KM28

Karl-Marx-Straße 28, Berlin

Upcoming Concerts  

Doors 20:00 / Concerts 20:30 / Entry by donation

June 4 Tuesday

Dina Maccabee & Evelyn Saylor

Dina Maccabee (voice, live electronics, composition), Evelyn Saylor (voice, live electronics, composition), Johanna Ackva (voice) and Marco Wessnigk (voice)

Composer/vocalists Dina Maccabee and Evelyn Saylor perform new duo works for their voices and live electronics. They will also premiere pieces for a cappella vocal quartet together with Johanna Ackva and Marco Wessnigk. The program explores the composers’ shared engagement with modal harmony, looped and cyclical structures, interlocking rhythmic play, and communal singing practices.

June 5 Wednesday

Joanna Mattrey | Ben Bennett & Axel Dörner 

Divide by Zero #4


Joanna Mattrey, solo viola

Ben Bennett & Axel Dörner, duo for percussion and trumpet


Joanna Mattrey is a composer, improviser, and multimedia artist whose works blend installation, video, sound, and movement and are often site-specific, using the space to create intimacy with the audience. Her compositions use multimedia elements to strengthen and extend the transmission of her work, creating visual and sonic environments that deeply convey the themes of transformation, memory, social connection, loss, and spiritual journeys. 


Ben Bennett has developed a unique approach to percussion that takes the lineage of free jazz, free improvisation, Berlin reductionism, and extended technique as its foundation. In searching for an expanded sonic palette and more fluid movement between various techniques, he distilled the drumset into a small collection of drumheads, stretched membranes, and other objects that offered a wide variety of unconventional sounds from very few materials and which could be rearranged into different combinations during a performance.  


Beyond his work with Monks Casino, Die Enttäuschung, and other bands, Axel Dörner has been pioneering extended trumpet techniques and new musical structures since the 1990s. Since 2000, he has been working together with Sukandar Kartadinata on the electronic extension of his music on the trumpet.

June 7 Friday

Lisa Simpson | Graham Dunning 

Entangled Sounds 2024 #2


Lisa Simpson aka Agente Costura, solo set for hacked sewing machines and soft electronics

Graham Dunning, solo set for turntables and electronics


Lisa Simpson’s project Agente Costura is a continuous building site for self-playing, oscillating, blinking, touch sensitive, light sensitive, talking, soft, found, stitched, glitched, and hacked instruments, acting and reacting in an ever fluctuating state of chaos.


Graham Dunning's work explores sound as texture, timbre and something tactile, drawing on bedroom production, tinkering and recycling found objects. This performance is an exploration of the extended turntable system, using mechanical rotation to trigger, generate and modify sound.


with kind support from INM Berlin e.V.

June 8 Saturday

Arnold Dreyblatt & Horse Lords

Arnold Dreyblatt & Horse Lords present three joint compositions based on their recent collaboration.


Arnold Dreyblatt (excited string bass), Andrew Bernstein (saxophone), Owen Gardner (guitar), Max Eilbacher (bass and computer) & Andrea Belfi (percussion) 


One of the second generation of New York minimal composers, Arnold Dreyblatt studied music with Pauline Oliveros, La Monte Young, and Alvin Lucier and media art with Woody and Steina Vasulka. His early activities in music and performance included the albums Nodal Excitation, Propellers In Love, The Sound of One String, and the opera project Who's Who in Central and East Europe 1933. Dreyblatt has invented a set of new and original instruments, performance techniques, and a system of tuning. Often characterized as one of the more rock-oriented of American minimalists, Dreyblatt has cultivated a strong underground base of fans for his transcendental and ecstatic music as a solo artist and with his Orchestra of Excited Strings.

As an instrumental unit, Horse Lords rely on a collective voice and focus to provide the band’s core strength; a process enriched by their disparate musical interests. The quartet, formed in 2010, embraces Renaissance counterpoint, plays instruments specially fretted for microtonality, and organizes its music through polyrhythmic matrices. The ingenious machinery of their music is humanized with exploration and passion. 

with kind support from Musikfonds e.V.

June 10 Monday

Larissa Sansour's Sci-Fi Trilogy

Making Waves #2:  Stranger than Fiction


A screening of Larissa Sansour's sci-fi trilogy, followed by a discussion with Irit Neidhardt and Rabih El Khoury on the challenges of producing, promoting, and screening Arab/Palestinian films in the German context and the extreme censorship we are experiencing today.


