23/09 – 08/10 Stadtwerke-Haus, Akademie Graz, designforum Steiermark
Peter Ablinger (AT), Demi Broxa (AT), dieb13 (AT), Christian Fennesz (AT), Peter Herbert (AT), Mira Lu Kovacs (AT), Bernhard Lang (AT), Max Nagl (AT), Olga Neuwirth (AT), u.v.a.
Austrian artists pay tribute to New York music
With affectionate homages in an ingenious acoustic exhibition at the Stadtwerke-Haus (Holding Graz), Akademie Graz and designforum Steiermark, Austrian composers dedicate themselves to the city of New York and its famous figures.
musikprotokoll goes New York. In collaboration with the Austrian Cultural Forum New York (ACFNY), the project has led to fifteen homages by Austrian musicians to artists inseparably linked with New York City. Olga Neuwirth, for example, devotes her homage to lyrical rock musician Patti Smith, Andrea Sodomka pays tribute to experimental artist Yoko Ono, Patrick Pulsinger honours minimal music star Philip Glass, and Christian Fennesz conjures up the accomplishments of 80s’ icon Cyndi Lauper.
When Peter Herbert makes musical reference to Charles Mingus and, in the same context, Peter Ablinger to Morton Feldman, the focus musically is on historical modernism and how it is handled. The historical modernism of the city of Graz is woven into these transatlantic tributes: musikprotokoll is presenting these homages in the Stadtwerke-Haus of all places – a house built by Rambald von Steinbüchel-Rheinwall in 1931, the only building in the centre of Graz that was ever built in the modernist style of that time. Its sensational staircase and its architectural neighbours – Akademie Graz and designforum Steiermark – are the venues for the homages to New York in Graz, that visitors will be able to experience through headphones in an ingenious acoustic exhibition.
Registration: You will need an audioplayer/headphones. Please reserve your slot as of Sun 10/09 at http://musikprotokoll.ORF.at/homages The starting point is designforum Steiermark.
Curated by Christian Scheib (AT). Concept and realisation Fränk Zimmer (AT/LU). Produced by ORF musikprotokoll, Austrian Cultural Forum New York. In cooperation with steirischer herbst, EUNIC, Holding Graz, fluxguide, Akademie Graz, designforum Steiermark. Supported by AKG Acoustics.
23/09 – 08/01/2018 GrazMuseum
50 x stolen goods and finds
Since 1968, musikprotokoll at the steirischer herbst festival has been dedicated to contemporary music in many different varieties. More than 2,000 premieres in fifty editions of the festival – that means any number of stories, experiments, successes and personalities. Accordingly, the echoes from five decades in the anniversary exhibition at the GrazMuseum consist of many different voices: acoustic reflections from fifty iterations of the festival and fifty years of radio, objets trouvés to hear, see and read.
A production from musikprotokoll, steirischer herbst and GrazMuseum. This project is part of the exhibition Diese Wildnis hat Kultur - 50 x steirischer herbst.
Battle-ax & Jung An Tagen
01/10/2017 ORF Funkhaus Wien
What Beatrix Curran aka Battle-ax finds so fascinating about the viola is its rich, dark sound, which she likes to manipulate to sound an octave lower using an effect pedal. Born in Australia, she came to Vienna on an exchange programme in 2009 to study visual arts, at which time she discovered the world of new music and experimental electronic club music. The latter she humorously described as the Fourth Viennese School in the text and photo series she presented in an exhibition as part of the 2015 Klangspuren festival in Schwaz. In May, at the opening of the Wiener Festwochen’s first edition of the Hyperreality festival Battle-ax performed for the first time with Stefan Juster aka Jung An Tagen, who last year attracted much attention with his album "Das Fest der Reichen", released on the influential Editions Mego label. For the Zeit-Ton extended programme on October 1 to celebrate the double fiftieth anniversary of radio Ö1 and the musikprotokoll festival Battle-ax and Jung An Tagen will continue their collaboration and present a piece which was specially created for this event. “I really appreciate the retroflex within his music,” Battle-ax says about Jung An Tagen, “that it can be received on some sort of higher cognitive plane and then all of a sudden you want to start moving and it becomes very physical. It’s both stable and erratic, instant. This is where I think we meet. There’s a lot of immediacy in both our projects despite having a very different method of production.”
