Vladimir Film Festival

Audi­ovisu­al install­a­tion and per­form­ance (CANCELED)

Pula / ECPD / 23 / 09 / 2023 / Event

We are sorry to inform you that the audi­ovisu­al instal­a­tion and per­form­ance was can­celed. The rest of the pro­gram goes as planned.

Sound and visu­al impro­visa­tion through the res­on­ance of Super‑8 film pro­ject­ors in dia­log with per­cus­sion and electronics.

Maur­i­cio Takara plays drums and per­cus­sion with the bands Hurt­mold, São Paulo Under­ground (with trum­peter Rob Mazurek from Chica­go) and the trio Rakta. With these bands, he has released many records and has played all over the world, includ­ing fest­ivals like Son­ar, SXSW, Saalfelden Jazz, Bel­grade Jazz Fest­iv­al, Club Trans­me­diale, etc. Takara is also very act­ive in São Paulo’s impro­vised and exper­i­ment­al music scene and has played with a wide range of musi­cians such as Phar­oah Sanders, Damo Suzuki, Yusef Lateef, Joe Lally (Fugazi), Pre­fuse 73, Makoto Kawabata, among many oth­ers. In his solo work, he mainly uses drums and per­cus­sion in con­nec­tion with syn­thes­izers and elec­tron­ics, explor­ing the more abstract as well as melod­ic side of rhythms and per­cuss­ive sounds.

You can fol­low him around on Band­camp and Ins­tagram

Sergej Vutuc’s works over time tend to lend towards the study­ing and the struc­tur­ing of a cer­tain coher­ent space of ideas, feed­back and exchange, with the idea of the phys­ic­al mostly serving as a dis­pos­able clue or decept­ive land­mark. This is as far as all humanly per­cept­ible and exploit­able fre­quen­cies are con­cerned and includes the explor­a­tion of image — pho­to­graphy and pho­to­copy, motion and sound, includ­ing spon­tan­eous pro­duc­tion at live meet­ings, pro­jec­tions, per­form­ances and exhib­i­tions that often res­ult in their own self-pub­lic­a­tion. The machine is util­ized as a tool rather than cel­eb­rated as a tech­nique and thus inter­preted for its pure design: pho­to­copi­ers become music instru­ments, the noise turns into prin­ted objects or meets just the visu­al by the means of its injec­tion along­side the same real­ity as the one of over­lap­ping Super‑8 and 16mm films.

Freed from arbit­rary con­straint, the facets of each frag­men­ted medi­um nat­ur­ally recom­pose them­selves into trans­par­ency as one abso­lute ensemble that is left to embrace as and for noth­ing but what it is.

The res­ult­ing pub­lic­a­tions them­selves bear the mark of their dir­ect exist­ence, most appar­ently via hand­writ­ten titling but also by their con­tin­ued rewrit­ing in, of and after them­selves that keeps sim­ul­tan­eously feed­ing, clos­ing and defin­ing the circle.

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