SPOR festival 2016 program by SPOR festival

SHRINK by Lawrence Malstaf

07-10.00 13.00 15.00 17.00 19.00

SUNDAY 15 MAY

11 & 15.30 12-15.00 15-17.00 17.00 20.00 21.00 22.00

Dokk1

LIVE PERFORMANCE of UNTITLED 2016 by Agostino di Scipio 5 Kunsthal Aarhus SCREENING OF PLOT POINT TRILOGY by Nicolas Provost 6 Godsbanen / foyer WYSI(N)WYG! Concert with Nadar Ensemble and Stefan Prins, Michael Beil / Thierry Bruehl PUCE MARY Live-set by Danish noise artist 11 Double Rainbow

Godsbanen

JEPPE ERNST – 4 pieces by Jeppe Ernst 7 Teater Refleksion SPOR NEW MUSIC SCHOOL concert 4 Granhøj Dans THE REVIEWS by Michael Madsen 1 Øst for Paradis AUT 50th ANNIVERSARY CONCERT with Another Contemporary Music Ensemble and Black Page Orchestra THE GREAT PRETENDER by Zachary Oberzan 6 Godsbanen Åbne Scene CLOSING RECEPTION AT GODSBANEN

SHRINK by Lawrence Malstaf 2 Dokk1 CONVERSATION – STAGING WYSI(N)WYG! Moderator: Louise Beck 5 Kunsthal Aarhus JEPPE ERNST – 4 pieces by Jeppe Ernst 7 Teater Refleksion ASAMISIMASA Concert with ensemble asamisimasa, Trond Reinholdtsen, Martin Schüttler and Max Wainwright SPOR CALL FOR PROPOSALS 2016 with GAME, Rama Gottfried, Natacha Diels and Leo Hoffman 8 UngK Cd release of Me Quitte by Niels Rønsholdt and SCENATET hosted by Dacapo and Edition S 4 Granhøj Dans SONGS OF DOUBT by Niels Rønsholdt 4 Granhøj Dans

Granhøj Dans

OPENING SPOR FESTIVAL 2016 with receptions and art tour 3 Spanien 19C 10 Rum46 9 77m3 OUTSIDE IN Opening Concert with SCENATET, Alexander Schubert, Jessie Marino, Kaj Duncan David & Nicolai Worsaae

SATURDAY 14 MAY

16.00 19.00 19.30 22.00

FRIDAY 13 MAY

17-19.00 20.00

THURSDAY 12 MAY

12.00

WEDNESDAY 11 MAY

FESTIVAL PROGRAM

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FLOODING WITH LOVE FOR THE KID by Zachary Oberzan 1 Øst for Paradis 8 SYNECDOCHE NEW YORK by Charlie Kaufman 1 Øst for Paradis llé ørre A N 1 CLOSE-UP by Abbas Kiarostami Øst for Paradis 4 F FOR FAKE by Orson Welles 1 Øst for Paradis PLOT POINT TRILOGY by Nicolas Provost 6 Godsbanen / foyer THE REVIEWS by Michael Madsen 1 Øst for Paradis

Øst for Paradis, Paradisgade 7 Dokk1, Hack Kampmanns Plads 2 Exhibition Space Spanien 19C, Kalkværksvej 5A Granhøj Dans, Klosterport 6 Kunsthal Aarhus, J. M. Mørks Gade 13 Godsbanen, Skovgaardsgade 3-5 Teater Refleksion, Frederiksgade 72 UngK, Nørre Allé 23K 77m3, Thunøgade 1A Rum 46, Studsgade 46 Double Rainbow, Skovgaardsgade 3-5

FILM PROGRAM 8-15 MAY 16.30 Sunday 8 Monday 9 Tuesday 10 Wednesday 11 19.00 Friday 13 15.00 Sunday 15

UNTITLED 2016 by Agostino di Scipio 5 Kunsthal Aarhus EAVESDROPS by Christian Skjødt 9 77m3 MISHEARDPEDIA by Alessandro Perini 10 Rum46 MIRROR by Lawrence Malstaf 3 Spanien 19C ad

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EXHIBITION PROGRAM 11 MAY-5 JUNE

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FESTIVAL TICKETS Festival Pass (4 days) 495 dkk / 350 dkk (students)

TICKET INFO

Tickets for a single concert 100 dkk / 50 dkk (students) Puce Mary 60 dkk SPOR New Music School Concert 60 dkk / 25 dkk (u.15 yrs.) Events not part of the Festival Pass Movie tickets for Øst For Paradis 70 dkk * The Reviews 80 dkk * *

If you have a festival pass you get your movie tickets at half price

Buy tickets www.billetto.dk All tickets are also sold at the entrance, and are subject to availability. The ticket sale opens half an hour before each event. We only accept cash and MobilePay at the entrance Free entrance Exhibitions, peformances at Dokk1 and symposium

FESTIVAL TEAM Festival and Artistic Directors: Anna Berit Asp Christensen & Anne Marqvardsen Production Manager: Anne Bøgh / Production Assistant: Simone Didrichsen Knudsen PR and Communication: Line Wium Olesen / Coordinator, volenteers and events: Shayi Addean Guest Curator: Nadar Ensemble / Design and layout: Pulsk Ravn Technical Crew: Pappagallo / Content Management System: Siteloom / Print: PE Offset A/S

SPOR Festival Prøvestensbroen 3, 2 / DK-2300 Copenhagen S / info@sporfestival.dk / www.sporfestival.dk Find us at

SPOR WOULD LIKE TO THANK ALL COLLABO RATORS AND SPONSORS 2016 Aarhus 2017, Aarhus Kommune Kulturforvaltning, Aarhus Musikskole, Augustinus Foundation, City of Aarhus, Danish Composers’ Society, Danish Composers’ Society’s Production Pool & Koda’s Fund for Social and Cultural Purposes, Danish Conductors Association, Gramex-funds, Den Kreative Skole Silkeborg, DJBFA / Composers and Songwriters, Dokk1, Ernst von Siemens Musikstiftung, Exhibition Space Spanien 19C, Foodfein, Godsbanen, Goethe Institut Dänemark, Ictus, Internet Week Denmark, Kulturskolen Viborg, Kunsthal Aarhus, Music Norway, Nadar Ensemble, Nikolaj Kunsthal, Norwegian Embassy in Copenhagen, Oticon Foundation, Pappagallo, Pro Helvetia/the Swiss Arts Council, Royal Norwegian Embassy in Copenhagen, Rum46, SCENATET, SNYK, Teater Refleksion, The Danish Arts Foundation, The National Danish School of Performing Arts Department for Further Education, The Royal Academy of Music Aarhus/Aalborg, The School of Arts Ghent, UngK, Vink, Øst for Paradis, Åbne Scene, Århus Sinfonietta, 77m3 and all participating artists, ensembles, musicians, venues and volunteers.

WYSI(N)WYG! Welcome to SPOR festival 2016 â&#x20AC;&#x201C; What You See Is (Not) What You Get! We are delighted to welcome you to the eleventh edition of SPOR festival. At SPOR we are looking forward to collectively enjoy captivating concerts and performances, inspiring exhibitions and films, and to gain new insight through workshops and talks. This year we have been pleased to work with the young and artistically highly profiled Nadar Ensemble from Belgium as guest curators. The artistic project of the ensemble, characterized by an adventurous spirit and an openness for cross-disciplinary formats that includes strong scenographical and conceptual frameworks, has been an exciting inspiration in the curatorial proces. A special thanks goes to Nadarâ&#x20AC;&#x2122;s Artistic Directors Stefan Prins and Pieter Matthynssens with whom SPOR has collaborated closely to compose a challenging festival programme contained by a reality-expanding thematic frame. SPOR festival 2016 presents a number of events that will challenge our notions of reality, of real and virtual spaces as well as the distinction between digital and physical identities and bodies. When is something authentic, and is what you see real or perhaps an improved reproduction of the original? The audience will experience a range of possible realities when established as well as young talented artists, composers and filmmakers present their versions. This year SPOR has undergone a real and physical expansion. In 2015 we launched the successful project SPOR New Music School, but we are ready to grow again. Two amazing pre-concerts held in March and an ambitious film programme has been added. These are merged with our concert and exhibition programmes as well as educational efforts into a complex and unique festival. It is the audience, participating artists, volunteers and partners that each year provide the unique SPOR atmosphere and we would like to thank everyone who contributes in creating the festival. We wish you all a great SPOR festival 2016! Anna Berit Asp Christensen and Anne Marqvardsen Festival and Artistic Directors

OUTSIDE IN Opening Concert with SCENATET

Kaj Duncan David, Computer Music (2014/2016) 12”, Danish Premiere Eva Reiter, Alle Verbindungen gelten nur jetzt (2008) 11”, Danish Premiere Alexander Schubert, Hello (2014) 12”, Danish Premiere – break – Nicolai Worsaae, Squawk (2016) 13”, World Premiere Jessie Marino, The Whale is a capital Fish (2016) 10”, World Premiere SPOR festival 2016 will be formally opened with manners when we present a number of Danish and World premieres performed by the renowned Danish experimental art and music ensemble SCENATET. This year SPOR commissioned pieces by the American composer and performer Jessie Marino and the Dane Nicolai Worsaae. The celebrated piece Hello by Alexander Schubert is presented in Denmark for the first time, as will the composer and musician Eva Reiter from Austria be. Lastly Kaj Duncan David contributes with his newest piece in the series Computer Music. Computer Music is a composition for seven musicians with laptops. It is part of Kaj Duncan David’s series of pieces in which musicians perform with laptops, where the displays are used, not only to display notation, but also as a source of light. Alle Verbindungen gelten nur jetzt (“All connections are only valid now”) – the title of Eva Reiter’s piece is a reference to a poem by Rolf Dieter Brinkmann. The composition plays with instrumental relationships, disruptions, and collisions. At the beginning, the instrumental sounds only come together gradually to weave a more complex texture – as the music develops, again and again it is broken by sharp disruptions and short time outs, which can hardly restrain the flow of energy. The instrumental sequences are underlaid with machine sounds of the mighty huffing of the Heidelberg printing presses, whose noises are crafted into a basic rhythmic pattern that determine the course of the composition.

