Sixth Day

Seminar – Masterclass – Concert

Seminar – Masterclass – Concert

25 February 2021

Live Events

Composer Portrait (1)

Johannes Schöllhorn, composer and professor of composition at the Musikhochschule Freiburg, is this year’s guest of the Tehran International Electronic Music festival. The two-day seminar allows us to get to know his music, aesthetics and ideas with him.
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25th and 26th February 2021. 13:00, Tehran Time

Pass code: 093338

Masterclass With Reza Korourian Awards Winners​

Masterclass Composition with selected composers of Reza Korourian Awards 2020
Sara Abazari
Dimitri Papageorgiou
Thursday 25 February 2021. 16:00, Tehran Time

Pass code will be sent to registered participants.

Parham Izadyar and Ali Balighi

Electronic Music and Programming
Parham Izadyar and Ali Balighi
Live on Instagram
Thursday 25 February 2021. 22:30, Tehran Time

Daily Report

A Short Report on the Past and Upcoming Events

Introduction

You can find this piece (Glouded Dusk by Anahita Abbasi) on day 4 among IFCA’s compositions.

Concert (Curated by Dimitri Papageorgiou)

NITIDO (2008/2010)

An exercise, in two parts, on the experience of the “not scalable” of the clearness.
In italian language this sentence means:
Un esercizio, in due parti, sull’esperienza della “ingraduabilità” del nitore.
The italian term ingraduabilità can be explained in this way: the difficulty in grading the Clarity (clearness, vividness). Thinking of Francis Bacon.

Federico Costanza

Biography

Federico Costanza is composer and sound artist/maker. He has been graduated in Piano, in Composition and in Electronic Music (with Alvise Vidolin) at the Music Conservatory of Venice. He is working on some projects around the amplified toy piano, and the focus is the development of the relation between the instrument and the figure of the “composer/performer/maker”. His musical and spatial research of sound is conceived as a continuous experimentation that does not allow an axiom or an opportunity and are manifested both in his electronic works or in his purely acoustic/instrumental writing.

http://federicocostanza.wix.com/home
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Railroading in the East

About the Film (by Thomas Edison (1897 – 1906))

Thomas Edison was the inventor of the Kinetograph and the  Kinetoscope. This silent motion picture which consists of various  recordings of American steam Trains throughout the country , shows Edisonʼs early experimentations with motion pictures recording techniques.

About the Music

All sounds heard in this piece are recorded from the Tbilisi Metro in Georgia Republic (2015) , from the instant of entering the station until the moment of boarding the Train and the journey between two stations while onboard. The recordings were then sampled , Processed and used as the material in my A/V composition

Arshia Samsaminia

Biography

Arshia Samsaminia (*1989 Tehran, Iran) studied contemporary composition/improvisation at Sibelius Academy of Music in Finland, University of Gothenburg in Sweden, UDK University of Arts in Berlin, Estonian Academy of Music and Theatre and Tbilisi State Music Conservatory under the supervision of the composers such as Helena Tulve, Malin Bång, Manolis Vlitakis, Toivo Tulev, Maka Virsalaze and etc. and the improvisors such as Anto Pett (Estonian Academy of Music) Raoul Björkenheim (Sibelius Academy) and Reso Kiknadze (Tbilisi State Conservatoire). He is a current Ph.D. candidate at Aristotle University of Thessaloniki in Greece under the supervision of Prof. Dimitri Papageorgiou and Prof. Caspar Johannes Walter (University of Sciences and Arts in Basel) in Composition. Recently, he awarded a full scholarship as a trained composer at Ticino International Young Composers Academy in Switzerland. He is one of the finalists of the Jonathan Harvey Scholarship 2020 at Huddersfield University.
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Δ-topia (2020)

Δtopia: the place, or ‘topos’, where differences, deviations, displacements, rates of change, and distances between other places reside. “Δ”, in mathematics, is referred to as the difference operator.The principle of displacement was discovered by Archimedes in antiquity, where the submersion of objects in a container filled with water would cause the level to rise, thus providing a way to measure their volume. Before that discovery, the shape of all but the simplest real-world objects was simply a form, a strictly qualitative set of characteristics. The principle allowed something measurable to be said about the object, thus allowing a determination of certain attributes, like density and material.

