Past Residents

2024

  • 19 April – 9 May 2024 (Moving Loudspeakers Residency)

    Jutta Ravenna studied fine arts and music in Düsseldorf and Berlin. She works as a sound artist with kinetic objects. In mobile loudspeaker scenarios of rotating, swinging or falling objects, she makes the significance of physical space for music tangible and comprehensible. The artist usually designs her installations in relation to a specific situation on site. Since 1994, she has worked in places such as lakes, disused shipyards, a gelatine factory, old churches and monasteries, radio buildings and universities. Jutta Ravenna is represented with numerous exhibitions at home and abroad and at festivals, including: São Paulo Film Festival, Goethe Centre Santa Cruz, Bolivia, Klangturm St. Pölten, DARB Center 1718, Cairo, Egypt, Sound Art Gallery SA)) Moscow, Lisboa Soa Festival Lisbon, Festival for Music and Light Berlin, singuhr hoergalerie Berlin, Villa Contarini Padua, Deutsche Telecom Berlin, Akademie der Künste Berlin. Ravenna was co-initiator of the series "Klangkunst im Dialog" (1996) and curator of the festival "Sonifications" 2017 of the Berliner Gesellschaft für Neue Musik).

    www.jutta-ravenna.com

    Jutta Ravenna

  • 10 June - 23 June 2024 (Spatial Audio Synthesis Residency)

    Eleni-Ira Panourgia is a sound and visual artist, and researcher. Her work focuses on the development of new forms of expression and creative methods that combine sound, objects, spaces and environments. She explores the potential of such complex morphologies within artistic, design, social and ecological processes. Eleni-Ira’s work has been presented internationally in museums, galleries, festivals, exhibitions, radio shows, academic journals, edited volumes and conferences. Eleni-Ira completed a PhD in Art at the University of Edinburgh as a Scholar of the Onassis Foundation. She is co-founder and managing editor of the journal Airea: Arts and Interdisciplinary Research. Eleni-Ira is currently a Postdoctoral Research Fellow at Filmuniversität Babelsberg KONRAD WOLF.

    https://eleniirapanourgia.com
     

    Martin Parker I am a composer and sonic artist who works with sound and music technologies, experimenting with how these mix with people and places.  This leads to playful modes of interaction, sound installations and pieces of music that involve exploration and improvisation. Some information about a few of my projects is available online: www.tinpark.com. In 2025, I will lead  a fellowship with the UK Arts and Humanities Research Council's Bridging Responsible AI Divides (BRAID) project and will produce a series of works exploring ways to understand sonic identity in light of developments in machine learning and artificial intelligence as applied to music and sound.I have been based at the University of Edinburgh leading a programme in Sound Design since 2003 and during this time have been involved in nearly 300 Masters projects and supervised over 15 PhDs. I am currently Head of Music at the Reid School of Music, University of Edinburgh.

    Eleni-Ira Panourgia, Photo: Antje Benke-Köhler
    Martin Parker

  • 24 June - 14 July 2024 (Spatial Audio Synthesis Residency)

    Born in Denmark 1967. I returned to Denmark in 2019 after almost 30 years in Amsterdam, The Netherlands. Studied dance and improvisation at the SNDO Amsterdam. Studied classical voice with coloratura soprano Marianne Blok for more than a decade. I have worked in multimedia projects of all sorts and sizes over the past 30 years. For a large part autodidact in mathematics, programming and algorithmic composition. My studies of pure mathematics have been quite systematic over the past 20 years, and are ongoing. Specific interests go towards algebra, algebraic geometry and group theory. The later years I have had many presentations of computer music works at international conferences. The work with Higher Order Ambisonics / spatial audio – has been a natural extension of the interest in geometry. The work has developed thanks to working periods at CCRMA Stanford, IEM Graz, NOTAM Oslo, EMS Stockholm.

    Vilbjørg Broch

  • 15 July - 4 August 2024 (Spatial Audio Synthesis Residency)

    Dimitris Savva is an electroacoustic music composer, live-electronics performer, researcher, and educator. His works have been featured in 95 international music festivals, including The Ars Electronica Forum Wallis 2024, Matera 2024-ARTESCIENZA 2024, In Sonic 2017: Immersive Future [ZKM], ICMC 2014 [Athens] and New York Electroacoustic Music Festival 2021. His compositions have won prizes in competitions like Metamorphoses 2012, 2014, 2018, and Iannis Xenakis 2018. Ten of his works are published on collective records, such as Metamorphoses and CIME 2020. As a performer, he has participated in ensembles such as asabe and solo performances including "Watering" and “Black Watering.” Homepage: www.dimitris-savva.com

    Dimitris Savva, Photo: Ludger Henning

  • 15 July - 28 July 2024 (Acoustic Ecology Residency)

    Lives and Works in Zürich (Switzerland). After her BA in Design in Lucerne (Switzerland), followed by Philosophy classes in political philosophy at University of Zürich, she did her MA Fine Arts at ZHdK Zürich. In 2021 she completed her CAS in Computermusic at ZHdK Zürich.

    Claudia artistic work is process oriented in the field of installation, sound, performance, video. 2017 she started the poetic sound performances «The Earth and the Sea Series». In her MA Thesis «floating in liquid borderless matter is neither inactive nor progressive. a moment, a chance to a possible rethinking of mindful worlding towards a future co-existence» she writes about the potential of the ocean system as a revision for the political systems. In her sound performances she works between composition, field recordings, sound and noise. She creates ceramic objects which become instruments, like a porcelain headband which she can play by wearing the objects. Clay objects become resonance bodies. For her sound performances she invited well known Swiss musicians like Martina Berther (E-Bass), Noemi Büchi (Electronic Music), Nicolas Buzzi (Modular Synth), Jonas Ringli (E-Guitar) and Michael Cerezo (E-Guitar).

    In 2019 she was nominated three times and exhibited for the Swiss Art Awards, the Werkschau Zürich and the Atelier- und Werkstipendien of the City of Zürich. 2021 she won a Residency at Cité des Arts Paris from the Aargauer Kuratorium where she did research on medicinal plants and the extraction of the knowledge of the medicinal plants from indeginous cultures in 2022. In Paris she started to focus on drone music (organ drones) and creating rhythms out of field recordings.

    Claudia Stöckli

  • 8 December - 21 December 2024 (Immersive Arts Residency)

    Xuan Ye works in art, music and technology. Ye is interested in making noise as a generative space to evoke the dissonant, untranslatable and illegible within more-than-human entanglements. They often involve improvisation, computation and fiction to compose software, images, installations, performances and editions. Their work has appeared at the MOCA Toronto (2022), UCCA Center for Contemporary Art (2022, Shanghai), UQAM (Montreal) and Venice Architecture Biennale (2021), Peer to Space (2021, Berlin), MUTEK Montreal (2020), Vivid Projects (2019, Birmingham), and Goethe-Institut (2018, Beijing), among others. Their multifaceted practice has been featured and reviewed in Peripheral Review (2020), Canadian Art (Winter 2020), ArtAsiaPacific (Issue. 111), Goethe-Institut (Montreal), KUNSTFORUM International (Bd. 257), and Musicworks (Issue. 136). They were an artist-in-residence awarded by the Swiss Arts Council in 2023, a finalist of EQ Bank digital artist awards in 2018, and a recipient of scholarships and grants from Canada Councils for the Arts and the SSHRC. As a musician, Ye is techne agnostic and genre eclectic. Lauded as "one of Canada's most exciting voices in textural soma", they have performed at numerous experimental music festivals and DIY shows, and were commissioned by Edmonton New Music (2021), and the Canadian Music Centre (2020). Their LP xi xi 息息 (Halocline Trance, 2019) is an "intriguing debut album of disjointed, abstract computer music and free improv" (Boomkat). Their split-collab tape Breath Fractals released with Chik White (Notice Recordings, 2019) "draws on a vocabulary of shattered sonics, as if the pair had broken a musical window and pieced it back together in as many ways as they could imagine" (Bandcamp Daily - Best Experimental Albums). They recently authored the article Smaller, Slower, Sloppier highlighting the collective dynamics and the progressive blending of human and cybernetic intelligence in creativity (2024, published by The Digital Review). Hailing from China and currently based in Toronto/Tkaronto, Ye is an assistant professor in media arts at the University of Waterloo.

    Portrait Xuan Ye

2023

  • 19.6.– 2.7.2023 (Spatial Sound Synthesis Residency)

    Sarah Duffy is a contemporary artist based in London who graduated from Goldsmiths in 2013. Projects/exhibitions include: Solo Performance Om3am x Sarah Duffy hosted by Hans-Ulrich Obrist at The Greenwich Foot tunnel, London; Solo performance Enjoy The Silence at The Camden Arts Centre, London; The Frequency of Magic at out_sight Gallery, Seoul; and Nothing is, Everything Just Has Been Or Will Be at The Korean Cultural Centre, London and Berlin. In 2020, Duffy joined the prestigious 5 year Live/work fellowship Programme at the Acme Fire Station in London, UK. Other residency programs include: The Seoul Museum of Art, 2018; A Gasworks Fellowship at Lugar a Dudas in Cali, Colombia, 2019; and Schloss Wiepersdorf in Brandenburg, Germany, 2022. Duffy was AIR at ICST at Zurich University of Arts in 2023 where she continued her ongoing work in spatial sound.

    Sarah Duffy

  • 13.02.–17.02.2023 | 09.09.–24.09.2023 (Moving Loudspeakers Residency)

    Gerhard Eckel is a professor of computer music and multimedia and head of the Institute of Electronic Music and Acoustics at the University of Music and Performing Arts Graz. In the past, he has worked at IRCAM in Paris and at Fraunhofer IMK in Germany. His work is characterized by both artistic and scientific interest in sound and primarily includes sound and music installations. Currently, he is developing a new intermedia art form: Embodied Generative Music.

    Ludvig Elblaus is an artist and researcher working primarily with computational materials to create electroacoustic music, as well as audio-visual installations, museum exhibits, and contributions to larger collaborative works in several traditions, e.g. opera, theatre, and dance. His artistic practice explores chaos, dynamical systems, modelling as an artistic practice, ecological attitudes, site-specificity, emergence, and extended temporal structures and deep listening. He got his PhD in Sound and Music Computing in 2018 at the KTH Royal Institute of Technology in Stockholm with the thesis Crafting experience: Designing digital musical instruments for long-term use in artistic practice. His latest projects include commissions for the GRM Acousmonium, the Labor Sonor Festival, the Elevate Festival, and performances in Stockholm, Cairo, Vienna, Paris, Zurich and Graz. In 2022 he was composer in residence at the Institute for Electronic Music and Acoustics in Graz and in 2023 he is working in the Moving Loudspeakers Artistic Residency at the Institute for Computer Music and Sound Technology at ZHdK. He also teaches at the Royal College of Music in Stockholm. In addition to his solo work, he has been involved in several long-term collaborative projects. Some notable examples are the electro-acoustic improvisation ensemble The Schematics (with Erik Calälv, Katt Hernandez, and Daniel M. Karlsson), the networked music project End of Text (ETX) (with Luc Döbereiner), a musical composition collaboration with Rune Rebne, and the musical and artistic research duo utrumque (with Gerhard Eckel).

    utrumque: Gerhard Eckel & Ludvig Elblaus

  • 28.–30.4.2023 ⎟8.–9.11.2023 (Polytempo Residency)

    Itzá García (b.1993, México) is a composer with a creative focus on the relationship between time and togetherness in musical settings that involve interactions with technology.

    Her music has been performed by ensembles such as Ensemble Musikfabrik, JACK Quartet, the Center for Experimentation and Production of Contemporary Music (CEPROMUSIC) ensemble, Pink Noise Ensemble, 2e2m Ensemble, among others.

    She has received prizes and distinctions such as the CONACYT Grant for Graduate Studies in Mexico 2018, the 2021 Early Provost’s Research Grant of the Graduate Center CUNY, the Atlantic Center for the Arts Residence program, the ICST Artist Residency from the Zurich University of the Arts, and the Art Science Connect Fellowship for co-organizing the “innovation-sound-technology” series.

    Itzá is currently based in New York City, pursuing a Ph.D. degree in composition at The Graduate Center, CUNY.

    Itzá García Ordóñez

  • 22.4.–28.4.2023 ⎟10.7.–23.7.2023 (Immersive Arts Residency)

    Stefanie Inhelder's artistic vision revolves around inviting the body into new phygital forms and spaces. Therefore she focuses on the dynamic interaction between different disciplines using motion capture technologies. Her aim is to break with the limitation of our physical appearance. She completed a 3-year study of Physical Theatre at Comart in Zurich and pursued Music/Movement studies at the Bern Academy of the Arts. As the Artistic Director of Stradini Theatre, she curated and staged approximately 130 shows over a five-year period. Stefanie has performed for composers and choreographers such as Alexander Schubert, Anna Heinimann, Aida Shirazi, Karin Hermes, Patricia Mai, and Philippe Boë. In 2020, Stefanie received a studio grant from the Canton of Berne, supporting her artistic endeavours. She was honoured as the Laureate of the 2-12 program at Cité internationale des arts in Paris in 2021. The same year she emerged as the winner in competitions for writing a treatment of Canton St.Gall and won the stipend "Ici & Ailleurs" of Canton Berne. Her new piece, "ThREE," earned her the SSA Stipend for choreographic works.

    Javier Muñoz Bravo has an affinity for mixing instrumental sound with live electronics. For several years he has been using motion capture for his compositions collaborating with musicians, actors and dancers. Since 2020 he is researching with Stefanie to create in the space between movement and sound.  First he received the Bachelor's degree in Music Composition from the Conservatory in Santiago de Chile followed by Master's degrees from the Conservatories of Strasbourg and Geneva. Additionally, he completed the IRCAM cursus in Paris. His works have been showcased at events such as the Festival Musica in Strasbourg, L'Ircam ManiFeste in Paris, Printemps des Arts de Monte-Carlo in Monaco, Cervantinos in Mexico, Archipel in Geneva, and Gaudeamus in Utrecht. In Switzerland, he has composed for renowned ensembles including Contrechamps, Vortex, and Geneva Camerata, creating a vocal solo for Isabelle Adjani. Currently, he collaborates with Or-Là, led by Andrea Baglione, at Centquatre Paris, and with the ensemble sillages, at le Quartz in Brest. In 2022, he was awarded the national prize "pulsar" for being the best Chilean composer of the year.

    Press photo: Stefanie Inhelder
    Javier Muñoz Bravo

  • 28.–30.4.2023 ⎟8.–9.11.2023 (Polytempo Residency)

    Mike McCormick (he/him) is an artist and programmer working with sound, text, and visual media. Equally inspired by the constrained writing techniques of the Oulipo and the technomaterialism espoused by Xenofeminism, his work combines custom algorithms with human performers and autobiographical material to explore human intimacy, male vulnerability, and our relationship with emerging technologies. He grew up in Canada’s subarctic, lived nomadically for a decade, and has been based in Oslo since 2017.

