Boddinstrasse 60, 12053 Berlín
MARGARET UNKOWN + CROCANTI
KLAAS HÜBNER + LYSANDRE COUTU SAUVE
A night full of noise surprises. Suitness and decadence will take your brain and shacke it. Proyects out of conventions
Loopsider is a serie of concerts based on LoopHole Berlin, where crazy proyects, impros,and weird collaborations take place.
more info: https://pinpanpunfest.wordpress.com
Born in Zaire (Congo, DR), Cdrík aka Kirdec has been involved since the late 1980’s in the electronic and experimental music network, including works for video, theatre and choreography, essays and lectures. He has collaborated with various projects such as Axiome, Ambre or Tasjiil Moujahed to name a few and performed or recorded with dozens of artists among them Mick Harris (Napalm Death, Scorn), Mark Spybey (Dead Voices On Air, Download), Cindytalk, Yan Jun (etc.), publish music on renowned labels like Ad Noiseam, Hymen or AntZen, he is the owner of Syrphe, a label and platform mostly dedicated to electronic and experimental music from Asia and Africa.He developped projects, performed live and give lectures in more than 50 countries in Europe, far east and south Asia, the Middle East, North Africa and North America.
Rieko Okuda is a pianist and a composer. She began with Classical music from the age of 3, in Japan. Later then she moved to the USA to study and learn Jazz music. She fell right into the Jazz scene in America performing with some of the great American Jazz musicians (Bob Mintzer, Jon Faddis, John Fedchock etc.). Also, she got interested in Free Jazz and improvised music, while she was in Phliladelphia. She performed with some great improvisers including Marshall Allen (from the Sun Ra Arkestra), Elliott Levine (who has recorded with Cecil Taylor) and Calvin Weston (who has recorded with Ornette Coleman). She has performed in Festivals throughout her stay in the USA. Her interests in improvised music led her to move to Berlin and perform with various musicians.
Born in Tokyo 1971, studied musicology at the Kunitachi College of Music, graduating in 1996. During this period he began to play the electronic pieces by John Cage and his own sound performances. Since then he has been creating sound performances, installations and videos. In 2003 Morimoto moved to Berlin, has performed and exhibited in many international festivals including transmediale in Berlin, Experimental Music Festival in Munich. He is interested in the uncertain acoustic appearances between usual objects, for example water and stones, and the technical medium.
He has collaborated with Takehisa Kosugi, Keitetsu Murai, Olivier Di Placido, Francesco Cavaliere, Olaf Hochherz, Rius van Alebeek, Ignaz Schick, Luciano Maggiore, Crys Cole, Felicity Mangan, Alessandra Eramo, Nicolas Wiese, Kakawaka, Seijiro Murayama, Jamie Drouin, Hannes Lingens, Johnny Chang, Katsura Yamauchi and many others.
Max Bogner is a musician, dancer and performance artist originating from Vienna currently living and working in Berlin. He has been playing under different monikers (Margaret X, MARARA, Peggy Famous) of which his best known and most frequently used is Margaret Unknown.
Over the past decade he founded and lead several groups like the ensemble (In) The Abyssity Of The Grounds with Mario Rechtern (DE/AT), Linda Sharrock (US) and Didi Kern (AT) amongst a constantly shifting international line-up and the two piece performance group Gueule Populaire, focusing on the combination of sound and movement with longtime collaborator Rosi Themsen Rehaug (H/AT), influencing and contributing to the Viennese improv scene as well as being an active player in Europe and Africa.
Idiomatically always moving in different terrains he is constantly shifting the center of attraction, moving against stagnancy to continually evolve and overcome the boundaries, pushing towards the unknown. His work thrives on a highly energetic persona and performance, demanding a fundamental and radical approach towards the intuitive and complete free improvisation, which though recently is more and more combined with compositional structures and elements embedded into it.His performances have included solo and group dance elements leaning on the traditions of butoh; up to 12 hours long, durational actions, exploiting the individual perception and therefore possible expansion and contraction of time and space; states of meditation and trance evoked through total concentration of material, it’s nature either minimal and calm using mesmerizing mantra like repetitions, soothing the mind through use of silence and breath as well as absolute vibrant and bodily domination of space through extreme volumes and oppressing, overwhelming structural intensity in whos core as well lies a journey and lodge of resolution and oblivion for the mindful participant without prejudices.