Philosophy and aesthetics have made great strides since that era, but the principe still holds on many levels: the topos (or place) of a creative act is an important contextual reference, whether it

Die Wolke art group2 από 3 refers to actual geography, the sense of place, or even abstractions, and can be used in the sense of origin or destination, memory or imagination, evocation of experience, and more.

Δtopia  (pronounced Delta-topia) is a contemporary dance and sonic arts performance that uses sensor interfaces to facilitate the electronic interaction between movement and sound, by measuring certain attributes of motion in realtime. The sonic material originates from interviews of artists of different backgrounds, focusing on questions on the topics of displacement, place, and distance. On stage, the motion data is used to modulate, resequence, or otherwise distort them. The resulting displacements, perceived on a semantic (textual) and aural level simutaneously, create the tensions, densities, and perceptual abstractions, around which a time-based performance piece is constructed that takes no specific thematic position at all: it is the result of the ebbs and flows of information through its process.

Δtopia, made for the Buffer Fringe 20-21 festival, Nicosia, Cyprus, is the latest in a series of pieces by Die Wolke art group that explore the applications of technology in contemporary dance and the performing arts in general, following Trajectory of an Idea and Stream: synergy meeting vols. 1 & 2, supported by the Greek Ministry of Culture and Sports and the Culture Secretariat of the North Rhine-Westphallia state of Germany (NRW Kultursekretariat) respectively.

Die Wolke Art Group

Biography

Die Wolke Art Group is a non-profit organisation for the performing arts and associated technologies, based in Thessaloniki since 2009. Its chief aim is the research and realisation of contemporary dance and interdisciplinary original works, as well as the support of local artistic activity, through events and collaborations. Die Wolke is particularly known for its use of technology, original music, use of surround sound, and its close collaborations with artists, composers, and performers. The group has produced a number of original works, as well as a dance film series - Imago - that has received a multitude of awards. It organises two annual international festivals: Unit Motives, a solo choreography and conteporary music event, and Thessaloniki Cinedance International, a videodance festival. It supports the operation of the independent art space Vitruvian Thing. die-wolke.org
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C::A::O::S::M::O (2020)

Performance with the use of media, network platforms, electroacoustic compositions, video compositions, instrumental ensembles, performative acts. In various places between Venice and Siena. By and with HYPERSONIC WEB INTRUDERS (a collective team composed by some students of the Workshop of contemporary practices and writings, the teachers Eleonora Costanza and Federico Costanza and invited guests Carlo Siega and Gianangelo Bolzonello)

CAOSMO is an attempt of stream art, a performative and artistic construction through limiting platforms and systems, rigid powers but generators of possibilities. The concept of Chaosmosis alludes to the impending Chaos and the prospect of an osmotic evolution of Chaos. The plane of Chaosmosis is the continuous interchange between cosmic breathing and singularity refrains.

Music is the vibrational search for a possible conspiracy that goes beyond the noise of the world, that recomposes fragments of noise into a sound capable of interpreting human intention in a conscious vibration of acoustic matter.

In the spasm the sound collapses into noise, into a tangle of unheard voices. In Chaosmosis, on the contrary, the noise is recomposed within a happy rhythm of vibration.  (taken from Respirare di Franco Bifo Berardi, 2019)  CAOSMO is therefore a territory of artistic creation that we have generated.

Hypersonic Web Intruders (instruments, electronics, voices, thoughts, glitch video&sound, etc.) Mattia Amato, Gioia Anichini, Aurora Arcudi, Leonardo Balucani, Giorgio Barni, Matteo Bencivenga, Leonardo Binazzi, Camilla Cantara, Eleonora Costanza, Federico Costanza, Cecilia Cuglitore, Marco Farruggia, Elena Feliciello, Niccolò Gelli, Cosimo Gragnoli, Maria Novella Menicacci, Matteo Prandini, Sara Romagnoli, Tommaso Tappeti, Clelia Venturi.With special guests: Carlo Siega (electric guitar) and Gianangelo Bolzonello (rawdata & glitch sounds).Project by Eleonora Costanza

Technical support and streaming direction from Siena: Francesco GrassiProduction by Hypersonic Web Intruders, Conservatory I.S.S.M. “R. Franci” di Siena 

