LOOS Foundation

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RCC concertseries at Studio LOOS
Curators/Producers: Stefano Sgarbi, Ivan Babinchak, Cornelis de Bondt

XXVI   *   XXVII   *   XXVIII   *   XXIX   *   XXX   *   XXXI   *   XXXII   *   XXXIII

2018.01.13


XXVI

Happy New Year! Now that everybody is back to The Hague filled with motivation and doubt, love and contempt towards the upcoming year, we warmly welcome you to the very first Research Concert of 2018! We offer you two acts by Tomer Baruch and Abel Fazekas and an unlimited supply of champagne.

Tomer Baruch - Feed/me

Feed/me is a performance and an installation in which the Facebook news feed is transformed into a playable musical instrument. Using algorithmic means the sound of the incoming videos is transformed and manipulated according to the actions of the user in the news feed as well as according to the notifications they receive, thus creating a recontextualised social network experience in which everyday offhand interactions change their meaning. The audience is welcome to participate either by interacting with the performer’s using their mobile devices or by browsing the modified news feed themselves.

Feed/me is developed in collaboration with Andrea Vogrig and was supported by the Digital Culture Grant of the Stimularingsfond and by Laboratory Spokane.

++ two short performances by Abel Fazekas

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2018.02.03


rcc5

one concert - two parts - three artist - four works - five ears - six six six

David Azaglo - Examining groove in African music (focusing on traditional percussion music from Ghana).

It is going to be an experiment with musicians to examine the results (in the light of African groove) produced from interpreting some African rhythms from different styles of notation. Focus will be on which notation gets close to the result produced by the African. “What grooves, and what doesn’t” will be a topic under discussion.

Abel Fazekas - a composition for the trio of Aurelie Lierman, Riccardo Margona and Abel Fazekas.

In most cases the musical language is not an active component of a given composition. It’s purpose is to set constraints on sonic, thematic and pragmatic layers in order to outline a coherent system - a language - within which the work can be revealed. It is rare to consider a harmonic language like of the western classical music, a format like the string quartet or simply an acoustic phenomenon like the harmonic series already a composition. These are regarded the fabric of the composition instead of being the composition itself similarly to the role of a language. It does not express by itself, but allows expression.

I am interested in constructing musical languages where the structure of the language functions as the sole means of expression inducing a situation where any kind of narrative can only happen on the structural level.

Domenic Jarlkaganova

A presentation on aural and visual structural superimposition and dissonance: Dichotic listening and the perception of multiple structures within a single work

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2018.03.03

XXVIII

At this month’s RCC, four artists will present how they are dealing with duality of Improvisation and Composition. The four presenters – Riccardo Marogna, Ábel Fazekas, Orestes Willemen and Lauge Dideriksen – will present their work in this field and then take part in a panel debate on the subject at the end.

Riccardo Marogna & Octopus Connection Redutch: The Day of The Tentacle. Strategies for Improvisers from Word Pieces to GraphoGrams

Octopus Connection Redutch:

Berk özdemir: electronics
Görkem Arikan: electronics
Annick Odom: double bass
Irene Ruiperez: flute
Julie Hasfjord: voice
Rob Shuttz: bass
Riccardo Marogna: saxophone

+YOU?
IF YOU WANT TO JOIN - bring your instrument

+ Panel discussion on Improvisation/Composition led by Lauge Dideriksen, Orestis Willemen, Ábel Fazekas

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2018.05.12

rcc2

*** THE RETURN OF THE STUDENTS WHO NEVER MOVED ON ***

two former students of the composition department will perform something they could've also performed 4 years ago:

Emil Tan Erten - Can I Free Improv Too?
Ivan Babinchak Renqvist - A performative lecture on the work of Henry Flynt

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2018.06.02

XXX

A festive RCC this Saturday 2nd of June!! With the 30th (!) edition since its creation as well as it being the last one before the summer holidays, we invite you for a special treat! After the presentations we will have a collective culinary improvisation! (info below).

Abel Fazekas - 'Unapologetically B A D music'
Gökay Atabek - 'Consumer electronics and powertools sequencer'
The world - Culinary Free Improvisation
This will involve everyone! A special dinner. No pre-determined menu. The food will be the result of the collective spontaneous creative effort.

3 rules to follow:
1) Each person brings 2 ingredients (rice, pasta, veggies, spices, oil, chocolate, honey, butter etc.).
2) Each person gets 3 minutes in the kitchen and do as they wish.
3) It is forbidden to discuss what's going on in the kitchen.
The dinner should be VEGETARIAN!!!!!!

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2018.10.20

XXXI

We're back! Reincarnate you Colonizer Cyborgs with us on the 20th of October, starting at 18:00 sharp! In the first RCC this season, we host 2 presentations:

Daniil Pilchen - écoute et répète
This is a piece for four speakers producing infrasonic waves in a range of 0-5Hz. Two of them produce sine waves, which one can not hear, but only see the motion of membranes, and the other two produce triangular waves, which are audible as short clicks at peaks of each period. Clicks and movements are in sync at the beginning, but eventually, they start to diverge to the point of complete independence closer to the end. I am interested in how different we perceive the very similar material visually and audibly, and also in tracing a way of how vision and hearing can be connected and how one can influence another.