As one of the first generation curators of the mo.e art space from 2011 to 2014 he initiated several international collaborations, workshops and festivals, shaping and defining it’s image in the cultural landscape and establishing it as a regular stomping ground for Viennas improvisation and performance scene.
Crocanti is a project by Martí Guillem Císcar, based on the research of sounds in electronic devices, toys, and retro stuff, developing personal interfaces with the art of circuit bending, which are his own way of playing music, based on noises, randomness and live-performance.Most of the elements are recycled or reused and also some d.i.y. instruments are often used, mixing them to generate a concrete audiovisual experience.Crocanti has played around Spain and Europe in festivals and venues like, Paris Marseille , Madrid, Barcelona, Valencia Innsbruck, Wien, Oslo, Copenhagen, Stokholm, Berlin,etc.
KLAAS HÜBNER + LYSANDRE COUTU SAUVE
Noise structures in violet tone, miked micro objects of garbage, live and sampled ribcage rythms.
Lysandre Coutu-Sauvé is a contemporary dancer, performance artist and choreographer.
She graduated from lʼÉcole de danse contemporaine de Montréal (LADMMI) in 2007.
After an internship at LE GROUPE-Dance Lab with internationally renowned artistic director Peter Boneham, Lysandre worked in Montreal with choreographers such as Marc Boivin, Mélanie Demers (cie Mayday) and Andrew de Lotbinière Harwood (AH HA Productions).
Having relocated to Berlin, Germany in 2009, she worked as a freelancer for cie FAS, Nir de Volff/Total Brutal, Marjana Krajac (cie Sodaberg) and Morgan Belenguer to name few. She has collaborated closely with CTM Crew for Transmediale 2013, developing physical forms of expressions with new digital technologies and was working as a dancer with Patrick Faurot/Pasullero Dance Company for the season 2014.
In 2015 Lysandre will continue from Born as Animals (2010), Divers Suit No.1 (2011) by focusing on her own works, such as Bastard with a Name (2015) and Spectrum Disorder (2015). She is also having a teaching position at DOCK 11 EDEN Studios for the spring season.
KLAAS HÜBNER Sound sculptor, improviser and instrument maker Klaas Hübner has developed a body of work, which honors sound as a live-medium with which to craft, shape and play in real-time.
As an improvisor Hübner has developed a playful, Punk and Flux inspired practice, which ranges from installation based works, to live improv, to theatre and sound design. Examples which illustrate his approach include inviting audiences into a studio-flat, where Hübner submerged in a bathtub tries to playing various self-built instruments. Such examples thrive on
the immediate tensions that arise between the body, the instrument, the site and the sound itself. Similarly Hübner’s improv collaborations literally see the artist ‘sweat’ as he teases out the sounds, which emerge from his modified instruments.
Hübner’s attention to the sound and its immediate experience within a space, is also reflected in his subtle understanding of how sound effects our perception and awareness. Such concepts have been refined in his more recent sculptural and theater based work where essentially, sound becomes the main ‘character’. These works are an exciting new move, demonstrating a progression and maturity in Hübner’s work, which he describes as ‘sound’ for theater but without the actors (or Hübner as performer). Instead within these works, the sound itself becomes the main character, resulting in new modes for ‘staging’ sound whereby the audience can enter into the sound, fully immersing themselves into its audio attributes. This treatment of the sound is also reflected in his gallery based installations, within which Hübner continues to refines such ideas, while all the time retaining a playful presentation, which demonstrates a commitment to sound in all its drama, guts and glory.