    Mike McCormick

  • 03.7.–23.7.2023 (ICST/ISRO: Spatial Sound Synthesis Residency)

  • 13.11.–26.11.2023 (Spatial Sound Synthesis Residency)

    Ernst van der Loo (1974, Rotterdam) is a Dutch composer/ performer based in Norway. He studied sound engineering and electroacoustic composition & performance. He obtained a bachelor degree from the institute of Sonology in The Hague, The Netherlands and a master degree at the Norwegian Music Academy in Oslo, Norway. His main field is acousmatic spatial audio composition in the fixed media format. He has created several GPS sounds walks and did sound design for theater. His work has been played at international festivals in the spatial audio field. He is also a member of Electric Audio Unit, a Norwegian electroacoustic music group specialised in immersive spatial audio concerts, cutting edge 3D experiences and spatialisation performance.

    Ernst van der Loo

  • 28.–30.4.2023 ⎟8.–9.11.2023 (Polytempo Residency)

    Composer/trumpet player/electronic musician Derek Worthington works in the intersection of composition and collective improvisation, searching for new sonic textures and formal structures both premeditated and discovered in real time. His “Lossy Codecs” system for directed improvisation explores unique modes of information transfer between director and ensemble, applying methods and aesthetics of electronic music to acoustic group improvisation. His focus on collaborative projects has led to the creation of numerous leaderless ensembles, including the electroacoustic glitch-jazz duo Says Things, experimental chamber trio Wugtest, and free jazz/grunge/Americana quartet The Great Collapsing Hrung. He works to subvert familiar approaches to groove, melody, harmony, and orchestration by placing them into unexpected relationships with each other. Worthington has presented original work around the United States and internationally, in cities including New York, Chicago, Rio de Janeiro, and Berlin. He is currently based in Detroit, Michigan.

    Derek Worthington

2022

  • 11.– 20.7.2022 | 1.–11.12.2022 (Moving Loudspeakers Residency)

    Anni Nöps is an interdisciplinary artist and electronic composer. The core of her work is aimed at sensing, perception and creating immersive experiences. She works across video, virtual reality, sound installations and participative performances. Many of her works explore the realm of ecology and the relationship between humans and the environment. https://soundcloud.com/anninops

    Anni Nöps

  • 5.– 18.9.2022

    Savannah Agger (*1971) is a composer and a performer from Sweden, living in Berlin. She is working primarily with acousmatic composition, live diffusion, 3D spatialization and electroacoustic works with instruments and electronics. Her work also includes music for rock bands, orchestra, choir, chamber ensembles and sound installations. She has written concert pieces, as well as for music theater, contemporary circus and contemporary dance. https://savannahagger.com

    Savannah Agger

  • 8.8. – 28.8.2022 (Immersive Arts Residency)

    Matthew D. Gantt is an artist and composer based in Queens, NY. His practice focuses on (dis)embodiment in virtual spaces, procedural systems facilitated by idiosyncratic technology, and the recursive nature of digital production and consumption. He has presented or performed at a range of institutional and grassroots venues, including Panoply Performance Laboratory, New Museum, The Stone, Issue Project Room, and internationally at IRCAM (Paris) and Koma Elektronik (Berlin). Gantt releases music with Orange Milk and Oxtail Recordings, teaches extended media and experimental composition at Harvestworks, and worked as a studio assistant to electronics pioneer Morton Subotnick from 2016 – 2018.

    Matthew Gantt

  • 3.7. – 14.7.2017 | 12.1. – 22.1.2018  | 18. – 31.7.2022

    Nikos Stavropoulos (b. 1975) is a composer of predominantly acousmatic and mixed music. His works are performed and acknowledged internationally (Bourges, 2000, 2002, Metamorphose Brussels 2002, 2008, 2016, SCRIME Bordeaux 2003, Musica Miso Portugal, 2004, Punto de Encuentro Canarias International Electroacoustic Composition Competition 2008, Destellos Foundation 2015, 2016, Open Circuit 2016). Other interests include the performance practice of electroacoustic music, multichannel practices and teaching music and music technology. He joined the Music, Sound & Performance Group at Leeds Beckett University in 2006 and is a founding member of the Echochroma New Music Research Group, a member of  the Irish Sound, Science and Technology Association (ISSTA) and the Hellenic Electroacoustic Music Composers Association (HELMCA).

    During the residency at ICST, Nikos Stavropoulos worked on a new multichannel work using multichannel recordings of source materials, continuing research into capturing and working with spatiality in micro-space using bespoke hardware.

    www.leedsbeckett.ac.uk/staff/dr-nikos-stavropoulos

  • 27.6. – 17.7.2022

    Marcin Pietruszewski (born 1984) is a composer and researcher who is engaged in sound synthesis and composition with computers, exploring specific formal developments in the tradition of electroacoustic music and contemporary sound art, as well as extra-musical domains of auditory design, computational linguistics and psychoacoustics. He works across performance, multimedia installation and radio productions probing the dynamics between formalism of synthetic sound and its material realisation. He has collaborated extensively with musicians and composers - e.g., Marcus Schmickler (performed and recorded Schmickler's Demos for choir, chamber quintet and electronics), Tristan Clutterbuck (fancyyyyy), Jules Rawlinson and Lauren Sarah Hayes. Recent projects include a collaboration with Florian Hecker and a graphic design company NORM from Zurich, a philosopher Chris Schambaugh (The New School, New York), choreographer and dancer Agnes Cebere (Martha Graham School of Contemporary Dance, New York), the Laboria Cubonics Collective. https://www.marcinpietruszewski.com

    During his residency at the ICST, Marcin Pietruszewski worked on his 4-channel computer music piece ‘Fraunhofer Lines (Speculative Sonification)'. The material point of departure for this work is a series of investigative studies focused on the sonification of spectral absorption patterns observed in the solar spectrum by the German physicist Joseph von Fraunhofer (1787–1826). The lines were initially observed as dark features (absorption lines) in the optical spectrum of the Sun (white light). In 1814, Fraunhofer began to systematically study and measure the wavelengths where these features are observed. He mapped over 570 lines, designating the principal features (lines) with the letters ‘A’ through ‘K’ and weaker lines with other letters. Modern observations of sunlight can detect many thousands of lines. The work ‘Fraunhofer Lines (Speculative Sonification)’ treats solar spectrum analysis data as an input for the microsound sound synthesis system, the New Pulsar Generator (nuPG) designed by the composer.        
     

    Marcin Pietruszewski

  • 13.–19.6.2022

    Mariam Gviniashvili works as a sound artist and composer - combining electronics, electroacoustics and 3D sound technology with visuals, dance and live performance to penetrate deep into the physical and emotional essence of sound and space.
    Music has followed Gviniashvili through her life since early childhood. Growing up in eastern Georgia, she sang and played piano, and gradually found her feet as a creative composer and visual artist while studying composition at the Norwegian Academy of Music. 
    That explains her diverse and unexpected subject matter - distractions during online meetings, as in her piece DAYDREAMING (2022), the strange cosmic ballet of the audiovisual REVELATION (2021) or the stereo/ambisonic DECONSTRUCTION (2020, honourable mention at Prix Ars Electronica) reflecting on a virus spreading patterns.
    Festivals, major venues and radio programmes have presented Gviniashvili's music, including the New York Electroacoustic Music Festival (USA), BEAST FEaST (UK), Transitions at CCRMA (USA), MA/IN (Italy), ICMC (Korea), Mixtur Festival (Spain), ARD Radio Play Days at ZKM (Germany), BBC Radio (UK), Ars Electronica (Austria), Klingt Gut (Germany), In Situ Festival (Denmark), Heroines of Sound (Germany) and Ultima Festival (Norway).
    The music website Boomkat described a live performance in which she 'conducts anxious clouds of feedback and cybernetic sound design into febrile textures that sound as if they're teeming with life… it's surreal and lively, pointing towards new horizons.' https://www.mariamgviniashvili.com

    Mariam Gviniashvili

  • 19.7. – 8.8.2021 | 17. – 20.3.2022

    Cathy Lane is a composer, sound artist and academic. Her work uses spoken word, field recordings and archive material to explore aspects of our listening relationship with each other and the multiverse. She is currently focused on how sound relates to the past, our histories, environment and our collective and individual memories from a feminist perspective. Aspects of her creative practice have developed out of these interests and include composition and installation-based work. She also writes and lectures on these and related subjects as well as collaborating with choreographers, film makers, visual artists and other musicians.
    Books include »Playing with Words: The Spoken Word in Artistic Practice« (RGAP, 2008) and, with Angus Carlyle, »In the Field« (Uniformbooks, 2013), a collection of interviews with eighteen contemporary sound artists who use field recording in their work and »On Listening« (2013) a collection of commissioned essays about some of the ways in which listening is used in disciplines including anthropology, community activism, bioacoustics, conflict mediation and religious studies, music, ethnomusicology and field recording.
    Her CD »The Hebrides Suite« was released by Gruenrekorder in 2013.

    Cathy is Professor of Sound Arts and University of the Arts London and co-director of CRiSAP (Creative Research in Sound Arts Practice), University of the Arts London.

    cathylane.co.uk

    Cathy Lane

  • 29.6. – 18.7.2021 | 11. – 13.3.2022

    Born in Siberia and currently based in Geneva, Olga Koksharova is an artist, composer, musician and landscape architect. She is interested in everything that is audible, regardless of the medium. She works with analog modular synthesizers, prepared instruments and field recordings, favoring careful recording, but also experimenting in circumstances where recording equipment is physically put to the test. These sources are then used for compositions, soundtracks, multichannel electroacoustic improvisations or sound installations in public spaces. Her work has been presented throughout Europe, Argentina, Australia and the USA. It has been awarded with Neumann prize (2009), GNOM - Das Ohr Der Zeit prize (2010), Sonohr Prix d’Ohr - für ein besonders herausragendes Hörerlebnis (2017), Liechti prize (2017). She is founder member of zov, a project in which, in collaboration with Gianluca Ruggeri, they explore since 2011 sounds from natural and artificial acoustic environments, audible and inaudible vibrational phenomena, field and laboratory measurements and other signals captured via accelerometers and charge conditioning amplifiers, hydrophones and electromagnetic detectors. Their live performances involve multichannel spatialization of sound using the ICST Ambisonics tools for Max in a way to put forward the specificities of the acoustics of uncommon concert places via various loudspeaker set-ups. Through non-narrative sound constructions zov investigates the histories of the site bringing back sound environments which has disappeared.

    kokcharova.zov308.org

    Olga Koksharova

  • 3.1. – 15.1.2020 | 31.1. – 13.2.2022

    Hans Tutschku wurde 1966 in Weimar geboren. Er studierte Komposition an der Hochschule für Musik Carl Maria von Weber in Dresden und am IRCAM in Paris. Von 1989 an begleitete er während mehrerer Konzertzyklen Karlheinz Stockhausen, um sich von ihm in die Klangregie einweisen zu lassen. Darüber hinaus studierte Hans Tutschku Sonologie und Elektroakustische Komposition in Den Haag und besuchte mehrere Kompositionsworkshops bei Klaus Huber und Brian Ferneyhough. Zur gleichen Zeit hatte Tutschku eine Gastprofessur für Elektroakustische Komposition in Weimar inne. Nach Lehrtätigkeiten am IRCAM in Paris und in Montbéliard und an der Technischen Universität Berlin wurde Hans Tutschku im September 2004 an die Harvard University in Cambridge als Professor für Komposition und als Leiter des Studios für Elektroakustische Musik berufen.

    tutschku.com

    Hans Tutschku

  • Mehrere Residenzaufenthalte 2022


    Leonardo Idrobo (COL/CH)
    Geboren in Cali, Kolumbien, am 22. August 1977.
    ​
    Im Jahre 1995 zog ich nach Bogotá, um an der Universidad Nacional de Colombia Musik zu
    studieren. Einige meiner Lehrer waren Roberto García, Horacio Lapidus, Hegberto
    Bermúdez, Angela Rodríguez und Blás E. Atehortua, u.a.
     
    Während 1997 durfte ich Komposition bei Juan C. Marulanda an der Pontificia Universidad
    Javeriana studieren dank einem Stipendium der Fundación Mazda para el Arte y la Ciencia.
    Zwischen 1998 und 2000 nahm ich gelegentlich Analyse- und  Kompositionsunterricht bei
    Rodolfo Acosta R., was meine Denkweise von da an prägte.
     
    Ende 1998 -ohne das Studium abgeschlossen und mich zur damaligen herrschenden
    akademischen Situation angepasst zu haben- beschloss ich, die Universität zu verlassen und mich der Komposition vollzeitig zu widmen.
     
    Im Jahre 2001 -nach über zwei Jahren intensiver Beschäftigung mit der Komposition- reiste ich in die Schweiz mit der Absicht das Kompositionsstudium fortzusetzen. Ich habe also an der Hochschule für Musik der Musik-Akademie der Stadt Basel Komposition bei Detlev Müller-Siemens und Erik Oña studiert und sonstige Theoriefächer bei Dorothé Schubarth, Roland Moser, Hanspeter Aeschlimann, Markus Jans, Hans Saner und Jakob Ullmann besucht.
     
    Ich habe an verschiedenen Kursen, Workshops und  Seminaren in Kolumbien, Spanien, Ungarn, Deutschland und in der Schweiz teilgenommen, sowie Masterclasses bei Coriun Aharonian, Graciela Paraskevaidis, Beat Furrer, Michael Jarrell, Jonathan Harvey, Marco Stroppa, Klaus Huber, Mark Andre, Brice Pauset und Helmut Lachenmann u.a. besucht.
     
    Ich bin Preisträger des Nationalen Kompositionspreises des Ministerio de Cultura de Colombia (1997). Stipendiat des Ministerio de Cultura de Colombia und FONCA (Mexiko), der Ruth & Hans Rapp Stiftung, der Kiefer Hablitzel Stiftung und der Marianne & Curt Dienemann Stiftung. Die Stiftung Christoph Delz gab ihm das Werkjahr für Komposition im Jahre 2008.
    Bei der 6. Ausschreibung des Kompositionswettbewerbs BMW musica viva in Zusammenarbeit mit dem Experimentalstudio des SWR fand mein Kompositionsprojekt „Panico“ besondere Anerkennung und ich erhielt dadurch seitens des Experimentalstudios ein Stipendium. Im Jahre 2011 habe ich den 3. Preis ex-æquo des Musikfestivals Bern erhalten.
     
    Meine Musik ist in Lateinamerika, Europa und in den USA von Ensembles wie  Tambuco, Ensemble Phoenix Basel, Ensamble CG, ensemble proton bern, Eunoia Quintett, Ensemble Aventure,Geneva Camerata, Ensemble L'Itinéraire, Ensemble Le Balcon, Vertixe Sonora, Trio Klick, Basler Madrigalisten und  Sinfonieorchester Basel aufgeführt worden.

    https://contact3560.wixsite.com

    Leonardo Idrobo

  • Several stays in 2022

    Alessandro Perini studied Composition (with Luca Francesconi and Ivan Fedele among others), Electronic Music and Science of Musical Communication in Italy and Sweden.