Hello is an audio-visual piece in which a video projection serves as a score to be interpreted by the ensemble. The video consists of gestures performed by the composer Alexander Schubert in his own living room. The piece comes in eight movements and is an invitation into the personal world of the composer, where there are very few calm moments. In Hello you can experience how music occur through interpretations of bodily gestures, and how a recording of events and actions performed in the composer’s living room might be the music itself. Nicolai Worsaae’s new piece Squawk is a composition for string a quartet, video and electronics and it comes in two movements. Squawk sounds are described as brief “squeaky” sounds that are also referred to as squeaks. Many birds such as parrots, make sounds that are described as “squawk”. During the manned Apollo projects 1969-1972 the families of the astronauts were able to follow their husbands/fathers communication with NASA on a portable radio-transmitter, that was referred to as ”The Squawk box” because of its noisy and scratchy sound. Commissioned by SPOR festival Supported by The Danish Arts Foundation

What I wanted to tell you cannot be truly heard. A mouth that has not breathlike the shark and the whale who cannot restso they swim through air. Jessie Marino’s new piece The Whale is a capital Fish exhibits the creation, confusion, and sublimation of languages, gestures and symbols – the confluence of which provides opportunity for reassessment and reassignment of multiple meanings. Commissioned by SPOR festival Performed by SCENATET Kirsten Riis-Jensen, violin / Sofie Thorsbro Dan, violin / Mina Fred, bratsh / Lucy Railton, cello / Vicky Wright, clarinet / Frederik Munk Larsen, guitar / Mads Bendsen, percussion / Matias Seibæk, percussion / Sven Micha Slot, piano Supported by DJBFA / Composers and Songwriters and Danish Conductors Association, Gramex-funds

12 MAY 20.00 Granhøj Dans

WYSI(N)WYG! A concert with this years guest curators Nadar Ensemble Screening of Nicolas Provost, Plot Point Trilogy (2007) Part I: Plot Point 15” Stefan Prins, Mirror Box Extensions (2015) 33”, Danish Premiere – Break and screening of Plot Point part II and III: Stardust 20” and Tokyo Giants 22” – Michael Beil & Thierry Bruehl, Bluff (2015) 33”, Danish Premiere In this concert, that also carries the main title of the entire festival, this years guest curators the Belgian Nadar Ensemble will perform two pieces; one by the artistic director of Nadar Stefan Prins, as well as a piece by composer Michael Beil and stage director Thierry Bruehl. Before the concert and in the intermission the short film trilogy Plot Point by Nicolas Provost will be shown. With the trilogy, Provost is using the language of film to blur the boundaries between fiction and reality, and to provoke both recognition and alienation (read more in film programme). Mirror Box Extensions is not only literally an extension and elaboration of the composition Mirror Box (Flesh+Prosthesis #3) from 2014 by Stefan Prins, but also thematically and conceptually. In the earlier piece, a pseudo medical device called ‘mirror box’ served as a poetical point of departure to create a hybrid composition, that musically deals with the performer’s bodies and their technological extensions/prostheses. In Mirror Box Extensions the hybridisation is extended to how we perceive these augmented bodies and the environment in which they exist. Directly interacting with or perceiving a physical reality is very different from doing so when it is filtered through a layer of mediations (video, loud speaker, lap tops etc). Mirror Box Extensions tries to touch onto these differences, extending the mirrors beyond the stage, creating a strange labyrinthine hybrid machine of mediations into which the performers and the audience find themselves caught. Post Scriptio: On the 12th of April 2015 the group “Holograms for Freedom” organised a virtual protest march in front of the Spanish parliament in Madrid against the controversial Citizen Safety Law. Under the new so-called “Citizens Safety Law” it is illegal to gather in front of government buildings without permission from authorities. Organising a virtual protest march was the only way they wouldn’t get arrested. “You will only be allowed to express yourself if you become a hologram”, according to the spokesperson of the protest.

Scenography: Marieke Berendsen, Stefan Prins Video: Kobe Wens Lights: Marieke Berendsen

Bluff is the latest result of a longstanding collaboration between the composer Michael Beil and stage director Thierry Bruehl. It is a piece for eight musicians, live-audio and double-screen live-video, and is calling into question all actions related to a concert. Here specially all movements a musician does on stage and the composition, containing sound and time, and its developing process which will also be perceptible for the audience during the performance. It is a piece, that in a complex and mysterious way dramatizes an impenetrable exchange between live and recorded sound. Thematically it explores the concept of relations, communication and isolation between the eight musicians on stage - but also figuratively in terms of what we as humans find appropriate and inappropriate/ usual and unusual when it comes to your human relations. Music and live-video: Michael Beil Dramaturgy and stage direction: Thierry Bruehl Performed by Nadar Ensemble Marieke Berendsen, violin / Katrien Gaelens, flute / Yves Goemaere, percussion / Wannes Gonnissen, sound, electronics / Pieter Matthynssens, cello, artistic director / Kobe Van Cauwenberghe, guitar / Elisa Medinila, piano / Bertel Schollaert, saxophones / Dries Tack, clarinets / Thomas Moore, trombone, production / Stefan Prins, artistic director / Rebecca Diependaele, general manager / Johannes Vochten, stage manager / Culture Crew (Vincent Jacobs), video software Co-production: Muziekcentrum De Bijloke Ghent With friendly support from Ernst von Siemens Musikstitung, SNYK and Goethe-Institut D채nemark PLEASE NOTE Film starts at 19.00 in the foyer Concert starts at 19.30

13 MAY 19.00 Godsbanen Aabne Scene

Nadar Ensemble Photo: Rebecca Diependaele

PUCE MARY Late night electronic noise concert

Puce Mary is the solo project of Danish experimental musician and composer Frederikke Hoffmeier. Since 2011 she has worked in the compositional, musical field of industrial, noise and power-electronica, as well as minimal synth and musique concrete. Her second solo LP Persona (2014) has been described as “a vision of a post-explosion bombsite where the little that’s left alive is mangled beyond recognition”. A comment, that might end up being a good description of this Friday night concert. Puce Mary is focused on composing without compromise to external factors and is therefore not the type to cater to a ‘reasonable’ tolerance for noise. In live concerts she builds up intimate atmospheres, where the audience can experience her music and performance as physical, loud and maybe almost invasive. As a solo project, Puce Mary is constantly moving, evolving and pushing the boarders in contemporary noise music – both in Europe, Asia and The US. In collaboration with Double Rainbow

13 MAY 22.00 Double Rainbow

D IARY O F S O U N D S

CONVERSATION: STAGING WYSI(N)WYG! An open talk about cross aesthetic pratices in performing arts and music In collaboration with The Danish National School of Performing Arts Department for Further Education and Kunsthal Aarhus, SPOR invites you to an open talk with performers, artists and film- and stage directors, all of whom are presented on this years festival. We start up with a presentation by the artists themselves, followed by conversations between the participating artist and moderator, Louise Beck. After a break the dialogue will continue between artists and audiences. This year SPOR festival presents a number of productions, that are just as much theater as it is music, and thereby we show how the two art forms have several common references, and how they, through new and open collaborations, seem to be breaking the boundaries of the more traditional formats. Get a fascinating insight into a longstanding collaboration between composer Michael Beil and stage director Thierry Bruehl, as well as insight into how the artist Lawrence Malstaf and his assistant Tom Kok work on the boarders of the visual and theatrical. At the symposium you will also be able to meet and engage in a dialog with the performer, theater- and filmmaker Zachary Oberzan, as well as one of this years guest curators, the composer Stefan Prins. The renowned scenographer and artistic director of OperaNord Louise Beck will serve as moderator. PLEASE NOTE The Talk will take place in English

14 MAY 12.00-15.00 Kunsthal Aarhus

COMPOSED DRAMATURGY Workshop with Michael Beil and Thierry Bruehl

SPOR festival and The Danish National School of Performing Arts Department for Further Education are hosting a workshop with theatre- and movie director Thierry Bruehl and his longstanding artistic partner, composer Michael Beil. What is contemporary music theatre, and does it make possible what is left â&#x20AC;?unsaidâ&#x20AC;? in other art forms? What is the relationship between music, staging and language? These questions are the starting point for this workshop, where the focus lies on the interaction between music and theatre. The effect of the different languages, stages and texts will be examined as well as the stories that arise when these are brought together. Moreover, the workshop will be about the possible forms of collaborations between composers and writers/dramaturges and stage directors as well as the communication and nomenclature. How do we speak so we understand each other? How can you create a piece together, which eventually will become music theatre? Following are explorations of the special notation that is created when different practises cross paths and how processes are fixed and communicated (instruction/stage/composition etc.). In addition different scores are presented and jointly analyzed. Finally, the differences between theatre and concert in relation to duration and the different rehearsals are outlined. How complete should a piece be, when rehearsals begin? PLEASE NOTE The workshop is only for pre-registered participants In collaboration with The Danish National School of Performing Arts Department for Further Education

