REFLUX – Festival for Contemporary Electroacoustic Music presents on 9 evenings in September, October and December 2022 each three different artists & composers from almost all continents.
REFLUX is the international continuation of FLUX FESTIVAL – Electroacoustic Music from Berlin which took place in 2018 on seven evenings with a total of 28 positions at Spektrum Neukölln. For each of these evenings we will present a classic in addition to two contemporary positions, so three concert parts of 30-40 minutes each. The program will be adapted to the acoustic and spatial peculiarities of each location or composed especially for these locations. The invited musicians each have an individual sound and formal language and are rarely heard in Berlin. We asked all artists for conceptual proposals, so that the program will be a balanced mixture of composition commissions/premieres, already existing works and rarely heard classics.
Rie Nakajima is known for her experimental kinetic works, in which she sets everyday items into motion with the help of electrical devices. The analogue nature of these installations are laid bare, so that batteries and wires readily explain the movement of the objects that she rigs up in interactive arrangements.
Where Nakajima’s installations have a kinetic autonomy, which seems driven by an invisible consciousness, her performances are set in motion in front of an audience. Rie becomes the conductor of this orchestra of quotidian instruments and the viewers become witnesses to her processes, but also, she says, participants. Each performance is “dependent on the people in the audience” she says, to create “a unique experience. Everyone is the maker. It is a collaboration.” – Emily Spicer
“After Josef Anton Riedl had heard the first pieces of musique concrète by Pierre Schaeffer in Aix-en-Provence in 1951, he worked uncompromisingly on compositions and projects away from all conventional genres and instrumentations. From 1952 on, he created pieces for concrete sounds in his own, self-equipped studio. Josef an Riedl, a pioneer of concrete and electronic music composition, became musical director of the Siemens Studio for Electronic Music in Munich in 1959, which he co-founded and which existed until 1966 and in which a wealth of analog sound generators, filters, etc. could be controlled at high speed via a punched tape reading system.” – (Source: Booklet Edition RZ)
“Internationally acclaimed for the intensity, richness and astonishing audio detail of his live immersive performances in the dark, composer / audio-artist Francisco López has been enthralling audiences worldwide for decades with his sonic experiences with multi-channel surround systems and blindfolds provided for the public (that he calls “proudly monomedia”). Created from a myriad original sound environments, both natural and artificial, collected all over the world, they however do not present soundscapes but rather non-representational virtual worlds of sound (“not virtual reality but rather real virtuality”) where the listener develops his/her own experience in an environment where the rules and the parameters are defined by the sounds themselves, felt as space and as a physical dynamic force. Renowned for the complexity and intricacy of these worlds of sonic virtuality, López works with sound as a ‘medium’ for a transcendental experience open to individual exploration: this is one-of-a-kind experience not to be missed!” – Pedro Higueras, Estudios Sonom
REFLUX – Festival for Contemporary Electroacoustic Music
Rie Nakajima: »New Work« (2022)
Josef Anton Riedl: »Landschaftsbeschreibung, Studie 62 II« (1973)
Josef Anton Riedl: »Klangsynchronie I Studie 59» (1981) Diffusion: Ignaz Schick
Francisco Lopez: »New Work«
29.10.2022 | Doors 19:30 | Starts 20:00 CET
Spreehalle | Reinbeckstraße 16 | 12459 Berlin
REFLUX Festival is a production of zangimusic.wordpress.com with the financial support of Hauptstadtkulturfonds. Tickets are 15/10 Euro Festivalpass 90/60 Euro. Tickets are available at the door. Curated by Ignaz Schick and Werner Dafeldecker.