Federico Costanza

Biography

Federico Costanza is composer and sound artist/maker. He has been graduated in Piano, in Composition and in Electronic Music (with Alvise Vidolin) at the Music Conservatory of Venice. He is working on some projects around the amplified toy piano, and the focus is the development of the relation between the instrument and the figure of the “composer/performer/maker”. His musical and spatial research of sound is conceived as a continuous experimentation that does not allow an axiom or an opportunity and are manifested both in his electronic works or in his purely acoustic/instrumental writing.

http://federicocostanza.wix.com/home
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Lapsus memoriae III

Light and darkness. Life and death. Beginning and ending… such is the dialectical polarity upon which our two-dimensional human existence depend, a condition which nature views in scornful neutrality.

Lee Yi Wei Angus

Biography

Born in then British–Hong Kong, Angus Lee (b.1992) is a composer-performer; he has been a member of the Hong Kong New Music Ensemble since 2016, as well as having directed his own chamber music collective, NOVA Ensemble, since 2018. Lee has taken part in numerous international composition academies, studying with Mark Andre, Toshio Hosokawa, Philippe Manoury and Yann Robin at, among others, the Académie Musica-Philippe Manoury (FR), ilSuono Contemporary Music Week (IT), impuls acdemy (AT), and the Ticino Musica International Academy for Young Composers (CH). Lee’s music has been performed by Ensemble Modern, Ensemble Multilatérale, ensemble Suono Giallo, Hong Kong New Music Ensemble, and Trio Accanto, at the likes of Ciclo de Música Contemporánea de Oviedo (ES), CYCLE Music and Art Festival (IS), Festival Music Strasbourg (FR), Festival Ticino Musica (CH).

https://www.instagram.com/lywangus/?hl=en
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s. (2020)

is an audio work that was made through transcription of field recordings to digital sound events. One specific and suspicious construction sight in the south of Belgrade was recorded and used as a model  for creation of an audio work. Every sound event caught in the recording of the suspicious construction sight had to be turned into a similar digital sound information of this piece.

Maja Bosnic

Biography

Maja Bosnić (1985, Serbia) is a composer and performer from Belgrade. In her music, she re-questions and examines accustomed phenomena in the process of music-making, exposes them to concepts of every-day life (habits of the society, modern trends, pop culture, science, etc.) then resets them in compositions that sometimes include audience action in the performance. Bosnić is drawn to impossible missions, absurd solutions, limited material, playfulness, uncertain outcomes, audience participation, treating instruments as ready-made objects of expression, and treating real-life objects as music instruments. She obtained a Ph.D. degree in music composition at Goldsmiths, University of London (UK), supervised by prof. Roger Redgate. She writes pieces for solo, chamber, ensemble, and orchestra performances, as well as, projects for electronics, multimedia installations, and interactive settings.
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Vessels (2020)

In Vessels (160935 km) various kinds of continuous flows of different speeds, densities, and textures, are perplexed. The work was inspired by a fusion of two ideas of continuous flows that define us: imagining blood cells running through vessels in a body, as well as a vehicle driving on the highway, which is why the title could refer to both concepts and almost looks like a road sign. The average length of blood vessels in an adult human body is about 100,000 miles, which is equal to 160934.4 kilometers, but I decided to round it up to 160935 km for the title. The piece was originally commissioned by Stef Van Vynckt for amplified harp, video, and smartphone, but during its making, it also resulted in the creation of this version of a solo audio work that could optionally be accompanied a video.

Maja Bosnic

Biography

Maja Bosnić (1985, Serbia) is a composer and performer from Belgrade. In her music, she re-questions and examines accustomed phenomena in the process of music-making, exposes them to concepts of every-day life (habits of the society, modern trends, pop culture, science, etc.) then resets them in compositions that sometimes include audience action in the performance. Bosnić is drawn to impossible missions, absurd solutions, limited material, playfulness, uncertain outcomes, audience participation, treating instruments as ready-made objects of expression, and treating real-life objects as music instruments. She obtained a Ph.D. degree in music composition at Goldsmiths, University of London (UK), supervised by prof. Roger Redgate. She writes pieces for solo, chamber, ensemble, and orchestra performances, as well as, projects for electronics, multimedia installations, and interactive settings.
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Luminescence (2020)

Luminescence is a spontaneous emission of light by a substance not resulting from heat. There are a lot of ways to create it, but what makes a difference is the way you will use it. You may use it to light up the darkness, or you could use it to bring hidden figures in life. Changing one condition may reveal a new kind of sensation. You may end up playing with conditions, expanding your horizons, and tricking the senses.