15 MAY 10-16.00 Den Danske Scenekunstskole Aarhus

JEPPE ERNST 4 pieces by Jeppe Ernst

Jeppe Ernst’s pieces consists of three kinds of music that are categorized as: Social Music – Music performed by a number of performers but for only one audience member at the time. Private Music – Music written for a reader. By following given instructions the reader is performing the music. Imagination Music – Music for the imagination of a reader. By following a score the reader is to imagining the musical actions occurring in the score. Etudes (Book II), World Premiere Etude V (Kor), VI (Marsch), VII (Double), VIII (Klagesang) 6” each (Social Music) The work consists of four pieces composed for the facial muscles. Etudes V, VI, VII are composed for one, two and three performers and are to be performed in three small rooms for one audience member at the time. There is no right order for an audience member to experience the etudes and it is up to oneself how many etudes he/she wants to experience. Etude VIII consists of Etude V, VI and VII being performed at the same time. This Etude is to be performed in a larger room for a not specified number of audience members. The Etudes can be considered as a study in harmony in the sense of Ernst’s approach to the human face as an instrument and the facial muscles as the individual voices of this instrument – which combined creates various harmonies. The piece is also a study of different social parameters both between the performers mutually and between the performers and the audience. It is an attempt to reduce the distance between the two and to approach a more therapeutic experience for the audience. Performed by Ying-Hseuh Chen, Matias Seibæk, David Hildebrandt, Marie Sønderskov, Mikkel Egelund and Anna Jalving Commissioned by SPOR

Dyrenes Musik Part: Fuglenes variationer (Private Music) The piece consists of 32 pieces of paper marked with dots from a Braille machine, and these will serve as the score for the composition. The reader is performing a page by leading the fingers of the right hand down the paper within an indicated period of time. The intention is hereby to transcribe the melodic and rhythmical element of music to the sense of touch. Skibene, World Premiere First part: Den himmelske sejlads (Imagination Music) This composition is scored for the sense of smell and comes in a book of notations, by which the reader is to imagine the indicated smells. By working with the relation between the individual smells Ernst has transcribed the musical element of interval to the sense of smell. The smells are divided into three voices: the smells of an interior, the smells of the human body and the smells of an exterior, and the piece is hereby also a study of the harmonic relations between these different kind of smells. Second part: De jordiske havne (Melodi IIII) (Private Music) The piece is divided into three melodies: a melody for an interior, a melody for a human body and a melody for an exterior. By following the composed melody the reader is moving from smell to smell. Printed in the back of this book

Preludes, World Premiere (Private Music) Preludes is a music book written for the breath of the reader. The reader is performing the different preludes by breathing as indicated in the score. The breath is to be as silent as possible. This means that it is not the sound of the breath, but the breath itself that is to be understood as the musical element â&#x20AC;&#x201C; the breath that no one but the reader is able to sense. PLEASE NOTE Limited amount of audience Please book your visit on www.billetto.dk (also for people with festival pass)

14 MAY 15-17.00 15 MAY 07-10.00 Teater Refleksion

ASAMISIMASA Transfer – Explore – Explain

Martin Schüttler, Selbstversuch, die Andern (2012) 13”, Danish Premiere Max Wainwright, Radio 1 (2012) 10”, Danish Premiere Trond Reinholdtsen, Music As Emotion (2007/2016) 30”, Danish Premiere The renowned Norwegian ensemble asamisimasa will perform three pieces by established as well as young talented composers from Norway, Sweden and Germany. In the center of Selbstversuch, die Andern by Martin Schüttler is the question of how to transfer music in to a physical activity. To answer this question, Schüttler is leading the advanced experiment, in which he himself plays the main role. The composition is written for amplified ensemble, transducers, feedback and live electronics. Radio 1 by Max Wainwright is a piece exploring the use of radio technology as a basis for creating and changing sounds. It is based on simultaneous acoustic and radio wave feedback, with three transmitter/receiver pairs applied to the ensemble’s instruments. Each performer has either a transmitter equipped microphone, or a receiver with a portable loudspeaker. As the six musicians move the transmitters/receivers in the room, they influence the behavior of the instruments, feeding into each other and crossing the border between polyphony and sound mass, individual and collective. Music as Emotion by Trond Reinholdtsen is a piece where, with the composers own words, EVERYTHING IS EXPLAINED DURING THE PIECE! Performed by asamisimasa Ellen Uglevik, keyboards / Tanja Orning, cello / Kristine Tjøgersen, clarinets / Anders Førisdal, guitars / Håkon Stene, percussion & electronics Supported by Goethe-Institut Dänemark, Norwegian Embassy in Copenhagen and Music Norway

14 MAY 17.00 Granhøj Dans

Photo: Max Wainwright

SPOR CALL FOR PROPOSALS 3 new works selected from SPOR – Call for Proposals 2016 Natacha Diels, 35 Degrees (2016) 12”, World Premiere Rama Gottfried, Apophänie (2016) 20”, World Premiere Leo Hoffman, The Reply (2016) 15”, World Premiere Each year SPOR invites composers and sound artists from all over the world to submit proposals for the coming festival, and as always we received a wide range of interesting projects with high artistic standards. During the autumn of 2015 SPOR received a total of 203 work proposals from 44 nationalities, a strong field of proposals which has been cooked down to five art works being presented during SPOR festival 2016. In this concert three of the pieces will be performed in collaboration with the Belgian ensemble GAME consisting of students of the advanced master program in contemporary music of the Ghent Conservatory. 35 Degrees by Natacha Diels explodes the TV-screen by pairing the awkward motions of animated figures with sonic and visual counterparts in human performers. Taking the form of three movie trailers, 35 Degrees is a murder mystery told through insinuation and abstracted metaphors. “One woman. One man. Many faces. Like a fading memory, she slips through the steel claw of the inquisitive eye. Will she strike again? Only time will tell. 35 Degrees is a tale of hope, revenge, and redemption. Viewer discretion is advised.” Apophänie refers to the tendency of the human mind to find patterns in random data, which can be as harmless as recognizing shapes in clouds, or a form of delusional psychosis which sees meaningful connections in events that may or may not have any relationship to each other. In Rama Gottfried’s piece, we are introduced to a performance environment composed of multiple layers of movement at different scales. Actual-size human performers on stage are connected to biological entities performing in a microscopic theater. Shifting through a sequence of contrasting vantage points in the miniature pseudoorganic environment, a narrative grows between the microscopic entities. The organisms of the miniature Apophänie world are born, mutated, absorbed, and consumed within the virtual ecosystem. They are artificial components of the video instrument apparatus, yet are alive, brought to life through sonic organization and the performer’s gesture.

Leo Hoffman’s The Reply is a composition for voice, live-electronics and video. It narrates a communication situation between a live performer and a figure in a video-projection. In dealing with this topic, it addresses the discourse of (dis-)embodiment especially in contemporary music contexts as well as the increasing distances in (artistic)application processes. After the concert there will be a Q&A with the composers and performers. Performed by ensemble GAME Hannah Reardon-Smith, flute/ Hanna Kölbel, cello / Primož Suki, guitar / Ruben Martinez-Orio, percussion / Carlo Prampolini, piano The Reply performed by Leo Hoffmann and Filomena Krause Each year SPOR sends out a Call for Proposals and each year a new jury is set. For the Call for Proposals 2016 we received a total of 203 work proposals from 44 nationalities. This year the members of jury was: Stefan Prins and Pieter Matthynssens (BE, Artistic Directors Nadar Ensemble and guest curators at SPOR 2016), Tom Pauwels (BE, Artistic Director Ensemble GAME), Agostino di Scipio (IT, composer and sound artist), Michael Beil (DE, composer), Anne Marqvardsen og Anna Berit Asp Christensen (DK, Festival Directors SPOR) Co-produced and supported by Ictus and School of Arts Ghent Supported by Pro Helvetia

14 MAY 20.00 UngK

Photo: Niels RĂ¸nsholdt

SONGS OF DOUBT Concert with solo vocals, ondes martenot and chamber choir by Niels Rønsholdt (2015) 50”, Danish Premiere Songs of Doubt (Prospect / Retrospect) is a piece about decision and doubt. Each moment of important decision in our lives makes a radical distinction between before and after, between the past and the future. Confronted with the necessity of a decision, we tend to look back and forth from that point to see our world in the light of the contexts and consequences of the decision we are about to make – weighing the prospects against the retrospect. Songs of Doubt does that quite literally. The piece is shaped as a series of very simple songs that undergo the complications of decision – of doubt and hesitation. The music seems to be looking both forward and backward, alternating between prospect and retrospect, between expectation and memory. The piece Songs of Doubt is commissioned by Intro in Situ and written for Studium Chorale, Nathalie Forget and Roderik Povel. Performed by Roderik Povel, voice / Nathalie Forget, ondes martenot / Studium Chorale, choir / Hans Leenders, conductor PLEASE NOTE Release reception at 21.00 This night also sets the frame for the CD-release of Niels Rønsholdt’s Me Quitte recorded with the Danish ensemble SCENATET and Anna Katrin Øssursdóttir Egilstrøð. The release reception is hosted by Dacapo Records and Edition S. Me Quitte is the love song reflected in a cabinet of magic mirrors. The devil sees everything reversed. In Hell the good is turned to evil – seen through the magic mirror, beauty is repulsive. In Me Quitte this is paraphrased and interpreted directly: The famous chanson