Doors 20:00 / start 20:30 / entry by donation


Under the common themes of loss, belonging, heritage and national identity, Larissa Sansour's three films A Space Exodus (2008), Nation Estate (2012) and In the Future They Ate from the Finest Porcelain (2015) each explore different aspects of the political turmoil the Middle East. While A Space Exodus envisions the final uprootedness of the Palestinian experience and takes the current political predicament to its extra-terrestrial extreme by landing the first Palestinian on the moon, Nation Estate reveals a sinister account of an entire population restricted to a single skyscraper, with each Palestinian city confined to a single floor. In the trilogy’s final instalment, In the Future They Ate from the Finest Porcelain, a narrative resistance leader engages in archaeological warfare in a desperate attempt to secure the future of her people. Using the language of sci-fi and glossy production, Sansour’s trilogy presents a dystopian vision of a Middle East on the brink of the apocalypse.

June 11 Tuesday

Matmos | Weston Olencki

Matmos, four-channel electronics set  

Weston Olencki, the rocks are different here for electromechanical banjo 

Matmos is Drew Daniel and M.C. Schmidt, auteurs in the world of electronic music and sampling culture whose very first album sampled highly unusual sound sources such as the amplified nerve tissue of crayfish. Ever since, they have made music out a wildly heterogeneous set of objects and sources, including the sound of the pages of bibles turning, water hitting copper plates, liposuction surgery, cameras and VCRs, chin implant surgery, contact microphones on human hair, rat cages, tanks of helium, a cow uterus, human skulls, snails, cigarettes, cards shuffling, laser eye surgery, whoopee cushions, balloons, latex fetish clothing, rhinestones, Polish trains, insects, life-support systems, inflatable blankets, rock salt, solid gold coins, the sound of a frozen stream thawing in the sun, a five-gallon bucket of oatmeal, snails interrupting the path of a laser and altering the pitch of a light sensitive theremin, a PVC police riot shield, silicon breast implants, and their own washing machine. 

These raw materials are manipulated into surprisingly accessible forms, and often supplemented by traditional musical instruments played by guest musicians from their circle of friends and collaborators. The result is a model of electronic composition as a relational network that connects sources and outcomes together; information about the process of creation activates the listening experience, providing the listener with entry points into sometimes densely allusive, baroque recordings that have the direct sensory immediacy of pop music. 

Weston Olencki's the rocks are different here presents a rush of polyrhythmic grooves that jaggedly flip and resuture themselves in a way similar to the early minimalist works of Philip Glass or Steve Reich. The composition reaches escape velocity from the mechanical permutations of its bluegrass role: it treats the banjo as an ecstatic array of strings and resonators rather than as an instrument strummed wistfully in the depths of some dark holler.  

June 12 Wednesday

Okkyung Lee, Eunyoung Kim & Junyoung Song with Liz Kosack

Okkyung Lee (cello) performs in trio with Eunyoung Kim (piano) & Junyoung Song (drums), along with special guest Liz Kosack (keyboards).


Okkyung Lee has created a body of work blurring genre boundaries through collaborations and compositions while pushing the limitation of contemporary cello performance techniques. Her music draws from noise and extended techniques, jazz, Western classical, Korean traditional, and popular music.

Eunyoung Kim is a pianist, composer, and improviser. In 2018, she released her debut album titled Silent Child, as the leader of the KEY Trio presenting her original compositions. More recently, Earworm is her first solo piano album establishing her identity as an improviser.

Junyoung Song is a prolific drummer based working primarily in jazz and free improvisation. He has released two albums as a solo artist titled Solo and Solo Live, both showcasing his passion for unaccompanied drum music

Liz Kosack is a keyboardist and mask maker whose projects over recent years have included the KIM Collective, VAX (with Devin Gray and Patrick Breiner), RRR (with Dan Peter Sundland), The Liz (with Liz Allbee and Korhan Erel), **Y** (with Steve Heather and Sundland), SPOILER (with Julia Riedy, Brad Henkel, and Sam Hall), and Meow! (with Cansu Tanrikuku, Jim Black, and Sundland).

June 13 Thursday

p.e.r.s.o.n.a.l.c.l.u.t.t.e.r. | Jessie Marino

p.e.r.s.o.n.a.l.c.l.u.t.t.e.r. (Rosie Middleton, Sarah Parkin, Katherine Tinker & Helen Whitaker) perform works by Gunduz, Ingvarsson, Marino, Shlomowitz, and Walshe.

Jessie Marino performs the final chapter of her A Host of Possible Dramas and Exchanges, inspired by Ashley's Perfect Lives.

