It’s what we have: the written, the inscribed, the “given” –
and how we want to perform it. Or not.
written-not-written is an open platform dedicated to musical processes before and beyond the actual production of music.
How music is bound with non-musical things, signs, systems, rituals, and how it passes through medias, histories and bodies.
All texts, sounds and images compiled in the framework of the
practice of Augustin Maurs.
webdesign Benedikt Reichenbach
DIE WELT DIE WELT DIE WELT DIE WELT, 2021
Gropius Bau Berlin !POSTPONED!!
The piece calls on the tarantella, a traditional dancing mania from South-Italy originally embedded in a therapeutic ritual meant to heal the envenomation of the bite of a spider, the tarantula. Suffering from restlessness or apathy, the (mostly female) victims of the bite would fall in a frenzied dancing trance provoked by the throbbing music of the tarantella, played by violins, guitars and tambourines. The ritual could last several hours or even days before the participants were brought back to normal life. Augustin Maurs takes over the typical triple time rhythm, the heightened repetitions and the shrill vocalisations of the tarantella to rearrange them for another uncertain now.
BEING OUT OF TUNE –Favorite songs of dictators and despots
Grüner Salon, Volksbühne 2020
Ljubljana Biennial of Graphic Arts 2019
Being Out of Tune is a parodic recital based on songs that have been used, abused, and co-opted by ruling powers or performed by political leaders. Set in a cabaret show where the act of singing has been problematized, the piece deals with interconnections between popular, populist, and totalitarian forces.
ENCORES -Music on recurrence, redundancy and surplus, 2020
Victoria Hall, Geneva
With Saâdane Afif, Sam Durant, Ecart / Émilie Parendeau, Jean-Pascal Flavien, Pierre Huyghe, Kristin Oppenheim, Raymond Pettibon/Oliver Augst, Anri Sala
Curated by Augustin Maurs
This concert continues and extends a project presented at the Teatro Goldoni initiated by artgeneva and curated by Augustin Maurs during the Venice Biennale 2019. The program draws on the notion of “encore”; a repeated or additional performance called by the audience at the end of a concert.
Often reflecting the momentary state of mind of musicians, “encores” can result in uniquely intimate musical renditions, or into moments of excessive extravaganza or pretense – sometimes exceeding the given frame of the entire event. Increasingly associated with provocative or less serious performances, encores have sometimes been officially banned from certain theaters, for potentially leading to public disorder.
For the invited artists, the notion of encore serves as a social-ritualistic pattern and as an artistic scheme to explore different kinds of reiterations, mutations or changes. Music is perceived as convertible energy, often referring to already existing works or to somewhat noisy political events.
Presented by artgeneva together with the Musée d’art moderne et contemporain (MAMCO), Geneva
MUSIC FOR FUTURE IMAGES, 2020
Akademie der Künste Berlin
With Angela Bulloch, Annika Larsson, Yutaka Makino, Augustin Maurs, Karin Sander.
Curated by Augustin Maurs in the framework of “Wo kommen wir hin” exhibition.
An obstinate canon, live musicians and a listening image singing the world after the end of the world, sound as behavioural mirror, the melodies of taking pictures, and an electric bass ensemble playing sculptures that have not yet been produced.
ENCORES – music on recurrence, redundancy and surplus, 2019
Teatro Goldoni, Venice
With Saâdane Afif, Hsia-Fei Chang, Pierre Huyghe, Yutaka Makino, Jonathan Monk, Annika Larsson / Satch Hoyt and Anri Sala.
Curated by Augustin Maurs
The evening draws on the notion of “encore”; a repeated or additional performance called by the audience at the end of a concert. Often reflecting the momentary state of mind of musicians, encores can result in uniquely intimate musical renditions, or into moments of excessive extravaganza or pretense – sometimes even exceeding the given frame of the entire event. Increasingly associated with less serious performances, encores have sometimes been officially banned from certain theaters, for potentially leading to public disorder. For the invited artists, the notion of encore serves as a social-ritualistic pattern and as an artistic scheme to explore different kinds of reiterations, mutations or changes. Music is perceived as convertible energy, often referring to already existing works or to somewhat noisy political events.
Presented by artgeneva on the occasion of the 58thBiennale de Venezia.