Ne Me Quitte Pas resonates as mirrored, disturbed echoes throughout these songs. Me Quitte was commissioned by SCENATET in 2013 and have been performed at several festivals all over over Europe

14 MAY 22.00 Granhøj Dans

SPOR NEW MUSIC SCHOOL Students from SNMS 2016 in concert Last year SPOR kicked of a new tradition: SPOR New Music School – a composition school for children and the young aged 11-15 from the Central Region of Denmark. During three intense workshop days the students are guided, inspired and challenged to compose and perform new works for SPOR festival. The students will meet composers, musicians and listen to concerts at the festival – all to inspire and broaden the musical horizon. This concert is the culmination of SNMS 2016 – where WYSI(N)WYG! will be the starting point for experiments with the instruments testing new ways of playing, finding new sounds and enhancing all the little sounds that normally counts as secondary to or a part of the ‘real’ sound. The young composers/performers will share the stage with Aarhus Sinfonietta who will play Piano Hero by Stefan Prins and Study for String by Simon Steen-Andersen. These pieces have been introduced to the students early in the process as compositions, that illustrate the theme and can be used as points of reference. Each group of SNMS-participants have been guided by students from the Composition Programme at The Royal Academy of Music, Aarhus and from the Electronic Department DIEM, as well as musicians from Aarhus Sinfonietta and composer and musician Østen Mikal Ore. Participating students from The Royal Academy of Music and DIEM: Lasse D. Hansen, Klavs Kehlet, Mette Nielsen, Sebastian Edin, Christian Tronhjem and Anna Katrin Øssursdóttir Egilstrøð In collaboration with and supported by Aarhus 2017, Aarhus School of Music, Aarhus Sinfonietta, Danish Composers’ Society, Den Kreative Skole Silkeborg, Huddersfield Contemporary Music Festival, Kulturskolen Viborg, The Danish Arts Foundation, Tuborg Foundation, The Royal Academy of Music, SNYK, Sonning Foundation, Ultima festival and Østen Mikal Ore

15 MAY 13.00 Granhøj Dans

THE REVIEWS Performance lecture by Michael Madsen (2016) 60”, World Premiere Lecture-performance with live action and perhaps a few moving images. Renowned and multiple award winning director Michael Madsen (Into Eternity, Halden Prison (3D), THE VISIT), yet also know for his dubious experimentation, presents his newest film, which, of course, is not a film. THE REVIEWS, instead, is Madsen live performing a series of unprecedented reviews of imaginary films as dreamt up by Madsen’s feeble imagination. THE REVIEWS is Madsen’s highly idiosyncratic poetics of what ought to be in existence when it comes to really interesting film. Among the films reviewed in THE REVIEWS careless suspension of all filmic laws, one will find a documentary shot in the early Stone Ages at the exact moment of the invention of the wheel, just as a film to be screened only when at sleep will take prominence in Madsen’s dreary close-encounter with the imaginative powers of the audience. Also the never realized “Hoffmanniana” by Andrei Tarkowsky, “Technically Sweet” by Michelangelo Antonioni and “Napoleon” by Stanley Kubrick will be scrutinized in their final glory. Madsen’s relentless and detailed reviews, this credo of cinematic invention, this highly entertaining and evocative live-film-programme will add up to nothing less than an open source encyclopedia of film ideas and film art – as it is sadly not. THE REVIEWS, in other words, chronicles a parallel, unknown, hitherto undreamt history of film, which will make current filmmaking drivel with envy – yet inspire as only last seen from the Dogma´95 movement. In collaboration with and supported by The Danish Film Institute, Almenfonden and Danish Film Directors

15 MAY 15.00 Øst For Paradis

AUT 50TH ANNIVERSARY CONCERT Concert celebrating the 50th anniversary of Aarhus Unge Tonekunstnere Mirela Ivicevic, The F Song (Dominosa VIII) (2014) 7”, Danish Premiere Matthias Kranebitter, Dead Girl (Requiem E) (2015) 15”, Danish Premiere Michael Cutting, Waiting Room (2016) 10”, World Premiere Vitalija Glovackyte, Virtual Love (2016) 7”, World Premiere – break – Jennifer Walshe, This is Why People O.D. On Pills / And Jump From The Golden Gate Bridge (2004), 15”, Danish premiere AUT has invited the Austria based Black Page Orchestra (BPO) and the British Another Contemporary Music Ensemble (ACM) to perform compositions by members of the ensembles, as well as a piece by Irish Jennifer Walshe. It all comes together in a celebration of the huge work AUT has done for contemporary and experimental music, composition and sound art the last 50 years. The F Song (Dominosa VIII) by Mirela Ivicevic is a chain of F’s out of a Balkaneese brain, and not all of them are swear words. F, f minor, obviously. Fill in with ... Flashback of a painful experience – Flourescent blue(s) Fiery red, blood and – Folk, you have to have some good old Balkan folk – Feed their need for exoticism and that shit and Fade (out) ... – Fingertips – Fingertips type in www – Facebook – FYI – Foamy, flageolets flooded – Factory of false hope – Fuel of frustration – Futurism, FTW – Falling down – Fellatio (doesn’t really suit right after falling down, but oh, well) – Fluids of flirting fairies who – French-kiss, flog and – Fuck, what else? – Fiddle while Rome burns, it’s all – Fun and games and – Failure (is the mother of success). Dead Girl (Requiem E) is the first piece Matthias Kranebitter wrote for his ensemble Black Page Orchestra. As the title may give and idea about, it is a dark composition. It consists of deformed and deconstructed midi files from an optimistic past played out in the dark present. Waiting Room by Michael Cutting explores how we define a work of music, questioning in particular how we distinguish a musical performance from its preparation. What is our thought process when we watch performers get ready

on stage? Do we look for clues about the upcoming performance based on what we can currently see? Do we consider the performers already in the act of performing the piece, through the process of preparing their instruments? Virtual Love is an exploration of the possibilities for love and relationships in the modern digital age. Vitalija Glovackyte’s performance will be about virtual relationships and how little reality is needed in a cyber exchange. Jennifer Walshe’s piece is not just making the performers learn how to skateboard, but also how to interact with and sense the city space and architecture in new ways. The score is for 1-10 performers and if more than 1 performs, it will be called / And Jump From The Golden Gate Bridge. The performers are asked to learn how to skateboard in order to lose control and let the flow of the board lead the way. They are to construct and imagine the best skating path being aware of surface, sounds, smells, skating tricks and the flow through the city- like playing their environment. The path should be complicated, rich, beautiful and stylish. After trying out the path on skateboard and choosing a pitch for the instruments, every micro-detail of the pitch should correspond absolutely to the experience of skating the path in their heads. Performed by Black Page Orchestra and Another Contemporary Music Ensemble BPO: Alessandro Baticci, flute / Florian Fennes, saxophone / Felix Pöchhacker, e-guitar / Sofie Thorsbro Dan, violin / Matthias Kranebitter, piano and electronics ACM: Dave Bainbridge, guitar and objects / Delia Stevens, percussion / Michael Cutting, electronics and objects / Vitalija Glovackyte, electronics and objects Curated by Kaj Duncan David/AUT in collaboration with SPOR festival and Nadar Ensemble Supported by The Augustinus Foundation, Danish Composers’ Society’s Production Pool/KODA’s Cultural Funds, The Danish Arts Foundation’s Committee for Music Project Funding, and Aarhus Municipality Music Committee PLEASE NOTE Upcoming AUT anniversary concerts 13 July, Aarhus Jazz Festival 10 October, Galla Concert with Aarhus Symphony Orchestra

15 MAY 17.00 Granhøj Dans

THE GREAT PRETENDER A new ﬁlm /play /concert

by Zachary Oberzan (2015) 90”, Danish Premiere In the Spring of 2015, a man randomly met a theater technician on a bus in Antwerp. Claiming to be the famous American film/theater maker Zachary Oberzan. The man was soon introduced to the senior staff of deSingel Internationale Kunstcampus, where he promised to create a new work using them as actors and their theater as the location. After a week of rehearsals, the staff grew suspicious, the man was revealed as an imposter, and was arrested by Belgian police for fraud. Renowned Iranian filmmaker Abbas Kiarostami read about this minor incident, and deeply intrigued, filmed the trial and reconstructed the events leading up to it. What we discover is the very complex story of a man torn by profound issues of identity, frustration, and artistic creation that spill over into our own lives, as we ourselves struggle with what role each of us are to play in the world. The Great Pretender is an outstanding hybrid, where film, theater and performance are combined. Oberzan is inspired by the 1990 film Close Up by the Iranian director Abbas Kiarostami. This fictional documentary was a reenactment of the true story of an Iranian man who pretended to be the Iranian director Mohsen Makhmalbaf, and thereby incorporated an unsuspecting family in a non-existing film project. In The Great Pretender Kiarostami reportedly made a movie about a man who pretended to be the great artist Zachary Oberzan – but in the movie, made by Oberzan himself, he also plays the role of the Oberzan-imitator. And it doesn’t stop here – in addition to the film, Oberzan is present on the stage where he imitates Elvis’ song The Great Pretender (which, incidentally is not written by Elvis). The Great Pretender is Oberzan’s latest filmic performance hybrid, combining a feature film, live theater, and live reconstructions of Elvis Presley concerts.