Program:

Jessie Marino, A Host of Possible Dramas and Exchanges (final chapter)

Helgi Ingvarsson, Random Notes I Found In The Street

Matthew Shlomowitz, Letter Piece #7: British Sign Language  


Esin Gunduz, A Sense of Energy 


Jennifer Walshe, EVERYTHING YOU OWN HAS BEEN TAKEN TO A DEPOT SOMEWHERE


Jessie Marino, Jesus Fucking Christ Linda, Jesus Fucking Christ


p.e.r.s.o.n.a.l.c.l.u.t.t.e.r. is an experimental performance group which creates rigorous and playful interpretations of innovative repertoire. They use a non-hierarchical collaborative practice to collectively form performances which explore choreographed movement, language and performativity. Their work is situated in and informed by their embodied experience as four women, and by their diverse artistic backgrounds (activism, composition, dance, opera, psychodynamic theory, virtuosity). Their interests include embodiment, consent and boundaries, gender theory and the environmental crisis. 

Jessie Marino is a composer, performer, and media artist. Her compositions and solo performances abstract ideas drawn from all stripes of popular culture and political discourse, girded by a definitively humanistic sensibility rife with equal doses of wit and pathos. Marino’s pieces score out sound, video, story, lighting, and staging, treating each of these elements as expandable musical materials. She transcends the conventional materials of composition to help audiences locate music in the most commonplace activities and relations. 

June 15 Saturday

Sonic Borderlines Festival III: Perdes

An open workshop on Ottoman classical makam and tanbur (19:00 to 20:00), followed by a panel discussion (20:00 to 21:00) and concert (21:00 to 22:00)


Workshop

An open workshop on Ottoman classical makam and tanbur led by Merve Salgar 


Panel discussion

Note Metaphors: Re-Learning Listening 

"Decolonization“ is not a question of simple programming, but rather of attentive listening, the attempt to perceive beyond the imprinting that has taken place (including indoctrination) and to learn anew again and again by listening. It is concrete work that needs to be done if we want to change and open up the concert hall and ourselves. (Elke Moltrecht, Bakr Khleifi, Margarete Huber, Merve Salgar, Jeremy Woodruff)


Concert

Works by Margarete Huber, Fulya Uçanok, Merve Salgar, and Claudio Monteverdi performed by Margarete Huber (soprano), Merve Salgar (tanbur), and Fulya Uçanok (piano)


Sonic Borderlines Festival 2024 presents music that integrates new playing techniques across cultural sound boundaries. Sound production, vocal and instrumental techniques are still largely unexplored in Western musical practice because of the immutability of our concept of notes (on paper) in this respect. Most non-European classical traditions are characterized by a more fluid, ornate and flexible sound of voices, instruments and rhythm. In Indian, Turkish and Arabic music, sound production is based less on the concept of notes on a page and more on, for example, swaras (region of sound) or naghmas (originally referring to both "modulation" and "singing“). 

with kind support from INM Berlin e.V. & Musikfonds

June 17 Monday

das Modern Song Kollektiv

3 x 2:  Crosroads 2000


das Modern Song Kollektiv performs songs by three composers of the late 20th century, each paired with songs by their protégés from the 21st century: György Ligeti with Unsuk Chin, Henri Dutilleux with Kenneth Hesketh, and John Tavener with Judith Weir.


Program

György Ligeti, "Der Sommer" (1989)
Unsuk Chin, "Alice - Acrostic" (2004)
Henri Dutilleux, "San Francisco Night" (1963)
Kenneth Hesketh, "Shimmerwords and Idle Songs" ^ (2007) (German premiere)
John Tavener, "A Mini Song Cycle for Gina" (1984)
Judith Weir, "On the Palmy Beach" (2019)

Susanna Hurrell (soprano), Ariana Gibbard ^ (soprano), Simon Wallfisch (cello), Philip Headlam (piano)

June 18 Tuesday

Chris Pitsiokos

Chris Pitsiokos performs Junk Prosthesis (2024) for laptop and prepared loudspeakers and Irrational Rhythms and Shifting Poles (2023) for alto saxophone, laptop, four loudspeakers and five light bulbs.


Chris Pitsiokos is a saxophonist, composer and improviser whose music falls under the umbrella of experimentalism, including noise, improvised music, experimental jazz, free jazz, noise rock, new music, minimal music, drone and art rock. As a soloist he has developed a unique voice on the alto saxophone, and his expansion of the instrument’s vocabulary has served to multiply its emotive and formal possibilities.  


Lights built by Amp-FX

This project made possible through the kind support of INM Berlin e.V.

