20:00 – 23:00
Jenny Gräf solo (us)
Qarin Wikström / Mads Emil Nielsen (se/dk)
Sun Araw / Tomo Jacobson (us/pl)
Tickets: 100 dkk / Stud: 50 dkk
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Cameron Stallones & Tomo Jacobson
The first time Cameron Stallones & Tomo Jacobson met was when they were paired to play together when Tomo toured USA with his free improv double bass solo project back in 2015. It was at an obscure secret concert venue behind an iron door without any sign on it, in a dark alley between two green garbage bins, somewhere in China Town, Los Angeles. Less than a year later Cameron invited Tomo to do a European tour together, but with a condition that Tomo would play a Doepfer-ribbon-midi-controller instead of a double bass. Tomo agreed happily not having a clue what a Doepfer-ribbon-midi-controller was. To him it sounded like an unicorn’s dream instrument. During the tour, in between the matches of their personal 8-ball pool championship, they recorded an album together with an Hawaiian electronic drummer. In the end the championship score was even, so they meet again in February 2017 in Copenhagen to settle it once and for all. And there will be music.’
is the working title of a musical project helmed by Los Angeles-based artist Cameron Stallones. Sun Araw has released a number of well-received and consistently innovative albums, with his eighth, Gazebo Effect, released by Sun Ark Records (an imprint of Drag City) in 2015.
Cameron Stallones began his musical career as a founding member of the experimental psychedelic rock collective Magic Lantern. Soon after, demos originally intended for Magic Lantern became the first Sun Araw LP: The Phynx. Structural and spiritual inspiration for Sun Araw comes primarily from investigation into the nature of experience by the transformative power of simple observation. The goal has always been the creation of a psychedelic music, by which is meant a psychotropic music: not an aesthetic sensibility but a method of discontinuous experience. Supporting every Sun Araw composition is the fact of mantra: the ability of repetition with attention to change the perception of a melodic object. By means of this constantly changing perception, the possibilities of improvisation become infinite. More recent works attempt to effect the mental activity of the listener even more physically and directly than before by removing a fixed location from which to listen.
The musical practice has in recent years expanded to include a series of film essays under the heading SSVR (SECOND SYSTEM VISION RADIO).
is a Polish-born double bass player and composer based in Copenhagen, Denmark. He focuses his efforts on free improvisation and other creative musics. He has lately released two well received albums, as a leader with his eclectic septet MOONBOW on ILK Music, and as a co-leader with his multinational quartet Mount Meander on Clean Feed Records. He has performed in Denmark, Sweden, Germany, Poland, Italy, Belgium, Czech Republic, Portugal, Cuba, Los Angeles and New York. He has been very fortunate to perform with the greats like John Tchicai, Andrew D’Angelo, Lotte Anker, Adam Rudolph, Rasul Siddik, P.O. Jørgens, Frank Gratkowski, Fred Lonberg-Holm, Sun Araw, Jacob Anderskov, Kresten Osgood, Søren Kjaergaard, Torben Snekkested, Jesper Zeuthen, Maria Laurette Friis, Laura Toxvaerd, Maher Mahmoud, Peter Bruun, and many many others.
Qarin Wikström (se/dk)
svensk sanger, tekstforfatter og komponist, bosat i København. Hendes musikalitet befinder sig i udkanten af mange ting; en blandning af genrer og lyde efter en lang rejse gennem svensk visetradition og psalme, japansk musik, kammerkormusik, pop, jazz og frit improviseret musik. Qarin har indtil videre en bagkatalog af 14 udgivelser som komponist eller medkomponist, og lige så mange udgivelser hvor hun optræder som side-woman i andre personers projekter og bands. Nomineret og modtagere af flere Danish Music Awards. Hendes aktuelle orkestre er blandt andre Q, Shitney, Sekten og Re:Bell. Samarbejder med koreografer og dansere fra moderne dans, til forskellige projekter, både som komponist og performer. Gennem de seneste par år har Qarin begyndt at udvikle sit musikalske sprog indenfor elektroniske lyde, i sær I hendes soloprojekt Q og i konstellationer med frit improviseret musik. Medlem af pladeselskabet ILK. I 2012 blev Qarin modtagere af Statens Kunstråds 3-årige arbejdslegat.
Mads Emil Nielsen (dk)
Elektronisk musiker/komponist, trommeslager og musik- & lydproducent. Har siden ophold i Berlin (2011-12) fokuseret på soloprojekter og solokoncerter samt produceret reworks og bidrag til udstillinger (bl.a. Notations 21 Project), musikalske co-produktioner, film og teater. Startede i 2014 eget label og kunstnerisk platform, arbitrary.
Jenny Gräf (US/DK)
is a sound, video and performance artist who explores peripheral places and states through composition, improvisation and participatory works. In Gräf’s music and art she invokes immersion and rupture to explore changing perceptions of diegesis and space, formal choices rooted in a deep interest in social roles and behavior.
Gräf has produced sound and video work from projects she designed with people with Alzheimer’s such as The Guitars Project and The Hilgos Project to explore agency within the context of memory loss. She has created a number of pieces that explore social behavior within the context of server/consumer dynamic in pieces like Threshold for Action and Sound, where the audience’s menu selections generates a score for the musicians and food servers. In 2009 she formed The Stone Carving Oraclestra, which uses Experimental Archeology and the use of phonemes to channel sonic “readings” for members of the audience. In 2009 she premiered Proud Flesh, an experimental Western shot in the Badlands of South Dakota that contains an original score by Gräf and collaborator Chiara Giovando. In 2009 she was commissioned by Experimental Sound Studio in Chicago to create Osmosymbiotic Echo, a sound installation for the Chicago Lincoln Park Conservatory’s Fern Room.
Tranoe_webGräf uses the Tranoe, an analogue, touch sensitive analogue synthesizer designed for her by Peter Blasser, to process live vocals, guitar and percussion and to re-organize sound to present mutations of dominant themes in music. Blending non-static patterns with composed sequences her work blurs the lines between noise and song structure. Since 1996 she has been performing with MV Carbon as Metalux. Using processed sounds and open-ended scores, their music is experienced as a kind of sonic fiction. Other music collaborations include those with Chris Corsano (in Soliton), John Wiese, Twig Harper, Marcia Bassett and Chiara Giovando.graf_toronto_sm
Jenny Gräf’s work has performed and screened work at venues such as PS 1 MOMA, Issue Project Room, D’Amelio Terras Gallery in New York, High Zero Festival, The Museum of Contemporary Art in Chicago, Maryland Film Festival, Brown’s Granoff Center for the Arts, Mukha Museum in Antwerp, CCA in Glasgow, Arnolfi in Bristol, Art Cinema OFFoff in Gent, Jazz House Copenhagen, Institute for New Media in Frankfurt, and the Director’s Lounge and Liebig 12 in Berlin. Her recordings appear on labels such as Atavistic, Ehse, BoxMedia, Load, Wachsender Prozess, Hanson, No Fun, Utech, Obsolete Units and 5rc.
In 2011, together with five other artists, programmers, organizers and activists she formed Greenpants collective and began the Luminous Intervention project which uses large scale public projection and performance to open up conversations around issues such as Unfair Development, the School to Prison Pipeline, Guantanamo and Rape Culture.