Conceived / directed / designed / adapted / cinematography / edited / performed by Zachary Oberzan, as inspired by Abbas Kiarostami and Hussein Sabzian Backing vocalists: Maya Mertens, Diede Blok / Dramaturgy, producer, manager: Nicole Schuchardt / Lights, sound, video technician: David Lang / Stage consultant: Eike BĂśttcher / Costume Designer: Dorothea Andrae Co-produced by deSingel Internationale Kunstcampus, HAU Hebbel am Ufer Berlin, Beursschouwburg Brussels, Vooruit Gent, Black Box Teater Oslo, Gessnerallee ZĂźrich, Teaterhuset Avant Garden Trondheim, brut Wien In collaboration with Aabne Scene, Godsbanen Supported by The Danish Arts Foundation, Performing Arts PLEASE NOTE After the performance SPOR and Godsbanen host a closing reception at Godsbanen

15 MAY 19.00 Godsbanen Aabne Scene

Photo: Manu Bloemen

MISHEARDPEDIA (2016) by Alessandro Perini OPENING 12 MAY 18.00 / 13, 14, 15 MAY / 13.00-17.00 10 Rum46 Sound installation selected from SPOR Call For Proposals 2016

EAVESDROPS is a new sound installation, that is based on hand-built laser microphones whose technological roots go back to the period after Second World War and the Russian scientist Léon Theremin (1896-1993). Theremin’s inventions were used as means for surveillance by, among others, The KGB. Technically, laser microphones are able to pick up vibrations from a remote object, and as sound consists of vibrations this technology can be used for eavesdropping in situations, where you do not want to be exposed. In the installation laser microphones aim at the windows to pick up vibrations of the external sounds from the unsuspecting space, as well as the internal sounds of the exhibition room. These are all amplified in the body of the exhibition space, wherein a feedback loop occurs since the laser microphones are now also listening to themselves. The visitors are given the opportunity for direct interaction with the art work by the interruption of the laser beams as they pass through space. In this way the external factors – conscious and unconscious – are crucial in the work’s auditory behaviour, which is constantly changing.

EAVESDROPS (2016) by Christian Skjødt OPENING 12 MAY 19.00 / 13, 14, 15 MAY / 13.00-17.00 9 77m3 Sound installation selected from SPOR Call For Proposals 2016

Each year SPOR curates an ambitious exhibition programme. The main focus lies on sound based art and installations, as well as art works with performative elements and live performances. This year you can experience living bodies being vacuum packed, eavesdropping laser microphones, live sound performances and much more. Take a walk through the city and visit SPORs exhibitions presented on several benchmarking cultural institutions in Aarhus.

EXHIBITION PROGRAM MAY 11 - JUNE 5

The main auditive focus in the series of Di Scipio’s Untitled sound installations, is the background noise of the room where the work is presented, and the sound field of the surrounding site. Untitled 2016 works as a situated and self-regulating delay network, which intensifies the ambience noise until feedback tones arise. At the same time the installation deflates the ambience sound by pulverizing it into tiny sonic quanta. Therefore, this work proposes to listen to the ambience noise “in two opposite directions”: one of continuity and resonance, and one of discontinuity, porosity and sonic dust. The entire local network is managed by real-time computer operations driven by the acoustical response of the room itself. However, beside this digital element, in actuality the mechanical and analogue-electronics elements involved are just as crucial, specially due to their systemic nonlinearities. The room, coupled to this hybrid technical setup, acts as a source of sound, as a resonator, and as a source for control and dynamical behavior, creating self-maintaining and reproducing dynamics stretching over shorter and longer time spans. By actively intervening in the installation, the work is eventually turned into a performance piece by the artist himself.

UNTITLED 2016 (Ecosystemic Sound Installation) (2016) by Agostino Di Scipio 12, 13, 14, 15 MAY / 10.00-17.00 5 Kunsthal Aarhus Live performance Friday 13 MAY 16.00

Misheardpedia is a web-based sound-artwork. It is a machine-read and machine-re-transcribed version of the user web-lexicon Wikipedia. Random Wikipedia pages are fed into a system that reads the texts out loud with a synthetic voice. From this, a speech-to-text engine re-transcribes the read text, which leaves us with highly questionable transcriptional results. The newly transcribed texts end up online on www. misheardpedia.com, creating an encyclopedia of misheard wisdom. Wikipedia is said to be the most famous archive of knowledge. It is, in a way, a description of our world – but it relies on quantity and not on quality. We know Wikipedia contains errors, partial interpretations, unverified information and so on, but it is usually our first help when we want to retrieve knowledge on the internet. We trust and hope that what we are reading is a precise, exhaustive and objective analysis of reality. By creating Misheardpedia, Perini questions such mediated models of knowledge and visions of reality proposed by the World Wide Web. He raises awareness about the fact that the virtual realm may be piloted by companies or other such powerful sources, as well as about the fact that the information that appears on a computer screen not always is what users find, but what search engines want them to find.

The Exhibition Programme is supported by The Danish Arts Foundation, Visual arts and SNYK

Performed by: Tom Kok, Ragna Maria Husted and one additional performer

Shrink consists of a living body, or several living bodies, tugged in between large transparent plastic sheets attached to a device that slowly sucks the air out from between the sheets and thereby leave the body vacuum-packed and vertically suspended. As a result of the increasing pressure between the plastic sheets the surface of the packed body gradually freezes into multiple micro-folds and gives the face of the skin a new expression. For the duration of the performance the person inside moves slowly and changes positions, which vary from an almost embryonic position to one resembling a crucified body. At SPOR festival you can experience the performance installation three times over two days.

SHRINK (1995) by Lawrence Malstaf PERFORMANCES / 11 MAY 12.00 & 14 MAY 11.00 & 15.30 2 Dokk1

PLEASE NOTE The exhibition runs until June 5th

This installation is to be visited individually. In the lonesome dark room you will meet a large vibrating mirror that blurs your reflection, and thereby will make you question your own physical presence. At first, the vibrations are so subtle that you might wonder if your own eyes are having trouble to focus, but gradually it becomes more obvious that the mirror is actually moving and mutating your body into a Francis Bacon portrait. Despite of the fact that the illusion becomes more evident, the visual impression is so real that you might feel the urge to check if your body is actually decomposing or not. In the end your body evaporates and disappears completely.

Mirror (2002) by Lawrence Malstaf OPENING 12 MAY 17.00 / 13, 14, 15 MAY / 13.00-17.00 3 Exhibition Space Spanien 19C

EXHIBITION PROGRAM MAY 11 - JUNE 5

Photo: Lawrence Malstaf. Tallieu Art Office, Shrink, 1995

The film follows an ailing theatre director as he works on an increasingly elaborate stage production whose extreme commitment to realism begins to blur the boundaries between fiction and reality. The film’s title is a play on the city Schenectady, NY, where much of the film is set, and the concept of synecdoche, wherein a part of something represents the whole, or vice versa.

Synecdoche New York (2008) by Charlie Kaufman Monday 9 MAY 16.30 1 Øst for Paradis

This movie is in itself a one-man cinematic war. Shot entirely for $96 in a 220 square foot studio apartment in Manhattan, it was adapted, directed, filmed, acted, designed, and edited by one man. Actor and filmmaker Zachary Oberzan, performing all two dozen characters himself, has created a monumental testament to the animal ingenuity and triumphant spirit of the lone artist with no money, no resources, no nothing. Flooding with Love for The Kid asks the questions, “What do you need to make a good film? How much money, how many actors, how much space? Can you make a great narrative film with nothing but your love of the work?” Completely transgressive yet action-packed and heart-breaking, Flooding with Love for The Kid destroys all previous notions of low-budget filmmaking with a determination lifted from Rambo’s own infuriated rampage.

Flooding with Love for The Kid (2007) by Zachary Oberzan Sunday 8 MAY 16.30 1 Øst for Paradis

For the first time SPOR presents an exciting film programme with legendary films as well as classics of the future. In collaboration with the art cinema Øst for Paradis we warm up from May 8-11 with a number of ’closing time’ films and on Friday night we show the award winning Plot Point Trilogy. Last, but not least, we present the world premiere of The Reviews by Michael Madsen. All the films work with cross-aesthetic representations of original and reproduction and are closely related to SPOR festivals concert and exhibition program.

FILM PROGRAM MAY 8, 9, 10, 11, 13 & 15

Plot Point Filmed with a hidden camera, the crowded streets of New York City turn into a highly dramatized narrative construction in which unaware passers and the NYPD become the stars of a fiction film that suggests a suspenseful and emotional tension curve.

Plot Point Trilogy (2007) by Nicolas Provost Friday 19.00 6 Godsbanen Aabne Scene

This last major film by, and starring, Orson Welles focuses on Elmyr de Hory’s recounting of his career as a professional art forger. De Hory’s story serves as the backdrop for a fast-paced, meandering investigation of the natures of authorship and authencity, as well as the basis of the value of art. As a part of his post. doc. project, curator and professor Peter Ole Pedersen will give an introductional talk. His project about Art and Documentary Culture researches the relations between the different expressions of art and our use of documentations. The project is supported by Novo Nordisk and is managed by Peter Ole Pedersen.

