historage

historage – 7 places, 7 readings was a project by IMD and the Goethe Institute on the occasion of the  70th anniversary of the Darmstadt Summer Course in 2016. The project, curated by Michael Rebhahn, initiates a series of artworks dealing with the Summer Course’s histor(icit)y. The main idea of historage consists in an artistic approach towards the acoustic, visual and textual material in the archive of the International Music Institute Darmstadt, which has been digitized during the last years and is now accessible as the beta version of an online database.

 

According to the delocalization and global accessibility of the digitized archive, historage is conceived as a transnational project, including artistic contributions from seven countries in Africa, America, Asia and Europe. Therefore the project takes place in cooperation with the Goethe-Institut and is supported by its local departments in Boston, Buenos Aires, Hong Kong, Johannesburg, Kiev and London.

 

An initial meeting of all artists was held in Darmstadt in January 2016. The individual projects – ranging from performances, over sound and video installations up to a Call for Remixes – were then premiered in August 2016 as part of the International Summer Course for New Music. As a follow-up, it is planned to present the works in their respective locations of origin, supported by the local Goethe institutes.

 

Artists:
Distractfold Ensemble (Manchester)
Ashley Fure (New York/Boston)
Hanno Leichtmann (Berlin)
Philip Miller (Cape Town)
Alexej Shmurak (Kiev)
Nicolás Varchausky (Buneos Aires)
Samson Young (Hongkong)

Hanno Leichtmann: Nouvelles Aventures

As in his previous installations, Hanno Leichtmann distills in Nouvelles Aventures his sound material exclusively from a thematically fixed (sound) archive, in this case concert recordings, lectures and discussions from 70 years of New Music history. These subjectively-chosen sounds were sent through his unique machinery of voltage-controlled (micro-) loops, recorded, then finally pieced together in the studio to form the present installation/ audio drama. Here Leichtmann concentrates on the pure, original sound of the (sonic) archive: he primarily applies the traditional parameters of early electronic (tape) music (amplitude, pitch/speed, playback direction, series/cuts) – but most of all repetition.

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