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.
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.
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.
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.
Das Kompositionsstudio des ICST bietet drei selbständige Abhörsysteme: eine 3D-Anordnung von 17 Lautsprechern (5+8+4) für Ambisonics und Multikanal, ein 5.1 System sowie Stereo-Monitoring. Ein Mac Pro steht mit vielfältiger Software wie Sequenzern, HD-Recording- und Klangbearbeitungstools sowie objektorientierten Programmen wie MaxMSP/Jitter oder PD bereit. Das Studio ist speziell für die Erstellung von Ambisonic-/Surround-Musik eingerichtet. Das Kompositionsstudio des ICST verbindet neueste Technologien mit musikalischer Praxis und konzentriert sich auf die praktische Umsetzung von Aufgabenstellungen aus der Klangforschung, der Computermusik und der Medienkunst. Das Studio will die Entstehung neuer Werke der Elektronischen Musik, der Klang- und Medienkunst fördern.
(c) Judith Winterhager
Residenzen
Das Residency-Programm des ICST Artists in Residence at ICST bietet KünstlerInnen die Möglichkeit, im Rahmen eines Aufenthalts an der ZHdK ein eigenes künstlerisches Projektvorhaben zu realisieren und dabei von der wissenschaftlichen und künstlerischen Forschung am ICST zu profitieren. Das Programm umfasst Residenzen in unterschiedlichen Schwerpunktbereichen des ICST – aktuell sind dies: Spatial Sound Synthesis, Tempo Polyphony, Moving Loudspeakers und Immersive Arts. Der Call für das Programm wird jeweils im Juni publiziert.
Resident*innen
2022
Cathy Lane
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
Olga Koksharova
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.
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.
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.
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.
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.
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.
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.
In June 2018, 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).