F for Fake (1973) by Orson Welles Wednesday 11 MAY 16.30 1 Øst for Paradis Introduction by Peter Ole Pedersen, Postdoctoral fellow in Documentary Film at Univeristy of Aarhus

The film tells the story of the real-life trial of a man who impersonated film-maker Mohsen Makhmalbaf, conning a family into believing they would star in his new film. It features the people involved, acting as themselves. Artist Zachary Oberzans performance The Great Pretender presented at this years festival is highly inspired by Kiarostamis movie.

Close-up (1990) by Abbas Kiarostami Tuesday 10 MAY, 16.30 1 Øst for Paradis

Among the films reviewed, careless suspension of all filmic laws, one will find a documentary shot in the early Stone Age at the exact moment of the invention of the wheel, just as a film to be screened only when at sleep will take prominence in Madsen’s dreary close-encounter with the imaginative powers of the audience. Also the never realized “Hoffmanniana” by Andrei Tarkowsky, “Technically Sweet” by Michelangelo Antonioni and “Napoleon” by Stanley Kubrick will be scrutinized in their final glory through Madsen’s relentless and detailed reviews.

Renowned, multiple-award winning director Michael Madsen notorious for his dubious experimentation, presents his newest film, which, of course, is not a film at all. THE REVIEWS is Madsen live-performing a series of unprecedented reviews of imaginary films dreamt up by Madsen’s feeble imagination. THE REVIEWS is Madsen’s highly idiosyncratic poetics for what ought to be when it comes to really interesting film.

THE REVIEWS by Michael Madsen Sunday 15 MAY 15.00 1 Øst for Paradis

Tokyo Giants After New York and Las Vegas Provost takes his hidden camera to the hyperkinetic streets of Tokyo in search for the mystery of reality. A serial killer, a rapist, a terrorist, a cult, the Yakuza, all have in common that their paths cross and merge into a powerful climax that can not be resolved.

Stardust This time Provost takes his hidden camera to Las Vegas and films real Hollywood stars – Jon Voight, Dennis Hopper and Jack Nicholson and turns the glorious and ambiguous power of the gambling capital into an exciting crime story.

FILM PROGRAM MAY 8, 9, 10, 11, 13 & 15

Zachary Oberzan, Flooding With Love For The Kid, 2007

ARTISTS AND PERFORMERS AT SPOR 2016

music and the transportation of additional content through gestures are key features in his pieces, which aim at empowering the performer and at achieving a maximum of energy. This is done both through the use of sensors and visual media.

AB BAS KIAROSTAM I (1940, I R) has worked extensively as a screenwriter, film editor, art director and producer. He is part of a generation of filmmakers in the Iranian New Wave, a Persian cinema movement that started in the late 1960s. Members of the movement share many common techniques including the use of poetic dialogue and allegorical storytelling dealing with political and philosophical issues.

ANOTHER CONTEMPORARY MUSIC ENSEMBLE / ACM (UK) is a Manchester-based group of musicians, focusing on experimental electronic and instrumental performances. Founded in 2012 by Michael Cutting and Vitalija Glovackyte, a central part of its recent programmes has been on works exploring the performative aspects of music, including the use of multimedia with ensemble.

ANNA JALVING (violin and bratsch, DK ) works as a soloist on the boarders of classical and improv / rythmic music. In the spring of 2016 she will obtain her masters degree from The Royal Academy of Music in Aarhus.

ASAMISIMASA (NO) was founded in 2002 by musicians sharing a passion and interest in avantgarde music and its history. Since then, the ensemble has premiered numerous cross-media works especially written for them, often contextualized with classical repertoire and historical avant-garde work. asamisimasa has collaborated with a number of established composers, as well as extensively with cross-media composers. Their first recording, with music by Simon Steen-Andersen, was awarded the Norwegian Grammy 2012 (Spellemann) for best contemporary music record and in 2015 they received the Spellemann for the release ‘Neon Forest Space’.

AGOSTINO DI SCIPIO (1962, IT) has degrees in composition and electronic music from the Conservatory of L’Aquila. He gives lectures in composition with live-electronics and serves as guest professor at several institutions. Di Scipio is the author of internationally published papers and essays mostly devoted to the critical discussion of music and sound technologies. As an artist he explores original methods in the generation and transmission of sound, often experimenting with phenomena of emergence and chaotic dynamics. ALESSANDRO PERINI (1983, IT) holds two MAs in composition from Conservatorio di Musica di Como and Music Academy of Malmö. Perini writes instrumental and electronic music, but has also extended his effort to other media such as video, lights or the web, and to other artistic approaches such as installation art. Recurring themes are the relationship between real and imaginary, where the imaginary can be the virtual as well. ALEXANDER SCHUBERT (1979, DE) studied bioinformatics and composition. Schubert explores cross-genre interfaces between acoustic and electronic music, combining different musical styles (free jazz, techno etc.) with contemporary classical concepts, where performative issues are a major focus in his work. The use of the body in electronic

BLACK PAGE ORCHESTRA (AT) is a Vienna-based ensemble for radical and uncompromising music of current times. The name derives from Frank Zappa’s composition The Black Page, a piece which score is, due to the high density of notes and musical events, nearly a black paper. Beside this clear aesthetical approach the ensemble focuses on compositions using electronics, video and different technologies in an artistic context as well as pieces with performative character. CHARLIE KAUFMAN (1958, US) explores such universal themes as identity crisis, mortality, and the meaning of life through a metaphysical or parapsychological framework. While his film resists labels, it is sometimes described as surrealist. Often regarded as one of the finest screenwriters of the 21st century, Kaufman has been nominated for four Academy Awards and has won one.

CHRISTIAN SKJØDT (1980, DK) explores the temporal and spatial aspects, as well the physicality of sound and aesthetics of noise. His installatory works are often site-specific and deal with enhancement of the unheard and hidden. With a frequent use of repetition and seriality he creates immersive and responsive environments exploring translations of chosen physical phenomenon into sound. In a live performance setting he currently employs self built electronic and electro-acoustic instruments and amplified object-based performance, where he investigates the sonic possibilities of various materials. Skjødt has been working in most of Europe, and holds a Master’s degree in composition from the Royal Academy of Music in Denmark. DAVID HILDEBRANDT (1976, DK) is educated from the Royal National Danish Academy of Music. He is very active on the Danish and international stages and has toured with different ensembles in Europe, USA and Asia. EVA REITER (1976, AT) studied recorder and viola da gamba at the University of Music and Performing Arts in Vienna, and continued both studies at the Sweelinck-Conservatory in Amsterdam. Both master’s degrees finished with most outstanding honors. In recent years Reiter has focused her attention on contemporary music, both as a composer and performer. Her compositions have won a number of awards, and her piece presented at SPOR was selected for the Rostrum of Composers in 2009. She is currently very active giving concerts as a soloist as well as performing with different baroque orchestras (Unidas, Ensemble Mikado, Le Badinage) and with ensembles for contemporary music (Ictus, Klangforum Wien, Elastic Band etc.). Reiter’s compositions have been performed expansively internationally, but it is the first time she will be presented in Denmark at SPOR festival 2016. GAME / The Ghent Advanced Master Ensemble (BE) unites different collaborations between the students of the advanced master program in contemporary music of the Ghent Conservatory, supported by ICTUS and Spectra. GAME is the banner under which a young vanguard of excellent musicians join forces, create new works and open-mindedly explore the most recent trends of the contemporary music scene.

JENNIFER WALSHE (1974, IE) has been called “The most original compositional voice to emerge in Ireland in the last 20 years”. She studied composition at the Royal Scottish Academy of Music and Drama and at Northwestern University, Chicago, graduating with a doctoral degree in composition in 2002. Walshe is renowned as one of the most leading composers in Europe right now, and recognized for a personal and highly original artistic profile, where she uses herself as networker, composer and performer. The collaboration between SPOR and Walshe started in 2007 and in 2014 she was invited as guest curator of SPOR festival. JEPPE ERNST (1985, DK) is at the moment doing his postgraduate studies in composition at the The Royal Danish Academy of Music. Ernst’s compositions often ask the most fundamental questions to the phenomenon of music. In his consistent perspective, music is not sound and / or tones, but movements and (social) interaction in the fullest sense. Thus, his music expresses an exploration of the action of music from different angles. JESSIE MARINO (1984, US) is currently finishing a DMA in composition at Stanford University. Her current works explore the repetition inside common activities, ritualistic absurdities, and the archeology of nostalgic technologies. Marino’s pieces score out sound, video, physical movements, lighting and staging which are then placed within organized temporal structures and musical frameworks. In 2014 SPOR gave the first presentation of Marino in Denmark. KAJ DUNCAN DAVID (1988, DK / UK) works with computers, electronics, instruments, lights and video, as well as music-theatre situations and installations. He holds a masters degree from DIEM (Danish Institute for Electronic Music) in Aarhus, and is currently finishing his post-graduate studies in composition in Dresden with Manos Tsangaris and Franz-Martin Olbrisch. Duncan David collaborates frequently with different multi-disciplinary artists, composers and sound artists and is board member of the Aarhus institution AUT.