In cooperation with SHAPE – Sound, Heterogeneous Art and Performance in Europe. Promoted by the „Creative Europe“ programme of the European Union. Battle-ax is SHAPE Artist 2017.
Mi 04/10, 19.30 Helmut List Halle
Peter Jakober (AT), Ferdinand Schmatz (AT), Gerd Kenda (AT), ensemble zeitfluss (AT), chor pro musica Graz (AT), Vocalforum Graz (AT), Domkantorei Graz (AT)
For three choirs and twelve sub-conductors
A host of voices from Graz probe the voice as a manipulative instrument. The premiere of Peter Jakober’s composition features three choirs and a total of twelve conductors, among others.
Creating an eternal light at the beginning of a festival history can probably only be a symbolic undertaking verging on the foolhardy: the first iteration of the musikprotokoll festival at steirischer herbst in 1968 opened with György Ligeti’s as yet young sixteen-voice motet “Lux Aeterna”.
The fascination of the voice as an instrument remains both timeless and contemporary in 2017. Three Graz-based choirs, conductor Gerd Kenda, no fewer than twelve sub-conductors, four instrumentalists and a writer open this year’s musikprotokoll with a space-filling premiere of composer Peter Jakober. The conductors each conduct different tempi, with this overlap creating a very special acoustic experience. Author Ferdinand Schmatz recites his own text, the Graz-based ensemble zeitfluss sets the instrumental tone, and the varied voices of chor pro musica Graz, Vocalforum Graz and Domkantorei Graz unashamedly venture an overt manipulation of their listeners.
After all, “Primen” deals with phenomena that define our being, whether we admit it or not: with the manipulation of the word and the contingent manipulation of human beings, the delicate boundaries between the conscious and the unconscious. Between the sense and sensuality of language and voice there lies a thin line, and yet a wide sphere.
Produced by ORF musikprotokoll and steirischer herbst. "Primen" is the musikprotokoll Emil-Breisach-compositioen-prize 2017.
Mi 04/10 Helmut List Halle, Foyer
Händl Klaus (AT), Veronica Kaup-Hasler (AT), Elke Tschaikner (AT)
musikprotkoll opening 2017
For fifty years now, musikprotokoll has not shied away from performing the unheard-of, giving sound to the music of composers far beyond the mainstream. To begin with, in the late 1960s, it was György Ligeti and Friedrich Cerha, followed by Krzysztof Penderecki and Witold Lutoslawski, Luna Alcalay and Adriana Hölszky, a few decades later Olga Neuwirth, Isabel Mundry, Chaya Cernowin, Georg Friedrich Haas, Beat Furrer, Bernhard Lang, Klaus Lang and a hundred more.
musikprotokoll has recurrently given account to the musicality of literary art too. Following Patrick Hahn in 2015, this year writer Händl Klaus is our guest. He follows in the tradition of another musical great of Austrian literature, Gert Jonke, who accepted an invitation from musikprotokoll twenty years ago and who described paradise as the echo of everything ever heard. “Although it may sound rather odd, I say that musicians somehow have a major share in the responsibility for the make-up of this echo and the quality of this paradise, for this echo in all eternity. Thank you very much.”
Mi 04/10, 21.30 Helmut List Halle
Andreas Trobollowitsch (AT)
In the dynamic field between concrete and abstract, Andreas Trobollowitsch’s “composedconfusion” takes five performers to their limits.
Guitar-playing fans, melodica-playing compressors, bass-drum-playing lemon trees, drawing Walkmans – it is the boundary areas that interest Andreas Trobollowitsch in his artistic and musical work; those dynamics fields that open up when theory meets practice, concrete meets abstract, physical meets conceptual, and visual meets auditory. In “composedconfusion”, that Trobollowitsch developed during a residency in Buenos Aires for several weeks at the beginning of 2016, various techniques developed over the past few years now intermesh.
In search of common (sound) textures, he reviews the objects and materials he uses in terms of their resilience. Again and again, the five performers incorporated into a set of compositional rules in this semi-installative setting come up against their physical limits and the limits of their playing – among them is the composer himself, who plunges with verve into this composed confusion.
In cooperation with SHAPE – Sound, Heterogeneous Art and Performance in Europe. Promoted by the „Creative Europe“ programme of the European Union. Andreas Trobollowitsch is SHAPE Artist 2017.