A FAILED PERFORMANCE, 2019
artgeneva, Palexpo, Geneva
Curated by Augustin Maurs
Weapons and music instruments have a long common history – from the bow and arrow (allegedly the first string musical instrument) to the « Ghost Army » used by the US Military as sonic lure during World War 2. Giant propaganda loudspeaker walls as they have been erected between Taiwan and China or between South and North Korea are a further incursion of sound within military or political conflicts. Such a “broadcast wall”, a structure holding 28 horn loudspeakers (conceived by Augustin Maurs), is serving as the starting point of the project presented for artgenève/musique 2019.
In the installation, the broadcast wall is deprived of its usual propaganda function. Instead, it is used to narrate an infamous undertaking: the attempt of a political assassination, which, in the end, fails. Chang’s work diagnoses this manifold failure, opening up a semantic sphere where the notions of voice, weapon and performance play a hide and seek game, and eventually blur.
MUSIQUES POUR TUYAUTERIE, 2018
Composition by Augustin Maurs for bird bone flutes and voice. Commissioned by Saâdane Afif. Performed by Claudia van Hasselt and Susanne Fröhlich.
I HAVE NO WORDS – For propaganda loudspeakers and voices, 2018
Busan Biennale 2018 South Korea
Beishan Broadcast wall, Taiwan
Conceived for the monumental Beishan Broadcasting Wall in Taiwan, a former propaganda “loudspeaker wall”. The piece is based on a selection of quotes on silence and muteness – in the vein of John Cage’s notorious statement “I have nothing to say and I am saying it”. It deals with the sonic affects of propaganda and the often related traumas through the question of “what cannot be said”. Non-professional singers sing the quotes in their native language, one by one and through simple and short a cappella melodies.
Developed together with the Kimnen County Choir.
With Hsia-Fei Chang,
Wang Fu-Jui, Augustin Maurs, Ada Kai-Ting Yang
Special Guest: Kinmen Country Choir
While standing on a frontier, the monumental Beishan broadcast wall also abolishes it. In August 2018, a group of Taiwanese and international artists re-activate and re-invent the Beishan broadcast wall in the course of an artist-run research residency. During this investigation, the loudspeaker construction becomes a twofold instrument where outer and inner voices cross, and where artist voices merge with the voices of local participants.
Departing from the site of the Beishan broadcast wall, the project plays with the idea of territory as geographic, but also as sonic and mental entity. The loudspeaker wall becomes a poly-semantic instrument, and the unifying protagonist of an unmappable artistic topography.
KKL Hu-Lien Culture & Arts Foundation
Department of Cultural Affairs, Taipei City Government
Bureau Français de Taipei
Kinmen Country Government Tourism Office
Aperto Raum, Berlin
The composition is based on musical instructions, notations and scripts arranged around the Sophien-Gibs-Höfe and the Aperto Raum in Berlin. The piece refers to the tarantella, a traditional dancing mania from south Italy. Recomposed for an undetermined rendition and for a uncertain “now”, it brings a series of superlatives states, moves and signs into a frenzied, yet unpredictable dance.
LE PETIT LIVRE-MEURTRE, 2017
Art Q13 gallery, Rome
A little book and a composition for voices based the word “murder”, translated in over 200 languages.
Together with the ensemble EVO.
THE DILIJAN TRANSCRIPTIONS, 2017
Hamburger Bahnhof, Berlin 2018
In the framework of the“Hello World”exhibition.
Curated by Clementine Deliss.
Together with Tisha Mukarji (piano), Hilary Jeffery (trombone).
Showing and playing found signs, documents and objects relating to the Armenian town of Dilijan, resulting from the Dilijan Arts Observatory,
MYTH MUSIC AND ELECTRICITY, 2017
Monica Bonvicini, Angela Bulloch, Nina Canell & Robin Watkins, Annika Larsson, Susan Philipsz, PPKK (Schönfeld & Scoufaras), Karin Sander, Louis-Philippe Scoufaras
This evening takes place in the historic Herkulessaal in Munich and takes its broad theme from the myths surrounding the location’s name-giver. Specifically, a lesser-known story within the mythology of Hercules recounts how, as a child, he violently killed his music master, Linus of Thrace, after being reprimanded for his lack of musicality. It remains unknown why the murderer of Linus, inventor of lyrical song, came to be the namesake of an exquisite classical music venue reconstructed in post-war Munich. Music, Myth and Electricity plays with the adventurous and unpredictable construction of myths within our relation to sound and electric streams. The Herkulessaal, usually a stage for orchestra and chamber music ensembles, becomes the host of a series of musical and performative works mainly conceived for electric and amplified instruments – among them a bass guitar ensemble (Angela Bulloch), a set of 12 turntables (PPKK), signals from the solar wind, aurora borealis and other magnetic storms (Nina Canell & Robin Watkins) and a pipe organ (Annika Larsson). Inspired by Hercules’ shattering powers, the evening is an undisciplined journey through different places, customs and medias – specifically between music and art.