Marianna Chalampalaki

Biography

Marianna was born in 1996 in Heraklion, Crete. Since 2014 she has been studying music at the Aristotle University of Thessaloniki, with a major in composition. She has been studied classical guitar, while she is continuing her studies in the horn. She has been a member of the Children and Youth Choir of Heraklion Municipality and the Ampelokipoi Menemen Philharmonic, through which she has worked with international conductors Thierry Abramovici, Douglas Bostock and the trumpet player Sergei Nakariakov. In May 2018 she made her compositional debut, with a play performed by Canadian pianist Jana Luksts. Her works have also been performed by Panagiotis Andeoglou, Dafni Kotsiani as well as by the Thessaloniki Municipal Orchestra. Her last performance was in November, at the Contemporary Music Workshop held on by Thessaloniki Concert Hall.
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Vitreo

A progression of chords articulates the structure of the composition. During the development of this progression, the essential shapes of the sounds change, resonating like glassy materials of different consistencies. The rhythm alternates confused moments with moments of stasis, reaching a periodic and obsessive beat, which becomes the backbone of the piece, around which the sound evolution develops.

Matteo Tundo

Biography

Matteo Tundo is an Italian composer of acoustic and electroacoustic music. His primary interest in composition is the perception and cognition of the sound event, the neural mechanisms that lead to the signification of sound. After his first guitar studies, he devoted himself totally to composition and new technologies, studying at the conservatories of Florence, Parma and Lugano. He participated at the composition course with Salvatore Sciarrino at the Accademia Chigiana in 2020. His compositions have been awarded or recommended in international competitions like International Competition Academia Musica (Vienna, Austria), International Composition Competition “Città di Barletta”, Alvarez Chamber Orchestra Composition Competition. Since 2019 he has been teaching Music Informatics at Italian music conservatories.
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Wassermann

Wassermann presents extensive morphing of source materials. Most prominent are the extended voice samples that are stretched and distorted often beyond recognition. Henry Miller in Big Sur and the Oranges of Hieronymous Bosch provides a description of transformation that was similar to the spirit of Wassermann “Every creature, every object, every place has its own ambience which is unique. But worlds, objects, creatures, places, all have this in common: they are ever in a state of transmutation. The supreme delight of dream lies in this transformative power. When the personality liquefies, so to speak, as it does so deliciously in a dream, and the very nature of one’s being is alchemized … he who awakens from his dream knows beyond all doubt that the imperishable soul which he calls his own is but a vehicle of this eternal element of change”. In Wassermann a program designed to achieve a goal efficiently, efficiently evokes a response – in other words, with predictable results. A bit grumpy because of the southern California pop culture, the water-man enticed a program to become inefficient and messy in order to drown its beauty. Constructively, Wassermann presents a constellation of correspondences between a source and its output. This galaxy consists of planets which maintain a variety of associations with an original to those which retain no perceptible link. The voice is of Ute Wassermann. The work was realized at Southwestern University in San Diego.

Michael Edward Edgerton

Biography

Michael Edgerton is an active composer with performances around the world. His compositions have received international prizes and recognition. Since the mid-90s Michael’s compositions have been informed by scientific models and metaphors that stem from his studies into voice science. Since then, he’s built a body of work that explores the integration of nonlinear concepts applied to sound production and compositional constraints. While the methods and systems he develops are often influenced by science, it is his intuition – his ear that gives birth to the music. As composer, researcher and performer, he has presented new developments in the search for the limits of sound production. Notably, he has systematically investigated extra-normal singing using the tools of voice science and psychoacoustics and is the author of THE 21St CENTURY VOICE (Rowman & Littlefield). Michael holds a D.M.A. in Composition from the University of Illinois and is Professor of Artistic Research at Lund University/the Malmö Academy of Music.
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Fata Morgana

Fata Morgana. A mirage seen during hot days in desert, land or sea, Fata Morgana distorts the objects on the horizon, often to such extent that they become completely unrecognizable. 125 whistling tracks – single pitches within the range of about 3 octaves, covering 42 microtonal frequencies per octave – are juxtaposed in varied combinations and durations. The sustained microtonal pitches that create beating frequencies, the unstable nature of whistling and the rough hue of the recordings, give the overall impression of a static but internally trembling object, similar to the Fata Morgana illusion.