LAWRENCE MALSTAF (1972, BE). The work of Malstaf is situated on the borderline between the visual and the theatrical. He develops installation and performance art with a strong focus on movement, coincidence, order and chaos, and on creating immersive sensorial rooms for individual visitors. He also creates larger mobile environments dealing with space and orientation, often using the visitor as a co-actor. Malstaf has received several international awards in the field of art and new technology. He is also well known as an innovative scenographer in the dance and theater world, and has collaborated with e.g. the Danish Hotel Pro Forma. LEO HOFMANN (1986, CH/DE) holds an MA in Contemporary Arts Practice and in Research in the Arts from The University of Bern. Hofmann composes and performs music theaters, sound performances and experiments with audio drama formats. His works focuses on the voice as an event of sound and performativity as well as on the search of haptics and the physical in music. Since 2013 he created several works in the field of experimental music theater, as well as pieces with voice and live electronics, audio-visual pieces and a music theater for wireless headphones. LOUISE BECK (1965, DK) studied to be scenographer at the art academy Wimbledon School of Art in London and is now the artistic director of OperaNord; a platform where artists across national borders and traditions come together to develop new site-specific music dramatic works. Besides this Louise has been project manager at NordScen and Head of the Scenography department at both The Danish National Theatre School in Copenhagen and Oslo National Academy of the Arts. For the next years Louise holds the position as Head of the Grant Committee of Performing Art at the Danish Art Foundation.

music, sound installations, film music and media art. For his music he received several awards, including the Kranichsteiner Kompositionspreis of the Darmstädter Ferienkurse 2002. He worked as a composer in residence at the ZKM Karlsruhe from 2000 to 2004. Since 2014 Schüttler is professor for composition at the Hochschule für Musik und darstellende Kunst Stuttgart. MATIAS ESCUDERO SEIBÆK (1981, DK) is educated at the Royal Danish Academy of Music and graduated from the soloist program in 2009. Seibæk is working primarily as a soloist and chamber musician within new music, and is also a member of ensembles such as SCENATET and Jeppe Just Insitituttet. MATTHIAS KRANEBITTER (1980, AT) studied composition, electro-acoustic composition, film and media composition as well as piano in Vienna, Amsterdam and Graz. Kranebitter’s music is characterized by aspects of our media society, a dense accumulation and mash-up from everyday life’s trash sounds to a flittering-colorful and hyper-heterogenic sound flood and a comic-like, grotesque distortion of clichéd musical gestures with an ironic ambivalence, aiming for a culture-liberated Art brut in music. MAX WAINWRIGHT (1987, SE) calls himself a ‘improvisation fundamentalist’. With that title he eschews planning and top-down thinking in favor of confusion, and dialoguing with materials, people and situations. Wainwright’s particular interests are DIY instruments/tools, feedback, and (lack of) control. His sounding output ranges from tiny acoustic sounds through amplified objects, to sheer noise and loud drones.

MARIE SØNDERSKOV (DK) specializes in contemporary music and works on the boarders of genres, styles and art forms. Marie is educated flutist from The Royal Academy of Music in Aarhus.

MICHAEL BEIL (1963, DE) is professor for electronic music at Hochschule für Musik und Tanz in Cologne and the director of the studio for electronic music. Beils work focuses on the combination between electronic and instrumental music and video. His compositions and concepts usually work with the situation on stage in a concert in relation to the movements of the musicians and the development of the music.

MARTIN SCHÜTTLER (1974, DE) studied composition at the Folkwang Hochschule in Essen, Germany. His work contains pieces for solo instruments, orchestra, choir and ensembles, tape

MICHAEL CUTTING (1987, UK) studied music composition at the Royal Northern College of Music, and is now completing a PhD at Kings College London. Cutting makes music with acoustic instruments and

analogue devices. His recent work derives from experiments with reel-to-reel tape machines, characterized by warped loops, lo-fi noise and an emphasis on the theatricality of performance. His work has been informed by long-term collaborations, his experience running an experimental music group and an interest in producing musical events with other artists. MIKKEL EGELUND (1987, DK) is an award winning guitarist. Both as a soloist and in chamber musical contexts he played concerts nationally as well as internationally. MICHAEL MADSEN (1971, DK) is a conceptual artist and director of the multiple award-winning “Into Eternity” (2010). Recent films include “Halden Prison”, in 3D and part of “Cathedrals of Culture” initiated by Wim Wenders. In addition, Michael has been guest lecturer at a.o. The Royal Danish Academy of Art, The Danish Film School, University of California. University of Western Sydney, School of Architecture, London. Michaels latest film, THE VISIT, premiered at Sundance 2015. MIRELA IVICEVIC (1980, HR) graduated in Composition and Music Theory from the Academy of Music in Zagreb, and finished her postgraduate studies in Media Composition and applied Music at Universität für Musik und darstellende Kunst Wien. The majority of Mirelas artistic output are conceptual and interdisciplinary works that address issues like identity, otherness and freedom in contemporary social environments. She is author of acoustic, electroacoustic and intermediary works, sound installations, music for film and theatre, as well as three operas. NADAR ENSEMBLE (BE) was founded in 2006 by a group of young musicians sharing a mutual interest and passion for contemporary music. The name for the ensemble was chosen as a reference to the real Nadar: the pseudonym of Gaspard-Félix Tournachon (1820-1910), whose multi-disciplinaryism and adventurous spirit the ensemble wishes to portray. Nadar Ensemble consists of 14 members and has performed at concert halls, festivals and in other contexts, both nationally and internationally. Nadar is the guest curator of SPOR festival in 2016. NATACHA DIELS (1981, US) holds degrees from NYU and Columbia University and currently teaches

composition and computer music at UCSD. Diels’ work combines ritual, improvisation, traditional instrumental technique, and cynical play to create worlds of curiosity and unease. Natacha’s unique musical approach continues to contribute to the ongoing development of new American experimentalism. She is a founding member of the experimental music collective Ensemble Pamplemousse and co-founder of the performance duo On Structure. NATHALIE FORGET (1974, FR) is a performer, improviser and artist, and she studied under Valérie Hartmann-Claverie at Conservatory of Paris for Music and Dance. Forget performs with various groups notably chamber music, from duo to sextet of ondes Martenot, and also with a variety of contemporary and improvisation music. NICOLAI WORSAAE (1980, DK) has a main focus on score based instrumental compositions combined with electronic sound layers. The musical language of Worsaae is often described as being expressive and very direct. Worsaae has an interest in performative elements and specific set-up’s for the music, as well as the integration of physical movements within the musical composition. He works with this extra musical/visual layer to direct abstract musical structures into more concrete expressions. Worsaae holds a master degree in composition from The Royal Danish Academy of Music. NICOLAS PROVOST (1969, BE) uses the language of film to maneuver and influence the interpretation of images and stories. Blurring the boundaries between fiction and reality, his films provoke both recognition and alienation and succeed in catching our expectations into a suspenseful game of mystery and abstraction. NIELS RØNSHOLDT (1978, DK) is educated from The Royal Academy of Music in Aarhus. His works include experimental operas, installations, performances and concert music. Rønsholdt works with a stylistically diverse musical language in intimate and intense pieces often with an expression that are both brutally radical and appealing with references to mainstream culture. He has been commissioned by esteemed international ensembles and performed on most European contemporary music festivals. Rønsholdt was curator at the first SPOR festival in 2005.

ORSON WELLES (1915-1985, US) had a distinctive directorial style, that featured layered and nonlinear narrative forms, innovative uses of lightning, unusual camera angles, sound techniques borrowed from radio, deep focus shots, and long takes. He has been praised as a major creative force and as “the ultimate auteur”. PUCE MARY / FREDERIKKE HOFFMEIER (1989, DK) is a Copenhagen based experimental music composer and performer. Best known for releasing and performing under the name Puce Mary, she is occupied with exploring the corners of Industrial, Noise and Power Electronics as well as more composed sound-collages, dark-ambient and concrete sound poetry. RAMA GOTTFRIED (1977, US) is currently a PhD student at the University of California, Berkeley. He often aims to magnify the plethora of details that connect humans with the computers, instruments, plants, insects, amphibians, architecture, and other entities and spaces that surround us. Over the last few years he has focused on bridging his work for ensemble and installation pieces through developing a practice of electro-acoustic instrument design, utilizing various sensors, computer analysis, and acoustic activation technologies to control, deconstruct, and rethink the sonic and spatial experience of performance. RODERIK POVEL (1976, NL) works as teacher / conductor of Jazz Choir and Technology at the Conservatorium Maastricht. He studied singing at the conservatories of The Hague and Maastrich. As a vocalist and composer, he moves in the field of the progressive part of the musical landscape. SCENATET (DK) is recognized as one of the most innovative and experimental ensembles for music and art in the Nordic countries. The ensemble moves in a cross-artistic field in music, drama, film and happenings and in areas with yet undefined genres. Since it’s founding in 2008 by artist, curator and festival director Anna Berit Asp Christensen, the ensemble has performed for a wide and diverse audience of prominent festivals and on stages all over the world. STEFAN PRINS (1979, BE) among other relevant educations holds a masters degree in composition

from the Royal Flemish Conservatory in Antwerp and since 2011 he has been pursuing a PhD in composition at Harvard University. In his compositional work, Stefan Prins seeks to critique conventions, to break the framework of the usual and to create a musical art form, that has its life beyond the safe confines of the “scene” and the common cultural discourse. Prins is, in collaboration with Pieter Matthyessens, artistic director of Nadar ensemble. STUDIUM CHORALE (NL) was founded in 1972 and has developed into to one of The Netherlands’ most influential chamber choirs. The choir varies from eight to forty singers depending on the requirements of the music to be performed. Hans Leenders serves as the Artistic Director and conductor of the choir. THIERRY BRUEHL (1968, FR/DE) is renowned for his artistic work as a stage and music theater director. As director, Bruehl has presented around 80 theater- and opera productions since 1994. In 2005 he had a guest professorship in dramaturgy and direction at Salzburg Mozarteum, and since 2009 he worked with a number of prominent ensembles in new and contemporary music. Bruehl has been working closely with composer Michael Beil, and from this longstanding collaboration we present the latest piece at SPOR 2016. TOM KOK (1987, NL) is a visual artist whose work consists mainly of sculptural installations, videos and performances. His works are initiated by a fascination for the fragility of science, and through a variety of topics, he examines the social and cultural impact of knowledge structures. He also serves as artist Lawrence Malstafs assistant and will present his works at SPOR festival 2016. TROND REINHOLDTSEN (1972, NO) started his activity as a self proclaimed ”retro-modernist”, but gradually, through periods of fascination for programming, semantics, documentary art, the deconstructivism of Kagel and the energetic theatrical chaos of Schlingensief and others, started producing works in a more essayistic manner – systematically mixing music, performance, the lecture form, filmed situations, communist propaganda, plump autobiography, outdated existentialism, mud, fish and bubble machines.