VICE DE FORME (music for), 2016
Hamburger Bahnhof, Berlin
Music by Augustin Maurs
With Anna Clementi, voice and Clemens Hund-Göschel, piano
Commissioned by Saâdne Afif in the framework of the exhibition “Vice de forme”.
DIE BLAUE STUNDE, 2017
artgeneva, Villa Sarasin, 2017
Curated by Augustin Maurs
Large Blue Music Listening Station, 2017
Record release performance by HSBC (Heatsick & Bass Clef)
AN IDEA OF STOLEN TIME, 2016
Schinkel Pavillon, Berlin,
With Saâdane Afif, Sarah Darwin, Baude Cordier, Jean-Pascal Flavien, Annika Larsson, Jonathan Monk and Tisha Mukarji
Curated by Augustin Maurs
If music is traditionally organised through quantifiable time parameters, it is also the evidence of the unquantifiable essence of time. That is what
is evoked by the notion of “tempo rubato”, Italian for “stolen time”. The rhythmic freedom adopted by the interpreter, the transitory and
unmeasurable features of the musical act. The “tempo rubato” is a musical union between time and space, singular and irreproducible. It opposes
the codified, institutionalised, “given” time: the synchronised effort, which is precisely that which enables music to be reproduced and commodified.
Though, the act of stealing time is an act, which revokes the very notion of acting: embedded in an existing and accredited environment, acting always implies a form of synchronization (and the synchronized act is thus always an act “for” even if it intends to be “against”). However, in the spirit of Cage’s unconditional need of change, the haptic immediacy of stealing time is precisely the short of acting; the ability of leaving a state for another, a simultaneity in the Bergson’s sense – as an intersection between time and space. It is rather inhabited by the malleable sheerness of doing. It bears the Aura of a “now” which is at the same time the technique and the raison d’être of the tempo rubato: a theft doubled by a “giving up”.
With the support of the Bureau des Arts Plastiques, Berlin
LOVE TRANSCRIPTIONS (ongoing)
Impuls Factory, Dilijan (Armenia)
Concert-exhibition. With Nork Zakarian and the Qanun player ensemble from Dilijan. In the framework of the Dilijan Arts Observatory curated by Clementine Deliss.
WATER MUSCIC (again), 2016
Monaco Nuit Blanche 2016
Composition For brass ensemble on a beach. Together with the Berlin Brass Ensemble. Curated by Jörg Heiser.
DAS ENDE DER WELT, 2015
Berlin Natural History Museum
Composition For choir and percussion by Augustin Maurs, commissioned by Saâdane Afif on the occasion of his exhibition “Das Ende der Welt” at the Berlin Natural History Museum.
Performed by The Last Ensemble on the 29.11.2015 with special guests Ricardo Frenzel Baudisch (tenor), Katharina Schrade (soprano), Sarah van der Kemp (soprano), Yuka Yanagihara (soprano), and Ni Fan (percussion).
The Last Ensemble: Martin Åkesson, Audrey Andrieu, Katharina Beckmann, Nina Berclaz, Cornelius von Bernstorff, Oliver Coleman, Sarah Darwin, Helga Dittmann-Pätsch, Guillaume Doerflinger, Philothée Gaymard, Cornelia Hiller, Hervé Humbert, Sam Kennedy, Cosima zu Knyphausen, Katharina Kritzler, Rüdiger Mangel, Sigrun Meyer, Alberto Piu, Antonio Piu, Cathia Ruf, Marilena Stano, and Renate Wolf.
THE LOVE TRANSCRIPTIONS (ongoing)
ArtQ13 gallery, Rome
Musical reading from the “Love Transcription” book. Selected chapters:
– Although the positions of the moving bodies…
– A point between reason and unreason
– How does your work look like in a little box?
– (Boredom) IT’S WHAT YOU DO TO ME!
