Theater, Performance und Tanz in Hamburg - Kampnagel

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Festival für Immaterielle Kunst

 
  • © Festival für immaterielle Kunst
  • Anna Natt
    © Anna Natt
  • Janneke van der Putten
    © Gabriëlle Barros Martins
  • Jessi Marino
    © Marc Perlish
  • © THORD1S
  • Viola Yip
    © Viola Yip
  • © Festival für immaterielle Kunst
Theory
  • Sat, 11.09.2021 19:30
    Kampnagel – P1
  • Sun, 12.09.2021 from 10:30
    Kampnagel – P1
  • Sun, 12.09.2021 13:00
    Kampnagel – P1

Where do contemporary music and performance cross lines? Who does this and why? Where does interpretation ‘stop’ and performance ‘start’? What are musical attempts to lean into the performance art? How does performance art incorporate and use experimental music for their expressiveness? One of the main differences between contemporary music and performance art is the predetermination of things. Performance would generally be open to things happening during the happening, having an open end, while new music and composition will focus on predefine everything as far as possible. If sound is chosen to be part of the performance art-experiment it will not be composed, not previously, and not spontaneously. The aesthetic quality of the music chosen for the performance can be more experimental or more traditional, depending also on the subject and the desired expression. For half a century contemporary music has dealt with performative aspects as one topic in the composition of western classical music. In music theatre it even has been part of it ever since. But it seems that especially in the very recent years this topic has gained a very special part in the new music concerts. This might be caused by two reasons: The more and more omnipresent visual aspect of everything we are confronted with. Presentation is key, and often is connected to a special, untraditional setup and use of the physical body disconnected to the performance on the instrument. And secondly: the search for new terms of the formerly only called ‘interpret’, labels which determine himher from being a ‘simple’ executer to also being a creative person himherself, however far this activity might reach. 

Saturday, 11.9.2021
Concerts (20 Euros / conc. 18 Euros)

19:30
Janneke von der Putten – "Warm-Up". Starting performance with the audience
Jessie Marino (USA/Berlin) – G.I.S.S. in memoriam Adam Marks
Anna Natt (Spanien/Berlin – URO
Viola Yip (Hongkong/USA) – BULBBLE
THORD1S (Hamburg) – One-person-band

Sunday, 12.9.2021
„How to“ – Workshops and discussions: meetings and exchange between artists

10:30-12:30 (12 Euros)
Workshop "How to 'Music'" with Jessie Marino
Workshop "How to 'Performance'" with Issiaka Moussa

We can find performance artists in art universities and galleries, we find experimental musicians in music universities and concert halls. They have hardly any points of contact, and can upskill in the respectively other field only by high personal engagement. FIK wants to accelerate this a little, by providing the opportunity to peek into the other domain, into ways of thinking and working, get an idea of the used tools, but also to ask own questions. Where can I learn what, how can I built up a network? How does a musician approach sth., how a performance artist? How do they structurize, think, which tools do they use and how, where can I learn that or find more info? Dance, body, instrument, electronic, pedals, computer, props,, costume, make-up, space, light, colours, levels, video, shooting,  interaction, research, backrounds, goals, collegues, network, works by others, citations, time, location, audience etcetc. 

13:00-15:00 (Free of charge)
Janneke van der Putten: Voice Skin
Afterwards: Discussions


Supported by Musikstadtfonds and Neustart Kultur Musikfonds / Die Beauftragten der Bunderegierung für Kultur und Medien.


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