    His artistic production ranges from instrumental and electronic music to audiovisual and light-based works, net-art, land-art and vibration-based works, recently focusing on custom-built machines.

    He has taken part in festivals such as Biennale di Venezia, Milano Musica, BTzM Bludenz, Open Spaces Dresden, Festival Musica Strasbourg, Music Current Dublin, New Directions (Sweden), Procesas (Lithuania), UNM and Nordic Music Days (Iceland, Norway, Sweden), Moscow Forum, ReMusik Saint Petersburg, Tempus Fugit and Distat Terra (Argentina), MATA New York, KLANG Copenhagen, as well as being in residence at Fondazione Spinola Banna per L’Arte (Italy) in 2014 in the music program. A recent CD issued by KAIROS, “The Expanded Body”,  gathers some of his solo and chamber music works.

    He has participated in multiple artistic residencies including in Chiaravalle (Milano, Italy) for the Imagonirmia Prize (2016), realizing a series of site-specific sound art projects; in 2017 he was in residence at I-Park Foundation in Connecticut (2017); in 2018 at Fondazione Spinola Banna per L’Arte (Italy), where he designed machines to process the clay found on-site; and in 2018 at the BIOART Society in Finnish Lapland; most recently at AIRY sound art (Sweden) and Polytempo (ZHdK Zurich, Switzerland). He was the recipient of the Commendation Award at the Global Digital Arts Prize, NTU Singapore (2019).

    He has taught audiovisual production for the arts at the Conservatory of Como (Italy) and electronic music at the Malmö Academy of Music, as well as in workshops in Italy, Switzerland, Lithuania and South America.

    https://alessandroperini.com

    Alessandro Perini

  • Several stays in 2022

    Andrés Guadarrama (b. 1991) is a Mexico City-based composer, performer and sound artist. Currently, his work revolves around topics such as the force and agency of things, the ecology of the performatic space, and the study and incorporation of ancestral knowledge. Through his work, he designs physical networks of interaction and interdependence between people, objects, spaces and natural forces.

    His music has been performed through the Americas, Europe and Asia by musicians such as Yarn/Wire, Joseph Houston, UMS ’n JIP, Eva Zöllner, Taller Sonoro, Boglárka Nagy, Irvine Arditti,Tambuco, among others; and programmed on festivals like Donaueschinger Musiktage, NUNC! 4, The 21st Century Guitar Conference, Forum Wallis, Jornadas de Música Contemporánea CCMC, Foro Internacional de Música Nueva Manuel Enríquez.

    He has received awards such as the FONCA Young Creators fellowship; commissions from the JACK Quartet, Roberto Alonso Trillo and Tetraktys New Music; and representing Mexico in the 63rd UNESCO International Composers Tribune in Wrocław, Poland.

    As a performer, Andrés is a member of the new music ensembles Attica! and XIN.

    Andrés holds a degree in Composition and Music Theory from the Centro de Investigación y Estudios de la Música (CIEM). He later studied under composers Germán Romero and Samuel Cedillo.

    http://www.andresguadarrama.com

    Andrés Guadarrama

2021

  • 12.7.–1.8.2021 (Immersive Arts Residency)

    Jordan Juras is a Canadian born, Berlin based immersive artist, music producer, and audio-related research engineer. He releases music under the aliases PVAS, NUG, and Available on Computers. With a background in Spatial Audio research he began developing immersive experiences in 2019, with a practice that explores subconscious or invisible externalities, and challenges behavioural responses that shape our experience. He has created immersive works for the Ultima Festival (Oslo NO, 2021), the Institute for Computer Music and Sound Technology at ZhdK (Zurich CH, 2021), and the Screen City Biennial (Stavanger NO, 2019). https://jordanjuras.com

    Davide Luciani is an electronic music producer, curator and artist based in Berlin. His practice spans from sound, multimedia, scultpure and visual arts. His research crossed the aesthetic and poetics of virtuality as tensor between fiction, identity and materiality. 
    He holds a MFA from 'Sound Studies and Sonic Arts' at Udk Berlin. In 2014, together with sound artist Fabio Perletta, he co-founded Mote, an interdisciplinary studio whose practice addresses sound and vision. In 2020 he initiated a music project with director and sound artist Jorge Quintela. Luciani also part of Forster, a noise-electronic band with musician and curator Mitchell Keaney. In the last years he joined the publishing collective Stray Signals and he has initiated together with Mitchell Keaney and Dasha Redkina, the event series called Sturmundrang, dedicated to extreme practices in sound. https://www.davideluciani.com

    Jordan Juras & Davide Luciani

  • 19.7. – 8.8.2021 | 17. – 20.3.2022

    Cathy Lane is a composer, sound artist and academic. Her work uses spoken word, field recordings and archive material to explore aspects of our listening relationship with each other and the multiverse. She is currently focused on how sound relates to the past, our histories, environment and our collective and individual memories from a feminist perspective. Aspects of her creative practice have developed out of these interests and include composition and installation-based work. She also writes and lectures on these and related subjects as well as collaborating with choreographers, film makers, visual artists and other musicians.
    Books include »Playing with Words: The Spoken Word in Artistic Practice« (RGAP, 2008) and, with Angus Carlyle, »In the Field« (Uniformbooks, 2013), a collection of interviews with eighteen contemporary sound artists who use field recording in their work and »On Listening« (2013) a collection of commissioned essays about some of the ways in which listening is used in disciplines including anthropology, community activism, bioacoustics, conflict mediation and religious studies, music, ethnomusicology and field recording.
    Her CD »The Hebrides Suite« was released by Gruenrekorder in 2013.

    Cathy is Professor of Sound Arts and University of the Arts London and co-director of CRiSAP (Creative Research in Sound Arts Practice), University of the Arts London.

    cathylane.co.uk

    Cathy Lane

  • 29.6. – 18.7.2021 | 11. – 13.3.2022

    Born in Siberia and currently based in Geneva, Olga Koksharova is an artist, composer, musician and landscape architect. She is interested in everything that is audible, regardless of the medium. She works with analog modular synthesizers, prepared instruments and field recordings, favoring careful recording, but also experimenting in circumstances where recording equipment is physically put to the test. These sources are then used for compositions, soundtracks, multichannel electroacoustic improvisations or sound installations in public spaces. Her work has been presented throughout Europe, Argentina, Australia and the USA. It has been awarded with Neumann prize (2009), GNOM - Das Ohr Der Zeit prize (2010), Sonohr Prix d’Ohr - für ein besonders herausragendes Hörerlebnis (2017), Liechti prize (2017). She is founder member of zov, a project in which, in collaboration with Gianluca Ruggeri, they explore since 2011 sounds from natural and artificial acoustic environments, audible and inaudible vibrational phenomena, field and laboratory measurements and other signals captured via accelerometers and charge conditioning amplifiers, hydrophones and electromagnetic detectors. Their live performances involve multichannel spatialization of sound using the ICST Ambisonics tools for Max in a way to put forward the specificities of the acoustics of uncommon concert places via various loudspeaker set-ups. Through non-narrative sound constructions zov investigates the histories of the site bringing back sound environments which has disappeared.

    kokcharova.zov308.org

    Olga Koksharova

  • 6.4. – 19.4.2021

    Vincent Caers is percussionist and electronic musician. His main interest lies in interdisciplinary projects combining percussion, live electronics and visual arts. As an artistic researcher, he explores new formats for contemporary percussion performance and their impact on the audience’s experience. Vincent obtained master degree’s in percussion, chamber music and contemporary music performance before becoming research assistant at the LUCA School of Arts. He obtained degrees in electronic music at Ircam and Berklee College of Music. He regularly performs as a freelance musician with different ensembles and orchestras.

    Bio
    Innovation is the leitmotiv in the artistic profile of Vincent Caers. He continuously considers himself as a percussionist from a reflective and critical point of view. He not only questions his artistic output, but his entire musicianship: which knowledge and skills are important for a contemporary musician in a modern and technology-driven art scene?

    Living Scores
    With Living Scores (LS) Vincent aims at answering this question. LS Learn - a collaboration with percussionist dr. Tom De Cock - is a web platform, created for improving the practice and performance of contemporary music by distributing theoretical insights and practical tools. Next to the musical output, Vincent also developed the project’s website and the software lsl.clicktrack. In his current PhD research LS Live Vincent explores new formats for contemporary percussion performance and examines their impact on the audience’s experience.

    Live electronics
    Vincent often shares the stage with different musicians, visual artists and dancers. In ‘Worp’ he performs live electronics with musicians Peter Jacquemyn and Jan Pillaert and visual artist Klaas Verpoest. In ‘Sichtlaut’ the group is extended with dancer Geraldo Si. Together with painter Sigrid Tanghe he improvises as an audiovisual duo. For his electronic performances, he created the lsl.lpsr improvisation software. He also performs as a soloist combining percussion and live electronics.

    Percussion
    As a percussionist, Vincent created the duo ‘Blow’ with saxophone player Andy Dhondt. They collaborated with multiple composers, such as Annelies van Parys, Benjamin Van Esser, Jelle Tassyns and Claude Coppens and premiered multiple works for saxophone and percussion. Blow recorded ‘Coalesce 3’ by Benjamin Van Esser for Champ d’Action and ‘A bâtons rompus’ by Philippe Hurel. Vincent was percussionist in the Verbier Festival Orchestra and member of the Vlaams Sinfonietta ensemble. As a freelance musician he performed with different ensembles and orchestras, such as Ictus, Champ d’Action, Vlaams Sinfonietta, Het kamerorkest, The Bone Society, Orchestre Philharmonique Royal de Liège, DeFilharmonie, La Monnaie, Vlaamse Opera, Nationaal Orkest van België, Brussels Philharmonic and Brussels Jazz Orchestra. He performed at festivals such as Ircam’s Manifeste and Internationalen Ferienkurse für Neue Musik Darmstadt.

    Education
    Vincent Caers obtained a master of Arts in percussion cum laude, a master degree chamber music magna cum laude and a post-master degree in Advanced Studies in Contemporary Art Music Performance magna cum laude at the Lemmensinstituut in Leuven. He attended different masterclasses and won apprenticeships with DeFilharmonie and Brussels Philharmonic. He graduated the master-class cultural management at the Antwerp Management School and received a degree in music technology at the Berklee College of Music and at the Ircam in Paris. He is a laureate of the Dexia Axion Classics competition and the Forte competition. He currently holds a research position at the LUCA school of Arts and KU Leuven and teaches percussion at the Academy of Heist-op-den-berg.

    www.vincentcaers.be

    Vincent Caers

  • Mehrere Residenzaufenthalte 2021 (Polytempo Residency)

    Adrián Artacho ist freischaffender Komponist und Kulturvermittler. Kompositionsstudium an der Musik und Kunst Privatuniversität Wien. Studium der Translationswissenschaften an der Universidad de Málaga (Spanien). Langjährige Erfahrung im Bereich von Vermittlungsprojekten, u.a. mit den Wiener Philharmonikern, Weltmuseum Wien, Leopoldmuseum Wien und Stadt Wien. Im Rahmen dieser Tätigkeit intensive Auseinandersetzung mit Wissenschaftskommunikation und Durchführung von Workshops für junges Publikum z.B. im Rahmen des physics:science@school Programmes und der Kinderuni Wien. Realisierung von Kunstprojekten an der Schnittstelle zwischen Physik und Musik wie Self Image, fractal symphony for an optical interferometer (Internationale Akademie Traunkirchen), Laborwelten (Wunderkammer Wien) oder das Theaterstück Herschel und das unsichtbare Ende des Regenbogens (Institut für Astrophysik Wien). Als Performer ist Artacho regelmäßig im Bereich Musiktheater und Tanz tätig (Musiktheatertage Wien, Bewegte Interaktion). Seit 2009 ist er künstlerischer Leiter des Vereines für Kulturvermittlung Neues Atelier. Als Projektleiter des Wissenschaftskommunikationsprojektes Klänge der Materie (Universität Wien) gestaltete Artacho in 2018 den Internationalen Kompositionswettbewerb Sounds of Matter. Seit 2006 lebt und arbeitet er in Wien. https://www.artacho.at

    Adrián Artacho

  • Several stays in 2021 (Polytempo Residency)

    Tobias Fandel is a German composer and pianist born in 1986. He first studied music and mathematics in Frankfurt am Main where he graduated in 2012 with the state teaching license for academic high schools. He then continued with artistic studies in contemporary composition with Isabel Mundry in Zurich and piano with Markus Bellheim in Munich. He finished his composition studies in 2015 with master’s degree and participated in the same year, as a composer, in the one-term project Transcultural Collaboration in Hong Kong. Currently he is finishing his piano studies with Tuija Hakkila and Ilmo Ranta in Helsinki. Tobias Fandel attended masterclasses with Wolfgang Rihm, Hans Zender, Brian Ferneyhough, Claus-Steffen Mahnkopf, Beat Furrer, Siegfried Mauser, Ian Pace, Nicolas Hodges, Marino Formenti, Pavel Gililov and Rebecca Saunders. Since 2014 he has been supported with the Deutschlandstipendium (scholarship by the German government). In 2013 and 2015, he received two scholarships from the Ernst von Siemens Stiftung to participate in masterclasses at Wilhelm Kempff’s house in Positano, Italy, and he was granted three scholarships to transdisciplinary art projects in Beijing (Common Stage 2013) and Hong Kong (Common Stage 2014, Transcultural Collaboration 2015). His compositions have been played in France, Switzerland, Germany and Hong Kong. He has also performed in Italy, Finland and China. https://tobiasfandel.de

    Tobias Fandel

  • Mehrere Residenzaufenthalte 2021 (Polytempo Residency)

    André  Meier (*1974) studierte Trompete bei Rudolf Linder (SMPV), Komposition an der Hochschule der  Musik-Akademie Basel (2002–2007) bei Detlev Müller-Siemens und Erik Oña; dazu als Instrumentalist Improvisation bei Walter Fähndrich (Konzertreife-Diplom). Weiterbildungen und Kurse bei Markus Stockhausen, Malte Burba, Michael T. Otto. Computerunterstützte Komposition bei Philippe Kocher an der Zürcher Hochschule der Künste (ZHDK).
    Nebst seiner musikpädagogischen Tätigkeit am Konservatorium Winterthur widmet  sich André Meier vorwiegend der Neuen und improvisierten Musik. Atelieraufenthalt in London (2001), verschiedene Beiträge und Förderungen seiner kompositorischen Arbeit durch Pro Helvetia, das Aargauer Kuratorium, sowie durch die Kiefer Hablitzel Stiftung und Nicati-de-Luze. Werkbeitrag der Stadt St. Gallen 2016.
    André Meier spielt im DUO THAND mit dem Elektroniker Thomas Peter daneben tritt er als freischaffender Musiker sowohl solistisch wie auch kammermusikalisch auf. Seine Werke wurden unter anderem gespielt vom Tonhalle-Orchester Zürich, Ensemble Aleph Paris, Ensemble Phoenix Basel, Ensemble Tzara, Green Thing Ensemble Wien. André Meier wurde 2006 für sein Sextett "escriptions d’un espace" an das  "4e Forum International des Jeunes Compositeurs" des Ensemble Aleph (Paris) nach Dresden eingeladen. Als Musiker spielte er beim Swiss Improvisers Orchestra und im Lake Side Art Jazz Orchestra. Neue Musik u.a. mit dem Ensemble Ö! und dem Ensemble TAG Winterthur. https://andremeier.org

    André Meier

2020

  • 10.8. – 23.8.2020

    Antonia Manhartsberger ist 1991 in Innsbruck geboren und dort aufgewachsen. Nach einem abgeschlossenen Musikwissenschaftsstudium an der Universität Wien 2014, lebt sie in Graz und studiert Computermusik am Institut für Elektronische Musik. Besonders faszinieren sie die raumkompositorischen Gestaltungsmöglichkeiten der elektronischen Musik, sowie die kreative Mediation politischer und sozialer Fragen durch medienübergreifende Kunst/Performance. Ihre Arbeiten beinhalten Installationen, Fixed-Media Stücke, multimedia Performances, Hörspielvertonung und Live-Elektronik. Sie spielt in unterschiedlichen Konstellationen, wie der Post-Pre-No-Future Band Frau Sammer und als DJ Auto. 2016 hat sie die regelmäßig im Café Wolf stattfindende electronics only Jam-Session „pla-e-ground“ gegründet.