– Nothing’s gonna change
– Lord, I’ll never ask for more
– Aouh cha cha cha
– LOVE (I can’t wait)
– Zero time, zero symbolic value, zero tangerine
– (Scelsi) la bemolle
– You know How I hate you
– Blue (more)
– Why f#?
– One more time
– C’est le mouvement qui est antérieur à l’immobilité.
A LONGER SORROW WHERE THE MOON NOTES EQUAL THE BEACH BRIDGES, 2015
artgeneva, Villa Sarasin
Curated by Augustin Maurs
Anri Sala’s piece consists in a juxtaposition of two of his previous works, Long Sorrow (2005) and Where the Moon Notes Equal the Beach Bridges (2012). The starting point of the project is the Film Long Sorrow, in which the free jazz saxophonist Jemeel Moondoc intones a long improvisation, while suspended at the window of a suburban building near Berlin. In 2011, Sala staged the performance 3-2-1 in which the saxophonist André Vida had musically “responded” to Moondoc in the course of a 400 live concerts marathon at the London Serpentine Gallery, while the film was projected. Sala’s new project for artgenève starts with the editing of the material recorded in the Serpentine Gallery, creating a sort of musical multiplication. This new soundtrack is appended to the film projection, while André Vida is again extending the musical texture, yet responding to himself. The trombone player Hilary Jeffery will join him in a musical dialog referring to Sala’s piece Where the Moon Notes Equal the Beach Bridges. Premiered by Vida and Jeffery in Arles’ Amphitheatre in 2012, the piece is based on the musical principle of the “bridge”, usually a contrasting and transitory section. The music unfolds to a multidimensional composition gravitating around the ongoing interpretations of Long Sorrow in an incisive orchestration of fixity and openness.
Hoffmann Collection, Berlin
Canon for asynchronous voices.
With Katarina Schrade
TON IN TON, 2014
Gropius Bau Berlin
Oswald Egger and Augustin Maurs
Istituto Svizzero di Roma
Concert installation in the framework of Un omaggio a N.O.F.4.
Curated by Egija Inzule.
3 TOASTS TO STOLEN TIME, 2014
AuditoriumArte, Parco della Musica, Rome
Curated by Anna Cestelli Guidi
If music is traditionally organized through quantifiable time parameters, it is also the evidence of the unquantifiable essence of time. Appearing in the 19th century, the notion of “tempo rubato”, Italian for “stolen time”, precisely evokes the rhythmic freedom taken by the interpreter, the transitory and unmeasurable essence of the musical act. As a musical union between time and space, the “rubato” is inherently singular and irreproducible. It opposes synchronization, which is precisely what enables music to be reproduced.
The exploring of this idea of “rubato” transforms the exhibition rooms in a lively space, a space of encounters and experimentations in continuous movement trough the combination of an electronic soundtrack and live playing. An assemblage of scores is at the disposal of the musicians and the visitors. This notational inquiry consisting of invented signs, stains and quotes, almost casual poetical events, though denies the actual use of music notation, but rather brings about a reflexion about “given” and stolen time, about music and playing.
In cooperation with RAM – radioartemobile.
CADENCE – Music for plates, 2014
ArtQ13 gallery, Rome
Cadence – “flow of rhythm in verse or music”, from old Italian cadenza „conclusion of a movement in music“, from Latin „to fall“, sometimes used literally for “ an act of falling”.
FOUND MELODIES AND STAINS, 2014
artgenva, Villa Sarasin, Geneva
Concert installation with the Ensemble Matka
The stain is usually associated with the undesirable. It is the stigmata of the “wrong”. But in spite of its arbitrarily existence, it can sometimes be indistinguishable from the sign – especially in the musical notation where the note is represented with a dot.
Augustin Maurs’s transdisciplinary work plays on these boundaries between definite meaning and randomness. The process is both graphic and sonic. Partly familiar, partly anonymous, his “found melodies” carry the imperfection of memory, the deformation and the indifference of time.
Scattered in different places of the Villa Sarasin, the musicians play in individual time frames, guided by external phenomenons, such as moving objects, or the sudden presence of a person in a room. Stain and Sign interact. The idea of “playing together” is altered.
SEPT NOTES SUR LE TRAVAIL DE PETER ROEHR, 2013
HAU 1 -Hebbel am Ufer Theater Berlin
composition for voice and Piano after Peter Roehr.
Commissioned by Saâdane Afif.
