SOUNDSPOTTING

Aristotle said that the world exists as an imprint in our mind and in this sense everything is interpretation (Aristotle “On Interpretation”). If performance is “the execution of an action; something accomplished” (Oxford Dictionary), then in this sense every sharing and showing of these interpretations can be a performance. A concert is a performance, a theatre play is a performance, a book, a song… But then it should be easy to imagine an existing space for The Performance. An event whose purpose is creating an experience, a platform for experimenting with all aspects known, and maybe unknown, to mankind that can explore and evaluate perception of time and space, and their inhabitation and purpose. An experience that offers a challenge to reexamine and rethink on our own perception and possibilities to create a reality so convincing that it can shake and question the seemingly even most concrete beliefs.

The idea of rethinking possibilities for a performance based on experiencing through sound not just experiencing sound reached one of its articulations in a performance called "Soundspotting”. A parcours that took place on April 2nd 2015 in the Bijloke Campus. Envisioned as a parcours that offers a playground for perception of space through sound and objects that sound, it aimed to engage both the observer and the performer and give them the opportunity to explore and discover alternating through a dialogue between alive being (a performer) and inanimate objects (sculptures/installations) who inhabit space in their own moments in time and temporality. While sometimes the performer (alive being) is becoming the sound object and thus inanimate object itself, and the sculptures/installations (inanimate objects) with their sounding characteristics becoming alive (human), this dialogue between animate and non-animate is not just a narrative for audience, but possibility to explore: “What is all sound?”, “What makes a space?”, “How do we perceive sound?”, “How do we perceive space?”, “What makes us determined the walls and can our ears take charge and overwrite what our eyes describe as a tangible?”. Thus, the premise of the concept was to contour and describe the space with sound, as if that space is determined by it, making the sound become a material thing that can be seen and touched.

Concept: Dejana Sekulic
Performers: GAME (Sara Baldini, Cédric De Bruycker, Maria Jose-Jeannin, Kaya Kuwabara, Benjamin Maneyrol, Ruben Martinez Orio, Hannah Reardon-Smith, Adam Rossenblatt, Gwenaëlle Rouger, Dejana Sekulić, Primož Sukič, with Lucile Buffet, Diego Coutinho, Inga Huld Hákonardóttir, Daan Janssens, Tom Pauwels, Stijn Ubaghs and Jasna Veličković), KASK Multimedia (Leontien Allemeersch, together with Esther Schelfhout, Femke Fredrix, with Hannah Vanspauwen and Benjamin Cools, Anna de Rijk), KASK Drama (Briek Lesage, Stien Sampers, Arne De Tremerie, Louise Bergez, Nona Demey, Kjell Muylle, Khalid Koujili, Louis Janssens, Naomi van der Horst, Imke Mol, Carine van Bruggen, Menzo Kircz, Sabien Van Moorter, Midas De Saedeleir, Marthe Schneider, Mats Vandroogenbroeck, Freek De Craecker, David Van Dijcke, Flor Vanseveren, Adja Fassa, Marie Mignolet, Simon Baetens, Faustijn De Ruyck, Salomé Mooij, Rosie Sommers, Timo Sterckx, Eleonore Van Godtsenhoven )
Realised with help and support of: Tom Pauwels, Lukas Pairon, Hans Bryssinck, Kristof Van Gestel, Jan Steen, Fabrice Delecluse, Shila Anaraki, Laurent Derycke, Régis Dragonetti, Sara Smalbrugge, Ilse den Hond, Hans Roels, Leo Verlinden, Marc Goethals, Stijn Schollaert, Jan Vanhalewyn, Kristof Ellertz
Program included:
•Mark Applebaum: “Rabbit Hole” (2012), for 8 performers and conductor (3 percussionists, flute, trumpet, violin, viola and violoncello)
•David Helbich: “KEINE-MUSIK: Ohrstücke / NO-MUSIC: earpieces” (2009/2014), composition for ears
•Mauro Lanza: “I Funerali dell’Anarchico Acciarito” (2009) for 6 performers playing futurists instruments)
•Sarah Nemtsov: “ZIMMR I-III” (2013), for 8 musicians (Harp, Kaosspad, Bass Flute, Bass Clarinet and String Quartet)
•Jasna Veličković: “Hipnotik” (2015), for two Velicon performers (*Velicon is a new custom designed magnet instrument, invented and created by Jasna Veličković, composer-inventor-performer)
•“De verkenning en het gebruik van de ruimte” by Leontien Allemeersch
•"We can not make It disappear #1” and “We can not make It disappear #2”, by Femke Fredrix
•“Mais oui”, by Anna de Rijk
•“Opbouw en afbraak en opbouw en afbraak van de/een gezamenlijke utopie en hoe dat dan klinkt. Een exploratie.”, a work developed and performed by Khalid Koujili, Louis Janssens, Naomi van der Horst, Imke Mol, Carine van Bruggen.
•“Het gaat over geluid”, a work developed and performed by Briek Lesage, Stien Sampers, Arne De Tremerie, Louise Bergez, Nona Demey, Kjell Muylle
•“Luistert”, a work developed and performed by Menzo Kircz, Sabien Van Moorter, Midas De Saedeleir, Marthe Schneider, Mats Vandroogenbroeck
•“Sounddating”, a work developed and performed by Freek De Craecker, David Van Dijcke, Flor Vanseveren, Adja Fassa, Marie Mignolet
•“Het leven een geluidsaanwijzing”, a work developed and performed by Simon Baetens, Faustijn De Ruyck, Salomé Mooij, Rosie Sommers, Timo Sterckx, Eleonore Van Godtsenhoven

** Full program/program notes in pdf here

**You can also check out a text featuring "Soundspottitng here, on pages 25 to 29.

   
 

Back to Welcome page (Home)

Pick a project you would like to know more about by clicking on the title.
Please don't hesitate to send comments, thoughts, remarks, inquiries and/or any question you might have to contact [at] dejanasekulic.com

• 

• 

  Full description and information on this project will be soon updated.

• 

• 

  Creation in progress. More information coming soon.

• 

• 

• 

• 

• 

•