art-installation while musicians Florian Bergmann (bass clarinet), Benedikt Bindewald (violin/viola) and Alba Gentili-Tedeschi (piano) give life to compositions that birth in March, become in Summer, and finally embrace the time of reshaping in the Autumn. In addition to existing works that fit into the three cycles, Cells, Sounds & breeding Souls features new works by Neo Hülcker, Christian Vasquez, Peter Ablinger, Florian Bergmann, and Benedikt Bindewald.
Through the inclusion of everyday objects such as water cookers and bricks, as well as electro-acoustic sounds and video projections, the music’s boundaries open and exchange in dialogue with the Bio Art installation.
Bio Art is an art form that, working with living materials and organisms, unavoidably is affected by life cycles. It is dedicated to the observation and production of living processes and moves along the border of art, science, and technology. To create Cells, Sounds & breeding Souls Fara Peluso focused her artistic research on materials based on algae which come to life interacting with the music.
An integral part of this interdisciplinary work is also the process of exchange between all of the artists, and the life cycle that the artistic process itself has undergone.
What debates and disputes between the artists have shaped the form of this work and lead to its final form as three evening concert installations?
A production by Trio Transmitter, funded by the Hauptstadtkulturfonds.