VIRTUOSITY – On skill and disruption, strength and nonchalance, morale and cheating, 2013
KW Institute for Contemporary Art in Berlin
With Saâdane Afif, Bethan Huws, Christoph Keller, Annika Larsson, Klara Lidén, Olaf Nicolai, Elliot Sharp, Tracey Rose and Tino Sehgal.
Curated by Augustin Maurs
With the Kammerensemble Neue Musik Berlin and Truike van der Poel, voice and the Chor der Kulturen der Welt.
Virtuosity, a signifier for outstanding artistic mastery, simultaneously always implies transgression. Famously embodied by the “Devil’s Violinist” Niccolò Paganini’s ability to blend fear with delight, this ambiguous notion blurs the boundaries between opposing forces, and where required, between good and evil. The composer Augustin Maurs takes this ambivalence as an opportunity to invite visual artists to give a concert in the Kammersaal of the Berlin Philharmonie. Together with the ‘Kammerensemble Neue Musik’ and the singers from the ‘Chor der Kulturen der Welt’, eight Berlin-based international artists will create and perform various new musical compositions. They will take into consideration the special format of the concert, the musicians, singers and the architecture of the Philharmonie – the masterpiece of architect Hans Scharoun, one of the most prestigious concert halls in the world.
Presented by artgenva with the kind support of the Swedish Embassy in Berlin and the “Freunde Guter Musik e.V.
IN THE DARK – Bach practice Files, 2013
New York Goethe Institute
In the Dark is a concert exhibition by Augustin Maurs that offers a unique approach to Johann Sebastian Bach’s Suites for Unaccompanied Cello. After years of examination, the Suites have been removed from the concert hall and placed in an unilluminated space, in which the cellist repeatedly plays them over a period of ten days. Through the extended timeframe and the elimination of any visual input, the listener and the playing musician are unified within the same visual and musical space.
Originally conceived as studies, Bach’s Cello Suites are dances written around 1720. Although unaccompanied, they are expansive polyphonic musical masterpieces, considered both the beginning and culmination of the cello repertoire. Uncertainty about the original creative intentions of the Suites invites perpetual debate and allows imaginative free reign for redefining the environment in which they are played. Bach Suites in the Dark removes the Suites from the concert hall and explores the malleability of the pieces and the notion of practice in which they are rooted.
HANGING – for apples, 2012
UM-Festival für Zeitgenössische Kunst Literatur und Musik
SPEAK MUSEUM, 2012
Musée du Château des ducs de Wurtemberg, Montbéliard
SPEAK MUSEUM is the result of a meeting between students from the University of Franche-Comté and works of art from the Montbéliard Museum during a workshop directed by Augustin Maurs.
With Joel Lorcerie, percussions, Antoine Virard flutes. As well as the students of the University of Franche-Comte.
Under ground – Kitchen debate on trade.
Themes chosen and animated by Fabio Furuli and Jérémie Paille.
1st floor – Contemporary art room: hidden duets and talking Paintings :”forms and contiguous places”. Classical Painting Room: talking paintings, mixed stories.
2nd floor – Archaeology, Iron, clay, objects, sounds, economy.
Adelaide Festival of Arts, Australia
Annika Larsson and Augustin Maurs
Music is commonly defined as “organization of sounds”, by opposition to noise – etymologically from nausea, referring to nuisance, disorder or idleness. In the context of this opposition, where noise and idleness are considered negative, the musical genre of the Divertimento appears to be somehow ambiguous.
Traditionally a light and entertaining composition, generally for a small ensemble, also described as Nachtmusik, a light, “after-dinner” and often outdoor music, the Divertimento used to accompany banquets and other social events.
The Divertimento in 4 movements for voices, objects, whistles and strings, is an attempt to draw on this ambiguity and invites performers and audience to a moment of distraction, amusement, entertainment and delight, but also to possibilities of rerouting, redirecting, and “changing the course of”. The piece combines a composed and staged rendition of idle talk and noise, offering a reflection on the reversibility of their connotations.
CONCERTO FOR AMBIDEXTROUS MUSICIANS, 2011
Soundfair & Weekly Gallery Berlin
Augustin Maurs with Michael Wilhelmi
A sounding picture on dexterity, embarrassment and indifference. The two soloists alternately display musical skills and mortifying helplessness while the orchestra members are getting drunk.
