Ailleurs
In this year's concert installation, Kaleidoskop will enter into dialogue with the artworks of the Hoffman Collection for the first time together with the WhatWhy Art Ensemble from Seoul/South Korea. The French word "ailleurs"oscillates between multiple meanings and is the content inspiration of the concert installation: pieces of music and improvisations will be played that elude a centre and a "here" and approach a spiritual, geological, poetic "elsewhere" in different ways.
Several concert stations will feature works by Ana-Maria Avram, Claude Vivier, Julius Eastman– all non-conformist artists who each developed unique sound languages outside the canon – and further works by Il-Ryun Chung and Sebastian Claren, contrasted by traditional Korean music.
The strict ritualistic Korean court music of the 18th century is both foreign and fascinating, and is a radical "elsewhere" both formally and sonically, to which Claude Vivier's fascination with Far Eastern melodies and Julius Eastman's musical meditation "Buddha" enter into dialogue with "Learning". Ana-Maria Avram's spectral composition "Chiaroscuro", about light and shadow, is a powerful examination of this world and the hereafter. Despite their diversity, all the works already carry an "ailleurs" within them, dedicated to the ritual of renewal and transcendence.
These "stations" are connected by short improvisational interventions in the form of duets between the musicians of the two ensembles. These duets lead the visitors through the widely ramified and multi-storey rooms of the former sewing machine factory - a sound level of its own develops in the interplay with the works of art on display, which opens up new (sensual) associative and thought spaces for the audience.
Kaleidoskop has a long relationship with the Hoffmann Collection, one of the most important private collections of contemporary art in Europe. In February 2008, the first music installation was created there - this was one of the ensemble's first transdisciplinary works - and the beginning of a long-standing exchange with the collector Erika Hoffmann, which has repeatedly brought the ensemble together in different contexts to explore the field of tension between works of art and music. Since 1997, the visible part of the collection has been rearranged every year in July, following a different central idea. In the changed context, new ways of seeing are proposed and ever new dialogues are staged between artworks of different generations and media.
Claude Vivier – Learning (1976)
Ana-Maria Avram – Chiaroscuro (2011)
Julius Eastman – Buddha (1984)
and works by Il-Ryun Chung, Sebastian Claren
Traditional korean music
Improvisations
In Dialog with artworks of Sammlung Hoffmann by: von Jean-Michel Basquiat,
Monica Bonvicini, Rineke Dijkstra, Felix Droese, Carroll Dunham, Fang Lijun, Felix Gonzalez-Torres, Katharina Grosse, Georg Herold, Hubert Kiecol, Donald Judd, Jannis Kounellis, Sean Landers, Silke Otto-Knapp, Rivka Rinn, Thomas Ruff, Anri Sala, Jochen Seidel, Ettore Spalletti, Frank Stella.
WHATWHY ART (Seoul)
is a contemporary music ensemble playing traditional Korean instruments. Its members are unsurpassed soloists on their instruments. The ensemble moves freely between traditional and contemporary music, pursuing the renewal and transformation of tradition through innovative performance concepts. In their work, WHATWHY ART explore questions and concepts that revolve around possibilities of contextualisation between tradition and the present. In carefully developed projects, the ensemble uses the convergence of Korean and foreign artists of different genres to create new artistic synergies and add a new dimension to Korean contemporary art
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WhatWhy Art is supported by:
