02022020.SPACE

* A Good Crossing was made possible thanks to the support from the Hong Kong New Music Ensemble.

>> INTERVIEW In “parallel situation” dance meets photography in real time. The stage production is a performative examination which poses questions regarding the creation of images and the relationship between beholder and subject. From reconstructing historical dance photography to live documentation on the streets, artists Barbara Lubich (photography) and Anna Till (dance) deal with the power of captured moments. “parallel situation” is an intense dialogue between a dancer and a photographer. The photographs are taken in the very moment of the performance and immediately projected on stage. Two larger-than-life screens are part of te set design and refer to the two standard dimensions often used in photography: one screen positioned upright, refering to “portait”, the other one horizontal, refering to “landscape”.  Both artists are present on stage and interact in a playful way with each other as well as with the objects on stage (various materials that are used in photography industry). Within this direct confrontation of the performed dance and the capturing of itself, Lubich and Till point to the the power of images and reveal the process of picture taking - questions about the possibilties of memory and perspective arise. In this way, “parallel situation” also opens up the view on how movement emerges and vanishes, so does remembrance. Sound and image are directly linked. In this way, “Parallel Situation” explores how the athmosphere of memories inscribes itself in images. The gaze of the photographer acts as the third performer and guides the audiences perception. What do you see - and what is invisible to the spectators? Text - written by authour Ulrike Feibig - opens up a new level of imagination: While the performers increasingly retreat from the audience’s view during the performance, the spectators are drawn into their own imaginative world.

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Barbara Lubich has been working as a filmmaker at the intersection between documentary and artfilm since 2002. Born in 1977 in Trento, Italy, she studied sociology in Trento and Dresden(Germany), received her doctorate in history in Frankfurt am Main and dealt with an entanglementof theory and practice of aesthetic phenomena in the GDR. Her artistic work began in the late 1990sin dance, while further developing her work own work with the camera. So by today she focuses onthe direction of conceptual work for cinematic / multi-media formats. From 2006 she worked as a camerawoman for the Forsythe Company, and simultaneously as aresearch assistant at the Institute for Sociology at the TU Dresden University, on a Europeanresearch project regarding cultural heritage/ cultural memory. She was a fellow of the HellerauerAkademie für experimentelles Musiktheater (2009-2010), and in 2010 she was Artist in Residenceat the UBU Gallery New York. Together with Michael Sommermeyer she founded hechtfilm filmproduction company forindependent filmmaking in 2011, and has directed and released two feature-length documentaries to German cinemas, while working as artistic director and curator of numerous interdisciplinaryprojects. She is also a founding member of the art and cultural collective friedrichstadtZentral, and currently Zentralwerk (Dresden 2013 Award, ARRAS 2019 Award).

PARTNER | 02022020.SPACE Taiwan - TimeArt Studio

TimeArt Studio is a collective of young musicians in Taiwan. They strive to explore innovative artistic approaches in contemporary music using different cultural elements. They produce many new music concerts, performing new compositions written by established composers and young composers. In the past few years, they developed their own repertoire by commissioning many young composers, exploring the possibilities among music, concert space and visual. Performer: Wu Cheng-Yu, Wang Ying-Chieh, Hsu Hsin-Fang and Yu Rho-Mei https://www.timeartstudio.com/

- 「呼應著2020年2月2日這個一生一次的日子，『時間藝術工作室』邀請了國際知名二胡演奏家王瀅絜、長笛演奏家吳正宇、古箏演奏家許馨方與及打擊樂演奏家余若玫，為大家帶來同樣具有不可複製特性的音樂，融入詩人奉茶葉東泰詩詞內充滿想象的世界。為了讓全世界的觀眾對台灣的印象更為深刻，我們將赴台南老城區中心點的想起民宿，在一棟天井老屋中為大家演奏。台南在地鄉紳“奉茶葉東泰”也將為大家帶來品茶文化與原創台語詩詞，與『時間藝術工作室』一起為大家帶來聽覺、視覺、味覺的三重藝術饗宴。」- 時間藝術工作室

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Steve Hui HK | Composer

20200202 - Performance

The laptop trio of Annisa Cheung, Kathleen Fung and Steve Hui, present a difficult-to-approach yet ultimately magnificent performance whose dual nature is manifest from the outset. Sustain digital tones and single hits are produced by the trio improvising on laptop and loudspeakers. Randomized melodies, rhythms, harmonies and silences are generated in real-time through the interlocking process, delivering a very tight connection between the three players. Hovering between the identity of performer and audience during the performance, each player switch between creating and listening the synthesized audio blocks in the air, spread throughout the room and the internet.

