Kommande program



    11 Dec 2019 - 20:00

    SEAMS och Fizzle/TDE presenterar
    Live-electronik från Birmingham med omnejd

    Admission: 80 SEK
    Fylkingen/SEAMS Member: 50 SEK

    Doors open 19:45

    Overture, in the foyer:
    Paul Pignon: Playing for Time, 3rd mvmt (EAM with video, 9')
    In the concert hall:
    Meesha Fones solo
    Chris Mapp solo
    Andrew Woodhead/Georgia Denham duo

    Andrew Woodhead

    Andrew Woodhead is an award winning composer and musician working across a wide variety of contexts, taking in jazz, free improvisation, electronica, folk and new music.

    Projects he is involved with include electro-acoustic duo ELDA with Aaron Diaz, Sarah Farmer’s SPACETIMEBAND and Birmingham Improvisers Orchestra.

    As well as performing solo on both acoustic piano and live electronics, Andrew has also collaborated in improvised settings with Olie Brice, Hannah Marshall, Paul Dunmall, Kim Macari, Mark Sanders, Annie Mahtani, Chris Mapp, Ole Mofjell, Natalie Sandtorv, Percy Pursglove, Jacob Garchik and many more.

    A highly active member of Birmingham’s vibrant creative music scene, Andrew also curates Improvised Music concert series Fizzle and is co-director of Ideas of Noise festival.

    Georgia Denham

    British composer//singer Georgia Denham studies composition with Andrew Hamilton at The Royal Birmingham Conservatoire, where she was awarded The Conservatoire Scholarship Award for Composition. Crossing genres in her practice, intense and diverse expression characterise her music.
    Georgia is committed to the development of vocal music in both writing and performance, studying voice with Susannah Self and Wendy Nieper. Previously, she has written for Juice Vocal Ensemble, the New European Ensemble, Birmingham Contemporary Music Group and Orkest de Ereprijs.

    Chris Mapp

    Chris is a bass player, improviser and composer living and working in Birmingham. His work falls somewhere between composition and improvisation, using sound, music and electronics to satisfy his own sonic curiosity. As a bandleader he has worked with Arve Henriksen, Maja Ratkje, Mark Sanders, Leafcutter John and Dan Nicholls as well as being a key member of the healthy Birmingham improvised music scene.

    Meesha Fones

    Decribing her sound as "non descriptive aggressive noise", Meesha Fones is a Birmingham-based musician/sound artist working in a variety of contexts, from providing basslines for legendary local bands Youth Man and Dorcha to glitchy laptop-fuelled electronic explorations to curating a brand new Queer Noise event in the city. She presents a solo electronics set as part of the Fizzle/BEAST live concert.

    Ett medlemsinitiativ av Paul Pignon, kurerat av SEAMS och Fizzle/TDE/BEAST

    Med stöd från

    OBS OBS! 13/12 presenterar SEAMS och KMH mångkanalig EAM från BEAST i Birmingham

  • Frim på Fylkingen #18

    12 Dec 2019 - 19:00 - 23:00

    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.

    Kalash/Küchen duo

    Palestinian multi-instrumentalist Dirar Kalash and Martin Küchen first met in 2015 in Antwerpen, at a three day residency with Audrey Lauro. Then in 2016, Dirar was performing with Susana Santos Silva at the Lund-festival Ljud@2016. During the same period the duo of Küchen/Kalash was making its first sounds in the small cellar space at Küchen’s. This concert will be their first public appearance as a duo.

    Dirar Kalash is a musician and sound artist whose work spans a wide range of musical and sonic practices within a variety of compositional and improvisational contexts. His performative and compositional approaches to instruments, techniques, and aesthetics are highly political as they challenge dichotomies, hierarchies, and binary logics of new/old and west/east as tools of cultural imperialism and hegemony. The methods he uses are based upon his research into the intersections and relationships of music and sound with other contexts such as language, architecture, mathematics, visual arts and further social and human sciences. His regular solo and collaborative performances include but are not limited to audio-visual performances, free jazz groups, electro-acoustic ensembles, analog electronics ("experimental / noise"), and solo piano and oud projects. https://albayan.bandcamp.com/

    Martin Küchen (b. 1966) is a alto-, tenor-, soprano-, and baritone saxophonist. Based in Lund and tours internationally within the fields of jazz and improrelated music. He makes music for theatre, film, music to poetry and sound installations; as well as composing for ensembles such as Trespass Trio, Angles 9, All Included and Martin Küchen & Landaeus trio . http://martinkuchen.com/

  • Skenbilder och kaoskonturer

    14 Dec 2019 - 19:00 - 23:00

    Inträde 80 SEK
    Reducerat 60 SEK

    (Eng below)

    Fyra pågående konstnärliga arbeten presenteras under en kväll på Fylkingen.