Michalis Paraskakis

Biography

Michalis was born in Athens in 1980 and after studying and working as graphic designer, he quit to study composition. Starting with Costas Varotsis in Athens, he moved to the Royal Conservatory of The Hague, with Yannis Kyriakides, Martijn Padding, Cornelis de Bondt and Diderik Wagenaar. At the same time he studied classical singing with Manon Heynes and medieval chant and polyphony with Rebecca Stewart. He also had masterclasses with Christian Wolff, Klaus Lang and Mark Andre.  His work “Kama” premiered in Impuls Festival 2017, performed by Klangforum Wien and Enno Poppe, after winning the Impuls Composition Competition. He has collaborated with musicians such as the ASKO/Schönberg Ensemble, DissonArt Ensemble, Nieuw Ensemble, Momenta Queartet, Slagwerk Den Haag, Klang Ensemble, Bas Wiegers, Thanasis Deligiannis, Nikos Ioakeim, Nikos Galenianos and Katerina Konstantourou. His music has been performed in venues or Festivals like the Muziekgebouw aan ‘t Ij Amsterdam [NL], Athens Concert Hall [GR], Mata Festival NYC [USA], Gaudeamus Music Week [NL], Onassis Stegi [GR], Greek National Opera [GR], Korzo Theatre The Hague [NL] etc. He is artistic co-director and founder of the new music ensemble TETTTIX. The ensemble was founded in 2017 in Athens, and co-founder of the music-theater-dance team RopisCo. Michalis has been working on his PhD thesis since 2019 at the Aristotle University of Thessaloniki [GR], with Dimitri Papageorgiou and Klaus Lang.
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Dédales

Dédales [Mazes] is freely inspired by music composed for Les familiers du labyrinthe (2005) [Regulars of the Labyrinth], choreographed by Michèle Noiret for the Paris Opera. Significant structural changes have been made to the original work and new elements have been integrated. Every now and again, the piece sets up the notion of a strange, undefinable presence by means of ‘coloured silences’; sonic chiaroscuro-like moments which open a door to the unknown. At times, very distinct and rhythmic sonic structures cause the hostile, mechanical and unpredictable universe of the labyrinth to materialize, in whose machinery the performers’ bodies are lost and found again. Emphasis is placed now on its inescapable permanence, now on its kinetic vivacity. This machine, however, is not only external — it inhabits the souls and bodies of the performers and also reflects them, as only they can perceive and imagine it. It is therefore an echo of the apparent fragility of men and women, whose sonic presence is symbolically represented by breath and vocal sounds. These sounds appear throughout the composition in diverse forms, their multiple transformations retaining the imprint of their original source. Dédales also explores the juxtaposition of distinct spaces and sounds that appear, disappear, and react to one another, as well as unusual combinations, disturbances and accidents. This kind of superposition is made possible, without compromising listening transparency, through extensive exploration of the possibilities offered by multichannel diffusion. The different strata of sonic material are subjected to distinct types of temporal distortion, fragmentation and metamorphosis — disrupting and altering our perception of time and space.

Todor Todoroff

Biography

He is co-founder and president of FeBeME (Belgian Federation of Electroacoustic Music) and ARTeM (Art, Research, Technology & Music in Brussels), founding member of the Forum des Compositeurs and was Belgian representative of the European COST actions "Digital Audio Effects" (DAFX, 1997-2001) and "Gesture Controlled Audio Systems" (CONGAS, 2003-2007). He developed gesture-controlled virtual instruments for acousmatic music and for live electroacoustic concerts, from improvised music with musicians like Jean-Paul Dessy, Eric Sleichim or Stevie Wishart, to Margie Medlin’s Quartet project or his eVanescens project, with interactive video by Laura Colmenares Guerra, where cellist Sigrid Vandenbogaerde wears custom-made sensors that influence both the sound and the image. Fascinated by the dialogue between electroacoustic music and other art forms, he also composes music for film, video, dance, theatre and sound installation. His collaboration with Belgian choreographer Michèle Noiret started in 1998 and extended through 17 shows to this day. He collaborated on interactive installations, videos and movies with artists and filmmakers Marie-Jo Lafontaine, FOAM, Fred Vaillant, Mario Benjamin, Laura Colmenares Guerra, Isabelle Nouzha and Alexander Derben.
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Uncomfortable Possibilities of Seemless Unions (2012) 

This is a wacky desert: a fallacious visual interior that converges to an uncanny anthem, to a dazzling unification, to an unbearable reinforcement of straight virtualities.

