Fredrik Gran & Adam Basanta: Sound art exhibition
Sound art exhibition with robots, speakers and acoustic instruments in two rooms at Torpedverkstaden: Audiorama and MDT Studio 1. On the opening night, August 25, the composers Adam Basanta (CAN) and Fredrik Gran (SWE) will perform a live concert at Audiorama.
- Adam Basanta: ”How To Give Up Control Of Exactly One Limb” – Durational performance-installation for cellist and robotic components. Premiere!
- Fredrik Gran: ”To linger” – installation for industrial robotic arm and speaker dome. Live 25/8: ”Here in my arms” – for industrial robotic arm and speaker dome (30’). Premiere!
Commissioned byAudiorama, funded by Swedish Art's Council (Kulturrådet).
Ljudkonstutställning med robotar, högtalare och akustiska instrument i två rum på Torpedverkstaden: Audiorama och MDT Studio 1. På öppningsdagen den 25 augusti ger tonsättarna Adam Basanta (CAN) och Fredrik Gran (SWE) en konsert live på Audiorama.
- Adam Basanta: ”How To Give Up Control Of Exactly One Limb” – tidsligt utdraget performanceverk för cellist och robotkomponenter. Uruppförande!
- Fredrik Gran: ”To linger” – installation för industrirobot och högtalardome. Live 25/8: ”Here in my arms” – för industrirobot och högtalardome (30’). Uruppförande!
Beställningsverk för Audiorama, med stöd av Kulturrådet.
19.00: LIVE CONCERT
+ Sound Art Exhibition 20.00–21.00
Tickets: 120 SEK (students: 80 SEK)
Buy your ticket online at Tickster.com.
Door opens at 18.00.
SUNDAY 26/8–FRIDAY 31/8
SOUND ART EXHIBITION
Opening hours: 13.00–17.00
Tickets: 60 SEK (students: 40 SEK)
Buy your ticket online at Tickster.com or on-site!
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Adam Basanta: "How to Give Up Control of Exactly One Limb"
"How to Give Up Control of Exactly One Limb" is a durational performance-installation work in which a live cellist is augmented with a linear motor, creating a hybrid human-mechanical performance.
In the work, a cellist performs for extended durations (~2 hours) while their bow-hand is attached to a floor mounted linear motor which moves the performer's arm. That is, the highly trained performer gives up control of their bow-arm, delegating the control of the rhythmic bowing motion to a mechanical prosthesis.
The technological aid - used primarily in hospital beds to adjust patient's laying angle - is both a limiting crutch for the hyper-trained musician, and yet offers new opportunities for deep focus on the remaining musical parameters under the performer's control. Timbre, tone, and note-choice are magnified; a difference of millimeters, a slight change of pressure leads to dramatic changes.
Performing for long durations of meditative, repetitive practice, the performer re-interprets J.S. Bach’s cello suites according to a series of verbal and improvisational rules. Through this re-interpretation of classic cello repertoire - practiced for hours at ends by cellists worldwide - the performance questions notions of instrumentality, the expressiveness of both human and machine, the possibilities and difficulties of bionic hybrids.
Fredrik Gran: “To linger"
“To linger" is an installation for industrial robotic arm and speaker dome.
An industrial robotic arm surrounded by monitors is operating a highly directional microphone, creating dynamic feedback in a weightless choreography. The robot’s accuracy in timing and positioning allows for detailed control of the feedback behavior and its transformations, as well as the possibility to recreate, relocate and modify these sonorities. In addition to the directional frontal capture, the microphone also occasionally amplifies the low frequencies coming from the robot’s motors, creating a second voice in counterpoint to the feedback line.
Statement of collaboration
Having been approached by Audiorama to collaborate on a new double commission, we decided to approach the notion of the “re-mix” from a conceptual standpoint. That is, rather than re-mix musical works directly, we each chose an artistic thread in the other’s work to explore as a starting point, and develop in our own particular ways. As we have known each other for nearly a decade, we were curious to discover our own methods of working with the other’s artistic themes.
Elaborating on Basanta’s use of feedback in installation and performance over the last 5 years, Gran has developed a performance and installation using a robotic arm which controls microphone feedback; in contrast, Basanta has used Gran’s experiments with robotically controlled Cello as well as his compositions for string orchestra to develop a durational performance installation for cellist and electric motor.
Each work bears both the originality of its authour while retaining a trace of our counterpart, allowing a rethinking of the approaches taken in each other’s work as well as in our own.
Adam Basanta and Fredrik Gran
Adam Basanta’s work investigates listening and communication practices as active, participatory, multi-sensory activities which are distributed throughout a variety of human, material and technological agencies. Arranging common commercially available objects into delicately intertwined and seemingly performative choreographies, Basanta disrupts their technical and economic functions while revealing their material agencies and status as extended technological prostheses.
Fredrik Gran is an award-winning composer originally from the Vällingby suburb in Stockholm, Sweden. His music and research intersects electroacoustic and acoustic sound ideas, employing mechanic/robotic interactive units, amplified instruments and objects, computer-assisted transcription of his own electroacoustic music and purpose-made electronic models into the notated sphere of acoustic instruments. Fredrik’s work covers orchestral, chamber, vocal, electroacoustic and live electronic music, as well as music for installations, museums, dance, digital and visual art.