Archive for April, 2018


Hugo Esquinca (MX): Untitled (exercise on adaptability)

Hugo Esquinca (MX)

Untitled
(exercise on adaptability)

Multichannel sound installation

Open 23. – 25.4.2018

Opening time: Mon-Wed 14-18.


Hugo Esquinca’s concert on Wed 25.4. at 18:30-19:00 at Akusmata.

Hugo Esquinca’s talk on Wed 25.4. at 15:00 at Radical Relevances conference, Aalto University.


Untitled (exercise on adaptability)

‘Untitled (exercise on adaptability)’, analyses intensive and extensive properties of acoustic resonance through material explorations as co-constitutive elements of sonorous variation, through elastic potentials as mediating variables among diverse parameters deriving in rapidly changing audible wholes.

The exercise is based on a system tuned to a deformable surface operating as the speaker enclosure, through which a generative composition arbitrarily excites its stretchable material qualities subjecting them to its natural oscillating modes.


Hugo Esquinca (MX) is a Berlin-based sound artist and researcher from Mexico. He investigates the diverse spatio-temporal relations deriving from transductive interactions between technology and the sonorous, expanding within and beyond audibility.

His work has been presented in diverse contexts and venues such as CTM Festival Berlin, Mira Contemporary Art Museum Siberia, Fondazione Antonio Ratti, Loop Festival Berlin, NII Science and Arts Moscow, CMMAS Center For Music and the Sonic Arts Mexico, Forum Stadtpark Graz among others. He is a founding member of the Berlin-based Oqko collective.

As a founding member of the Berlin-based oqko collective under the alias DEKJ, Esquinca makes and performs noise music that is visceral and confrontational, preferably delivered in pitch black environment, speakers screeching their conic guts out. Berlin’s CTM Festival took notice and in January 2018 Esquinca performed at Berghain alongside Okkyung Lee, Marcus Schmickler and more for the Unease part of the festival’s programme.

Esquinca states on his recent work:
““Study on (in) operable rigour” is a site-specific performance deriving from the convergence of defined qualities within space, each loudspeaker of the sound system and the different temporalities between digital-analog “real time” events, all of these taken as the rigurosity from which our audibility generally operates, yet most of these variables also provide the opposite, meaning that a controlled environment in which listening happens can be as bendable and transgressive as the apparent rules that conform it.”

Works: https://www.dekj.org/actualities/
Writings: https://www.dekj.org/

LIVE: Miman (NO/SWE) & Huutarha

Miman (NO/SWE)
Huutarha

Tuesday 10.4.2018
Doors 18:30, showtime 19:00
Voluntary entry fee 5e

The concert is supported by Puls / Nordisk Kulturfond.

Miman

Miman is an improvising trio consisting of fiddler Hans Kjorstad, guitarist/clarinetist Andreas Røysum and bassist/synthist Egil Kalman; three of the most distinct and active young voices on the thriving Scandinavian jazz and improv scene. You might have heard them in collaboration with people like Tobias Delius, Frode Haltli, Axel Dörner and Rhys Chatham, or in a plentitude of bands covering the spectrum from folk music to noise.

As a trio their sound is shaped by their diverse backgrounds and influences; Norwegian, British and Indian folk music blends seamlessly with sentiments aching to free jazz and contemporary music in an organic fashion that steers clear of the dogmatic. In April 2018, Miman will release their first record, and celebrates this by playing a 19 concerts in 19 days-tour all over Europe.

www.mimantrio.com


Huutarha

Huutarha is an acoustic union of a double bass and a violin. The duo consists of two folk musicians with an interest in minimalism and its beauty. Together they weave a soundscape out of timbres, melody extracts and ambiences.

Maija Holopainen plays the fiddle and swims a lot.

Essi Hirvonen plays the double bass and is part of a secret society.

soundcloud.com/huutarha