Friday

January 23

8 pm

Maps of Corners

by

Anthea Caddy and Annette Krebs

a site specific performance utilizing live instrumentation, electronics and amplification to explore how we engage and utilize both physical and electronic space in performance.
This will be developed on site at Diapason Gallery in the coming week.

For more information please visitt: www.m.o.c.sberk.info/

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Anthea Caddy is an artist based in Melbourne, Australia. Her practice addresses the convergence between the applications of sound, the instrument and performance, through a focused study of the relationship between recording and spatialisation techniques, and the instrument as sound object. Exploiting the celloÕs textural, spatial and dynamic capabilities, she draws reference points from electro-acoustic music and sound art, focusing her projects on space and environment. Working with digital composition, environmental field recording, and acoustic performance she seeks to consolidate both the conceptual and practical aspects of these media, articulating techniques and concepts indigenous to digital spatialisation in her performances and recordings.
After studying a degree in Media Arts majoring in sound at RMIT University, she has gone on to become an active member of the Australian and international sound art community. Anthea's regular collaborations are with Thembi Soddell (Iland, Cajidmedia), with Philip Samartzis (as part of the ensemble Absence and Presence released on 'Unheard Spaces'), with tubist Robin Hayward (Berlin, Germany) and sound artist Eric La Casa (Paris, France), with Magda Mayas (Berlin, Germany), and in performance/installation project 'Maps of Corners' with guitarist and composer Annette Krebs. Anthea has worked in the past with many notable artists in varying media-based projects including Tarab (Eamon Sprod), Phillip Pietruschka, Clayton Thomas, Christian Wolff, Alice Hui Sheng Chang, Larry Polansky, Tony Conrad, Chris Abrahams, Tim Catlin, Rasmus. B. Lunding and Pia Borg. She has done numerous collaborations for video installation, dance, live sound design/score for theatre (with Darrin Verhagen and Franc Tetaz), film and video. As a curator she has co-curated for Liquid Architecture Festival in Melbourne and for the video collective DotMov. Anthea has toured internationally in Europe, Australia and USA in a variety of festivals and series.

Annette Krebs
Prepared guitar, De/ Composition Objekts, Electronic, Speakers Annette
Krebs was born 1976 in Germany. Already during her schooltime, she engaged herself intensively in music, composition, improvisation and the visual arts. She studied concert guitar at the "Hochschule fŸr Musik und darstellende Kunst" in Frankfurt/ Main, and finished her studies with the diploma. Beside her studies, she also worked in the developpement of a own visual-abstract language, and participated in exhibitions in Frankfurt. After her studies, she moved to Berlin. There, she concentrated on the development of a independent musical language on her instrument, the guitar. This language was also strongly influenced by her previous work in the visual arts.Ê She explored the instrument concentrating on extended techniques to discover new sounds and noises.
In Berlin, she met other musicians and artists, who were interested in simular musical approaches. Alone, and in various projects, pieces and performances were developed, exploring the aesthetics and tention between sounds and noises, action and silence, and the possibility of a dramatugic free and abstract musical language.
Since 2003, she has worked to combine composed musical sounds with layers of concrete meanings, including word and visual materials. In her pieces, all materials are composed in a very equal, abstract way. so, the possible decorative function of sound beside voice or picture is averted.
Like in an acoustic collage, fragments of language ,words and outside recordings are integrated as musical materials together with tonal and rhythmical abstract composed sounds, noises and silences. Concrete meanings, fragments of memory are sometimes softly suggested , and then integrated back again immediately, as reminders of short fragments of thought, in the abstract soundlanguage. Musical hierarchical structures, foreground and background, exist in her pieces in a mostlyÊ fluid form; they can appear for a short moment,however, immediately to disappear again into each other, framed together like in a kaleidoscope, seconds later in other combinations in new, surprising ways.

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