June 19 Wednesday

Apparat+ plays McCormack & Sdraulig | Tintin Patrone

Apparat+ continues its New Music for Brass series with a solo trombone set by sound artist TinTin Patrone, flanked by two works performed by Apparat: the premiere of Timothy McCormack's solo horn work CARRIER and an ensemble presentation of Charlie Sdraulig's works Ground and debris


Program:


TinTin Patrone, solo trombone

Tim McCormack, CARRIER (2024) for solo horn

Charlie Sdraulig, Ground (2022) for amplified trumpet and trombone, overlayed with debris (2022) for open instrumentation and electronics


Weston Olencki (trombone), Samuel Stoll (horn), Mathilde Conley (trumpet), Max Murray (tuba)


Tintin Patrone is captivated by the exploration of interconnections among music, art, sound, and experimental forms of expression. Her creative works revolve around the visual aspects of music and the ways in which personal and societal connections are established with it.


Timothy McCormack writes haptic, viscous music which makes audible the tactile, physical relationship between a performer and their instrument. Sometimes ecstatic, sometimes hermetic, their music embeds pitch within dense walls of noise to create strangely affecting sonic ecologies which alter one’s perception of time. Their music is also deeply engaged in contemporary queer aesthetics, including queer community-building, the sensation of submission, and the processing of incurable disease and its histories.


Intimacy, nuance, and quietude are the core themes of Charlie Sdraulig's creative practice. His work often draws attention to the social dynamics of musical situations, focusing on subtle sonic and gestural behaviours. His research encompasses writing upon social interaction and innovative notations in experimental sonic practices, as well as timbre perception.


with the kind support of INM Berlin e.V.

June 20 Thursday

Toshimaru Nakamura | Bjørgeengen & Uchihashi

Toshimaru Nakamura, solo for no-input mixing board

Kjell Bjørgeengen & Kazuhisa Uchihashi, duo for guitar/daxophone and live video

Toshimaru Nakamura's instrument is the no-input mixing board, which describes a way of using a standard mixing board as an electronic music instrument, producing sound without any external audio input. The use of the mixing board in this manner is not only innovative in the sounds it can create but, more importantly, in the approach this method of working with the mixer demands.

Kjell Bjørgeengen's live works feature the production of flicker videos. The flicker is sound given video sync, thus becoming video and revealing the self-identity of the two. The flicker image is perhaps the most simple and fundamental image we can think of, the oscillation between shades of light and darkness, given from the outside as a simple binary pairing of the visual experience.

The flicker works can be harsh to watch, as they are perceived on a physical level. The black and white works are often perceived in colours. There is a threshold that needs to be overcome. A still image from the video reads like a minimal work; set in motion the work turns into its opposite. The art work, having all the traditional marks of the art-making process, turns into a phenomenon and touches the demarcation line between art and non-art.

Kazuhisa Uchihashi is a composer, electric guitar and daxophone player, and music producer. His signature instrument, the daxophone, is a creation of the late guitarist and inventor Hans Reichel, who was a creative partner of Uchihashi's. 

June 21 Friday

Toshimaru Nakamura & Friends

Our second night with Toshimaru Nakamura (no-input mixing board) focuses on Nakamura's work with small ensembles.

Program:

Toshimaru Nakamura & crys cole (objects, electronics)

Lost Jockey  Lucio Capece (soprano sax, compositions), Quentin Tolimieri (piano) & Burkhard Beins (drums)

Toshimaru Nakamura with Kjell Bjørgeengen (live video) & Kaffe Matthews (electronics)

Kjell Bjørgeengen's live works feature the production of flicker videos. The flicker is sound given video sync, thus becoming video and revealing the self-identity of the two. The flicker image is perhaps the most simple and fundamental image we can think of, the oscillation between shades of light and darkness, given from the outside as a simple binary pairing of the visual experience.

crys cole is sound artist who works in composition, performance, sound sculpture, and installation. Taking a conceptual approach, she generates subtle and imperfect sounds through haptic gestures and seemingly mundane materials to create texturally nuanced electro-acoustic works that continuously retune the ear. 

Lost Jockey was formed in 2020 by Lucio Capece (soprano sax), Quentin Tolimieri (piano), and Burkhard Beins (drums). The band seeks to create ambiguity in the perception of harmony, eschewing tradtional devices such as scales or changes.  

Kaffe Matthews is a music maker who works live with space, data, things, and place to make new electroacoustic composition. Site, accessibility and the physical experience of this music has always been central to her approach, she has also invented some unique interfaces—the sonic armchair, the sonic bed and a variety of sonic bikes—which enable new paths into composition for maker and ways in to listening for wide-ranging audiences. 

Toshimaru Nakamura's instrument is the no-input mixing board, which describes a way of using a standard mixing board as an electronic music instrument, producing sound without any external audio input. The use of the mixing board in this manner is not only innovative in the sounds it can create but, more importantly, in the approach this method of working with the mixer demands.

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