Do 05/10, 19.30 Helmut List Halle
Christof Dienz (AT), Francesco Filidei (IT), Pierre Jodlowski (FR), Hannes Kerschbaumer (AT)
Appearing for the first time at musikprotokoll, the acclaimed Ensemble PHACE journeys into a precious world of poetry with an exquisite selection of New Music.
An orchestra whose form is constantly changing, maturing as it passes through the various stages: the name of the Ensemble PHACE sets the pace for the programme at their 2017 musikprotokoll début: from sensual to gestural, from playful to stringent, from Hannes Kerschbaumer and Pierre Jodlowski to Francesco Filidei and Christof Dienz.
The ensemble performs a premiere of Dienz based on writings of bestselling Austrian author Christoph Ransmayr. So what you’ll be hearing is new music by a composer who has so far in his artistic career been bassoonist at the Vienna State Opera orchestra and a member of the legendary world music formation “Die Knödel” who has also carried out productive experiments with the zither.
Salvatore Sciarrino once wrote: “It is not a matter of intellectual solutions but of opening up a precious and poetic world.” It was with these words that he described the world of sound of composer Francesco Filidei born in 1973. His gestural, poetic music is also among the four very different contemporary positions assumed by the Ensemble PHACE at musikprotokoll.
Do 05/10, 21.30 Helmut List Halle
Stefan Fraunberger (AT), ensemble zeitfluss (AT)
The state of suspension between modernism and culture and its (uncanny) states in the sense of advanced perception are the focal theme of Stefan Fraunberger’s acoustic research.
On an acoustic expedition on the Ganges Plain, Stefan Fraunberger recently found eight shells that were originally retrieved from the deep sea. After sawing off the tips, they were used by Brahman priests as instruments to announce and initiate their rituals. In Fraunberger’s “deranged orchestra”, the eight deep-sea shells become signal horns with which the composer sets out to bring about an “uneven permutation” in human perception in a ritual-style performance. Despite climate change, human beings still see themselves as the measure of all things instead of listening more closely to the rhythms of nature again. Permutation is also a key notion in “Ornamentrauschen”. With his santur, a Persian dulcimer, the Austrian composer weaves a web of constantly changing sound patterns in which different makam moods run into each other.
In cooperation with SHAPE – Sound, Heterogeneous Art and Performance in Europe. Promoted by the „Creative Europe“ programme of the European Union. Stefan Fraunberger is SHAPE Artist 2017.
Do 05/10, 22.30 Helmut List Halle
Studio Dan (AT), George Lewis (US), Oxana Omelchuk (DE/BY)
No matter whether it’s big band or small ensemble: Studio Dan grooves flexibly with all experimental waves – this time with iridescent premieres of avant-garde jazz trombonist George Lewis and composer Oxana Omelchuk.
American trombonist and composer George Lewis, who is currently teaching at Columbia University in New York, could almost be referred to as a legend of avant-garde jazz. The Austrian Studio Dan ensemble joins the brilliant trombonist Matthias Muche to premiere a new piece by George Lewis at musikprotokoll.
Studio Dan was originally founded as a big band for the first festival of the JazzWerkstatt Wien initiative in 2005. Over the years, it became clear how tremendously flexible this collective is in terms of size and style, depending on which wavy borderlines of experimentation they happen to be operating along – between improvisation, composition, jazz or prog rock. This openness with regard to instruments and style is also the ideal precondition for the iridescent music of Oxana Omelchuk, who also appears with a premiere the same evening. The artist, who was born in Belarus in 1975, lives in Cologne and is currently preparing her portrait CD for the Edition Zeitgenössische Musik des Deutschen Musikrates, has received numerous prizes and grants since graduating and counts among the outstanding composers of her generation.
Crystal Sounds Lab
Fr 06/10, 14.00 Helmut List Halle
Andy Cavatorta (US) & Tom Huber (DE)
In their lab, Andy Cavatorta and Tom Huber combine crystal-clear sounds and the sound of technology based on a newly developed musical instrument.
The “Crystal Sounds Lab” builds a bridge between art, technology and science in innovative projects and cooperations. In collaboration with New York artist Andy Cavatorta and Munich musician and producer Tom Huber, they probe the fascinating contrast between analogue and digital spheres, exploring this sphere with the aid of an innovative musical instrument. Quartz-like gallium phosphate crystals cultivated by AVL in a world-first process as the result of a long-term interdisciplinary research project serve as the source of sound for the heterodyne instrument. In the course of “Crystal Sounds Lab”, the audience gets an insight into the genesis and further development of this experimental musical instrument and also has the opportunity to get actively involved in the development process.
