more to be announced soon!
Day 1. April 14, 19:00–21:00
Please, Sink HMS (Her Majesty’s Service) – A Musical Suite
Cody Takács, double bass and electronics
Somt op (sums up)
Maarten Bauer, saxophone
Amba Klapwijk, piano
Jeroen Spieker, guitar
Eva Beunk, trumpet
Somt Op is a network-game piece in which each player has a set of words they have to react to. The pitches that are linked to the words colour the enumerations.
Valse Lente/False Spring
Sterre Decru, alto
Ruth Mareen, violin
False Spring is a song set to the poem of the same name by Jan Wolkers. In the piece the relationship between spring and winter is explored, and the brief moment they might coexist, when spring shows her first signs of life, and laments her inability to coexist with winter.
City Koto Triptych
City Koto Triptych is an audiovisual composition featuring the City Koto, an instrument designed by artist Pim Piët. I recorded improvisations in three closely related tunings and formed the work from this material. The visuals also feature additional imagery of the instrument, creating shifts in the visual scale, allowing for different perspectives on the sound.
Ábel Fazekas, clarinet
Arie Verheul-van de Ven, viola
Eva Beunk, trumpet
Myrtó Nizami, piano
Sasha Elina, flute
Seamus Cater, concertina
Vasilisa Filatova, violin
The Voices Inside
Harry Golden, processed tuba
The Voices Inside is an exploration of sound. A sound field is created around the sound of the Tuba, exploding its inner voices outward and setting it in a different light.
Day 2. April 15, 19:00–20:30
Arie Verheul van de Ven
Duo for Altered Violas Altered for Single Altered Viola
Arie Verheul van de Ven, viola and electronics
While the Violin has a very specific set of dimensions and proportions, the viola is something more vague. The viola is more of a category of a kind of object than a specific thing, and I wonder what sits on the edge of that category of violas (and violists)
Originally for a pair of "altered" instruments - a viola played on my lap and a wheelbarrow with four strings. This performance is an improvisation on the material written for these two kinds of violas.
Algal Bloom is an audiovisual work where movement and delay play an important role in both music and images.
There are several layers. The light is gradually being reduced until not even a small line is visible anymore. It gets darker and darker. It is becoming increasingly isolated. It dies. Perishes. In the deepest and most distant place of the world, there seems to be nothing. Yet the remains that seemed worthless in another environment are now proving to be costly. One maintains the other. This way the circle is maintained.
The music is generated from pre recorded material, while the synthesized sounds vary accordingly. While image and sound are bonded together they, gradually, become more and more independent of each other, creating a new, contrapuntal layer.
Arie Verheul van de Ven, viola and electronics
Harry Golden, voice and piano
The Future of Music
Wilf Amis, live electronics
Making music while you shit is the inevitable future of music, time will tell whether that’s in the dystopia where toilet breaks are our only chance to think for ourselves, or the utopia where it is possible to control generative music from a small device in the palm of your hand. Or indeed the dystopia where both of those possibilities can coexist.
Day 3. April 16, All Day
Emancipated Fauna (2020)
eight-channel sound installation
(commissioned by CONA Institute For Contemporary Arts)
The Emancipated fauna is relating to the animal industry and its industries (including livestock, entertainment, textile, etc.) and puts its focus on the alienated individual from these industries and the reflection on the oppression of an individual who succeeds in cultivating a distant attitude towards oppression and morbidity towards non-human animals and labor exploitation in the livestock sector (especially in slaughterhouses). Because this kind of action is socially dominant, there are global, worrying trends (both in the relation to non-human animals as well as to humans and the environment) which are mostly negated by society. The market can thus without any critical scrutiny still operate with the benefit of exploitation.
During the project, I was wondering »Why can we easily buy a product of an animal origin, while not being able to kill our pet, and at the same time we do feel that such an act would be unethical?«. We also own "pets" we buy and sell and thus at least symbolically link them to the level of an item. But is there such a difference between a "pet" and a creature that has a shelf life and use-by date?
Despite the oppression of an individual who brings an estranged attitude to the living being, most people are conscious and refuse to face his participation in the act of murder - we prefer to leave that to the Other (in a society deprived and stigmatized butchers). This is how we wash our hands over the massive slaughter and exploitation and responsibility for him (in the seemingly good of our psychological health) is shifted to the food industry, which then follows the capitalistic paradigm, sector growth and profit growth. So far, it seems to be growing along with the sector the degree of naturalization of the human disposition of humans.