    Kajsa Sandström & Rebecka Holmström

    Kaoskonturer är ett samarbete mellan en koreograf och en konstnär, som tillsammans undersöker lekfullheten och stagnationen i sina kroppars vanor och vardagsrutiner.
    Kajsa och Rebecka låter sina pågående arbeten mötas i en performance där vardagliga rörelser leker fram konturerna av ett tecknande och en koreografi.

    Ola Nilsson
    fram // kalla tr 1 (bildl.) call forth; bring about, create 2(fotogr.) develop
    sken // bild phantom, shadow

    Konstnären Ola Nilsson presenterar ett filmiskt verk. Ett arbete med skugga och eko för ögon och öron.
    Ola arbetar primärt med skulpturala objekt, installationer, ljud-konst och text-ljud konst. Temat för Olas arbete behandlar ofta frågor om språk, identitet, kommunikation och minne.

    Lisa Ullén
    Harmonisk distortion - stycke för piano och objekt durata ca 5 min.

    Hild Borchgrevink
    Møllendal 5.-12. Desember 2019 - undersøkelser av ett sted.


    Four works in progress presented in one evening:


    Kajsa Sandström & Rebecka Holmström

    Kaoskonturer (chaos contours) is a collaboration between a choreographer and a visual artist, exploring the playfulness and stagnation of the habits and everyday routines carried by their bodies.
    During the fall, Kajsa and Rebecka has explored a joint artistic practice through a performance where every day movements draws the contours of a choreography.

    Ola Nilsson
    fram // kalla tr 1 (bildl.) call forth; bring about, create 2(fotogr.) develop
    sken // bild phantom, shadow

    Visual artist Ola Nilsson presents a cinematic work, with shadows and echo for eyes and ears.
    Ola primarily works with sculptural objects, installations, sound-art and text-sound art. Ola’s work often addresses issues of language, identity, communication and memory.

    Lisa Ullén
    Harmonic distortion - piece for piano and object durata aprox. 5 min.

    Hild Borchgrevink
    Møllendal 5.-12. December 2019 - Explorations of a place.


    3 Jan 2020 - 10:00 - 5 Jan 2020 - 17:00

    Intensiv butohworkshop, 3-5 januari 2020
    Fylkingen, Stockholm

    En introduktion till butohns kroppsliga poesi genom KAI-EN butohmetod. Metoden baseras på SU-EN butohmetod, som är KAI-ENs träningsbakgrund.

    Kroppen är i centrum för konstformen. I butoh pressas kropp och medvetande mot en intention att bli till andra varelser, organiska processer och krafter. Butoh innebär en intensiv relation till världen genom alla sinnen. Genom butohprocessen skiftar kroppens relation till världen - kroppen och världen kommer till liv.

    Du behöver inte ha tidigare erfarenhet av butoh eller annan dansträning för att delta, men du bör vara beredd att arbeta hårt både fysiskt och mentalt.

    3-5 januari 2020
    Kl 10 - 17

    Torkel Knutssonsgatan 2

    Kursavgift: 1 500 kr

    Sista ansökningsdag: 6 december 2019

    Skicka din ansökan med en kort beskrivning av dig och dina anledningar att delta i workshopen till: info@kai-enbutoh.se

    För mer information:

    KAI-EN Butoh Company: www.kai-enbutoh.se
    E-post: info@kai-enbutoh.se

    KAI-EN studerade för butohkonstnären och koreografen SU-EN 2005-2010. Hon examinerades med soloföreställningen About Face 2010, och erhöll namnet KAI-EN vilket visar på den levande länken till SU-ENs kropp och SU-EN butohmetod.

    Butoh har sitt ursprung i 50-talets avantgarderörelse i Tokyo. Den främsta upphovspersonen var Tatsumi Hijikata. Sedan dess har konstformen utvecklats och spridits över världen genom de dansare som arbetat nära honom och deras elever och grupper. Arbetet förmedlas från kropp till kropp, från lärare till elev, och utvecklas genom varje konstnärskap. Dansaren Yoko Ashikawa arbetade nära Hijikata i närmare 20 år och hade genom extraordinära förmåga mycket stor betydelse för dansformens utveckling. KAI-ENs metod kommer, genom SU-EN, ur Hijikata/Ashikawa-linjen.

    SU-EN är pionjär för butoh i Sverige. Hon studerade i Tokyo 1988-1994 i gruppen Tomoe Shizune & Hakutobo där den legendariska dansaren Yoko Ashikawa koreograferade och undervisade. Basen i SU-EN butohmetod utvecklades ur Shizune/Ashikawas metod.

    Foto: Ida Gavois