Electronic music and performing arts
17.8 2018 – 31.8 2018
Electronic music, installations and performance
Date: 17, 24 and 31 August 2018
Time: at 18–22
Place: in the Restaurant, floor 4
Price: free admission
Language: the artist talks are held in English
The program is curated by Anrikningsverket. The artist talks are moderated by Frida Sandström, Anrikningsverket.
Friday 17 August at 18–22
In the garden next to Bloms café
18.30: Artist talk with Lea Martini
18.00: DJ: KABLAM
19.00: Lyra Pramuk
19.45: DJ: KABLAM
20.15: Lea Martini
20.30: DJ: KABLAM
Friday 24 August at 18–22
In the Auditorium, floor 2
18.30: Artist talk with Ofelia Jarl Ortega
18.00: DJ: Sonja Tofik
19.00: Hans Berg
20.00: DJ: Sonja Tofik
20.30: Ofelia Jarl Ortega
21.00: DJ: Sonja Tofik
21.30: Gábor Lázár
Friday 31 August at 18–22
In the Restaurant, floor 4
18.30: Artist talk with Kara-Lis Coverdale
18.00: DJ: rip ME
19.45: DJ: rip ME
20.30: Kara-Lis Coverdale
21.15: DJ: rip ME
Read more about the artists
The participating artists are interested in the borderlands between media; where sound, light and body coincide in an extended inquiry into the nature of live performance as we experience it today. You can read more about all of the participating artists here.
FLORA is the collaboration between singer and producer AnnaMelina and Swedish electronic music export Varg. AnnaMelina is known for her dreamy vocals and electronic song writing. Varg is one of the electronic music world’s most prolific, collaborative, experimental and ever-changing artists. Nimbly traversing techno, noise, contemporary hip hop and much more, Varg puzzles and beguiles in equal manner.
FLORA is no different, welding AnnaMelina’s ethereal vocals and melodics with Varg’s off-kilter drum patterns, and with their first full breath, FLORA present a dark but hopeful promise for pop and underground electronic music alike.
At Resonans, we see FLORA live in concert as part of their continuous sonic excavation.
Installation for light and sound
Budapest-based Gábor Lázár’s recent compositions for synthesizer has proven him one of our time’s finest minimal composers. On stage and in exhibitions, he presents his sound works together with light in strikingly synchronous compositions, stirring multiple senses in absolute focus. One drastically manipulated space, one ever-changing sound, one color at a time.
For Resonans, Gábor Lázár presents a new, live version of the installation “A Trap for Your Attention” (2015), where sounding light will appear across the museum garden, imposing a second architecture before the museum buildings.
Gábor Lázár Youtube (new album “Unfold”)
Hans Berg makes full-on enthralling club music, capturing dance floors in hypnotising techno. Coincidentally, he conjures atmospheric scores and sounds to accompany the video art and installations of his long-term collaborator Nathalie Djurberg. Beside their ongoing exhibition Nathalie Djurberg & Hans Berg at the museum, Hans Berg’s music is heard on underground clubs around the world, in performances drawing from various pieces of machine hardware, encompassing affective melodies with a love for pulsating bass lines and big drums.
Hans Berg’s music has been released on dance music labels including Montage, Klasse Recordings and The Vinyl Factory. As part of the ongoing collaboration Knutsson/Berg with Johanna Knutsson, he runs the record label UFO Station Recordings.
For Resonans, Hans Berg presents a multi-channel live concert.
DJ and producer KABLAM (aka Kajsa Blom) experiments with the radical possibilities of music, of what a club environment is or can be and what a dance floor looks and feels like. As a DJ, she manipulates digital tracks, taking advantage of the advanced possibilities offered today. Using the parameters of space rather than time to structure the music, she mixes contrasting genres to find imaginative points of entry.
KABLAM first emerged in the experimental club scene in Berlin as a resident DJ at the now legendary Janus parties. 2016 saw KABLAM releasing her debut EP Furiosa on Janus, followed by a single on Country Music in 2017. This summer, Blom joins the Tanzplage of Norbergfestival and for Resonans, she DJs in-between the performances.
Blurring the line between the human and the data, Kara-Lis Coverdale creates dense arrangements with a penchant for long-form melody, harmony, and sonic detail. Significantly, she has a dynamic sense of play and conceptual dichotomy. Through polymorphous arrangements of synthesized samples and keyboards processed in surreal and ornate ways, her pieces develop as digital ether.
Coverdale is a classical pianist and organist organist since the age of 13. Following a 2014 release of pieces for processed voice that highlight the nature of the voice in the age of data, Coverdale released the album Aftertouches (Sacred Phrases, 2015). She has featured in Tim Hecker’s albums Virgins and Love Streams and has performed at institutions such as the Barbican and the Theatre du Chatelet in Paris. She has been composer in residence at EMS Stockholm, and GRM Paris, and has is recipient of a “promising young artist award” by legendary Canadian composer Ann Southam. In 2017 Coverdale performed at Norbergfestival and for Resonans, she invites the listener to a internal search for the phenomena of voice.
