28.09. Köln: FRANCISCO LOPEZ vs. IANNIS XENAKIS

[kubu]

aufabwegen presents...

28.09.2008, 20.30h 7 euro
sonic objects #1

Francisco López
vs.
Iannis Xenakis

Kulturbunker Mülheim
Berliner Str. 20 - 51063 Köln
www.kulturbunker-muelheim.de

sonic objects ist ein neues Veranstaltungsformat in Köln, in welchem die komponierte elektroakustische Musik auf die zumeist frei gespielte oder improvisierte, vorwiegend aus dem popmusikalischen Kontext stammende Laptop-Musik trifft. Die Reihe geht dabei vom Abenteuer des Hörens aus, das keine akademische Vorbildung braucht: Es wird zu beweisen sein, dass auf klanglicher Seite sich die Komponisten und Musiker beider Lager extrem viel zu sagen haben und die soundästhetischen Unterschiede nicht so groß sind, wie es oft den Anschein hat.
Den Auftakt zur Reihe bildet ein Livekonzert mit „absolute concrete music“ des international extrem aktiven Geräuschmusikers Francisco López. Seiner Musik wird die Klangwelt des griechischen Komponisten Iannis Xenakis (1922-2001) gegenübergestellt, vermittelt durch eine anschauliche Einführung in die Werke Persepolis (1973) und Bohor (1962) durch einen Musikwissenschaftler der Universität Köln.

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Francisco López

CV
Francisco López is internationally recognized as one of the major figures of the underground experimental music scene. Over the last twenty five years he has developed an astonishing sonic universe, absolutely personal and iconoclastic, based on a profound listening of the world. Destroying boundaries between industrial sounds and wilderness sound environments, shifting with passion from the limits of perception to the most dreadful abyss of sonic power, proposing a blind, profound and transcendental listening, freed from the imperatives of knowledge and open to sensory and spiritual expansion. He has realized hundreds of concerts, projects with field recordings, and sound installations in 50 countries of the five continents. His extended catalog of sound pieces (with live and studio collaborations with over 100 international artists) has been released by more than 140 record labels worldwide, and he has been awarded twice with honorary mentions at the competition of Ars Electronica Festival.

francisco lópez absolute concrète music

Over the last twenty five years Francisco López has been developing a powerful and consistent world of sound creations, 'trying to reach an ideal of absolute concrète music'. To date, his catalog comprises more than 180 sound works, which have been released by over 140 record labels throughout the world. He has toured extensively throughout Western and Eastern Europe, North, Central and South America, Japan, Taiwan, South Africa, Australia, and New Zealand doing live acousmatic performances and sound installations, and he has received commissions from a number of renown institutions and organizations, such as the Dutch and Spanish National Radios, the Goethe Institut, V2 Organization (Rotterdam), Yale University Theater (New Haven), the Ralph Lemon Company (New York), the Zeitkratzer Ensemble (Berlin), Creative Time (New York), Quartier Ephemere (Montreal), Sound Traffic Control (San Francisco), Argos Festival (Brussels) and Radio New Zealand (Auckland).

Through what he once called as 'the exploration of the universe of broad-band noise from the real world', his music arises from the processing of environmental recordings. In deep contrast to the classical soundscape movement (and even despite his paradoxical past involment with related organizations as the Environmental Tape Exchange, the World Forum for Acoustic Ecology and the Nature Sounds Society), his vast activity doing field recordings all over the world (50 countries in the five continents) never pursued a documentary or representational goal, but a dramatically opposite object sonore perspective. And in this sense, the evolution of his aesthetics and conceptual background is a profound process of refinement towards an extreme musical purism, with a voluntary and forceful refusal of any visual, procedural, relational, semantic, functional or virtuosistic elements. What is left is an astonishingly powerful musical essence capable of reaching both the deepest and most dreadful abysms of crude strengthness and the most subtle and diffuse aural edges; a complex territory of anti fast-listening where perceptual awareness and the power of naked music are strikingly rediscovered; a world where things are uneasy, unclear, unsolved and where one is forced to inmerse and search. He calls it belle confusion.


www.franciscolopez.net
www.aufabwegen.com