    Antonia Manhartsberger

  • 2.3. – 23.3.2020 (Immersive Arts Residency)

    Irini Kalaitzidi is a dance artist and researcher who works with technology, coding and machine learning, exploring critical and caring modes of engaging with the body. Her practice aims to unsettle our perception of the anthropomorphic dancer and speculate on its possible becomings beyond dualisms and disciplinary boundaries. She has presented her works, be they dance performances, video art or research articles and talks in Athens, London, Berlin and Kyiv, within cultural institutions and platforms like Somerset House, DRHA, Onassis Cultural Centre and Stavros Niarchos Foundation, to name a few. Parallel to her artistic practice, Irini works as a lecturer in the department of Computational Arts, Goldsmiths University of London, and as an associate lecturer in the Creative Computing Institute, UAL. https://irinikalaitzidi.com

    Julien Mercier is a Swiss sound artist working with deep learning, currently living in London. He collaborates with various cultural institutions involved in design and art research. Julien’s core topics of interest are cognitive empathy, ethics and accountability in Machine Learning/AI. His work ranges across installation, sound, and video, as following both material and conceptual concerns. Julien explores the mystifying capacities afforded by recent advances in Deep Learning, and the many dimensional spaces they offer. His artistic research deconstructs notions like human vs non-human intelligence, nature vs culture, expression vs frustration, or authority vs autonomy. https://julienmercier.in

    Irini Kalaitzidi & Julien Mercier

  • 2018 | 28.2. – 1.3.2019 | 25.4. – 26.4.2019 | 2020

    Born in Quito, Ecuador, the 24th of December, 1938, Mesías Maiguashca studied at the Conservatorio de Quito, the Eastman School of Music (Rochester, N.Y.), the Instituto di Tella (Buenos Aires) and at the Musikhochschule in Cologne. He realized compositions in the Studio for Electronic Music WDR (Cologne), the Centre Européen pour la Recherche Musicale (Metz), IRCAM (Paris), Acroe (Grenoble) and ZKM (Karlsruhe), and teached in Metz, Stuttgart, Karlsruhe, Basel, Sofía, Quito, Cuenca, Buenos Aires, Bogotá, Madrid, Barcelona, Györ y Szombathely (Hungary), Seoul (Corea) and his works were presented at the most important European festivals.
    Maiguashcas was professor for electronic music at the Musikhochschule Freiburg from 1990 until his retirement in 2004. Together with Roland Breitenfeld, he founded the K.O.Studio Freiburg in 1998, a private initiative for the practice of experimental music. He lives in Freiburg since 1996.

    www.maiguashca.de

    Mesías Maiguashca

  • Several stays in 2020 (Polytempo Residency)

    Composer, choreographer and stage director, Mathieu Corajod (*1989, CH/FR) works with instruments, voice, body, space and electronics.
    After his studies at the Bern University of the Arts (HKB), the University of Bern and at IRCAM (Cursus 18-19), he founded his own interdisciplinary ensemble, the Compagnie Mixt Forma. In 2022 he composed and directed his first opera, commissioned by the Opéra national de Lorraine and Festival Musica. He is laureate of the dance commission for emerging choreographers of the SACD-Beaumarchais Association in duo with Pierre Lison.
    His musical works have been commissioned and performed by ensembles and musicians such as Ensemble Divertimento, Ensemble Adapter, Ensemble Interface, Ensemble soyuz21, the Bern Chamber Orchestra, Duo Eventuell or Duo Alto. His electronic works have been played at the ICST (Zürich), IRCAM (Paris), and SAT (Montreal).
    He elaborates a choreographic language in pieces such as “Ça va bien avec comment tu vis” (for two dancers and electronics), “Axes” (instrumental dance), “Lazzi du nez” (for imaginary violin) or “Anima” (breath for dancers). Voice and text occupy a central place in his work, as shown by his collaboration with the writer Dominique Quélen and the pieces “Stream” (Mezzoforte Prize at the Livorno Music Festival) and “Lingua Segments” (commissioned by Chloé Bieri, Compagnie Art Plus), for which he wrote the libretto himself.
    His open, interactive, performative, pedagogical or site-specific works include an important collaborative and inclusive dimension. In residence at the conservatory of Fribourg, he thus composes educational pieces with electroacoustic tape. Selected for the European call for projects Merge up! he co-founded the composers’ collective CUE Creative/Union/Experience with Giulia Lorusso and Giovanni Montianni.
    Mathieu Corajod has received grants from several foundations, including Nicati-de Luze. In 2018, the artistic commission of the Canton of Bern awarded him a grant to stay at the Cité internationale des arts in Paris. In 2022 he was in residency for choreographic and musical creation at the Abbaye de Royaumont with the Compagnie Mixt Forma. He is currently supported by the Aargauer Kuratorium with a Werkbeitrag.
    Since 2015 he has also held various positions at the Bern University of the Arts (assistant, curator, researcher, guest professor).

    https://www.mathieucorajod.com

    Mathieu Corajod

2019

  • 14.10. – 8.11.2019


    Mapping the Sound Ecology of the Swiss Alps

    In the framework of the research project »Mapping the Sound Ecology of the Swiss Alps« Philip Samartzis aims at a mapping of the sound ecology of the Bernese Alps and their environmental conditions, in order to demonstrate the transformative effects of climate change upon high-altitude regions.
    The project is divided into two distinct phases. The first occurs at the High Altitude Research Station at Jungfraujoch (HFSJG) situated at an altitude of 3500 metres above sea level. A range of sensitive microphones, accelerometers and hydrophones will be placed in and around the station, and the surrounding alpine environment for one month to register natural, anthropogenic and geophysical forces.
    The second phase of the project is situated at the ICST where the field recordings will be translated into a series of immersive sound compositions for exhibition, performance and broadcast. The compositions will be designed to provide new knowledge and encounters of endangered wilderness areas to international audiences unlikely to experience these rarefied ecologies and their attendant conditions firsthand. 

    Philip Samartzis is Coordinator of Sound in the School of Art – RMIT University, where he teaches courses in Sound Culture and Immersive Environments within the fine art degree. He researches in the areas of sound art, acoustic ecology and sound spatialization, and is currently chief investigator on the two research-projects Designing Sound for Health and Wellbeing and Spatial Dialgoues: Public Art and Climate Change. In 2010 Samartzis was awarded fellowships by the Australia Council for the Arts and the Australian Antarctic Division to document the effects of extreme climate and weather events on the human condition at Davis Station in Eastern Antarctica. Samartzis has performed and exhibited widely including presentations at The Cartier Foundation, Paris (2001); The Andy Warhol Museum, Pittsburgh (2002); The Mori Arts Centre, Tokyo (2003) and The South African National Museum, Cape Town (2010). He has curated five Immersion festivals focusing on the theory and practice of sound spatialisation, published several solo compact discs and performed with leading international musicians including Sachiko M, Seiichi Yamamoto, Gunter Müller, Voice Crack, Keiji Haino, Oren Ambarchi, Reinhold Friedl.

    RMIT University: Philip Samartzis

  • 14.1. – 18.1.2019 | 29.4 – 3.5.2019 | 16.9. – 22.9.2019

    Mauro Hertig, geboren 1989 in der Schweiz, ist ein Komponist mit einem breiten Output von Ensemblestücken, Kammermusik, konzeptuellen und ort-spezifischen Stücken. Sein Fokus liegt auf verschiedenen Manifestationen von Regelmässigkeit, der Manipulation von musikalischer Erinnerung und dem ambivalenten Verhältnis von Partitur und Klang. Der Abschluss seiner Studien in Zürich und Graz folgte auf ein einjähriges Werkjahr in Berlin. Auftragskompositionen umfassen Stücke für das Ensemble Recherche, Festival für Neue Musik Rümlingen, Österreichischer Rundfunk ORF, Collegium Novum Zürich, Trio Onyx Basel, Duo Landman/Stadler (NY/Basel), Schallfeld Ensemble Graz, Platypus Ensemble und open music.
    Mauro Hertig lebt und arbeitet in Wien und New York.

    Im Rahmen seiner Residenz am ICST arbeitet Maro Hertig am Live-Elektronik Setup einer Auftragskomposition für das Zürcher Ensemble Soyuz21 (Uraufführung Oktober 2019). Über ein halbes Jahr verteilt entwickelt er in mehreren Projektphasen ein Pitch-Trigger-System, welches die akustischen Instrumenten des Ensembles jeweils mit einer Filebank verbindet, die alleine durch Tonhöhe/Tonfarbe ausgelöst wird.

    www.maurohertig.com

    Foto: Emile Kirsch

  • 5.8. – 23.8.2019

    Valerio Sannicandro was born in Italy, but he relatively soon moved to Germany where he turned his attention more and more to contemporary music: he studied composition in Cologne with York Höller (dissertation: “Komposition als semiotischer Prozess”), in Frankfurt with Hans Zender and conducting with Peter Eötvös. Ph.D. in Musicology at TU-Berlin (dissertation: „Space and Spatialization as Discrete Parameter in Music Composition“).
    Appearances as conductor in Cologne (Triennale Köln, WDR-Orchestra), Darmstadt (Ferienkurse), Spain (Festival de Canaria) and Avignon (Centre Acanthes), conducting works by Karlheinz Stockhausen (first performance of “Hoch-Zeiten”) Varèse, Carter, Grisey, Fedele and Donatoni, among others.

    He won several composition competitions in Germany (among others the Claudio-Abbado-Kompositionspreis, the MUSICA VIVA, München in 2002 and 2010, the Giga-Hertz-Produktionspreis in 2012) and Italy, as well as the Kranichsteiner Musikpreis 2000 of the Darmstädter Ferienkurse and has been invited for conferences and workshops in Paris (Ecole nationale superieure d’architecture). Prague (Music Academy), Berlin (Humboldt-Universität), Tokyo (Kunitachi College and Nihon University), Nagoya (Aichi University) and in 2002 has been teacher during the Darmstädter Ferienkurse.

    His compositions have been performed among others by Salome Kammer, Mario Caroli, Peter Veale, Marco Blaauw, Francesco D’Orazio, Ensemble Intercontemporain, Ensemble Modern, Sharoun Ensemble, Orchester des Bayerischen Rundfunks, Ensemble Recherche, Repertorio Zero, Kroumata, AlterEgo, Musikfabrik NRW, Divertimento Ensemble, conducted by Peter Eötvös, Marco Angius, Peter Hirsch, Jonathan Stockhammer, Evan Christ, Pierre-André Valade, Sandro Gorli, Marco Angius and Arturo Tamayo. They have been recorded and broadcasted by the BR, HR, MDR, WDR, Radio France and RAI and performed in all Europe, Japan, USA and Canada.

    He received commissions among others from Darmstädter Ferienkurse, Bayerische Staatsoper, Donaueschinger Musiktage, IRCAM, Biennale di Venezia. His work and his research, mainly on the aspect of spatialisation, has been supported by the Heinrich-Strobel-Stiftung of SWR for the year 2003 as well as by IRCAM, where he worked in a research group on spatialisation as “compositeur associé”. Later he completed a PhD (thesis: „Space and Spatialization as Discrete Parameter in Music Composition“) at TU Berlin, based on his research on resonance modes analysis.

    Latest projects include „Finesterrae“ (2016) for five voices, viola and live-electronics, “Ius Lucis” (2006/2007) for two ensembles in two music halls (commissioned by IRCAM), and “Forces Motrices” a large scale work for orchestra and live-electronics. A new CD (“chamber music” TLS 105) conducted by the author was released by TELOS records, „Ius Lucis“ (WERGO – WER 20652) with Musikfabrik conducted by Pierre-André Valade.
    Selected for the Rostrum of Composers 2006, during the season 2008-2009 he has been composer in residence at Staatstheater Cottbus, and from 2008 Composer in Residence at ZKM Karlsruhe (Germany) where two CDs for WERGO have been produced. From 2008 to 2015 he has been “composer in residence” first, then curator of a new music project of the Philharmonisches Orchester Cottbus (Germany).
    His works are published by Edizioni Suvini-Zerboni (Milan).

    www.valeriosannicandro.eu

  • 28.5. – 8.6.2018 | 2.7. – 6.7.2018 | 4.5 – 12.5.2019

    Luís Antunes Pena wurde 1973 in Lissabon geboren. Er studierte zuerst Komposition mit António Pinho Vargas an der Musikhochschule in Lissabon und später mit Nicolaus A. Huber, Dirk Reith und Günter Steinke an der Folkwang Universität der Künste in Essen. Er besuchte ausserdem Kompositionskurse von Emmanuel Nunes und Gérard Grisey in Lissabon und Paris. Seit 1999 ist er in Deutschland verwurzelt. Der Fokus seiner Arbeit liegt auf der Suche nach einer Musik, die auf der instrumentalen und elektronischen Re- Synthese von Rauschen und Alltagsklängen basiert. Ein weitere Schwerpunkt ist die Arbeit mit Konzepten um das Rauschen und Rhythmus als Puls.
    Seine Werke wurden von Institutionen wie der Gulbenkian-Stiftung, dem ZKM | Karlsruhe, den Donaueschingen Musiktagen, der Philharmonie Essen, dem Deutschen Musikrat, dem Deutschlandfunk, der WDR, dem Casa da Música - Porto, dem Auswärtigen Amt, den Kasseler Musiktagen, der Christoph Delz Stiftung, der SWR oder der Kulturstiftung Cottbus, der Ernst von Siemens Musikstiftung in Form von Kompositionsaufträgen und Umsetzung von Projekten unterstützt.