Clicking, hitting, resonating through abandoned shells under the sky, suspended there like a wormhole, most likely, redundant like an amber.

In there, I am scanning through stimulations and making the most out of them,

Evanescing through its derived and mostly guessed beauty.

(Tolga Tuzun, from Whispering Desert 2012) 

Tolga Tüzün

Biography

Tolga Tüzün (Ph.D.) is an electro-acoustic music composer and a performer. He started taking classical piano lessons at the age of eleven. After receiving his BA in Political Sciences, he studied composition at the Istanbul Technical University, Center for Advanced Music Studies. His compositions have been performed in various cities throughout US and Europe.  During his studies for a Ph.D. in Music Composition at CUNY Graduate Center, he studied composition with David Olan and Tristan Murail in New York, and with Philippe Leroux in Paris. He participated in master classes with Roger Reynolds, Rand Steiger, Edmund Campion, Mara Helmuth, Horacio Vaggione, Hughes Dufourt, Joshua Fineberg and Brian Ferneyhough. He has given lectures on music theory and electro-acoustic music at international conferences.  Between 2003-2005 he taught harmony and composition at Brooklyn College Conservatory of Music.  Tolga Tüzün participated in the composition and computer music course at IRCAM during 2005-2006. Along with his compositional output, he also performs within experimental, jazz and electronic scenes, solo or with other artists. His collaborations include Oğuz Büyükberber, Korhan Erel, Nora Krahl, Ned Mc Gowan, Bob Ostertag, Frank Gratkowski, Nicolas Crosse, Eric-Maria Couturier, Sam Briton, Anıl Eraslan to name a few. Tolga Tüzün is a full professor at Istanbul Bilgi University where he teaches composition and electronic music and serves as Head of Department since 2010.
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Electronic Study

The main aspect while creating this piece was focusing on the sound itself and its manipulation using the time dilations and granular synthesis. This “microscopic” perception of chosen sound samples creates sonic world of this composition. There is no specific narrative behind the title Electronic Study but a personal journey of composing an acoustic piece inspired by the sounds captured and recorded by the space probe Juno and then sampling fragments of that composition that will become sound objects for creating a new electronic piece. Electronic Study represents a full linear transformation that was created from the initial sound that inspired me to begin with the composition itself. It mirrors the full circle of the medium going from electronic to acoustic to electronic surrounding again.

Vladimir Korac

Biography

Vladimir Korać (1986, Serbia) is a composer of acoustic and electro-acoustic music. He graduated from the Department of Composition at the Faculty of Music in Belgrade, in the class of Prof. Srdjan Hofman and completed his Ph.D. studies at the same department in the class of Prof. Zoran Erić. Vladimir Korać is currently employed as a teaching assistant at the same institution. Works by Korać have been performed in Serbia, Bosnia and Herzegovina, Croatia, Austria, Switzerland, Spain, Greece, Slovakia and at festivals such as ISA Prague-Vienna-Budapest, Izlog suvremenog zvuka, Vienna International Saxfest, International Review of Composers, Sarajevo Sonic Studio and World Saxophone Congress. Korać has attended a number of master-classes, including International Summer Academy Prague-Vienna-Budapest, Internationale Ferienkurse für Neue Musik Darmstadt, Impuls. 10th International Ensemble and Composers Academy for Contemporary Music, Delian Academy for New Music, and he worked with composers Philippe Manoury, Georges Aperghis, Mark Andre, Enno Poppe, Simon Steen-Andersen, Richard Barrett, Raphaël Cendo etc.
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Time Resurrected

