TOUCHES
Cristiana Vignatelli Bruni & Greta D. Facchinato
For the coming episode of Ephemere, the artists Cristiana Vignatelli Bruni and Greta Desiree Facchinato will collaborate for the second time, investigating the sense of touch in relation to the elusivity of sound. A chance to catch epidermic fluctuations through a real time improvisation.
“[Touch] is essentially, a sense of force. Our concepts of force would be very much less well developed were we unable to feel pressure, or to sense competing forces in which an equilibrium is established so that no movements are produced, yet in which the forces can still be felt.” ( E. H., Weber. E.H. Weber on the Tactile Senses , 1846, p.196)
[Bio Greta D. Facchinato]
The multidisciplinary artist Greta D. Facchinato develops works which are a combination between field recording, performance, installation and sculpture. Her practice is involved in researching listening as an active access to create new works and to relate to her audience. By coming from the field of dance she is particularly attentive to how we experience sounds. Therefore strong consideration is dedicated to the space and to the materials where the encounters happen, moreover to the position that the body will be invited or restricted to assume. Her works challenge the performance practice within the genesis of tensions in order to reconsider topics of intimacy and public.
[Bio Cristiana Vignatelli]
Cristiana Vignatelli is a visual artist and singer from Rome based in The Hague.As vocalist she has collaborated with jazz and electronic groups as well as being active in the musical improvisation field. As visual artist her research explores the experimental aspects of the processing of matter, always on the brink between formalism and its deconstruction. By introducing a sonic dimension in her works she investigates the link between sound and formal element and how this relationship can strengthen or change the perception of space.
Her sculptural works and sound installations have been shown in museums and galleries in Italy, The Netherlands and South Korea.
KINDER MECCANO
Formed in Manchester in late 2016, Kinder Meccano has quickly gained significant attention across the UK, EU and North America, performing shows in venues such as New York's National Sawdust, Montreal's Casa Del Popolo and Berlin's Rotor Salon and broadcast on NTS Radio, Berlin Community Radio, Reform Radio and BBC Radio 3’s Late Junction. KM are set to release their debut album in 2018.
"Theirs is a world of hidden machine music, amplified by homemade pick-ups, shining 16-bit threads of melody and zen-like process music, mingling performance and playfulness. Very much our sort of thing." The Skinny
"From delicately magical to thumpingly raucous.” Fluid Radio
"Magpies for anything that might produce a good sound.” Late Junction, BBC Radio 3
600 NOTES
Andrius Arutiunian & Marianna Maruyama
Between 1958 and 1965, the Dutch artist and composer Sedje Hémon kept a chronologically ordered (but not dated) record of 600 numbered notes tracing the development of her method of integrating visual art and music such that music could be “extracted” from visual artwork. Keeping these notes in such a methodical, controlled manner was a way of reclaiming agency within her artistic process and life.
600 Notes is a response to Hemon's text - it's a collection of 600 performed “notes”—actual written notes, musical notes, audio notes, and other plays on the meaning of the word. Between the two of us and the audience, we perform our notes with live and recorded sound, gesture, image, and voice. With every iteration of 600 Notes, a different set of notes comes to the surface.
[Bio Andrius Arutiunian]
Andrius Arutiunian is an Armenian-Lithuanian composer and sound artist. His music explores the socio-cultural aspects of specific histories through their sonic artefacts, often dealing with ideas of identity, sonic appropriation and thresholds of noise and sound. Arutiunian’s Armenian-Lithuanian background is also a strong influence on his work, compelling him to look into the layers of personal and shared histories through his music.
Based in The Hague, Arutiunian works, performs, and teaches within both contemporary music and contemporary art contexts. Recent commissions and performances include documenta 14 Parliament of Bodies (DE), Hidden Agreements (together with Modelo62, NL), Contemporary Art Centre (LT), Melos-Ethos (SL), deSingel (BE) and MAZE festival (NL). He often collaborates with various international ensembles (Modelo62, MAZE, Ensemble Klang, Nadar, Slagwerk Den Haag, Synaesthesis and others). Andrius Arutiunian’s works are published by Donemus (NL).
[Bio Marianna Maruyama]
Marianna Maruyama uses the body and voice as primary agents in her performance-based practice. Her work uses only a few elements—bodies and texts, mostly—but they engage a complex web of relations across geographies, histories, and languages. In her performances, publications, and audio recordings, Maruyama attends to the “before and after” moments of an event, extending the life of the creative encounters that inform her practice. One of her primary interests is translation as an artistic method. Recent and long-term works include: Hidden Agreements (with Andrius Arutiunian and Ensemble Modelo62); 600 Notes; Deep Body Massage; How Language Moves; Il Milione; and the workshops How to Lose Your Voice. In 2013, she published Three Movements, an artist’s book dealing with the negotiation of a globally shared life after the nuclear disaster in Fukushima. Following an extensive working period in Japan, Maruyama moved to the Netherlands in 2012, obtained her MA degree from the Dutch Art Institute (where she now tutors in the Master of Art Praxis program), and is an artist-researcher at the invitation of the Sedje Hémon Foundation. Based in The Hague since 2016, she performs in both contemporary art and music contexts.