Performer: Annisa Cheung, Kathleen Fung and Steve Hui

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Steve Hui is a Hong Kong based multidisciplinary artist whose practice mines the boundaries between contemporary music, sound art, multimedia theatre and underground subcultures. Experimenting with tradition and remixing art forms, Hui’s recent works include the documentary opera Songs of Portrait, cinematic opera 1984, digital opera The Memory Palace of Matteo Ricci, live soundtracks for the 1950s films Family, Spring, Autumn. Hui is active in the local and international underground scene, performing and djing at 15 Grams, Ruffneck Bizness, HKCR, CTM (Berlin), playfreely (Singapore), LUFF (Lausanne), Sónar (Hong Kong) as well as numerous DIY outdoor parties.

Frenzy at the End of History

Composed by The Opera Company

Frenzy at the End of History is a performance that grapples with a post-ironic world-condition, wherein the horrors associated with the collapsing of comfortable signs, archetypes, ideologies and modern states, rhizomatically assaults contemporary life to a point of frenzied mania. Trying to compensate for the failures of the modern capitalist democratic state and the supposed (neo) liberalism of post-modernity in everyday life, the politicised subject [object] transposes sincerity through the absurd, or disintegrates. Performers: Tina Stefanou James Hazel Joseph Franklin Sam Gill Kristina Susnjara Andrew Kaineder // -- // -- // -- // The Opera Company

is a soap-like company-in-progress making impoverished opera which is malleable involving pools of bodies paddling In romantic-foam staying with sites and situations monuments, homes mammals, herds and ants (and precarity)

Founded by Joseph Franklin, James Hazel and Tina Stefanou. Based in Sydney and Melbourne. They have an extended pool of bodies who perform through and with the soapy material refuse of the Opera Company, not limited to: various objects, and ontologies: some of which include: Solly Frank, Joe Lisk, Isabella Morison, Toby Graham, Sam Gill, Irene Poutakidis, Sophia Dimarelous, Buster, Duke and Breeze. Grandmothers, mothers and companions. Their first performance Romantic Foam was premiered at 107 Projects on a budget of 60 dollars. Romantic Foam was a performance which attempted to interrogate the ideology of the ocean; the maintenance of romantic abstraction by the beautiful people; and their concerted effort to contain the ocean's vast and structurally destructive potential.

11.11.02. Baba Vanga - Video Performance 11.11.02 Baba Vanga which will be performed by French actress Sophie Langevin and will take the form of a video, looks at the figure of the medium and oracles, gathering a series of predictions from living mediums out of the 5 continents or historical figures such as renowned Bulgarian Baba Vanga, all offering a vision or the answer to a question relating to February 2, the entire month of February 2020 or the year 2020. Game between time and space, the premonition can only be confirmed in a specific « T » moment, after the performance and for some on the very date of February 2, the fiction becoming reality and potential truth and creating a spatio-temporal ellipse. Concept : Stéphane Ghislain Roussel - PROJETEN Performer : Sophie Langevin Video : Paula Onet With the Support of the Ministry of Culture of Luxembourg

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Marie Hervé FR | Visual Artist

The Phone - Video Art

"The Phone is an expanding object compiling nearly all of the images stockpiled since 2017 within my mobile phone. Now gathering approximately 3000 images and put randomly into a hysterical generator, a duration-growing video (since the collection never stops its expansion) gives a cropped view of every single one of it for 0,03 seconds. By 02.02.2020, the duration will be approximately from 8 to 10 min."

[This video work was only available on the event day.]

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After a two-year intensive preparatory course for French Grandes Écoles in Arts, Literature and Langages, Marie Hervé entered the École Nationale Supérieure de la Photographie d’Arles, where she is pursuing her studies. Through spacial installations and self-publications, her work interrogates contemporary uses of the image as a phantom, a personal ruin or a damaged memory; from family archives and museum conservation to cellphones images. She simultaneously worked at Blitz Valletta, Malta during the Transformer Project and is currently developing personal and collective  projects within the mediterranean area - principally in Greece - as well as in collaboration with the Vitré art space, France. She exhibited her work in Arles during Les Rencontres Internationales de la Photographie, as well as in Greece and Lyon, France.

Yota Morimoto JP | composer, sound artist and researcher

s/h - audio visual Performance

s/h is a digital-analog hybrid of audio-visual performance in which I play with artefacts of sampling and their potential use in the generation of dance(able) music patterns.

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Yota Morimoto is a Japanese composer, sound artist and researcher born in Brazil based in the Netherlands. He holds a master's degree in Sonology from the Royal Conservatory in The Hague and Ph.D. in composition from the University of Birmingham UK.

His works attend to the materiality of sound and explores non-conventional approaches to generating and transmitting sonic matters. He composes for musicians, ensembles and public spaces, presents works at musea, festivals and conferences such as Gemeentemuseum [The Hague], Gaudeamus [Utrecht] NWEAMO [Morelia], Transmediale [Berlin], ISEA [Dortmund, Istanbul], makeart [Poitier], EMUfest [Rome], ICMC [Belfast, Perth, Athens], SMC [Porto, Barcelona] and SICMF [Seoul].