The sound installation responds to this problem with the very nice "plasticized" sounds that
can be understood as products of animal origin, neatly packaged in plastic and in handy
to use. May this work relieve us of oppression and raise in us the awareness that all these sounds are
the result of the exploitation of non-human animals, as well as of workers who care that we do not need
to enter the world of large (and small) farms and slaughterhouses and in some way (by psychological
they take trauma on their shoulders) protect us against psychic suffering. Let us falling
drops of blood, screams, exhales, growls and sounds of abrasion in a living body bring a new
sonic experience of approaching and raising awareness of the covert.
LOOS ONLINE event!
Sahil Bahl releasing a 4 song EP of original music in the Folk-rock genre, both on vinyl and across all streaming platforms.
The stream goes live on INSTAGRAM at 20:00.
20:00-20:10 interview by Sahil of his "opening-act" Rachman Tjahjono, solo acoustic singer-songwriter,
20:00-20:30 a 20 minute set by Rachman Tjahjono
20:30-21:30 interview Rachman interviews Sahil + performance by Sahil Bahl
check Sahil Bahl out at: https://www.indiegogo.com/projects/sahil-bahl-concept-ep-and-video-project#/ and on Youtube!
LOOS response to the negative opinion of the Advisory Committee on the LOOS plan for the Multi-year Policy Plan for Art and Culture 2021-2024 of the Municipality of The Hague:
Last week, LOOS was given the unfortunate news that the Advisory Committee for Art and Culture has completely suspended their support for our activities from 2021-2024.
The Committee seems to have arrived at the conclusion that it is our intention to lock the door of our studio, which has become well-known as Studio LOOS, to the public and no longer welcome the community to join us in our researching and experimenting. This judgment appears central to the negative final assessment of the LOOS arts plan 2021-2024 as a whole. Unfortunately, this judgement is based upon a misunderstanding. LOOS has never intended to close the studio nor to exclude people from our activities in any way, as presenting and sharing are intrinsic to the history and future goals of LOOS.
The core activity of LOOS is not at stake. Fortunately, “the Committee expressly does not question the artistic qualities of LOOS.” The Committee “sees Studio LOOS as an institution in new music, in which research and experiment are central. The Studio […] is a laboratory for special innovative developments in technology and music. This makes the Studio a place for talent development, for example for students of the Royal Conservatoire” (Advice from the Advisory Committee, pages 268-269).
Nevertheless, the Committee believes that LOOS will perform its laboratory function insufficiently with “the closure of Studio LOOS” and “the discontinuation of the auditorium” and that LOOS as an institution would become “closed off” as a result (page 269). The Committee criticized the plan further, saying that our proposal for the foundation of a new ensemble gave an implausible explanation for how it will generate sufficient audience, visibility, and income.
As a group, we would like to reiterate that nowhere in the arts plan of LOOS does it say that Studio LOOS will be closed or its activities discontinued. We recognize the need for creative artistic spaces and are committed to fulfilling that role. The studio will also remain available for use by third parties. The only change that has been made in regards to the function of Studio LOOS is that its operation as a professional concert hall is no longer considered one of the core activities of the LOOS Foundation. Professional-level management requires qualitative expertise and budget. With the current budget, LOOS cannot be a successful laboratory for new music and be a professional concert organizer at the same time; the latter diminishes and weakens efforts to make the former successful - the former being the most intense need we see in our artistic community. We find a count of the number of concerts organized per year to be a sterile and superficial measure of how successfully LOOS performs its function, especially after 16 years of experience in the field.
That being said: to maintain Studio LOOS as a professional concert hall, LOOS is looking for a partnership with a party that can exercise this as its core task. LOOS has proposed to share management with a larger organization in order to improve the quality of the facilitation of artists, the cultural field, and the public in order to enable a multitude of different artistic activities - in addition to the new LOOS Performers Lab - for a much larger audience. The Fair Practice Code regulations of the Municipality of The Hague were prioritized in and helped inform this decision.
LOOS has pursued the cultural policy goals of the Municipality of The Hague by opting for quality over quantity. LOOS believes that experimentation, research, innovation, young artists, and our community deserve good facilitation and decent payment, especially when public money is involved.
The conclusion drawn by the Committee that LOOS is cancelling the studio and can therefore no longer properly perform its laboratory function is based on an incorrect assumption. The committee has misinterpreted the LOOS plan and appears to be suffering from tunnel vision based on false judgements. We can therefore only say that this final judgement has been built upon an unsound foundation and does not do justice to the enormous contribution to the diversity of the arts in The Hague that LOOS has delivered with minimal resources in the breeding ground DCR since 2005.
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