VITALIJA GLOVACKYTE (1990, LT) focuses heavily on the aesthetic of DIY and the theatricality of building, creating and re-shaping on stage with the process as a part of the performance. Since being based in Manchester, her music has become increasingly informed by the city and its culture, with its established underground scene of noise artists, experimental film collectives and improv nights. ZACHARY OBERZAN (1974, US) is a founding member of the theater collective Nature Theater of Oklahoma, based in New York City, the last few years though, he worked on solo projects. His performances often relate to both high and low culture, which he uses to tell his own story. For example he mixed his life with Jean-Claude Van Dammes and flirted with the likes of Whitney Houston, Serge Gainsbourg and Bruce Lee. YING-HSUEH CHEN (TW) is a visionary and multifaceted percussionist known for her extraordinary stage presence and convincing interpretation of contemporary works. Ying-Hsueh has been based in Copenhagen since 2006. ØSTEN MIKAL ORE (1967, DK) originally got his degree in guitar from the Academy of Music in Oslo and in Odense. He later studied composition at the Royal Academy of Music in Aarhus with Bent Sørensen and Karl Aage Rasmussen as his teachers. His music has been performed at various festivals including Discover Denmark, NUMUS, Suså, Festival Archipel and Purcell Room. At SPOR he is working closely with the students at SPOR New Music School. ÅRHUS SINFONIETTA (DK) was founded in 1990 by members of the Aarhus Symphony Orchestra and the Danish composer Hans Abrahamsen. Since their establishment, the ensemble has marked itself out as one of Denmark’s leading ensembles for contemporary music, but with a repertoire that reaches beyond only contemporary music. One of the biggest priorities of the ensemble is to interpret original music from all times and places in an original and artistic manner.

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COLOSSEUMS HELTE

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SPAT SONORE (FR) ÅRHUS SINFONIETTA

ANTIDOTUM TARANTULAE JACOB D’S MASKINPARK

12-15 JULI PÅ DANSESTUDIET AARHUS, BISSENSGADE 14 B Et samarbejde mellem Aarhus Jazz Festival, AUT og Århus Sinfonietta

SE HELE PROGRAMMET med 250 koncerter på 37 spillesteder i Aarhus Midtby PÅ GADEN 23. MAJ

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SKIBENE 2. Del DE JORDISKE HAVNE (MELODI I-III) af Jeppe Ernst

Introduktion til læseren De jordiske havne (Melodi I-III) er baseret på konkrete fysiske lugte og disse lugtes indbyrdes relation i tid. Stykket består af tre melodier: Melodi I - lugte fra et interiør. Melodi II - lugte fra en nøgen menneskekrop. Melodi III - lugte fra et eksteriør. Læseren skal i alle tre melodier bevæge sig fysisk mellem de udvalgte lugte, følgende den komponerede melodi.

MELODI I (INTERIØR) Melodi I består af lugtene fra 7 forskellige fysiske objekter i et interiør samt forestillingen af en speciﬁk persons kropslugt. De 7 lugtobjekter: 0 - Forestillingen af en speciﬁk persons kropslugt 1 - Dynebetræk 2 - Tæppe (Uld / Bomuld) 3 - Computerskærm / Fjernsynsskærm 4 - En side fra en bog 5 - Trægulv 6 - Køkkenvask 7 - Toiletkumme Instruktion til læseren Læseren bevæger sig langsomt mellem lugtobjekterne og lugter til det enkelte lugtobjekt i et roligt indadgående åndedrag følgende melodien. Melodien er delt op over 6 dage med en melodilinje for hver dag. Den enkelte melodilinje skal udføres uden pause(varighed tre-fem minutter). Hele melodien skal udføres over seks dage i træk.

Den fĂ¸rste dag 0 - 1 - 2 - 1 - 3 - 2 - 1 - 0 Den anden dag 0 - 2 - 3 - 4 - 1 - 0 Den tredje dag 0 - 3 - 1 - 2 - 3 - 5 - 6 - 5 - 0 Den fjerde dag 0 - 7 - 6 - 5 - 3 - 2 - 3 - 0 Den femte dag 0 - 2 - 3 - 1 - 3 - 4 - 2 - 0 Den sjette dag 0 - 2 - 5 - 6 - 5 - 7 - 4 - 3 - 2 - 1 - 0

MELODI II (MENNESKEKROP) Melodi II består af lugtene fra 7 forskellige områder på menneskekroppen samt forestillingen af lugten fra et speciﬁkt eksteriør. Melodien er skrevet for to personer: én aktiv person og én passiv person. Den passive person fungerer som lugtobjektet, som den aktive person lugter til, og som skal ligge nøgen på ryggen på en seng, et gulv eller lign., med arme og ben spredt ud til siden. Kønnet på personerne er underordnet. De 7 kropslugte: 0 - Forestillingen af lugten fra et speciﬁkt eksteriør 1 - Tæerne på den højre fod 2 - Kønsorganet 3 - Indersiden af den venstre hånd 4 - Den højre armhule 5 - Åben mund 6 - Det højre øre 7 - Håret på hovedet Instruktion til læseren Læseren bevæger sig langsomt mellem kropsområderne på den passive person, og lugter til det kropsområdet i et roligt indadgående åndedrag følgende melodien. Den passive persons naturlige kropslugte skal fremtræde så tydeligt som muligt for den aktive person, og det anbefales derfor at den passive person før udførelsen af en melodilinje ikke har vasket sig, børstet tænder eller lign. Melodien er delt op over 4 uger med en melodilinje for hver uge. Den enkelte melodilinje skal udføres uden pause(varighed ca. to -tre minutter). Den efterfølgende melodilinje udføres på en dag i den efterfølgende uge osv..

Den fĂ¸rste uge 0 - 1 - 2 - 1 - 2 - 3 - 0 Den anden uge 0 - 2 - 1 - 3 - 5 - 4 - 0 Den tredje uge 0 - 5 - 6 - 7 - 6 - 4 - 5 - 0 Den fjerde uge 0 - 4 - 2 - 3 - 2 - 1 - 0

MELODI III (EKSTERIØR) Melodi III består af lugtene fra 7 forskellige udendørs steder samt forestillingen af lugten fra et specifikt interiør. De 7 lugtsteder: 0 - Forestillingen af lugten fra et specifikt interiør 1 - Rensningsanlæg 2 - Fiskerihavn / Fiskemarked 3 - Traffikeret vej 4 - Grusvej 5 - Granskov 6 - Græsplæne 7 - Strandbred Instruktion til læseren Læseren bevæger sig rundt til de enkelte lugtsteder følgende melodien, og bruger minimum 1 minut i stillestående position på at lugte til det pågældende sted. Hvert enkelt lugtsted er ensbetydende med en præcis geografisk placering, hvor læseren står eller sidder under den tid læseren lugter til stedet, og som skal forblive den samme, hver gang stedet optræder i melodien. Melodien er delt op over 12 måneder med én melodilinje per måned. Hver melodilinje udføres over maximum 12 timer, hvorpå den efterfølgende melodilinje udføres på en dag i den efterfølgende måned. Forestillingen af lugten fra et specifikt interiør skal udføres i en stillestående position på en præcis geografisk placering, som ikke allerede indgår i melodien, og som ligeledes skal forblive den samme, hver gang lugten optræder i melodien.

Den første måned (Juli) 7 - 5 - 6 Den anden måned (August) 4 - 6 - 0 - 5 Den tredje måned (September) 6 - 5 - 3 Den fjerde måned (Oktober) 4 - 5 - 0 - 7 Den femte måned (November) 5 - 4 - 2 Den sjette måned (December) 3 - 4 - 1 - 2 Den syvende måned (Januar) 0 - 1 - 7 Den ottende måned (Februar) 2 - 5 - 0 - 4 Den niende måned (Marts) 2 - 3 - 1 Den tiende måned (April) 2 - 0 - 1 - 6 Den ellevte månd (Maj) 4 - 6 - 5 Den tolvte måned (Juni) 6 - 5 - 0 - 7