Solo performance: In the Inside there is Sleeping
For Resonans, Lea Martini presents In the Inside there is Sleeping. It is a solo performance where she slowly lets the phantasmatic sensation of daily dance practice take over. It overpasses her body, almost removing her as the movement’s operator.
The performance is part of Lea Martini’s ongoing project Tanzplage. Taking the medieval dancing plague phenomena as starting point, she asks whether movement is a pandemic infection. By then, hundreds of peoples bursted out on the streets and squares of several European cities. Some danced until they fell down dead. This is a solo that misses the others.
The project is presented as part of this year’s art program of Norbergfestival, entitled CHOREOMANIA. For Tanzplage Norberg, DJ and producer KABLAM (aka Kajsa Blom) joins the movement with sounds. For Resonans, KABLAM will be DJ:ing in between the sets.
Berlin based choreographer, dancer and dance facilitator Lea Martini has always been interested in physical intensities and is the co-founder of collaborations such as the performance collective White Horse and Deter/Müller/Martini. Dancing Plague had its first emergence at the Gothenburg platform Skogen in 2014 and has since involved various practitioners.
Before the performance, Lea Martini will present the background of her work in an artist talk.
This performance is funded by Goethe Institut
American singer, composer-producer and performance artist Lyra Pramuk take her starting point in listening, as empathic response to the contemporary cultural landscape. With the voice as a conduit, she extends the communicative basis of the instrument to the tender contingencies of experimental self-expression.
For Pramuk, the imaginative and seductive voice works just like the orbit of electronic music, conceived as a modular spectrum. Through a process of sampling and synthesis, genres are cross-pollinated and extended in both recorded work and in live performance.
In solo works and as part of the Holly Herndon Ensemble, Pramuk fuses classical vocalism, pop sensibilities, performance practices and contemporary club culture in what can best be described as futurist folk music.
N.M.O. is an ever-changing acronym incorporating club music, performance, military drumming, fitness and absurdity. What they call ‘Military Danceable Space Music and/or Fluxus Techno’ is a blend of repetitive percussive patterns and synthetic sounds that combines with performative aspects for explosive and intense live shows.
N.M.O. is the project of North Sea drummer and producer Morten Joh and Mediterranean synthesis aficionado Rubén Patiño. Using self-built software, they have developed a hybrid machine/human set-up and use a playing technique resembling choreography. They integrate computer-synthesized audio, external drum synthesizers, synchronized lighting and combine it with human absurdity, snare drum, kick and hi-hat playing.
N.M.O. have released acclaimed EPs on record labels like Anòmia, The Death of Rave and Where to Now?, as well as the double LP Nordic-Mediterranean Organization / Numerous Miscommunications Occur on Diagonal Records.
Ofelia Jarl Ortega
Soloperformance: C in the mud
In her new solo performance C in the mud, choreographer Ofelia Jarl Ortega approaches social, physical and temporary rifts through an at once evasive, appropriating and distanced choreography. With movements deeply entangled with sound, Jarl Ortega directs the gaze of the spectator from the scenic, to society at large.
For Jarl Ortega, the dramaturgy of sight makes material for choreography, where “voluntary objectification” confronts the responsibilities of a spectator. In 2015, Jarl Ortega presented Donnie at MDT, followed this year by Shredder. In C in the mud, she approaches the process of objectification in a solo performance, presented as a work-in-progress.
Ofelia Jarl Ortega is based in Stockholm and focuses topics such as vulnerability and femininity, often in aesthetics of the suggestive and erotic.She has a Master’s Degree in Choreography from DOCH, Stockholm and her work has been performed at venues including MDT (Stockholm), Dansstationen (Malmö), Inkonst (Malmö), Les Urbaines (Lausanne) och Manifesta 11 (Zürich).
rip ME is an eclectic transformer of genres and expressions. Characterized by a lust to experiment, to toss things around in order for them to make perfect sense, rip ME’s DJ sets invite the listener to transformatory states of queerness and weirdness.
Carrying a liturgical austerity when performing, rip ME applies an anything-goes mentality resulting in methods ranging from drum machine mischief to score writing. In a musical sense of their own, dark thematics are blended with playful curiosities. A rite for the grave, and for the newborn baby dancing upon it.
For Resonans, rip ME will DJ in-between performances and talks, reminding us to rethink what we hear, twice.
Electronic musician and DJ Sonja Tofik is member of the Stockholm studio collective Drömfakulteten. She works with subdued synth and creates a realm of sonic shadows. In 2017, Tofik released her debut album Neuros at the Stockholm-based label Moloton. While performing, Tanja Soufiq is her distant persona.
For Resonans, Tofik will DJ in-between the performances.
Contact: Catrin Lundqvist, curator Learning
Resonans is presented by Anrikningsverket, ArkDes and Moderna Museet in collaboration with MDT. With support from Goethe Institutet, the Spanish Embassy and Elektronmusikstudion (EMS).