    Er unterrichtete elektronische Musik an der Hochschule für Musik Karlsruhe und Klanginteraktion als Komposition an der Musikhochschule Trossingen. Er wird regelmässig eingeladen, um seine Arbeit an Universitäten und Hochschulen vorzustellen und pflegt eine intensive Zusammenarbeit mit Ensembles. Darunter sind das ensemble mosaik, asamisimasa ensemble, Nadar ensemble, Drumming – Grupo de Percussão, e-mex Ensemble, Remix Ensemble. Ausserdem arbeitet er mit den Musikern Nuno Aroso und Francesco Dillon, mit denen er 2010 das Trio ruído vermelho (rotes Rauschen) für Schlagzeug, Cello und Elektronik gegründet hat.
    2016 ist die Portrait-CD Caffeine des Deutschen Musikrates bei Wergo erschienen und 2013 Terrains Vagues beim selben Label. Seine Musik ist seit 2008 bei sumtone.com verlegt.

    Luís Antunes Pena arbeitet im Rahmen seiner Residence am ICST am Werk »Tracking Reality«: »Tracking Reality #1« für Live-Kamera-Tracking und Transducers (Uraufführung Anfang März 2019 mit dem Nadar Ensemble) war das Ergebnis der ersten Residenz im Jahr 2018. Während seines Aufenthaltes im ICST-Kompositionsstudio im Jahr 2019 untersucht Luís Antunes Pena weitere Beziehungen zwischen Bild und Klang Möglichkeiten der Sonifizierung. Im Vordergrund steht dabei die Arbeit mit Processing für die Bildbearbeitung und csound für die Klangbearbeitung und Klangsynthese. Fragen nach akustischer und visueller »Realität« werden untersucht und Formen des Bildgedächtnis durch Klang (sowie umgekehrt) zu evozieren versucht.

    → Website von Luís Antunes Pena

    (c) Tobias Bohm

  • 21.1. – 3.2.2019 | 20.4. – 28.4.2019

    Born in 1987 in Switzerland, Kevin Juillerat studied saxophone with Pierre Stéphane Meugé at the Haute Ecole de Musique Lausanne and Marcus Weiss at the Hochschule für Musik Basel – he holds a Master degree in music pedagogy and a specialized Master degree in contemporary music. Along with his instrumental studies, he attended composition lessons with Michael Jarrell and Luis Naon at the Haute École de Musique de Genève and with Georg Friedrich Haas in Basel.
    In 2015-2016 he attended the IRCAM Cursus in Paris where he specialized in electroacoustic music.

    As a composer, Kevin Juillerat has a wide range of commissions. He has composed – to name only a few – for l’Orchestre de Chambre de Genève (CH), ensembles Linea and Proxima Centauri (F), Phoenix, Vortex, soyuz21, TaG, Batida (CH), Duo AKMI, pianist Cédric Pescia, recorder player Antonio Politano or trombone player Mike Svoboda. 
    His Music is played throughout Europe, as well as in Russia, USA, Australia and South America, at festivals such as Label Suisse, Rümlingen (CH), Mixtur (ES), Remusik (RU), Musik Biennale Zagreb (HR), Impuls Festival (AT) or International Saxophone Congress and Festival.
    His works are published by Éditions Alphonse Leduc Paris, BabelScores and Note en Bulle. 
    Kevin Juillerat won a 3rd prize at the 5-Minute Opera Competition in Zagreb in 2015 and became finalist at the 2nd Mauricio Kagel composition competition Vienna in 2013. 

    Kevin Juillerat is the co-artistic director of Fracanaüm – saison de créations sonores Lausanne – an experimental music concert series. He teaches music theory in Switzerland and regularly gives saxophone, composition, improvisation and contemporary music interpretation classes.

    During his residence in ICST, Kevin Juillerat is working on a new piece for saxophone, electric guitar, microtonal accordion and live-electronics for the ensemble Soyuz21. Amplifying and treating the instruments together with the use of the Ambisonic technology, he builds organic acoustic spaces and moving orchestration layers. Instruments are alternately multiplied, separated or merged into a complex and colourful sound entity.

    www.kevinjuillerat.ch

  • 29.12.2018 – 6.1.2019

    Born 1961 in La Plata/Argentina, Luis Naón settled to Paris in 1981 after his music studies at the University of Buenos Aires. He followed advanced classes at the Paris Conservatory with Guy Reibel, Laurent Cuniot (1982-1985), with Daniel Teruggi, Sergio Ortega, Horacio Vaggione and gained a doctorate at the University of Paris 8. He teaches composition and new technologies at the Paris Conservatory since 1991, as well as in Barcelona and Geneva. Naón is a member of the ensemble Diagonal. Starting with Final del Juego (1983) and Tango del desamparo (1987), he has sought to express various dualities in his work: of culture (Franco-Argentinian), writing (spectral-combinatory), genre (acousmatic-instrumental) and discipline (painting-music-theatre notably) in collaboration with Abel Robino (Alto Voltango, 2001), Yves Pagès (Les parapazzi, 1998), François Wastiaux and the company Valsez-Cassis (Hamlet, 1994). Many of his works form part of Urbana, a cycle of 24 pieces that include Speculorum memoria (1993), Requiem pour un bookmaker chinois (1996), Sendero...que bifurcan (2003),Lascaux urbana (2004), Orbetura urbana(2004), Six caprices (2007).

    www.luisnaon.com

2018

  • 17.9. – 28.9.2018

    Daniel Quaranta is a composer. He graduated with a Bachelor in Composition from the Federal University of the State of Rio de Janeiro (UNIRIO) in 2004. After receiving his Master degree in Music from the Federal University of Rio de Janeiro, he continued with his PhD until 2007. Severeal post-doctorate programmes followed: in Centro Mexicano para la Música y las Artes Sonoras, (CMMAS, 2014-15) and a post-doctorate fellowship from the Federal Ministry of Education of Brazil. Dr. Quaranta is currently professor at the graduate program in Music at the Federal University of Juiz de For and UniRIO in Rio de Janeiro, Brazil. 

    His work is mainly focusing on: musical analysis, composition, music theory, contemporary and electroacoustic music. Recordings of his compositions have been published in Germany, Mexico and Brazil. He was the editor of the book: «Ten Regards on Today's Music», released in 2014. As a composer, his work has been performed internationally. 


    Project during his residency at the ICST
    I am working on the composition of a multimedia opera based on the work and life of Argentine writer Macedonio Fernández. The cast is composed by an actor and a soprano and four musicians on stage who develop different performative processes. During my residency I will work on various sessions of this project, both programming and composing. This opera is expected to debut in the second half of 2019 in Rio de Janeiro.


    www.danielquaranta.com

  • 2017 | 2018

    Franziska Baumann ist Sängerin, Vokalperformerin und Klangkünstlerin. Sie ist seit Jahren mit verschiedenen Formen der improvisierten Musik, mit Raumklang- und stimmszenischen Projekten und mit audiovisuellen Konzertperformances unterwegs. Dies in einem Umfeld, das mit seinem Spektrum die immense Vielfalt von Perspektiven für kreative MusikerInnen von heute widerspiegelt: von der rein akustischen Musik bis zur Sensor- und Digitaltechnik, zwischen den beiden Polen Komposition und Improvisation, zwischen Raumklangprojekten und konzertanten Bühnensituationen. 

    Als Artist in Residence am ICST hat sie unter anderem einen am Studio for Electro-Instrumental Music (STEIM) in Amsterdam entwickelten Sensorhandschuh weiterentwickelt.
    Er interpretiert ihre Gesten und Bewegungen und erlaubt ihr, Stimm-, Klang- und Raumartikulationen gestisch in Echtzeit zu kontrollieren.

    Ihre Arbeit wurde an Festivals wie den Donaueschinger Musiktagen, Taktlos Basel und Zürich, Jazzfestival Schaffhausen, Alpentöne Festival Schweiz und an vielen anderen Festivals in Europa, Kanada, USA, Australien, Neuseeland und Südafrika gezeigt. 

    Franziska Baumann ist Dozentin für Improvisation – Komposition, Stimmbildung und Stimminszenierung an der Musikhochschule Bern.
    2007/2008 Mitarbeit im BFH-Forschungsprojekt „Klang (ohne) Körper“ mit Fokus auf Gestik und Klang und Verschiebung der Feedback-Kontrollparameter in Interface Anwendungen. 
    2009/10 Mitarbeit im BFH-Forschungsprojekt Gestik als künstlerische Impuls/Gesture Performance.


    Website von Franziska Baumann
     

  • 2017 | 2018

    Die kolumbianische Künstlerin Claudia Robles-Angel beschäftigt sich mit Biofeedback-Methoden in künstlerischen und wissenschaftlichen Anwendungen. Während ihrer Residencies am ICST konnte sie unterschiedliche Projekte vorantreiben.

    Eine Installation, die während ihrer Residency entstanden ist, heisst «LEIKHĒN» und spielt mit der Interaktion zwischen BesucherInnen und der Bild- und Klangfläche, die Robles aus einem EEG-Display zusammenstellt (EEG = Elektroenzephalografie, Methode zur Messung der elektrischen Aktivität des Gehirns).
    Das griechische Wort «LEIKHĒN» verweist auf eine Hybridform zwischen Pilz und Alge – zwei Organismen, deren Wachstum auf unterschiedlichen Austauschmechanismen basiert.
    Somit spielt sie auf die menschlichen und generativen Interaktionen an, die immer wieder auf neue Art und Weise im Raum neu verhandelt werden.

    Claudia Robles-Angel beschäftigt sich mit unterschiedlichen Phänomenen der visuellen Klangkunst. Nach ihrem Kunststudium an der Universidad Jorge Tadeo Lozano in Bogotá in Kolumbien studierte sie unter anderem Film-Animation in Mailand, Kunst in Genf an der École Supérieure d’Art Visuel und Sound Art/Elektroakustische Komposition an der Folkwang Universität in Essen.

    Ihre Werke wurden unter anderem am ZKM in Karlsruhe, an der ICMC in Kopenhagen, am SKOP Festival Frankfurt oder bei «Die Digitale» in Düsseldorf im Rahmen von unterschiedlichen Artist-in-Residence Programmen präsentiert. Sie gründete die Konzertreihe «Nomádes», bei der Bild- und Klangmaterial gleichermassen eine Symbiose eingehen. Die Konzerte finden dabei an ganz unterschiedlichen Orten statt; unter anderem in Deutschland, Rumänien, Kolumbien und den USA.

    Website von Claudia Robles

  • 25. – 26.6.2016 | 23.7. – 26.7.2016 | 14.12. – 18.12.2017 | 19.9. – 22.9.2018

    Together with pianist Stephane Ginsburgh and sound engineer/programmer Florian Bogner, Stefan Prins worked on all three pieces of his «Piano Hero» series within the framework of his residency at the ICST.
    While for «Piano Hero #1» (2011–12) and «Piano Hero #2» (2011) the audio/video software was revised, «Piano Hero #3» was developed at the ICST.

    watch/listen:

    Piano Hero #1

    Piano Hero #2

    Piano Hero #3


    In his residency in September 2018, Stefan Prins worked on the musical part of »Third Space«, a hybrid music and dance perfomance that was developed in a close collaboration of Stefan Prins and choreographer David Linehan togehther with Klangforum Wien and dancers of Linehan's compagnie Hiatus. »Third Space« was premiered on 4th of June 2016 at the Münchener Biennale – Festival für neues Musiktheater. An extract of the piece can be watched here

    »Piano Hero« #1-4 and »Third Space« are available on the DVD Stefan Prins – Augmented (Kairos 0015044KAI)

    --------------------------

    In his compositional work Prins seeks to critique received convention, to break the framework of the usual, and dispose of aesthetic axioms. He envisions a musical art form beyond the safe confines of the «scene», wherein the connection to the larger cultural discourse has gotten lost. A central pre-condition for the making of a new music with a future is the role of the aware, critical observer, one who is prepared to exploit the technologies and mechanisms of the prefabricated media with a view to their possibilities for new music. – Stefan Prins lives up to this calling. (Michael Rebhahn, 2012)

    After graduating as an engineer, Stefan Prins (Kortrijk, Belgium, 20/5/1979) started to study fulltime piano and composition at the Royal Flemish Conservatory in Antwerp, Belgium, where he obtained his Masters degree in Composition magna cum laude. Concurrently, he studied «Technology in Music» at the Royal Conservatory of Brussels, «Sonology» at the Royal Conservatory of The Hague and «Philosophy of Culture» and «Philosophy of Technology» at the University of Antwerp. Since September 2011 he divides his time between Europe and the USA where he pursues a PhD in composition at Harvard University under the guidance of Chaya Czernowin.

    As a composer he received several important awards in Belgium and abroad, such as the «Berliner Kunstpreis für Musik» (2016), «ISCM Young Composer Award» (2014), «Kranichsteiner Musikpreis für Komposition» (Darmstadt, 2010), a «Staubach Honorarium» (Darmstadt, 2009) and the «International Impuls Composition Award» (Graz, 2009). In 2012 the Union of Belgian Music Journalists elected him «Young Belgian Musician of the Year». In 2014 he became laureate of the Royal Flemish Academy of Belgium for the Sciences and Arts in the Class of the Arts.

    Stefan Prins is closely involved with the Nadar Ensemble, as a composer and co-director, and was one of the founders of the long-standing trio for improvised music «collectief reFLEXible». He’s also a founding member of the band «Ministry of Bad Decisions», with percussionist Brian Archinal and e-guitarist Yaron Deutsch.

    His music has been played by a.o. Klangforum Wien, Nadar Ensemble, Ictus Ensemble, Nikel Ensemble, Ensemble Mosaik, Trio Accanto, Ensemble Dal Niente, Ensemble Recherche, Athelas Sinfonietta, Ensemble Proton Bern, Zwerm Electric Guitar Quartet, Champ d’Action on festivals such as the Donaueschinger Musiktage, the Darmstadt Ferienkurse, Wittener Tage für Neue Musik, Eclat, Warsaw Autumn, Gaudeamus Festival, Musica Strasbourg, Ars Musica, Tzlil Meudcan, Impuls Festival, Huddersfield Contemporary Music Festival & Ultima Festival.

    www.stefanprins.be
    www.vimeo.com/stefanprins
    www.youtube.com/klangklank
    www.soundcloud.com/stefan-prins

  • 18.6. – 29.6.2018


    In June, Diego Ratto, a young emerging italian composer who recently won the Residency Prix CIME 2017, had the chance to work at our ICST-studio.

    After graduating at Conservatorio Antonio Vivaldi/Alessandria, he now is a Master student at the Royal College of Music in Stockholm.
    Diego Ratto (*1988, Alessandria) is an italian musician and composer who recently won the Residency Prix CIME 2017. He graduated from Conservatorio Antonio Vivaldi/Alessandria with a Bachelor’s Degree in Electroacoustic Music (supervised by Gustavo Adolfo Delgado and Matteo Franceschini) in 2017, in Jazz Guitar (supervised by Pino Russo and Paolo Silvestri) in 2016 and in Music Therapy (supervised by Annamaria Gheltrito) in 2014. Currently he is studying Electroacoustic Composition at the Royal College of Music in Stockholm (KMH). 