Production AVL Cultural Foundation. In cooperation with musikprotokoll.
Fr 06/10 - So 08/10 Congress Graz, Helmut List Halle, Mausoleum
Enno Poppe (DE), Rune Glerup (DK), Mikel Urquiza (ES), Petr Bakla (CZ), Alberto Posadas (ES)
The string quartet as a seismograph of the contemporary: the renowned Quatuor Diotima celebrate their musikprotokoll début with no fewer than three concerts this year.
The instrumental and compositional fascination of Quatuor Diotima – aptly named after the wise woman said to have explained the merits of Platonic love to Socrates – ranges from George Onslow into the 21st century, with all manner of stopping points along the way.
This constellation of four strings was founded by graduates of the Conservatoire National Supérieur de Musique de Paris in 1996 and ranks among the most sought-after ensembles in Europe. Yun-Peng Zhao, Constance Ronzatti, Franck Chevalier and Pierre Morlet are renowned for working particularly closely with composers. The four musicians are famed for their intense, sensual, mellifluous and, at the same time, intelligent and precise interpretations of very new music.
One world premiere and four Austrian premieres by Enno Poppe, Petr Bakla, Rune Glerup, Mikel Urquiza and Alberto Posadas make up the exciting material for three “Happy Hours for String Quartet”, a seismographic exploration of current music.
Advanced Dance Music
Fr 06/10, 19.30 Congress Graz, Stefaniensaal
Bernd Richard Deutsch (AT), Johanna Doderer (AT), Arturo Fuentes (MX), Peter Herbert (AT), Johannes Kalitzke (DE), Gabriele Proy (AT), Gerald Resch (AT), Jorge Sánchez- Chiong (AT), Johannes Maria Staud (AT), Judit Varga (AT), Gerhard E. Winkler (AT) u.a.
50 years of musikprotokoll
A ball at musikprotokoll? Yes, seriously! Contemporary composers write, the Vienna RSO performs, and the audience dances along.
To celebrate the fiftieth edition of musikprotokoll, the Vienna Radio Symphony Orchestra are not giving a concert in the Stefaniensaal of Grazer Congress, no: they are striking up a dance – in all seriousness. At the same time, there will be lots of fun: the dancers are visitors to musikprotokoll, so the dance-floor belongs to the audience. There will be dancing to the music of such composers as Gabriele Proy, Judit Varga, Jorge Sánchez-Chiong, Peter Herbert, Johannes Kalitzke, Bernd Richard Deutsch and Johannes Maria Staud, who are writing new pieces for this dance evening format. Johannes Kalitzke is also conducting the RSO on this occasion.
Listen – and dance to – compositions by Johanna Doderer, Arturo Fuentes, Gerald Resch, Gerhard E. Winkler and many others. So even if musikprotokoll is harking back – with a slight touch of anniversary irony – to such an age-old format as the “ball” for its birthday celebrations, musically, of course, this is a tongue-in-cheek nod to the future. At the same time, it is firmly rooted in the present.
Peter Herbert & Barry Guy
Fr 06/10, 21.30 Congress Graz, Kammermusiksaal
Barry Guy (GB), Peter Herbert (FR/AT)
Barry Guy comes to musikprotokoll for the first time, improvising with his highly regarded fellow double bassist Peter Herbert.
The two double bassists Peter Herbert and Barry Guy have known and admired each other for a long time, often meeting all over the world on their various tours. And although a long-cherished wish, they have yet to perform as a duo in concert. So this first joint performance of two great improvisers is a minor sensation at musikprotokoll 2017.
Even if British musician Barry Guy always thinks in terms of “music of the future”, but never of the past, the seventy-year-old’s work so far is remarkable and strikingly multi-layered: it ranges from free jazz to Old Music, from cooperations with Derek Bailey and Evan Parker, the London Jazz Composers’ Orchestra to Christopher Hogwood’s Academy of Ancient Music. Barry Guy shares this wide variety and his perception of himself as a bassist who combines groove with experimental playing techniques with Vorarlberg-born musical globe-trotter Peter Herbert, who has been living in Paris since 2003.