The unrepeatable time of a human life is fascinating in its ambiguity and as such it becomes the subject matter for the infinite number of my artistic pieces. This conundrum was first addressed in my Master Thesis entitled Spatial Relationships within an Artwork, which was introduced as an ambient exhibition at the Museum of Contemporary Art of Vojvodina in 2011. The past times living in each human being, broadening and growing within, represent the essence of my art. I focused my creative energy to the resurrection of past moments, which deliver an inner sensation of timelessness, something virtually eternal. I draw my artistic force from the refusal to forget and the ability to imagine the manifold concurrence of destinies. The omnipresence of the endeavor to understand dying, all those lives representing in fact concealed deaths are a drive to my creativity. The existing life is only possible due to our mind’s ability to forget and its faultiness. My imaginary life is a creation of live memories storing the entirety of the torments I endured. My artworks could be categorized as a schematic expression of my inner life and all of its dramatic turbulences. They thusly become a holy space, a grail where I strive to establish a relationship with the people I tragically lost. Tragedy teaches me how to conceive my own freedom and act on that basis.

Vladimir Korac

Biography

Vladimir Korać (1986, Serbia) is a composer of acoustic and electro-acoustic music. He graduated from the Department of Composition at the Faculty of Music in Belgrade, in the class of Prof. Srdjan Hofman and completed his Ph.D. studies at the same department in the class of Prof. Zoran Erić. Vladimir Korać is currently employed as a teaching assistant at the same institution. Works by Korać have been performed in Serbia, Bosnia and Herzegovina, Croatia, Austria, Switzerland, Spain, Greece, Slovakia and at festivals such as ISA Prague-Vienna-Budapest, Izlog suvremenog zvuka, Vienna International Saxfest, International Review of Composers, Sarajevo Sonic Studio and World Saxophone Congress. Korać has attended a number of master-classes, including International Summer Academy Prague-Vienna-Budapest, Internationale Ferienkurse für Neue Musik Darmstadt, Impuls. 10th International Ensemble and Composers Academy for Contemporary Music, Delian Academy for New Music, and he worked with composers Philippe Manoury, Georges Aperghis, Mark Andre, Enno Poppe, Simon Steen-Andersen, Richard Barrett, Raphaël Cendo etc.
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Pop (2020)

Pop features moments of pop music passing by the mind of a listener who tries to resist in pop culture. It was developed on Ableton Live exclusively. The automated chains realized a fast passing-through from a number of sounds which have one single sound sample as route but also transform due to fast changes in FX plugins. This super-fast juxtaposition of sounds resembles today’s music environment which is promoted through modern streaming platforms and apps offering of course, easy access to almost all music genre, bombarding our mind however with music we do not like and suggesting music collections according to what we have listened before.

Manolis Ekmektsoglou

Biography

Manolis Ekmektsoglou studied composition in the Aristotle University of Thessaloniki, Greece with Dimitri Papageorgiou and in the University of York (PhD) with Thomas Simaku. He also spend a year in Hannover studying acoustic and electronic music (Hochschule für Musik, Theater und Medien Hannover), with Professors Ming Tsao, Gordon Williamson and Joachim Heintz. He is currently Assistant Professor of Acoustic and Acousmatic composition in the Technical University of Istanbul, Department of Sonic Arts, Center for advanced study in Music (M.I.A.M.). Manolis participated in the “Labor Beethoven 2017-2020” project, funded and organized by the Berlin Academy of the Arts. The project comprised participants from Basel, Tel-Aviv and Thessaloniki. This intensive 4-year period included commissions and performances from various ensembles in Germany and Switzerland and culminated in a final performance that took place in Berlin in 12-13/04/2020. For more info enter here: https://www.labor-beethoven-2020.de/de. His pieces have been performed in Greece (DissonArt ensemble, New Hellenic Quartet, Off Borders Festival for electronic music in Thessaloniki, Music in Motion festival for dance and music, Athens), Germany (Neues Vocalsolisten Stuttgart, Earth, Sky, Space festival, Hitzacker Musiktage 2018), Italy (Soundiff project), Hong Kong (AMGA ensemble), Spain (ensemble Regards Mixtur festival 2016), Austria (NAMES ensemble, Synaesthesis ensemble, Crossroads festival), Iran (International Electronic Music Festival, Reza Korourian Awards 2017), and the UK (Kinetic nights festival, Manchester, Andersson – Gallois – De Saram trio, Diotima Quartet, Psappha ensemble).