Alongside such undertakings, as a dj / synthesist, he has performed with Amsterdam Sinfonietta, New European Ensemble, Frances-Marie Uitti, Yann Marussich and Tomoko Mukaiyama, while also being active in sound design working with industrial and institutional commissioners such as Filmmuseum Amsterdam, LUSTlab, Hokkaido University, University of Tsukuba, AIST, Shiseido Co., Ltd. and Honda Motor Co., Ltd.

http://yota.tehis.net

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Maia Francisco Catalonia | Performer and sound artist

Numerical Palindrome - Sound Art and Visual

The source of inspiration for this piece arises from the numerical palindrome of 02-02-2020 which becomes the numerical source for the selection of sound frequencies. In this context, several wave oscillators are used as a sound source. Each oscillator has been tuned in a specific sound frequency and the number assigned to each sound frequency has been calculated out of the string of numbers “02022020”.

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Maia Francisco is a Catalan performer and sound artist based in Barcelona, Catalunya. Her interest is focused on the use of pure sound in music composition. She is usually working on improvisational environments that allow her to interact with wave oscillators.

Maia studied art and design at Barcelona’s Escola Massana Centre d’Art i Disseny and studied piano at the city’s Conservatory of Music. In addition, she studied at the Institute of Sonology at the Koninklijk Conservatorium in Den Haag, Netherland.

Wen Chin Fu TW | Performance Artist, Music theater maker

Sugar talk - Performance

Sugar talk is a performative talk about the process of making sugar musical instruments. Every sugar musical instrument has its own unique pitch. Join to watch the sugar musical instrument number 02022020.

// -- // -- // -- // She graduated in the Classical Music Department of Shih Chien University, Taipei in 2006, ArtScience interfaculty in 2010 and Muziektheater study in the Royal Conservatory in the Hague in 2018. Her interest is in exploring the relationship between physical movement, sound and the environment. She develops new instrument to experiment various possibilities of performing gesture, i.e, Body Cello, Spine Spinning, and finding new auditory possibilities within materials, i.e, Tang – instrument made of sugar. A key element of her practice is the manner of concentration, which opens up possible senses perceiving objects in a new perspective.

http://www.wenchinfu.com/

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Live performance

삼킴 SaaamKiiim (formerly known as Sonor Project) is a trio for electroacoustic improvisation comprised of Haeguem (Yeji Kim), Electronics (Dey Kim), and Percussions (Sun Ki Kim). They aim to break down the three components of music — harmony, melody, and rhythm. These dissected sounds are reinterpreted and recombined to be performed as natural phenomenons. In addition, their music resembles the relationships in our society and strives to resonate with the specific story of each one of the audiences.

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Karen Yu & William Kuo HK | Performance Artists

Augmented Aurality - Performance

Listening originates in utero, where the sensing self (the fetus) in its own body listens to the sounds of another body like its own: the self hearing itself from within. Even as we exit the womb of the mother we continue listening through the internal cavity of the skull. We hear our own breathing. We hear the rhythms of the organs inside our bodies. We hear ourselves speak. This work engages the listener inwardly, before turning outwardly to engage entire bodies of listeners. How does listening help to transform oneself and to forge meaningful connections with others?

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Karen Yu - A percussionist, performing artist and interdisciplinary arts researcher, Karen Yu enjoys the collaborative process in discovering new possibilities in performing arts with various artists and musicians. Through the unique blend of sight and sound inherent in percussion performance, Karen proactively seeks for new approach to transform the existing concert culture. Dedicated to the performance of contemporary music, she frequently collaborates with composers and has premiered numerous new solo and chamber compositions. Based in Hong Kong, Karen is a co-founder and director of the chamber percussion group, The Up:Strike Project, member of the NOVA Ensemble, and co-founder of EXORDIUM Collective.

http://www.karenyu.net/

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[New European Ensemble Project]

Lam Lai HK | Composer, Music-theater Maker

Anatomy of a Date - Music-theater performance

Performers: Emlyn Stam, Willem Stam, Ryan Linham Actor: Ruta van Hoof Text: Lam Lai & Ruta Van Hoof

Language: Dutch

* This link consists of an excerpt of the piece and a Q&A session with the audience at the venue.

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Lam Lai received her BA and MA in composition and electronic music at the Hong Kong Academy for Performing Arts, MA in composition and a diploma in Sonology at the Royal Conservatory of The Hague. As a composer, she is interested in the creation of new media hybrids. Her compositions - orchestra, ensemble, electronic, and interdisciplinary works - have celebrated their world premieres all across the globe. Lam Lai concentrates on the combination of conventional performance methods with other art forms such as electronic sound, visual art, film, text, and theater. Currently, she works as a composer, music theatre maker, performer and independent producer. 

