During her first residency at Q-O2 in Rue de la Senne, Felicia Atkinson created an installation called “Little Fires”. It was composed on the floor with very simple materials such as different kinds of paper, fabrics and wood. Like a large score to walk through. Felicia Atkinson will continue this experience in the Q-O2-space in Rue de la Buanderie by inviting dancers and musicians to improvise in response to the composition. This formal approach to space confronts dance, music and installation from the perspectives of gesture, shape and space.

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 für 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 1993 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. She explored the instrument concentrating on extended techniques to discover new sounds and noises. Since 1997, she continued to work in the exploracion of her instrument, amplified via different soundsysthems, and the influence of extendet techniques and her musical materials to different possibilitys of musical forms. Both as a solo player and as a member of various duos and ensembles, she is participating in numerous concerts and festivals since that time. In her pieces, she is exploring the aesthetics and tention between tone and noise, action and silence, and the possibilitys of a dramaturgic very free and abstract music.
The musical approach, situated between improvisation, composition and soundart, she developed during these years as well alone as in collaboration with other musicians, was sometimes named as “berlin reducionism” or “Echtzeitmusik”, and presented, discussed and reviewed in several press media of New and Improvised Music.
Since 2003, she is intensifying her research in mixing tones, noises and fieldrecordings, integrating fragments of spoken language. In her pieces, all used sound materials are composed in an equal, abstract way. So, the possible superior function of noise beside tone, and sound beside voice is averted. Like in an acoustic collage, fragments of language, words and fieldrecordings are integrated as musical materials together with tonal and rhythmical abstract instrumental sounds, noises and silence. She works as a solo player and composer, in different duos and ensembles, and develops projects, combining performance, video and sound in interactive ways.