Frem til d. 5. juli 2015 kan Katrine Dirckinck-Holmfelds udstilling Leap into Colour opleves i Kunsthal Charlottenborg. Som en del af udstillingen er der d. 24. juni en trekløver af en artist talk, performance og koncert med Maurice Sameh Louca, som er en af skaberne af soundtracket til videoværket Leap into Colour.
Den egyptiske musiker og komponist Maurice Sameh Louca er kendt for sin sammensatte lyd, der går på tværs af genrer, og sine hårdtslående og improviserende live performances. Maurice Louca har skrevet to albums og især det andet andet album ”Benhayyi Al-Baghbaghan” (hyldest til papegøjen, direkte oversat) illustrerer den udvikling, som egyptisk musik aktuelt set gennemgår. The Wire kalder beskriver albummet som ”…dense, driven and splashed with colour.” På den måde er der en parallel i Maurice Loucas arbejde og Katrine Dirckinck-Holmfelds udstilling Leap into Colour.
Maurice Sameh Louca leverer desuden musik til teaterforestillinger, film og nye visuelle kunstværker. Læs mere om musikeren på hans hjemmeside.
Koncerten d. 24.6. er som nævnt en del af Katrine Dirckinck-Holmfelds udstilling Leap into Colour. Udstillingen udgør en del af kunstnerens Ph.d. projekt: Rehearsing Reparative Critical Practices. Læs mere om udstillingen her.
Aftenens program
kl. 17.00 Talk ved Katrine Dirckinck-Holmfeld
kl.18.00 Performance med Felia Gram-Hanssen, udstiller på Afgang 2015
kl 19.00 Koncert med den anerkendte og eksperimenterende egyptiske musiker Maurice Sameh Louca.
I gården ved Kunsthal Charlottenborg vil der være grill og drikkevarer til gode priser.
Læs mere om arrangementet på deres Facebookside.
»I like when it's impossible to tell at first if something is black or white, or country or blues, or whatever.«
Bill Frisell’s career as a guitarist and composer has spanned more than 40 years and many celebrated recordings. From Aaron Copeland and Charles Ives to Bob Dylan and Madonna. Born in Baltimore, Bill Frisell played clarinet throughout his childhood in Denver, Colorado. His interest in guitar began with his exposure to pop music on the radio.
»Music has been a healing balm for me.«
John William Grant is an American singer, musician, and songwriter holding both American and Icelandic citizenship. He first came to prominence as a co-founder, lead vocalist, pianist, and primary songwriter of the alternative rock band The Czars. After releasing six albums between 1994 and 2006, the band disbanded, and Grant withdrew from music for four years before embarking on a solo career.
He returned in April 2010 with a critically acclaimed debut album recorded in collaboration with Midlake. Queen of Denmark was named Album of the Year 2010 by Mojo magazine and was also selected as one of the ten best albums of 2010 by The Guardian’s music critics and writers.
»In his music, composer Allan Gravgaard Madsen tries to create a better version of himself.«
Allan Gravgaard Madsen is a Danish composer based in Copenhagen. His most recent works include Träume nicht and Nachtmusik. He tries to create a better version of himself in his music – where his personality tends to be restless, chatty and has an active inner life, his music is controlled, simple and merciless in its expression. He is the recipient of the Carl Nielsen & Anne Marie Carl-Nielsens Hæderspris 2022.
The Finnish multimedia artist Jan Anderzén has, with the album Hoshi, released under the solo moniker Tomutonttu, created a true little star. Not only because »hoshi« literally means »star« in Japanese, but above all due to the music itself. There is something cosmic, yet infinitely minute, about the sonic worlds Anderzén conjures—like a galaxy reflected in a puddle, or a space journey in a rocket carved from a hollow tree trunk. Synths emit busy, warm blips and bloops, while ultra-short vocal and instrumental samples create a recognizable blur. At once artificial and organic – soft, rounded, jagged, crackling.
Anderzén approaches sound with a playfulness I simply adore. His music is strange in an incredibly comforting way. It places me in a kind of colorful, trance-like state, only interrupted when, several times over the course of the album, I find myself smiling in delight at a particularly great sound. The synths on »Katse osuu sähköön!« The choral samples on »Kesä oli äkkiä ohi!« Milo Linnovaara’s flute on »Malta lausua ‘AH’!« And many more. Hoshi is an album packed with microscopic moments that together form a frayed, exploding, radiant, idiosyncratic whole—a stellar moment of just under 38 minutes.