Her work ​Frozen Moment​ for synchronization of two ensembles in two cities was performed by the Hong Kong New Music Ensemble and Ensemble Adapter at the Berliner Festspiele in March 2011. She has worked with, among others, the Nieuw Ensemble (Amsterdam); International Ensemble Modern Akademie (Frankfurt); SWR Experimentalstudio (Freiburg); New European Ensemble (The Hague); Dallas Winds (U.S.). Her works were performed at, among others, the Holland Festival; Cycle Music and Art festival (Iceland); Musica Nova Helsinki; Atlas Festival (Amsterdam); New Vision Arts Festival (Hong Kong); Sonic Anchor (Hong Kong). Since 2014 she is also active as a composer-performer in music-theater, performances including Victory Boogie Woogie, RAARRR, De Stijl 2 & 3, So you think you can Dada?!, Space Elevator and Title with Logo, and also received a two-year residency in music theater company de Veenfabriek. In 2018, she took part as a composer in the Festival for new music theater - ​Munich Biennale for the work ​BUBBLE <3​. In the fall, She created her original music theater work about artists who are not allowed to make art, ​Title:undefined​. 

Since 2008, she has worked as a project coordinator in the Hong Kong New Music Ensemble in their festivals and concerts. Besides, she also produced salon performances in the series of ‘relaxing evening with new music’, ​Moments in the Pulse and ​New Concert of the 30’s for flower music Hong Kong.​ In 2018, she organised and produced her own music theater work, ​Title:undefined​ in the Netherlands. Recently, she produced the project 02022020.space in Feb 2020 and she is one of the co-curators of “Sonic Ecology”. The project is part of practice-led research platform "Caravanserais", presented and produced by the HKNME.

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Ruta van Hoof is an actor, musician and theater maker based in the Netherlands. She graduated in 2015 from Arnhem drama school. As an actor, Ruta has worked for, among others, The Independent Theater, Toneelgroep Oostpool, National Theater, Club Guy and Roni, Theatergroep The Young Ones and the Veenfabriek. She worked as a musician with, among others, Dionys Breukers, Jan Kooper, Harry de Wit, Bastiaan Woltjer and Paul Koek.

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Tap Chan HK | Visual Artist LOOP POOL | Installation The palindrome number 02022020 originates from the date 2nd February, 2020. By reading it literally back and forth , it creates an infinity loop without an end. The repetitive motion of the hoop brings a hypnotic effect, and it draws you in again and again, preserving the moment for what feels like forever, as if trapping in a time-warp, looping the same sequence of occurrences over and over again, or lagging in a video game. No one knows the phenomena are hiccups of time or a glitch in the brain.

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Meg Jenkins is a South East London based interdisciplinary artist who’s intuitive-led practice is driven through distraction, gaining of attention, anxiety, wildness and excessive digital overloads. She has performed and exhibited in the UK and internationally including; Embassy Gallery - Edninburgh, Edinburgh Museum of Modern Art, Toynbee studios - London, Art Licks weekend - London and FRINGE Queer Film Festival. She studied Sculpture and Environmental Art at The Glasgow School of Art and in 2018 was selected for the alternative post-graduate programme ‘Into The Wild’ in association with Chisenhale Art Place. Meg has been a member of Martin Creed and His Band where she performed in the Kyoto Experiment in 2016. She has also curated live performance events including ‘The Green Room’ in Glasgow which was a collaboration with GY festival.

New European Ensemble Project

Tak-cheung Hui Hong Kong | Composer

Realms of interim - music composition for 6 musicians

In this project, at the time of 2020 02/02 20:20, an unknown universe will come into being at the time as the music begins, and by the end of the piece, it will be dissolved. Their existence will last for precisely 2020 cycles (or years) 59 days and 1220 minutes (or in total 106171200 minutes), which equals to 12 minutes of our time. There are three layers of time in the piece: the time of the unknown universe, our time, and the time of the witness. All these three layers are indeed interconnected; an event that happens on one layer will affect the other and create a ripple effect that becomes the body of the piece.

Performers: Emlyn Stam, Willem Stam, James Meldrum, Jose ‘Pepe’ Garcia Rodriguez, Ryan Linham, Kassandra Siebel

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HUI, Tak-Cheung is a Hong Kong-born composer. His compositions often touch upon topics such as identity, migration, and political frontiers past and present. Over the course of his career, Hui’s works have been present in different international festivals and awarded numerous prizes. His works has been performed by MDI ensemble, JACK quartet, TAK ensemble, Liverpool Royal Philharmonic Orchestra, and he has received commissions from ensembles and soloists such as Eutopia Ensemble, Flex Ensemble, Joint Venture Percussion Duo, Looptail Ensemble, Nieuw Ensemble and Null-State.

https://huitakcheung.com

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