THE STORY OF THE WOLF TONE, 2011
Salon populaire, Berlin
Concert lecture for cello and wolf. With Ana Teixeira Pinto.
The wolf tone is the acoustical parasite resulting from the interference of vibrations produced on a certain note on string instruments. This designation itself refers to the “wolf fifth”, a metaphor of the unpleasant rendition of an interval that has been artificially cut of to fit in the Pythagorean system of the “circle of fifth”, on which all western music is based. In reality, a series of Pythagorean fifths does not appear as a closed circle, but as an infinite spiral.
Reiterations on empty Stage.
OHNE TITEL, 2011
Hoffmann Collection, Berlin
With Helga Wretman and Jacob Kovner.
Attempt of a dialog between Henry Purcell, Reiner Ruthenbeck, Chiharu Shiota and others.
WINTERREISEN – 24 unvollendete Lieder
Hebbel Theater (Hau 2), Berlin
Elisabeth Kirche,Berlin, Maison de l’Europe, Paris
A commentary on Schubert’s “Winter Journey. Ongoing series of concerts and workshops.
With Björn Lehmann & Michael Wilhelmi (piano), Joachim Schütz & Andre Bartezki (Electronics) Verena Harzer (Dramaturgy)
And Cornelius von Bernstorff, Dagobert, Julian Damovsky, Pinar Kaya, Raswan Mohamed, Geneviève Orjollet, Florian Pfeifer, Luca Plachy, Fatmagul Yaman, Olivier Grienenberger, Christian Marien, Aaron Synder, Lorent & Francois Ardouvin / chimère, Looniz, Samso, Sanni, Mizzion, Skaz, Louison Selmane, Afro Hesse, Billal, Sofiane, Tony, Sedo, Crime, Sanni, Mizzion, Skaz. (voices and texts)
With the kind support of Hauptstadtkulturfonds, INM (Initiative Neue Musik Berlin), Deutsch-Französisches Jugendwerk, Schloss Bröllin e.V. – international art research location, Outreach – Mobile Jugendarbeit Berlin, Collectif Fusion, Villiers le bel, Stiftung Genshagen (Berlin Brandenburgisches Institut für Deutsch-Französische Zusammenarbeit in Europa).
CONCERTO FOR GONG ENSEMBLE, ORATIONS AND TABLE CEREMONY, 2010
Augustin Maurs together with the ensemble“The Tenth Assault on Kazan” (Jason Dodge, Dieter Roelstraete, Monika Szewczyk, Annika Larsson, Andrew Noble, Jennifer Allen, Ana Texeira Pinto and Martha Rosler, (players and speakers).
“El Cant Dels Ocells” is a composed evening combining a musical performance with speeches throughout a supper ceremony. Augustin Maurs and the ensemble “THE TENTH ASSAULT ON KAZAN” conducted by Dieter Roelstraete & Annika Larsson perform 40 variations of the Catalan song “el cant dels ocells” (the song of the birds) for cello and gongs. Their music will include orations held by special guests during a supper conceived and prepared by Meggie Schneider. Master of ceremony Józefina Chętko will lead the visitors through the evening.
The Concerto for Gong Ensemble, Orations and Table Ceremony recalls Pau Casals’s renowned appearance at the United Nations In 1971. At the age of 94, the world famous cellist gave a remarkable speech praising his homeland Catalonia, “the first nation in history which had brought out the idea of parliament”. He ended this ceremony by playing the Catalan song “el cant dels ocells” in his personal transcription for cello and ensemble, a gesture which raised the folk melody to a hymn of political independence.
Coma Gallery, Berlin
Curated by Augustin Maurs
Concert essay with Wolfgang Amadeus Mozart, Nam June Paik, Georges de Scudéry, Gustav Mahler and Annika Larsson.
Miniature opera based on the epic verse novel “The Tale of Kieu” by Nguyen Du (1765–1820).
Together with Yuka Yanagihara, voice, Michael Wilhelmi, piano and Alex Babel, percussion.
Departing from the character of “Kieu” – a young actress who is forced to sell herself in a brothel, the piece deals with the imbrications between abuse, parody and acting. It travels through different composed and improvised musical archetypes staged and performed in almost complete darkness.
MUSIC FOR DRUNK AUDIENCE AND ACOUSTICAL ACCIDENTS, 2010
Coma Gallery, Berlin
With Michael Wilhelmi