06/10/2017 - 22:30 Congress Graz
Stefan Fraunberger (AT)
Having studied computer music, philosophy, Islamic and Arabic studies, Stefan Fraunberger says he has always been more interested in the dialects than the standard languages – not only in terms of linguistics and cultures but music too. Fraunberger frequently embarks on extended expeditions, which in the past years have taken him to Aleppo, Sana’a, and Teheran, among other places. On one of these journeys he became acquainted with one of his current main instruments, the santur, which is related to the hammered dulcimer. It is mainly used in the classical music of Iraq and Persia, but can also be found in Indian art music. Over the years Fraunberger has developed his own playing technique on the santur; cultivated his very personal musical dialect, in which he weaves a web of new sound patterns from different tuning systems – in an intoxicating flood of ornaments. Or to put it in the words of the musician: “Which form of permutation is needed to keep the carpet flying?”
In cooperation with SHAPE – Sound, Heterogeneous Art and Performance in Europe. Promoted by the „Creative Europe“ programme of the European Union. Stefan Fraunberger is SHAPE Artist 2017.
musikprotokoll 2017 in Ö1
Sa 07/10, 10:00 Akademie Graz, ORF Landesstudio Steiermark
Aleph / Guy & Homburger
Sa 07/10, 19.30 Helmut List Halle
Aleph Quartett (DE), Barry Guy (GB), Maya Homburger (CH)
A sensitive guitar quartet, a virtuos baroque violinist, and a legendary double bassist whisk you away on a rich and varied journey through the centuries.
Strings only. An experiment of strings of all kinds: in 2017 the Aleph guitar quartet, who have been good for many a finely nuanced concert at musikprotokoll in the past, meets baroque violinist Maya Homburger and double bassist Barry Guy. The duo play off each other enjoyably and totally naturally, weaving baroque music of Johann Sebastian Bach and Heinrich Ignaz Franz Biber together with new compositions and improvisations of György Kurtág and others.
Hailing from London, Barry Guy counts among the most important double bass players and most influential musicians of our time. Swiss violinist Maya Homburger has gained renown as an expert for baroque music with her Antonio della Costa violin from 1740. For more than twenty years, she and Barry Guy have been finely attuned to each other, with Guy also composing solo pieces for her. The two invite Aleph Quartett to embark with them on a journey through the centuries, performing their first evening together. The four sensitive virtuosos of the guitar quartet bring along a number of new compositions by Zeynep Gedizlioğlu and Marko Nikodijevic, among others, on this fascinating venture.
The Sound of the Internet of Things
Sa 07/10, 21.30 Helmut List Halle
Klammer & Gründler Duo (AT), Stefan Doepner (SI/DE)
Klammer&Gründler have always had their fingers on the pulse of time: following their projects “Razionalnik”, that explored the musical potency of data networks thirty years ago, and “RGB”, that dealt with the subject of synchronisation at musikprotokoll twenty years back, the two musicians are now looking into the question of what the Internet of things sounds like in “The Sound of the Internet of Things”, exploring the space of autonomous, networked machines with musical means. Not only do they share the stage with constructed sound robots but also with ready-mades from the Internet of Things and hacked gadgets. The audience’s smartphones can also play a role. Siri and Echo go without saying. They are joined by Stefan Doepner from cirkulacija2 from Ljubljana, the perfect complement for the duo with his emphasis on technology-based art, robotics and sound. Music always remains the focal point, however.
Sa 07/10, 23:00 Palais Attems, herbst Bühne
Anna Meredith (GB) und Band
Composer Anna Meredith proved once again that there are many fascinating synergies to be found in the realm between avant-garde, pop and contemporary classical music with “Varmints”, the Scottish album of the year. The album oscillates between pulsating beats, pointillist staccatos and bombastic arrangements, mysteriously marrying indie and orchestral music. In her live performances, Meredith performs as a one-woman sextet on the clarinet, electric guitar, celli, tuba, percussion, and electronic instruments. American music magazine Pitchfork was full of superlatives too, calling Anna Meredith one of the most innovative minds in modern British music. There’s nothing to add to that.
In cooperation with musikprotokoll, SHAPE – Sound, Heterogeneous Art and Performance in Europe. Anna Meredith is SHAPE Artist 2017.
So 08/10, 19.30 MUMUTH
Matthew Shlomowitz (AU)
A journey through time in all directions: the University of Music and Performing Arts Graz dreams itself into a special version of the eighties with the opera “Electric Dreams”.
