Photo: Asier Gogortza
Photo: Camille Blake
20:00, Kunstraum Walcheturm, Zureich
Tomoko Sauvage (JP, Shelter Press)
For more than ten years, Tomoko Sauvage has been investigating the sound and visual properties of water in different states, as well as those of ceramics, combined with electronics. Porcelain bowls of different sizes, filled with water and amplified via hydrophones (underwater microphones), waterbowls is a kind of natural synthesizer that generates fluid timbre using waves, drops and bubbles. These recipients resonate and also produce subaquatic feedback, an acoustic phenomenon that requires fine tuning depending on the amount of water, a subtle volume control and interaction with the acoustic space. Through primordial materials and playful gestures, Tomoko Sauvage searches for a fragile balance between randomness and discipline, chaos and order. Her second album "Musique Hydromantique", alluding to hydromancy - divination by means of water - was released by Shelter Press in 2017.
Born in Yokohama, Japan, Sauvage moved to Paris in 2003 after studying jazz piano in New York. Through listening to Alice Coltrane and Terry Riley, she became interested in Indian music and studied improvisation of Hindustani music. In 2006, she attended a concert of Aanayampatti Ganesan, a virtuoso of Jalatharangam – the traditional Carnatic music instrument with water-filled porcelain bowls. Fascinated by the simplicity of its device and sonority, Sauvage immediately started to hit China bowls with chopsticks in her kitchen. Soon her desire of immersing herself in the water engendered the idea of using an underwater microphone and led to the birth of the electro-aquatic instrument.
Under the form of performances, installations and musical compositions, her work is regularly presented in Europe, Asia and America. She has performed and exhibited at international festivals, institutions and galleries such as Roskilde Festival (Denmark), Flow Festival (Finland), Centre Pompidou Metz (France), Musée Quai Branly (France), Présences Electronique (France), Borderline Festival (Greece), Borealis
Contemprary Music Festival (Norway), Museo Tamayo (Mexico), High Zero Festival (USA), Festival send+receive (Canada), Empty Gallery (Hong Kong), TÖNE festival (UK) and Grimmuseum (Germany). She has also been deeply connected to DIY art/ music scene and is more and more interested in educational projects. In 2016, her visual music project ‘Green Music’ started in collaboration with Francesco Cavaliere.
Lucy Railton (UK, Modern Love)
(b.1985) is a London and Berlin based musician and considered one of the leading instrumentalists working in experimental and electronic new music today.
She just released her astonishing Solo Debut «Paradise 94» on Modern Love. Lucy Railton is a prolific performer who has appeared on countless recordings and collaborations with many important figures in contemporary music over the last few years. Paradise 94 is, remarkably, her solo debut - featuring archival, location and studio recordings which serve as a time capsule of all the myriad disciplines and influences that have brought her to this point in time. It both plays up to and shatters expectations of her music, which harnesses a duality of energies - acoustic/electronic, real/imagined, iconic/iconoclastic, pissed-off/romantic; out of place and androgynous - resulting in a visceral emotional insight and rare narrative grasp.
Ji Youn Kang (SKR)
Channeling the traditional rites of Korean Shamanism, Ji Youn Kang explores the relationship between musical and physical spaces. In her solo performances, the South Korean composer, sound artist and performer employs a range of traditional and non-traditional instruments to harness the empowering, rhythmic elements and noisy sound sources of Korean ritual music.