    He composes mainly acousmatic pieces, especially using concrete sound sources. The main subject of his bachelor and master thesis is the «electroacoustic orchestration», which he’s trying to develop by creating techniques and methods to compose thinking this way. 

    During his Residency at the Institute for Computer Music and Sound Technology / Zurich he mixed and spatialized his new piece «KOM» for the dome, using and testing the latest Ambisonic Plugins V.0.5.0.

    His compositions have been performed and awarded at: EMUfest 2017 (Roma, IT), MA/IN 2017 - MAtera INtermedia festival (Matera, IT), Residency Prix CIME 2017 (Moscow 2017, RUS), MusicLab 2017 (Mexico City, MEX), Acousmatic Premiere Performance Competition - TEM (Udine, IT), RMN Music Label (London, UK), Et Lux Radio, Diffrazioni Festival 2016 (Firenze, IT), Electroacoustic Contest EFME 2016 (Santa Fe, RA).
     

    Website of Diego Ratto

    Works on Soundcloud

  • ­März – Juni 2018

    Dimitri de Perrot (*1976 Neuchâtel, Switzerland) is an internationally active and awarded Swiss artist, musician, director and since 2014 a regular mentor and guest lecturer at the ZHdK (Zurich University of the Arts). At the core of his research-based work is narration through and with sound and the exploration of new, trans-disciplinary forms of production between theatre, music and installation.

    Born in 1976 in Neuchâtel, the french part of Switzerland, Dimitri de Perrot graduated 1997 from Art School in Zurich after which he developed further as a musician and composer. Dimitri de Perrot’s method of working is characterized by an intensive self-study in various disciplines. In 1998 he turned his attention to theatre, and began to work as a director, musician, stage designer and cultural entrepreneur. He has worked with dancers and circus artists for many years, staged interdisciplinary theatre and music projects, and composed for film and theatre.

    He is also the co-founder and co-artistic director of the artist collective MZdP and the Swiss directing duo Zimmermann & De Perrot. The collaborative pieces he worked on with MZdP include “Gopf” (1999), “Hoi” (2001) and “Janei” (2004) and with the duo Zimmermann & De Perrot he presented “Gaff Aff” (2006), “Öper öpis” (2008), “Choufchoufchouf” (2009, interpreted by the Groupe acrobatique de Tanger) and “Hans was Heiri” in 2012. These productions have toured internationally and have been performed in such renowned venues as BAM (Brooklyn Academy of Music – New York), Festival d’Avignon, Théâtre Vidy-Lausanne, Barbican London, Tokyo Metropolitan Theatre, Théâtre de la Ville – Paris, Schauspielhaus Zürich and Sydney Opera House, among others.

    In his recent works he is expanding the focus on areas such as fine art and public space. With “Myousic” (2016) he created and toured a scenic sculpture for theatre spaces, without actors on stage, using sound, space, light and visuals as equivalent, narrative structures. In 2017, de Perrot presented the installation “Strandgut und Blumen” at the Museum Tinguely in Basel, Switzerland, and his space-filling sound installation “Dreams & Nightmares” (2017) at Festival Roma Europa / Istituto Svizzero di Roma. 

    During his Residency at the ICST, he created the Sound-Installation piece «Unless» which was shown at a historic shopping mall in Hong Kong in July 2018. “Unless” immerses a walk-through stage with a musical composition and cinematographic sound design that gives the Atrium a staged plane. The visitor is invited to participate in the emerging of the moment: walk through or sit down, watch and listen to its surrounding. An inspiring moment of slowing down the everydays fast pace.

    → Dimitri de Perrot’s website

    (c) Augustin Rebetez

  • 4.7. – 10.7.2016 | 19.9. – 26.9.2016 | 13.2. – 19.2.2017 | 2018

    Alexander Stankovski wurde 1968 in München geboren und lebt seit 1974 in Wien. Nach einem Kompositionsstudium an der Wiener Musikhochschule bei Francis Burt studierte er an der Hochschule für Musik und darstellende Kunst in Frankfurt am Main bei Hans Zender. Ausserdem besuchte er Kompositions- und Analysekurse u.a. bei Karlheinz Füssl, Ulrich Siegele, Karlheinz Stockhausen, Brian Ferneyhough und Gérard Grisey. Er erhielt Kompositionsaufträge von renommierten Institutionen und Ensembles, Aufführungen bei internationalen Festivals brachten ihm Beachtung und Anerkennung.
    Stankovski unterrichtete von 1996 bis 2004 als Assistent von Michael Jarrell eine Kompositionsklasse an der Musikuniversität Wien. Seit 1998 ist er als Dozent für Harmonielehre, Kontrapunkt und Formanalyse an der Kunstuniversität Graz tätig.
    Sein kompositorisches Schaffen folgt bewusst divergierenden Interessen, von immanent-diskursiver Instrumentalmusik bis hin zur fächerübergreifenden Zusammenarbeit mit VetreterInnen anderer Kunstsparten.

    Im Rahmen seiner Residenz am ICST arbeitet Alexander Stankovski an dem szenischen Hörspiel «In diesem Augenblick» für Sprecher, Ensemble und verräumlichte Zuspielungen, nach einem Text von Xaver Bayer.

    www.alexander-stankovski.info

    Alexander Stankovski

2017

  • 2. – 9.8.2017

    Renzo Filinich Orozco (*1978): Bachelor in Sound Engineering and Composer of Electroacoustic Music. Interested in applying new technologies in music to develop new interactive listener and cognitive fields and spatial representation of sound, through the use of gestural interfaces for controlling sound and performance, using the concept of malleability of sound as musical mechanism facing the viewer.
    In his works he has addressed different aspects of the musical language like free improvisation, chamber works and sound art installations. Renzo Filinich presents his works on many International festivals such as Días de Música Electroacústica – Portugal 2015, In Vivo Electro Workshop, Ircam Manifeste with Robert Henke – París 2014, acousmatic Forum Hope University – Liverpool 2013, Mixtur Festival – Barcelona 2013, Ai- Maako – Santiago de Chile 2010-2012, Tsonami Sound Art Festival – Valparaíso 2007-2011.

    During his artistic residency at the ICST, Renzo Filinich is working on an audiovisual installation. His work will focus on the acoustic transformation of pre-recorded sound materials, as well as on generating new material, by means of the diverse software tools available at the ICST-Kompositionstudio. Designing sound-spacing algorithms in Max/MSP (using the 18-loudspeaker system) is also intended, based on the Ambisonics collection of objects.

    renzofilinich.orgfree.com
    vimeo.com/user11708435

  • 17. – 29.7.2017

    Cătălin Crețu, PhD, composer and multimedia artist from Romania. He composes mostly orchestral, chamber, choral, piano, electroacoustic, and multimedia works that are performed in concert halls, theaters and exhibitions all over Europe.
    He studied electromechanics at the Technical University of Petroșani from 1990–95, and musical pedagogy at the Western University of Timișoara and at the National University of Music in Bucharest from 1993–98. At UNMB he also studied composition with Dan Dediu and Adrian Iorgulescu from 1996–2001 and earned his PhD title under Octavian Nemescu in 2008.
    His abroad studies include a stage with Peter Michael Hamel at the Hochschule für Musik und Theater in Hamburg in 2001–02 and multimedia composition with Georg Hajdu from 2005–07. In march 2012 he completed the post doctoral studies MIDAS at UNMB, with a dissertation and concert regarding implementing the sensor technology in contemporary music.
    Cretu worked as music secretary at the National University of Music in Bucharest from 2002–08. Since 2008 he is the Head of Electroacoustic music and Multimedia Center of the National University of Music Bucharest.

    During his artistic residency at the ICST, Cătălin Crețu will be working on a new composition for bajan and live electronics. His work will focus on the acoustic transformation of pre-recorded sound materials, as well as on generating new material, by means of the diverse software tools available at the Kompositionstudio. Designing sound-spacing algorithms in Max/MSP (using the 18-loudspeaker system) is also intended, based on the Ambisonics collection of objects.

    www.catalincretu.ro

2016

  • 23.7. – 5.8.2016

    Rodrigo Sigal (Mexico City – 1971) holds a PhD in Electroacoustic composition from City University in London, and a BA in composition from the Musical Studies and Research Center (CIEM) in Mexico City. He has studied with Prof. Mario Lavista, Denis Smalley, Javier Alvarez, Franco Donatoni, Judith Weird, Michael Jarrel, Alejandro Velasco and Juan Trigos among others. He finished a postdoctorate at the National School of Music in Mexico and he is the director of the Mexican Center for Music and Sonic Arts (www.cmmas.org). Sigal holds a diploma on Cultural Management (BID/UAM) and does artistic and academic activities in Mexico and many countries. He has received numerous awards and his work is available on more than 14 compact discs. His solo CDs «Manifiesto», «Space within» and «B Blind C Ciego» had received excellent reviews and radio broadcast in Mexico and abroad.

    CDs and more information are available from www.rodrigosigal.com

  • 2.5. – 13.5.2016

    Zuriñe F. Gerenabarrena (1965.Vitoria) studied composition composition with C. Bernaola (Jesús Guridi Conservatory, Vitoria) and Franco Donatoni (Scuola Cívica, Milan, Italy). Orchestrator of several films, Gerenabarrena has written pieces for orchestra and chamber ensembles, theatre, dance, acousmatics, sound installations and multidisciplinary shows. With a very free processing in the evolution of sound in time, her music appears in fragmented gestures and figures in a labyrinthic lines; re-inventing the result in the time to based on timbrical aspect as a structural element.
    Her music has been presented in different festivals and concerts in Europe, America and Japan, and released on several Cds. She has got commissions by the Cultural Minister of Spain, Basque Government, CDMC, Quincena Musical, Basque Countrry Symphony Orchestra, KREA, Author Foundation, Bilbao Symphony Orchestra, Mikel Laboa Cátedra, BBVA Foundation.
    Artist in residence: Tokyo Wonder Site (Japan), Studio Alpha/VICC (Visby, Sweden), USF./Verfet (Bergen Norway), Studio LEC / Miso Music( Lisbon).
    Zuriñe F. Gerenabarrena is a Professor of Counterpoint and Harmony at the Higher Conservatory of Music of the Basque Country MUSIKENE.

    http://zfgerenabarrena.com/zfg/

  • 14.4. – 19.4.2016

    Marcelo Flores Lazcano is a Chilean-American composer born in Valparaiso, Chile, in 1977. After studying basic music theory in his country of birth, he moved to Israel in 1995 where he performed Chilean music and studied music theory and guitar with studio musician Amit Carmelli. In 1997 he settled in the United States where he studied jazz guitar with virtuoso Rick Zunigar and performed with several bands and artists in the Los Angeles area.
    His studies in composition began in 2007 when he studied privately with Daniel Kessner; that same year he won the 14th Los Angeles Valley College Composers Competition with his piece «Israel» for orchestra. Subsequently he pursued both Bachelor and Master Degrees in Composition at California State University, Northridge where he studied composition with Liviu Marinescu and electronic music composition with Dan Hosken. He is currently pursuing a PhD in composition from the University of California, San Diego, where he is currently studying with Chinary ung and Katharina Rosenberger. At UCSD he has also studied with Philippe Manoury, Roger Reynolds, Rand Steiger.
    Current projects involve the design and development of a motion sensor guitar, for which he travelled to Institute of Computer Music and Sound Technology (ICST) at Zurich University of the Arts, for advise. He s also working on an opera as part of his thesis, which involves working with variations, often unintelligible, of the spanish language found in Chile. 

    Marcelo Flores Lazcano on Soundcloud

2015

  • 9. – 15.10.2009 | 2013 | 12. – 18.12.2015

    Juhee Chung studied music theory at the Ewha Women’s University in Seoul. She also received a bachelor’s degree in composition at Berklee College of Music and a diploma in composition with Isabel Mudry at the Frankfurt Musik Hochschule. She continued her studies in composition with Isabel Mundry and also dabbled on computer music with Gerald Bennett at the Musikhochschule Zurich.
    Her pieces were performed in various music festivals in Korea, Germany, North America, Hungary, China, Hong Kong, Romania, Austria, France and Belgium. She received many commissions and foundation grants. At present, she takes a position at Jeju National University as an assistant professor and a director of Jeju composer’s association in Korea.

  • 10. – 15.7.2015

    Dimitris Maronidis (b.1980) composes acoustic, electroacoustic, mixed media and interactive music. In his most recent works he tries to bring together these fields and he explores extensively algorithmic processes for organizing his musical material. He uses technology to experiment, explore and expand the properties of sounds.
    Dimitris has studied Counterpoint, Orchestration and Composition at the State Conservatory of Thessaloniki. From 1998 to 2006 he studied at the Music Department of Aristotle University of Thessaloniki and between 2006 and 2010 he was a PhD student at the University of York funded by the State Scholarships Foundation of Greece (IKY). In 2011 he moved to United States of America and pursued a post-doc research as a visiting Fulbright scholar at Harvard University.
    He has studied computer music at the Institute of Psychoacoustics (IPSA) in an experimental project held at the Aristotle University in collaboration with the American Hellenic Educational Progressive Association (AHEPA) Hospital) directed by Thanassis Rikakis. There he was introduced to the techniques of computer assisted composition (CAC) and electronic music.
    His works have been performed in many places and festivals around the world by decent ensembles and orchestras (Lorraine Symphony Orchestra (FR), State Orchestra of Thessaloniki (GR), State Orchestra of Athens (GR), Nieuw Ensemble (NL), dissonArt ensemble (GR), ContraTempo Chamber Orchestra (GR), Diotima Quartet (FR), Chimera Ensemble (UK) etc).
    He has lectured in composition, music theory and orchestration classes at the Aristotle University of Thessaloniki. He is currently teaching orchestration at the State Conservatory of Thessaloniki and electronic music at Aristotle University of Thessaloniki.

    www.maronidis.net

  • 29.6. – 11.7.2015

    Carlo Ciceri was born in La Spezia in May 1980. After graduating in piano, he moved to the Conservatorio della Svizzera italiana in Lugano, where he received a Master in Conducting (led by G. Bernasconi) and Composition (with N. Vassena and G. Verrando). At the same time, he followed academies and masterclasses throughout Europe and studied composition with J. Baboni Schilingi and F. Voisin at the Conservatoire de musique de Montbéliard. He is also graduated in Musicology at the University of Pavia (Faculty of Cremona). His production, winner in recent years of several international competitions and performed by numerous ensembles in Europe, focused mainly on instrumental music, from pieces for solo instruments to orchestral works. The more recent compositions are written for amplified ensemble and electronics and for electric instruments. He teaches Computer-assited Composition at the Conservatorio della Svizzera Italiana in Lugano and at IRMUS, Scuola Civica di Musica in Milan. In 2010 he co-founded M()A, a group of composers who develops site-specific musical projects. In 2012 he co-founded Crile, a research collective of Dance, Music and New Media. He is part of the artistic committee of the electric ensemble RepertorioZero, ensemble in residence 2012–2014 at Festival Milano Musica and winner of the Silver Lion at the 55. Biennale Musica of Venice 2011.

