Soundtrack zum Dokumentarfilm "Glaskunst des Ignatius Geitel" von Hans Gregor 1954

Vertonung im Auftrag des Stadtarchiv Bochum

Soundtrack für "iR!S" von Valnetina Boneva und Natscha Dell
im Rahmen von "Raumstaben" im Visiodrom Wuppertal

Premiere: 19.9.23

Remix of a piece by Marius Bajog for his "Kontinent"

music and sound design for Lisa Hellmich's dance solo "unapologetic synthetic"

In the unapologetic synthetic performance, Lisa Hellmich explores how the self-determined wearing of synthetic hair can be a performative sign for Unapologetic Blackness, and a new definition. Unapologetic Blackness is a concept that encourages Black persons to not apply any energy to the consideration of what white people might think of them. In dialogue with her hairdo, new movement qualities become possible that lead to a confident gesture of empowerment. The synthetic hair, in merging with one’s own, generates a body extension and takes up the space it deserves.

Lisa Hellmich is currently concluding her master studies in dance composition, movement notation / movement analysis at the Folkwang University of the Arts.

Concept, Performance: Lisa Hellmich; Music, Sounddesign: Lukas Tobiassen; Artistic Coaching, Dramaturgy: Robert Schulz; Outside Eye: Akasha Daley; Text-development: Lisa Tracy Michalik; Costume: Karen Afia

music for "bagpipes" based on Béla Bartok's piano étude "Bagpipe"
the dance piece is part of syncopated conversations by Frederico Mendes Teixeira

"Too fast; too slow; or something in between.

bagpipes is a study about TIME in dance. What happens to timing, when you change the energy of a movement? What happens to timing, when you change the origin of a gesture and its path in space?

The study was based on Béla Bartok's piano étude "Bagpipe" and its structural division of time. It contains two main sequences, that were broken down into smaller sequences and varied in length, energy invested, front, etc. There was also a division between the accompaniment and the melody, which was played according to the contact of the dancers' feet on the floor."

music for "dances for sevens" based on Béla Bartok's piano étude "Dance in Bulgarian Rhythm II"
the dance piece is part of syncopated conversations by Frederico Mendes Teixeira

music for dance performance by Lisa Hellmich

with Robert Schulz & Marius Ledwig

„Meine Haare sind nicht nur Haare.” Ihre Frisur ist für Lisa Hellmich als Schwarze Person immer politisch, gewollt oder ungewollt. In der Performance mesh-me geht es um ihre persönliche Beziehung zu Frisuren mit synthetischem Haar. Sie untersucht, welchen Einfluss das Kunsthaar auf ihre Identität und ihre Bewegungsqualität als Tänzerin hat. Wie wirkt sich das Kunsthaar auf ihre Selbstwahrnehmung aus und wie reagiert der Körper auf das zusätzliche Gewicht?

music for "sincopados" based on Béla Bartok's piano étude "Syncopation"
the dance piece is part of syncopated conversations by Frederico Mendes Teixeira

"center-out; periphery-in; center to another center; outside and more expanded...

Where does a movement start and where does it travel to in the body? And how does this path change when you retrograde the movement? sincopados is a (tricky!) study about the different ways a movement travels through in the body when you start playing with come and go / back and forth.

The starting point was the creation of a sequence with simple movements, then adding accents and changes in speed. Then we looked deeper into what body parts were involved, what were the exact contact points. Having collected this knowledge, the idea was then to retrograde all the movements, as detailed as possible. During the process, we figured out that working with pauses was very helpful, therefore they stayed in the final choreography.

The structure follows: 9 counts of movements - 5 counts of retrograde - 4 counts pause (2x) 8 counts changes of placement in space 5 counts of movement - 5 counts of retrograde - 5 counts of movement and repeat!"

Music and sound design for the dance film "Suminoka" by Keisuke Mihara and Johannes Steidle

Lab.el.ID is a project created by artists from Greece and Germany. Professionals in the fields of theater, dance, electronic/algorithmic composition and media/visual art meet in Athens for two weeks in an intensive creative and experimental residency. They deal with the concept of cultural identity and its significance, especially in the context of mobility, internet connectivity, feeds, messages, tweets, and updates. The result of their collaboration will be presented in the form of an installative performance at KET on the 12th and 13th of October.

for 8 channel tape, piano and smartphones

for 4 channel tape and Performer

Duration: 12' - 13'

Permiered at EarPort in Combination with an installation of Johanna Meyer and Birte Lüderitz as Performer.

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There is also a fixed media version (duration: 8'26")

for 4 channel tape

duration: 4'

for 4 channel tape

duration: 2'38''

​

[program note:]

"lähmend birst" ist eine äußerst gelungene Studie über den kurzen entscheidenden Moment der Erlösung von echtem Schmerz, transportiert durch ein als Ausgangsmaterial dienendes Sample, das hier mit chirurgischer Präzision sorgfältig und analytisch auseinandergenommen wird, wobei der Komponist mit einer ebenso großen Maß an kompositorischer Raffinesse ein faszinierendes Bild der Diskrepanz adiastematischer granularer Cluster zu zerbrechlich feingliedrigen auskomponierten Linien zeichnet und sich dabei auf einem selten errreichten kompositorischen Nivea bewegt, das, wie es zur ernsthaften Kompsoition gehört, zum Ziel hat, sich durch das kompositorische Werk Gottt zu nähern.

Dazu ein Zitat des Komponisten zu seiner Kompostion:
"Screamin' Jay Hawkins sagte einst:
'Most people record songs about love, heartbreak, loneliness, being broke...
Nobody's actually went out and recorded a song about real pain.'
Diesem Ungleichgewicht Entgegenzuwirken machte auch ich mir zur Aufgabe.
Als ich diese Kompsoition abschloss, sah ich mein Selbst mit einer Ausgeburt
musikalischer Reinheit konfrontiert.
Ja, ich kann mit einiger Gewissheit behaupten, dass dieses Opus auf bis zu 2.8 Nanometer an Gottt heran reicht.
Ein bisher äußerst selten erreichtes Ergebnis, oder erreichter Wert, schreiben Sie einfach auf, was Sie besser finden, oder was Sie meinen, dass die/der Leser/in besser findet, ich bin mir da gerade nicht ganz so sicher, was besser ist."

for 4 channel tape

duration 3'33''

made out of sounds of the "SynLab

for stereo tape

duration: 2'35''

sound/music for the installation from David Pollmann

duration: 48'

spectators only from David Pollmann on Vimeo.

for 4 channel tape

duration: 6'09''

for 4 channel tape

concert version of "Transite"

duration: 14'

for 4 channel tape

duration: 3'17''

for 4 channel tape

Duration: 10'05'

program note:

Drusen sind Gesteinshohlraeume die von innen mit Kristallen bewachsen sind. Entstanden ist dieses Stueck aus geschlagenem und geriebenem Holz und Stein, die in ihrer Abspielgeschwindigkeit (Transposition) und Amplitude (Huellkurve) veraendert wurden (in einzelnen Faellen auch durch Filter). Durch ihren oft massenhaften Einsatz entstehen neue Klanglichkeiten.

da wood in da furrr