Abel Fazekas - How to combat entrepreneurship
The effects of contemporary consumerist society on our human behaviour is a frequently studied topic across many fields. Consumerism on a very basic level is a social and economic order that encourages the fulfilment of often unconscious desires by consumption of material goods. This is done by setting up a symbolic link between the said desire and the product through advertisement, which leads to the consumption of the product, in pursuit of the desire itself. Values are increasingly measured in symbolic value instead of use or exchange values, as the focus is on psychic fulfilment instead of functionality. Not only our consumption habits are effected by this order, but our everyday behaviour as well. The 'Instagram couple' or the 'happy slapping' phenomena are prime examples of how certain activities (romantic relationships and aggression in these specific cases) are deprived of their intrinsic purpose and value, and are degraded to being means to generating momentary online recognition, that serves no pragmatic function, only symbolic value. Unfortunately this is not the least limited to cyberspace. Studies have shown that as early as children, we develop a narcissistic entrepreneur-like attitude towards the world (or as our Adorno called it, become the 'manipulative type'). Our actions, lifestyle choices and personalities are also increasingly symbolic, devoid of any further meaning other than their instrumental purpose. This puts into question the real motivations and nature behind gestures of our friends, families, loved and hated ones.

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2018.11.10

rcc8

In the 32nd edition of Revolutionary Crisis Center we have two presentations on the menu:

Mári Mákó - Dasein ` being there
A graphic score piece played by an ensemble with a guidance of conductor. The signs of the score will be drawn on the spot to mix the process of creation, along with challenging the commitment of being there all together in the moment. Research about composing while performing and questioning the mysticism on stage.

Ragnheiður "Erla" Björnsdóttir Seglskraut: Thoughts About Music And Language
Seglskraut explores the boundaries between music, language and visual art. The piece is an experiment on how to create a music-like experience through a book using words constructed with various techniques. The composition's main focus is the rhythm, phonetics and cadence of language - when logical understanding of it vanishes and moves aside for the feel of music. All drawings in the composition display the anatomy of the voice; empty pages represent silence and drawings transform into sounds. Later the material developed as an experimental improvisation for voice in poetry readings. Seglskraut will be presented as a voice sculpture at Ung Nordisk Musik festival in Pitea 2019.

Ragnheiður "Erla" Björnsdóttir is an Icelandic composer, poet and singer based in Reykjavík. She recently completed a masters degree in Creative Writing at the University of Iceland where the piece "Seglskraut” was her final project. Prior to this she graduated with a BA degree in composition under the guidance of Hróðmar I. Sigurbjörnsson at the Icelandic Academy of the Arts in 2016. Erla composes and writes for various platforms, her most recent projects include a film score for a new Icelandic film, music for the National Theatre in Iceland, a libretto for a children’s opera that will be premiered at Dark Music Days Festival 2019 as well as she is a regular performer at the Icelandic Poetry Brothel.

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2018.11.10

rcc8

We warmly invite you to the 33rd edition of the Redneck Cultural Criticism. We will feature 3 presentations, working in three different disciplines.

3 presentations * 3 disciplines * 3 speakers (L + R + _sub_) * 3 (+1) artists * 3 haircuts * 3 euros for 3 beers * 3rd arriving audience member is our lord * 3 bananas for the hungry * 3somes for the horny

Eric Kluitenberg - The Sound of Theory
What does theory sound like?
The sound of theory could be equated with the sound of the theorist’s voice - often largely untrained and not really set for the stage, failing, hampering, which might breathe some life and humanity into theory (even anti-humanistic, post- or transhuman theory!). But this does not tell us what the sound of theory as such is like, i.e. as an autonomous object, independent of its ‘author’. Perhaps it is better to address this question to a machine rather than a human - we might get a better answer. Then again, one might opt for another approach and turn it (the theory object) into a song - what would / could that sound like?
Well, let’s see..

Eric Kluitenberg is a theorist, writer, curator, and educator working at the intersection of culture, politics, media, and technology. He is the Editor in Chief of the Tactical Media Files online documentation platform for Tactical Media. He was a Research Fellow at the Institute of Network Cultures, Amsterdam, and teaches cultural and media theory at the Art Science Interfaculty and the Interactive / Media / Design program in The Hague.

Noise / Flowers Exploring the uncontrollable, exciting and beautiful sounds of the electric guitar in a musical way
The duo came together to explore some of the fascinating and exciting sounds inherent in the electric guitar that they were unable to explore in other contexts. The set up of electric guitar, through fx pedals and into one or several guitar amps is a delicate combination of not fully controllable parameters that change in subtle ways in different spaces - partly due to the acoustics of different room. Even different electricity supplies in different buildings can cause noise and colour the sound which travels through the aforementioned the electrical circuits, and the delicate combination of different controls that can almost never be set exactly the same way twice also has a big impact. What's more, sounds such as feedback, pedal hiss, alternative tunings, beating tones and non-equal-tempered chords that can result from these are again delicate and slightly out of control parameters in this context.

Instead of trying to tame these parameters and trying to replicate them in each performance the duo performs open improvised forms, searching to create compositionally-minded performances that allows these uncontrollable parameters to be used in at times an abrasive, yet attractive and sonically rich way.

Flowers/Ghosts is an improvising electric guitar duo based in den Haag. Consisting of Gonçalo Oliveira and James Alexandropoulos-McEwan. The duo draws from their backgrounds in jazz, contemporary classical composition and rock to create performances that explore the beautiful, fragile, uncontrollable and noisy sounds of the electric guitar, creating unrepeatable instant compositions that move between ambient, jazzy, bluesy, noisy...

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