    His music is published by Suvini Zerboni.

    www.carlociceri.com

  • 30.6. – 5.7.2015

    Horacio Vaggione, 1943 in Cordoba (Argentinien) geboren, lebt seit 1978 in Paris. Er studierte Klavier und Komposition an der Universität in Cordoba, und promovierte an der «Université de Paris VIII» in Musikwissenschaft. Als Fulbright-Stipendiat kam er 1966 an der Universität Illinois (USA) durch Lejaren Hiller mit dem Computer als Musikinstrument in Kontakt und gründete 1969 zusammen mit Luis de Pablo in Madrid die Live-Elektronik-Gruppe ALEA. Zur gleichen Zeit arbeitete er im Projekt «Musik und Computer» an der Universität Madrid. Vaggione war Composer in Residence am IRCAM, dem INAGRM, dem GMEB, an der technischem Universität Berlin, am Institut de Sonologie von La Haye, an der McGill Universität in Montréal, und «Faculty composer» am «June in Buffalo»-Festival (USA), sowie DAAD-Stipendiat.
    Vaggione hat ein umfangreiches Oeuvre von instrumentalen, elektroakustischen und gemischten Werken geschaffen, darunter Auftragskompositionen des Ministère de la Culture, des INA-GRM, des IMEB, des Arts Board of Cambridge (GB), der TU-Berlin, des ZKM-Karlsruhe und der International Computer Music Association (USA).
    Seit 1985 war Horacio Vaggione Professor an der «Université de Paris VIII», wo er dem «Centre de recherche Informatique et Création Musicale» (CICM) vorstand, bevor er 2012 emeritiert wurde. Er hat diverse Auszeichnungen erhalten, darunter den Newcomp Prize (Cambridge, USA), den International Computer Music Association Award (USA), die Euphonie d’or (Bourges), den Prix Ton Bruynel (Amsterdam), den Giga-Hertz Produktion Preiss (ZKM-Karlsruhe und Experimentalstudio Freiburg).

  • 8.6. – 19.6.2015

    Dr. Jonathan N. Middleton is currently a visiting professor at the TAUCHI unit of the School of Information Sciences at the University of Tampere. He is currently serving a multi-year residency where he is working on data-to-music sonification research supported by Tekes funding. Jonathan is a composer, music researcher, and professor based at Eastern Washington University. His creative interests include spontaneous approaches to composition through stream of consciousness and algorithmic composition. The foundation of his work is created from Web-based software he originally designed in 2004. The application, available on the Web at musicalgorithms.org or musicalgorithms.ewu.edu, provides a user-friendly environment where users can create music from varied data sources. Jonathan's work in sonification is collaborative; his most recent work involves partnerships with researchers in the areas of biochemistry (proteins), agricultural economics, and environmental science (salmon).

    www.jonathanmiddleton.com
    www.musicalgorithms.org
    www.uta.fi/sis/yhteystiedot/henkilokunta/jonathanmiddleton.html
    www.ewu.edu/cale/programs/music/music-faculty/jonathan-middleton-theory-and-composition

  • 10.3. – 28.3.2015

    Maximilian Marcoll (*1981) studied percussion, instrumental and electronic composition in Lübeck and Essen, Germany. He lives in Berlin. In his series «Compounds» (since 2008) he focusses on the transcription of concrete sounds, mostly recorded in everyday life situations, and the creation of a material network, on which the pieces of the series are based. The development of software also is a part of his compositional activities. In 2010, the software quince was released.
    M.Marcoll is a member of the artist group stock11. He lives and teaches in Berlin.

    www.marcoll.de
    www.stock11.de

  • 23.4. – 25.4.2014 | 2015

    Mario Mary is a Doctor of “Aesthetic, Science and Technology of Arts” (University Paris VIII), actually he teaches “Electroacoustic Composition” at Prince Rainier III Music Academy of Monaco, and is the artistic director of Monaco Electroacoustique – Electroacoustic Music International Encounter.

    Between 1996 and 2010, he teaches at the University Paris VIII and is the artistic director of the Computer Music Series of Concerts

    Mario Mary begins his musical studies in Argentine, where he’s graduated as Composition Professor at the National University of La Plata. Simultaneously, he studied Orchestral Conducting and Computer Music. Since 1992 he has continued his studies in Paris, at GRM, National Conservatory of Music, IRCAM and University Paris VIII. He worked as a composer in research at the IRCAM, where he realized “AudioSculpt Cross-Synthesis Handbook” in 1995, and “Control editors” (interfaces Open Music for AudioSculpt) in 2003. His aesthetic interests are directed toward the creation of music whose search generates emergent signs of the new century aesthetic tendencies. Since he was fifteen years old, he has been developing the technique of Electroacoustic Orchestration and the concept of Polyphony of the Space. Recently, he has begun to incorporate in his musical work experimental video images devised by him. His works are played in many different contemporary international music exhibitions.

2014

  • 20.1. – 7.2.2014

    Budhaditya Chattopadhyay is an award winning sound artist and scholar, engaged with perceptual and cognitive exploration of sound and listening; in 2011 he received an Honorary Mention in Prix Ars Electronica. Budhaditya has graduated from the national film school SRFTI in India, and completed an MA in new media/sound art from Arhus University, Denmark. He is currently based in Copenhagen, Denmark, working on his PhD in sound studies.

    http://budhaditya.org

2013

  • 17.6. – 12.7.2013

    Geboren 1974, lebt und arbeitet der Schweizer Komponist Oliver Weber in Wien. Während seiner Schulzeit am naturwissenschaftlichen Gymnasium Aarau erhielt er Klavier und Kompositionsunterricht bei János Tamás. 1995–1997 studierte er Musikwissenschaft an der Universität Zürich, sowie Orgel bei Jeannine Lehmann und erhielt privaten Kompositionsunterricht bei Rudolf Kelterborn in Basel. 1998–2006 folgte ein Kompositionsstudium an der Universität für Musik und darstellende Kunst in Wien bei Michael Jarrell und elektroakustische Komposition bei Dieter Kaufmann und Wolfgang Mitterer, welches er mit Auszeichnung abschloss. Oliver Webers kompositorisches Oeuvre reicht von reinen Orchesterwerken über Klanginstallationen bis hin zu Volksmusik mit elektronischen Ingredienzien und wurde mit mehreren Preisen ausgezeichnet. Seine Kompositionen werden im In- und Ausland aufgeführt, z. B. am Seoul International Computer Music Festival (SICMF), in der Kunsthalle Wien, und am elektronischen Frühling Wien.

  • 4.2. – 16.2.2013

    Wolfgang Suppan, geboren in Vöcklabruck (Oberösterreich) lebt und arbeitet seit 1989 in Wien. Er studierte in Wien bei Dietmar Schermann (Tonsatz), Tamas Ungvary (Elektronische Musik) und Michael Jarrell (Komposition). Auslandsaufenthalte führten ihn nach Berlin und an das IRCAM in Paris. Seit 1996 unterrichtet Suppan an der Musikuniversität Wien Tonsatz und Komposition. Seine Werke werden bei bedeutenden Festivals gespielt wie den Salzburger Festspielen, Wien Modern, Musikprotokoll Graz, den Donaueschinger Musiktagen, der Musikbiennale Zagreb, von renommierten Interpreten wie dem Hagen Quartett, Klangforum Wien, Ensemble SurPlus Freiburg, Ensemble l’Itinéraire Paris oder dem SWR Sinfonieorchester Baden-Baden und Freiburg. Neben der intensiven Beschäftigung mit Elektronischer Musik gilt sein Interesse spartenübergreifenden Projekten mit Film, Tanz und Literatur. 2008 war er Stipendiat des Berliner Künstlerprogramms (DAAD).

    www.wolfgangsuppan.com

  • 2007 | 26.8. – 11.9.2012 | 2013

    Françoise Barrière was born in 1944 in Paris. Her classical training includes Piano at the Conservatoire de Versailles, Harmony and Counterpoint at the Conservatoire National Supérieur de Musique, Paris. Other less classical training includes her work at Service de la Recherche, ORTF and Ethnomusicology at the Ecole Pratique de Hautes Etudes. In 1970, she founded in collaboration with Christian Clozier, the Groupe de Musique Expérimentale de Bourges (now called the International Institute of Electroacoustic Music of Bourges) which they co-direct. She organizes the Festival «Synthese», the Bourges International Competitions, acts as director of the magazine «Faire» (edition GMEB, 1971–1975) and as Manager of the Company «Mnémosyne Musique Media» that published the CDs of «Cultures Electroniques», a collection devoted to the laureates of the Bourges Electroacoustic Music Competitions. Furthermore, Françoise Barrière is a founding member of the International Confederation of Electroacoustic Music (ICEM) and is its president since 2005. Her works have been played worldwide in numerous festivals, concerts and on national radio networks.

2012

  • 6.2. – 7.2.2012 | 21.8. – 26.8.2012

    Der mexikanische Komponist Arturo Fuentes (geb. 1975) kam 1997 nach Europa; sein musikalischer Weg führte ihn von Mailand über Paris und Wien bis nach Innsbruck, wo er heute lebt. Er hat bei Franco Donatoni in Mailand und bei Horacio Vaggione in Paris studiert. Arturo Fuentes komponiert instrumentale und elektronische Musik und entwickelt Musiktheaterprojekte, die Tanz, Video und Elektronik miteinander verbinden. Seine Musik ist ein akribisch arrangiertes, kaleidoskopisches Chaos, das die Grenzen von Dynamik, Klangfarbe, Textur und Virtuosität auslotet. Fuentes erhielt den ersten Preis des elektroakustischen Kompositionswettbewerbs Música Viva (Portugal), den Suvini Zerboni – Preis und den Preis des Festivals Lagonegro. Ausserdem war er nominiert für den Staubach Preis des Internationalen Musikinstituts Darmstadt (Deutschland), die European Competition for Live Electronic Music Projects (Gaudeaumus, Niederlande) und den Prix Ars Electronica in Linz (Österreich). In Frankreich erhielt er das Nadia Boulanger – Stipendium und das Stipendium des französischen Außenministeriums/Fonca; in Österreich das Staatsstipendium für Komposition.

    www.arturofuentes.com

  • 5.6. – 13.7.2012

    Sascha Janko Dragicevic wurde 1969 in Bonn geboren. Er studierte an der Musikhochschule Köln Komposition bei Krzysztof Meyer und York Höller, elektronische Komposition bei Hans Ulrich Humpert, sowie Klavier und Kammermusik bei Klaus Oldemeyer. Er belegte Kompositionskurse bei Klaus Huber, György Ligeti, Helmut Lachenmann, Karlheinz Stockhausen, Mauricio Kagel und Georg Katzer.
    Sascha Dragićevićs Musik wurde international von namhaften Interpreten aufgeführt, im Rundfunk, Fernsehen und Internet-TV übertragen, sowie auf CDs und bei Verlagen veröffentlicht. Seine Werke wurden an renommierten Festivals und Konzertreihen gespielt, wie z. B. Wien Modern, Internationales Beethovenfest Bonn, Impuls Festival für Neue Musik Sachsen-Anhalt, sommerliche Musiktage Hitzacker, Reihe Unerhörte Musik (BKA Berlin), Reihe Generator Zürich, Forum Neue Musik Luzern, Reihe Festival «Piano+» am Karlsruher ZKM, «25 Jahre Ensemble Modern» in Frankfurt a. M., Posener Frühling.

    www.sascha-dragicevic.com

2011

  • 2008–2011

    In Luzern geboren. Lehrdiplom Klavier, Abschluss bei Peter Mital. Weiterbildungskurse in elektronischer Komposition und Aufnahmetechnik bei Thomas Kessler im elektronischen Studio der Musikakademie Basel.
    Marie-Cécile Weber unterrichtet Klavier und ist freischaffende Musikerin und Komponistin für elektronische Instrumente.
    Über die Auseinandersetzung mit Naturgeräuschen und Analoggeräuschen hat sie sich eine einzigartige Geräusche- und Klangsammlung angelegt, die sehr vielfältig und eigen ist. Dieses Klangmaterial ist zu ihrem eigenen Instrument geworden, und dient als Grundlage für ihre Projekte. Rebers Arbeit steht oft in Verbindung mit anderen Disziplinen, wie Tanz, Video, und mit der Natur.
    Bekannt sind die Projekte vom Marie-Cécile Reber an speziellen Orten mit speziellen Mitteln, z. B. im Gletschergarten von Luzern, wo die Klänge bis tief in die Steinlöcher drangen; eine Klanginstallation am Berg von Heiligkreuz, die mit Sonnenkollektoren angekurbelte Elektrizität Klänge erzeugten; oder die Installation im Lincoln Park Conservatory von Chicago, die mittels Sensoren das aufgefangene Wachstum der Blumen in Klänge umgewandelt hat.

    www.mc-reber.ch

  • 22.8. – 11.9.2011

    In Zürich geboren, promovierte Katharina Rosenberger an der Columbia Universität (New York) in Komposition unter Betreuung von Professor Tristan Murail. Sie unterrichtet Komposition und Klang-Installationskunst an der Universität von Kalifornien San Diego, USA und lebt und arbeitet zwischen San Diego, New York und Europa. Ihre Projekte werden oft kollaborativ entwickelt und stehen in Verbindung mit bildender Kunst, Video und Theater. Zu hören waren ihre Kompositionen, Musiktheater- und Installationsarbeiten u. a. an den Festivals Weimarer Frühlingstage, Archipel und La Bâtie in Genf, Zürcher Theaterspektakel, Les Musiques (Marseille), New Media Art (Yerevan), Shanghai New Music Days, sowie an zahlreichen Konzerten in Europa und in den USA. Katharina Rosenberger ist Trägerin des Mediaproject Awards/Sitemapping (2011/2005) des Bundesamts für Kultur, des Reid Hall Fellowships, New York (2007) und der Camargo Foundation Fellowship, Frankreich (2007). Die im Januar 2011 eingespielte Portrait CD TEXTUREN wurde mit dem namhaften Aaron Copeland Recording Grant, New York ausgezeichnet.

    www.krosenberger.ch

  • 22.8. – 11.9.2011

    Geboren 1956 in Rauschengesees (Thüringen). Ersten Klavier- und Orgelunterricht erhielt er beim Ortspfarrer Gerhard Volts 1974 begann er ein Studium der Kirchenmusik in Eisenach und Halle/Saale (Orgel bei Gottfried Preller und Hans-Günter Wauer, Tonsatz bei Johannes Petzold), welches er 1979 beendete. Während dieser Zeit besuchte er regelmässig den Ferienkurs für Neue Musik in Gera, besonders die Kompositionskurse bei Paul-H. Dittrich und die Elektronikkurse bei Lothar Voigtländer. Von 1979–82 arbeitete Helmut Zapf als Kantor und Organist an der Stadtkirche in Eisenberg (Thüringen). 1982 wurde er Meisterschüler an der Akademie der Künste der DDR in Berlin bei Prof. Georg Katzer und studierte dort, mit der Unterbrechung als Bausoldat (Waffenverweigerung), bis 1986. Seitdem arbeitet er als freiberuflicher Komponist und lebt in Panketal bei Berlin. Im Lehrauftrag unterrichtet er die Fächer Tonsatz, Kontrapunkt und Kompostion an der HfM Hanns Eisler und an den Musikschulen Kreuzberg und Neukölln. 1992 gründete er in seiner Kirchgemeinde gemeinsam mit seiner Frau die Zepernicker RANDFESTSPIELE, ein Konzertwochenende für Neue Musik. Im Rahmen der Kreuzberger Klangwerkstatt gründete Helmut Zapf 1994 das Ensemble JungeMusik Berlin, welches heute als Festivalensemble einen ständigen Bestandteil der Klangwerkstatt und der Randfestspiele darstellt.

    www.helmutzapf.com

  • 26.6. – 17.7.2011

    Philip Samartzis is Coordinator of Sound in the School of Art – RMIT University, where he teaches courses in Sound Culture and Immersive Environments within the fine art degree. He researches in the areas of sound art, acoustic ecology and sound spatialization, and is currently chief investigator on the two research-projects Designing Sound for Health and Wellbeing and Spatial Dialgoues: Public Art and Climate Change. In 2010 Samartzis was awarded fellowships by the Australia Council for the Arts and the Australian Antarctic Division to document the effects of extreme climate and weather events on the human condition at Davis Station in Eastern Antarctica. Samartzis has performed and exhibited widely including presentations at The Cartier Foundation, Paris (2001); The Andy Warhol Museum, Pittsburgh (2002); The Mori Arts Centre, Tokyo (2003) and The South African National Museum, Cape Town (2010). He has curated five Immersion festivals focusing on the theory and practice of sound spatialisation, published several solo compact discs and performed with leading international musicians including Sachiko M, Seiichi Yamamoto, Gunter Müller, Voice Crack, Keiji Haino, Oren Ambarchi, Reinhold Friedl.

