Julia Eckhardt is a viola player in the field of composed and improvised contemporary music. After her studies she worked in different, mostly contemporary, chamber music groups, and after this a couple of years in the National Orchestra of Belgium.
Since 1995 she is a founding member of and artistically responsible for Q-O2 workspace in Brussels, which was first an ensemble for contemporary experimental and inprovised music, and became in 2006 a workspace for experimental music and sound art. For q-o2 she initiated projects such as
‘muziekxtaalx4’, ‘de tijd is rond (for Brussels 2000)’, ‘doundo/recycling G’(together with Ludo Engels), ‘abstract adventures’(icw. Les Bains::Connective), ‘//2009//-what do you make of what I say’. Interdisciplinair collaboration has been self-evident in these projects.
She has been collaborating with composers such as Phill Niblock, Pauline Oliveros, Stevie Wishart, Jennifer Walshe, Wandelweiser-composers, Christian Wolff, Antony Coleman and many of the young generation.
She has played solo work by among others György Kurtag, John Cage, Chiyoko Szlavnics, Anne Wellmer, Radu Malfatti.
After having started to play free improvisation in 2001 she has collaborated with musicians such as Andrea Neumann, Burkhard Beins, Rhodri Davies, Keith Rowe, Arnaud Jacobs, Lucio Capece, Taku Sugimoto, Robin Hayward.
She is part of the group Incidental Music which is specialised in conceptual music and operates near to the Wandelweiser composers group, together with Manfred Werder, Normisa Pereira da Silva, Angharad Davies and Stefan Thut.
She grew up in Berlin and lives and works in Brussels.
Musician born in Argentina based in Berlin since 2004. He plays bass clarinet, soprano saxophone, and Sruti Box.He plays mainly self composed and improvised music, focusing in the time experience and the perception experience as main subjects.He works time in the research of constructing no narrative music (no start- no ending- no developments), and perception working sound in it’s most granular characteristics and it´s extremes.
Ludo Engels studied photography and film. Beginning of the 80s he was mainly busy with improvised music. He stayed with a strongly intuitive way of working, but tended more and more towards the visual arts. Extern factors play an important role in his installations, such as the space or light and shadow. His work is conceptual in the sense that he tries to undermine our common way of perception.
Tenor saxophone and self made electronic set player. Improviser and player in different projects interacting free improvisation and contemporary music composition techniques. He plays in the Avion Negro quintet since 1993, Hipereter quartet (two drums, two reeds) and in a duo electronics-reeds with Lucio Capece.He is also a recognized performer of improvised tenor saxophone solo concerts in Buenos Aires.He works since 1998 as a music teacher in kindergardens and schools with children between 3 and 8 years old.In the last years Sergio Merce has been studying the tenor saxophone by himself. Concentrating his work in developing his own extended techniques in the instrument(multiphonics,variety of tongue attacks, cicular breathing, etc).His self made electronic set is based on a portastudio, that he plays without tape. Using different kinds of objects (as needles) on the heads of the portastudio he makes sounds that are processed with a very simple effects and equalization set.
Arnaud Jacobs (*1968 in Wilrijk; Belgium; lives and works in Brussels) studied architecture. After his studies it did not take long, however, before he chose sound. Today he has released sound works under several aliases: MarkMancha, missfit, tmrx. From 2004, under the name Aernoudt Jacobs, he has focused on installations and performances. His work has been exhibited internationally and he has released two albums on critically acclaimed labels as Staalplaat (NL) and Selektion (D).
Generally Jacobs sets out from a fascination for sound, in any form. This explains how he takes his raw material from reality: with a microphone and recorder as field recordings. His works are the result of a research of the different aspects of field recordings and how to assimilate this material to new forms, new contexts. For him the actual resulting field recordings are only a registration. The act, the memory, the context of the recording are even more interesting and complementary motives for his research. The output of his work hovers as some kind of an interaction between micro and macro, inside and outside, fieldwork and studio, reality and fictionalization. In his installation work he investigates mostly correlations between sound, matter, space/location, perception and psychoacoustics. Perception is an important aspect in his work.
Perceiving music, sound, harmonies is an activity that is always linked to memories. This association is an ongoing preoccupation that is visible in most of his work. With the aid of psychoacoustic theories, he explores how perception can be influenced and how to express sound physically, spatially and emotionally.
Jim resonates vocal/breath gestures through wind instruments, exploring fissures between musical systems and noise. In 1997 he released a solo CD of his work with the Random Module Twins, Sonic Hieroglyphs. Warren Burt writes in Experimental Musical Instruments about this work, “a poetic vision of landscape that both refers to the ongoing engagement with landscape that has been a constant feature of Australian art for about 20,000 years”. Jim feels there is no need for distinctions to be made between his roles as improviser, composer, instrumentalist and technician.
Anne Wellmer is a composer, performer and media artist based in The Hague. Wellmer uses field recordings, live sound processing and electronically generated sound in her work, which shifts between tape music, improvisation, installation and performance. Feedback, electromagnetic disturbances and barely audible acoustic phenomena make out essential aspects of her work. In 2007 she received an honoray mention in digital musics from the Prix Ars Electronica in Linz.
Michael J. Schumacher is a composer, performer and installation artist based in New York City.He works predominantly with electronic and digital media, specializing in computer generated sound environments which evolve continuously for long time periods. He imbues these self-creating structures with an abundance of sonic material, resulting in forms that flow through a wide range of moods, timbral combinations and textural densities. In their realization, Schumacher uses multiple speaker configurations which relate the sounds of the installation to the architecture of the exhibition space. Architectural and acoustical considerations thereby become basic structural elements.