Audiovisual installation and performance (CANCELED)
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.