    RMIT University: Philip Samartzis

  • 31.1. – 20.2.2011

    Alejandro Montes de Oca is a Mexican composer, performer and sound artist. He focuses on organizing sounds in space and time with the use of self-made electroacoustic instruments and applications. In the compositional process he deals with the new perspectives given by the combination of electroacoustic music with theatrical/visual elements and he explores different ways to create space in composition through the use of speaker feedback with granular synthesis and temporal decorrelation of waveforms. Drawing from a background in guitar performance and musical composition, he works nowadays as a live electronics performer. He plays with CoCo duro dúo together with the Colombian musician Alejandro Olarte, with the main interest in exploring live electronics, composition and improvisation. His music has been presented in different festivals and concerts in Europe and America. He has got commissions by the Instrumenta Festival (Mexico), IMEB (France), CDMC (Spain) as well as scholarships from the UNESCO-Aschberg, FONCA, the Cultural Minister of Spain and the Swedish Performing Rights Society (STIM).

    www.allmonts.com

2010

  • 2010

    Alfred Zimmerlin wurde 1955 in Zürich geboren. Er studierte Musikwissenschaft und Musikethnologie an der Universität Zürich bei Kurt von Fischer und Wolfgang Laade, Musiktheorie bei Peter Benary und Komposition bei Hans Würthrich und Hans Ulrich Lehmann. Seit 1980 ist er in der Werkstatt für improvisierte Musik (WIM) Zürich tätig. Zimmerlin erhielt etliche Preise und Stipeniden, darunter die Werkjahrstipendien des Aargauischen Kuratoriums und der Stadt Zürich, den Musikpreis der C. F. Meyer-Stiftung, den Kulturpreis 2014 des Kantons Zürich und den Zolliker Kunstpreis 2014. Seit 2010 ist er Dozent für Improvisation an der Hochschule für Musik in Basel. Seine Werkliste umfasst Klavierstücke, Kammermusik mit oder ohne Live-Elektronik, Vokalmusik, Orchestermusik, Musiktheater, aber auch Arbeiten für Rundfunk und Film. Zimmerlin ist auch als improvisierender Musiker tätig – als Cellist – und ist in zahlreichen Formationen in Europa und den USA aufgetreten. Er ist Mitglied von KARL ein KARL, einem Komponistenkollektiv und Improvisationstrio (mit Peter K Frey und Michel Seigner), das seit 1983 in unveränderter Besetzung besteht.

    www.alfredzimmerlin.ch

  • 12.7. – 31.8.2010

2009

  • 06.7. – 24.7.2009

    Nach Studienabschlüssen in Bildender Kunst und Musik erhielt Charlotte Hug diverse Auszeichnungen und Kompositionsaufträge, u. a. von Pro Helvetia und vom Lucerne Festival. Sie war artist in residence in London, Paris, Berlin, Cork Kulturhauptstadt und wurde mit dem Kompositionspreis der Stadt Zürich ausgezeichnet. 2011 war sie artiste étoile beim Lucerne Festival. Ihre rege Konzerttätigkeit als Solistin, Komponistin oder Dirigentin ihrer eigenen Werke führt sie an Festivals in Europa, Nord- und Lateinamerika: z. B. Tage für Neue Musik Zürich, Donaueschinger Musiktage, San Francisco International Arts Festival oder MaerzMusik. Im Kunst- wie im Musikkontext finden Hugs Klangzeichnungen – Son-Icons – Beachtung. Mit diesen schafft sie Raum- und Videopartituren für Solo- bis Orchesterwerke. Einzelausstellungen mit Installationen zeigte sie u. a. im Swissnex, San Francisco, dem Sirius Arts Centre Cobh Cork in Irland oder dem Kunstmuseum Luzern. Charlotte Hug lebt in Zürich und unterwegs.

    www.charlottehug.ch

  • 6.7. – 24.7.2009

    Studied piano and composition at Royal Conservatory of Granada. In 2001 he moved to Zurich (Switzerland) with a grant from andalusian government to continue his composition studies at Zurich School of Music, Drama and Dance. He became a pupil of Gerald Bennett, and began to create electroacustic pieces using the Csound compiler. His first electroacustic work won a price in the II SGAE Internacional Computer Music Competition. His works have been played in Spain, France (IMEB, Bourges), Switzerland (World New Music Days), Mexico, Brazil ... His catalogue also includes chamber music, compositions with video and music for ballet. The music of López Montes explore severe algorithmic patterns generated with cellulare automata, chaotic and fractal structures applied to synthesis from micro to macroscale, combined with more intuitive and «human» processes and a bit of humour.

    www.lopezmontes.es

  • 20.4. – 4.5.2009

    Nahuel H. Sauza, nació en Haedo en 1985. Estudió en el Conservatorio de Música de Morón, y actualmente está cursando la Licenciatura en Artes Electrónicas de la Universidad de Tres de Febrero. Estudia composición y semiótica musical con el Lic. Jorge Sad. Es parte del Ensamble Gest(u)alt como programador MAX MSP y live electronics. Entre 2005 y 2006, fue parte del IIESMUMD (Instituto de Investigación en Sonido y Música por Medios Digitales) de la Universidad de Morón y luego del GAIM como programador MAX. Se desempeña como Técnico en el LIPM (Laboratorio de Investigación y Producción Musical) del Centro Cultural Recoleta y como docente de programación en lenguajes gráficos de la carrera de Composición con Medios Electroacústicos del IUNA. Se ha presentado en diversas salas incluyendo CETC del Teatro Colón, Biblioteca Nacional, Centro Cultural Recoleta, CCEBA (Centro Cultural de la Embajada de España en Buenos Aires), etc. Fue becado en 2007 por Fundación Música y Tecnología para realizar un curso intensivo de análisis y composición con el Mto. Francisco Kropfl, Javier Leichman, Raúl Lacabane y Guillermo Pozzati. En 2008 fue becado por el Gobierno de la Ciudad de Buenos Aires para realizar la Academia Internacional de Composición junto a Martín Matalón, Yan Maresz, Mikhail Malt y Olivier Pasquet del IRCAM (Institut de Recherche et Coordination Acoustique/Musique) de Francia. En 2008, ganó el premio Residencia, en la 35th Bourges Internacional Competition of Electroacoustic Music, obteniendo una residencia de dos semanas en el ICST (Institute for Computer Music and Sound Technology) de la Universidad de Zurich, Suiza.

  • 4.2. – 14.2.2009

    Isabel Mundry studierte Komposition bei Frank Michael Beyer und Gösta Neuwirth an der Hochschule der Künste Berlin und bei Hans Zender an der Hochschule für Musik Frankfurt am Main. Von 1986 bis 1993 unterrichtete sie Musiktheorie und Analyse an der Berliner Kirchenmusikschule und an der Hochschule der Künste Berlin. 1996 übernahm sie eine Professur für Komposition und Musiktheorie an der Musikhochschule Frankfurt. Seit 2003 ist Mundry Professorin für Komposition an der Zürcher Hochschule der Künste. Ihre Kompositionen werden international von bedeutenden Orchestern und Ensembles aufgeführt, die Musiktheaterproduktion Odyssee wurde von der Kritikerjury der Fachzeitschrift Opernwelt zur Uraufführung des Jahres 2006 gewählt. In der Saison 2007/2008 war Mundry Capell-Compositeur bei der Sächsischen Staatskapelle Dresden. Sie hat namhafte Kompositionsstipendien und -preise erhalten wie den Boris-Blacher-Preis, den Kompositionspreis Berlin, Busoni-Preis, Kranichsteiner Musikpreis oder den Siemens-Förderpreis. Als Composer in Resi-dence war sie beim Lucerne Festival, beim Tong Yong-Festival, beim Takefu-Festival, beim Nationaltheater Mannheim und bei der Staatskapelle Dresden tätig. Sie ist Mitglied der Akademien der Künste Berlin und München.

2008

  • 6.10. – 19.10.2008

  • 7.7. – 20.7.2008

    Thomas Peter (*1971) ist Musiker und Komponist. Seine Tätigkeit umfasst Bereiche wie Komposition elektroakustischer Musik, Laptop-Performances, improvisierte Musik, Klanginstallationen, Theatermusik und die Realisation und Interpretation von Live-Elektronik. Er lebt und arbeitet in Zürich. Seine Konzerttätigkeit umfasst als Solokünstler und als Interpret zeitgenössischer Musik Auftritte in Europa, Asien, Nord- und Südamerika. Seine Solokonzerte sind zwischen improvisierter elektronischer Musik und mehrkanaligen akustisch raumfüllenden Laptop-Performances anzusiedeln. Thomas Peter studierte Audiodesign, Komposition und Improvisation an der Hochschule für Musik in Basel.

    www.tpeter.ch

  • 11.7. – 13.7.2008

    Domenico Carlo Melchiorre (*1982 in Basel) ist seit der Spielzeit 2007/2008 Solopauker des Sinfonieorchester Basel. Er studierte Schlagzeug an der Musikhochschule Freiburg im Breisgau in der Klasse von Prof. Bernhard Wulff, Prof. Taijiro Miyazaki und Prof. Pascal Pons. In den Jahren 2007 bis 2010 war er Dozent im Hauptfach Schlagzeug an der Musikhochschule Lugano. 1999, 2001, 2003 gewann er den «Schweizerischer Perkussionisten Wettbewerb» in der Sparte «Klassik». Im Jahre 2003 erhielt er den 1. Preis am «Österreichischen Perkussionisten Wettbewerb». Er ist ein festes Mitglied des Schlagzeugzwölftetts «Ensemble XII».

    → Domenico Melchiorres Website

    Porträt von Domenico Melchiorre

  • 21.4. – 5.5.2008

  • 11.2. – 24.2.2008

    Oliver Carman is a composer and teacher living in the Northwest of England. His works are regularly performed throughout the UK and Internationally. He was awarded 2nd Prize in the 6th International Computer Music Competition 'Pierre Schaeffer' 2007, the PRIX RESIDENCE in the 2007 Bourges International Competition of Electro-acoustic Music and 2010 the 3rd Prize in the Diffusion Composition Competition by the Digital Media and Arts Research Centre (DMARC), University of Limerick, Ireland.

    Carman Oliver

2007

  • 2007

    Foto: Porträt von Marc Codron

  • 2007

    Martin Schlumpf, geboren 1947 in Aarau, wirkte schon während seiner Gymnasialzeit in verschiedenen Jazzformationen als Kontrabassist und gelegentlich auch als Saxofonist mit. 1968 begann er sein Musikstudium in Zürich mit den Hauptfächern Klarinette, Klavier, Dirigieren und Theorie und Komposition (bei Rudolf Kelterborn). Bis 1980 war Schlumpf vor allem als Komponist im E-Musik-Bereich tätig und gewann diverse Preise bei Kompositionswettbewerben, u.a. 1. Preise in den Wettbewerben der Stadt Zürich von 1972 und 1979, sowie im Tonhalle-Wettbewerb 1975. Ab 1980 besann er sich auf die improvisierte Musik zurück und spielte in verschiedenen eigenen Gruppen: zuerst als Kontrabassist mit Urs Blöchlinger im «Trio 80», dann ab 1982 als Saxophonist und Bassklarinettist im elfköpfigen Orchester «Swiss Fusion 84». Seit Ende der 80er-Jahre übt Martin Schlumpf vielfältige Tätigkeiten im Schnittfeld zwischen Improvisation und Komposition aus. Zunehmendes Gewicht legt er dabei auf die Arbeit als Komponist in einem veränderten, quasi «postmodernen» Stil, in dem Werke wie der Zyklus «Vier Jahreszeiten», das Klavierkonzert «Mouvements», «Trio für Klarinette, Violoncello und Klavier», oder das Cellokonzert «Waves» entstanden sind.

    www.martinschlumpf.ch

    Foto: Porträt von Martin Schlumpf

2006

  • 2006

    Alessandro Grego studied musicology at School of Paleography and Musical Philology of Cremona. Later he was distinguished for the composition of short movie's scores and radio drama produced by RAI; for improvised music performances as a pianist and the organization of courses of musical creativity for young students. His monographic CD L'Aura (Agorà 1999) has been selected from MISAME (Mnémothèque International des Sciences et Arts en Musique Electroacoustique) among the works that will be included in the electroacoustic record library of the France National Library. He obtains commissions from prestigious international organizations and institutions, among them IMEB (Institut International de Musique Electroacoustique in Bourges) which invites him to compose Le corps e(s)t l'histoire for clarinets and live electronics. His music is habitually performed in national and international theatres and festivals by prestigious musicians like Guido Arbonelli, Massimiliano Damerini, Roberto Fabbriciani or Emanuele Segre. Currently he teaches algorhythmic composition at Gioacchino Rossini Conservatory in Pesaro.

    www.alessandrogrego.com

    Foto: Porträt von Alessandro Grego