A hotel room. An unknown person cannot sleep and switches on the TV zapping between documentaries, consumer TV, sports reports and quiz shows – a remote-controlled medley of arias, recitar cantado, and background choirs. Questions arise: Are we in the eighties of the last century or in a postmodern dream about a postmodern time? Or is this in fact a member of Generation X holidaying in an Opera-80s-TV concept hotel?
“Electric Dreams” by Australian composer Matthew Shlomowitz is obviously a journey in time. But does it take us into the future or into the past? Director Philipp M. Krenn stages the premiere with students of the University of Music and Performing Arts Graz in cooperation with musikprotokoll, with Wolfgang Hattinger as conductor. The eighties, here that means big hair and shoulder pads, yachts and shopping malls, saccharine synthesisers, impeccable power chords, and resounding drum rhythms, but also souped-up cars, flannel shirts and seventies rock music.
And then there is the eighties of self-reflective, but lowbrow art, celebrated by some as historically and politically aware, dismissed by others as false and vapid. “Electric Dreams” combines all these variations of the good old days to create a dream-like contemporary opera event.
Matthew Shlomowitz, Komposition / Wolfgang Hattinger, Musikalische Leitung / Philipp M. Krenn, Inszenierung / Katharina Wraubek, Ausstattung / Dimitrios Polisoidis und Boris Brinkmann, Musikalische Einstudierung / Isabel Zalami - Video Design / Sopran: Misaki Morino, Klaudia Tandl / Mezzosopran: Katia Ledoux / Tenor: Camilo Delgado / Bariton: Christian Wester / Schauspieler: Lukas Schmidt /
Video Design: Isabel Zalami / InstrumentalistInnen: PPCM-Studierende
Production of Kunstuniversität Graz/Gesellschaft der Freunde der Kunstuniversität Graz in cooperation with ORF musikprotokoll. Matthew Shlomowitz is Johann-Joseph-Fux-Opernkompositionspreisträger of Styria. Further performances Mo 09/10 & Mi 11/10, 19.30 in abo@MUMUTH.
So 08/10, 22.00 ORF Landesstudio Steiermark, Studio 3
Pôm Bouvier b. aka SiS_Mic (FR)
Music, according to multidisciplinary artist Pôm Bouvier b. aka SiS_Mic, invites us on a journey that takes us through the different layers of our memory. Bouvier b. loves to blur boundaries, seeing fragility as a form of time. To her, the moment of dissolution always implies impetus for movement. As the artist sees it, whoever follows this impetus hears the call of life, as everything in and around us is in constant motion. Bouvier b. brings along her self-made sound table, her big feedback speakers, and various materials to Graz. She will only decide which direction the concert takes on the spot. As the artist says, one of the instruments she will be using is the concert space itself: “And I like the idea that we – me and the audience – are inside this instrument during the concert.”
In cooperation with SHAPE – Sound, Heterogeneous Art and Performance in Europe. Promoted by the „Creative Europe“ programme of the European Union. SiS_Mic is SHAPE Artist 2017.
Happy New Fear
So 08/10, 23.00 ORF Landesstudio Steiermark, Studio 3 ORF Kunstradio live
Rima Najdi (LB), Kathy Alberici (GB), Ana Nieves Moya (ES)
What does a society in fear do? Does it stop functioning? Does it repress everything and just carry on? Are we alone with our fear, or do we share it? How can we talk about such feelings? Lebanese artist Rima Najdi explored these questions and others in her 2014 performance “Madame Bomba: The TNT project”. With a fake bomb strapped around her body she walked around Beirut, thus personifying what everyone was thinking: the next terrorist attack could be waiting for me around every corner. Together with composer and musician Kathy Alberici, Rima Najdi assimilated her thoughts and experiences in the role of “Madame Bomba” in a powerful radio play that confronts listeners with their own fears. “Happy New Fear”, that was awarded one of the two production prizes by CTM Radio Lab 2017, goes on show at musikprotokoll as an audiovisual live version accompanied by visuals developed by video artist Ana Nieves Moya.
CTM Radio Lab 2017: Coproduction Deutschlandradio Kultur – Hörspiel/Klangkunst, CTM Festival. In cooperation with Goethe-Institut, ORF musikprotokoll, Ö1 Kunstradio und SoCCoS – the Sound of Culture, the Culture of Sound Initiative. Happy new Fear was developed in part at the 2016 Sundance Theater Lab in MENA with additional Post-Lab funds possible from the Andrew w. Mellon foundation.