Frim på Fylkingen #18

Datum: 
12 Dec 2019 - 19:00 - 23:00

Admission:100kr
FRIM/Fylkingen member: 80kr

Etienne Nillesen – solo
Etienne Nillesen is a performer and composer from The Netherlands currently based in Cologne/ Germany. The snare drum is a core part of Nillesen’s artistic practice. With an instrumental and physical approach, he explores and pushes the limits of the natural acoustics of the snare drum using conventional playing techniques as well as extended techniques and preparations.

His work involves elements of conceptual and spontaneous composition, structured improvisation, performance, and sound art. Alongside his own work, Etienne is a performer of contemporary music and works with composition, movement and snare drum in a number of interdisciplinary projects. Etienne appears as a composer and performer on over thirty albums of new music, improvised music and jazz.

His interest in various forms of exploratory music gave him the opportunity to work regularly with artists such as Rudi Mahall, Sebastian Gramss, Axel Dörner, Anne LaBerge, Carl Ludwig Hübsch, Georg Wissel, Michael Vorfeld, Udo Moll, Joker Nies, Katherine Young, Pascal Niggenkemper, Ulrich Phillipp, Michael Thieke, Robert Landfermann, Matthias Schubert, Shelley Hirsch, Wolter Wierbos, Tomeka Reid, Matthias Muche, Nicola Hein, Elisabeth Fügemann, Philip Zoubek, Audrey Chen, Sofia Jernberg, Kaja Draksler, Eve Risser, Henrik Munkeby Norstebo, Weston Olencki, Madison Greenstone, Rie Watanabe, Valentin Garvie, Annegret Mayer-Lindenberg, Cao Thanh Lan, Sarah Saviet, Ensemble Modern.

Besides being active as a performer Etienne is currently Professor of Music at the ArtEZ University of the Arts in The Netherlands, where he teaches drums and improvised music.

Judith Hamann – solo
Judith Hamann is a cellist from Birraranga (Melbourne), Australia. Judith’s performance practice stretches across various genres encompassing elements of improvised, contemporary classical, experimental, and popular music. Currently her work is primarily focused on an examination of psycho-physical materials and manifestations of 'shaking'. Extending shaking from its coding as something involuntary, Shaking Studies considers shaking in the form of micro and macro pulsing: rhythm, tremor, vibrato, wolf tones, and partial activity. Practiced and performed as modules, (like studies or etudes) these techniques have developed into individual components which present the performer with an elasticity of material to navigate in performance, as improvised material within an established framework. However, in this context it is not the performer alone who dictates the rate and responsiveness of shaking, rather, this work treats the cello itself as an actant (in the sense of a source of action), using an extended conception of sphygmology (pulse reading), to dictate the tempo of tremor and rhythmic activity based on a particular set of techniques which make the cello visibly and audibly shake. The relationship established here is one that is symbiotic and generative in its unfolding.

Judith is a champion of new and rarely performed music, immersive approaches to sound, and engages with a range of interdisciplinary and experimental projects including collaborative work with visual artists Keith Deverell, Sabina Maselli, and film makers Joshua Bonnetta and Benedetta De Alessi. She has also presented installation work in Melbourne, San Diego, the Noosa Hinterlands, and at the Venice Biennale of Architecture. Judith has been an artist in residence at Tokyo Wondersite Aoyama, The Recollets (Paris), Q-02 (Brussels), Kunstmeile Krems Betriebs GmbH (Krems), Cité Internationale des Arts (Paris), and Syros Sounding Paths Residency (Syros). She is also a regular member of the APRA award winning regional music program (2016 tour) and Sonus Ensemble through TURA New Music Australia, working in community in the Kimberley region of Australia.

Judith has studied contemporary classical repertoire with renowned cellists including Charles Curtis and Séverine Ballon, as well as developing a strong practice in improvisation and sonic arts through collaborative projects both in Australia and internationally. She has worked with artists and ensembles including Australian Art Orchestra, Oren Ambarchi, Dennis Cooper, Sarah Hennies, Mette Henriette, Yvette Janine Jackson, Graham Lambkin, Alvin Lucier, Toshimaru Nakamura, The Necks, Áine O’Dwyer, Stephen O'Malley, Ilan Volkov, Tashi Wada, La Monte Young and Marian Zazeela, and John Zorn. Judith is a member of Golden Fur, Hammers Lake, The Argonaut String Quartet, and has duo projects with Rosalind Hall, Anthea Caddy, and Lori Goldston.

Judith has performed or composed music released on labels including Saltern, Pogus, Another Timbre, Caduc, and Marginal Frequency.

Judith holds a Doctor of Musical Arts from UC San Diego, majoring in contemporary cello performance.