Ensemble Alarm, Jérôme Bourdellon, Bruno de Chénerilles, Bertrand Gauguet, Alexander Grebtschenko, Mats Gustafsson, kopfkino#, Teresa Malik, Pari San, Christoph Schiller, Benedikt Schiefer, Claire Serres, Papa Pacini, Radian, The Human Factory Band, tre voci, qwqwi

E-Werk Freiburg
08.00pm, Free entrance

Time schedule (Central European Time)

07:30 – 07:45 pm Ensemble Alarm
07:45 – 08:00 pm Gauget / Schiller
08:00 – 08:15 pm tre voci
08:15 – 08:30 pm Malik / Grebtschenko
08:30 – 08:45 pm Ensemble Alarm
08:45 – 09:00 pm Pari San
09:00 – 09:15 pm Serres
09:15 – 09:30 pm Schiefer
09:30 – 09:45 pm Bourdellon / Chenerilles
09:45 – 10:00 pm Papa Pacini
10:15 – 10:20 pm Grebtschenko / Malik
10:20 – 10:40 pm Mats Gustafsson
10:40 – 11:10 pm Radian
11:10 – 11:40 pm Radian / Gustafsson
11:40 – 12:00 am The Human Factory Band
12:00 – 12:30 am qwqwi
12:30 – 01:00 am kopfkino#

Ensemble ALARM

The ensemble enriches the Freiburg concert scene in always new formations and with eclectic music actions. At Art’s Birthday it presents a program of word and sound, with miniatures – partly original and partly in arranged form – by Luciano Berio, Gerhard Rühm, Alain Abbott and others: A chamber-music welcome!

Bertrand Gauguet, Christoph Schiller

Bertrand Gauguet and Christoph Schiller already played together in various improvisational formations. Both experiment with extended play-techniques and electronics, to pursue always new ramifications of the sound. As a consequence of his work of the last few months, Christoph Schiller brings at the Art’s Birthday for the first time a zither instead of the spinet.

tre voci

Three professional women’s voices that can pull all the stops and harmonize perfectly with each other. The newly founded vocal trio “tre voci” performs a capella madrigals from different countries – and lets itself drive by the pure desire to sing.

Teresa Malik, Alexander Grebtschenko

Robots can be more precise than human beings; the processor control allows the formation of highly complex (for example rhythmic) patterns. These properties, in conjunction with the human tendency to imply an intention to everything being human alike, are the starting point of the performance Android and Euasteride. Euasteriden II is in the botanical classification the class in which we find the subspecies carrot. The drummer controls by shredding her “second I” – with an activity far away from drumming.

Pari San

A universe of sound, which overcomes playful the genre boundaries between Pop, Hip-Hop, Folk, Indie and Electronica: Paul Brenning creates as beatboxer all imaginable tones. The voice of the Iranian-born Parissa Eskandari oscillates between the singing talent of a Kate Bush and the great oriental singers. Looping and vocal effects characterize Pari San live performances that are enriched by projections.

Claire Serres

In her performance Heavy Machine the artist plays with the decoupling of the voice. However instead of controlling a human-like puppet like a ventriloquist, the human being turns into an artificial body. The microphone-voice becomes independent, comes back distorted. The singing becomes noise. To win back her voice, the artist wraps her head in aluminum. She becomes a “head-micro”.

Benedikt Schiefer

The artist’s work includes compositions with and without live electronics. He dedicates himself intensively to the electroacoustic and acousmatic music. The distribution and spatialization of sounds and the incoming perceptual phenomena constitute the basis of the performance Superhorn.

Jérôme Bourdellon, Bruno de Chénerilles

The Octobass-flute played by Jérôme Bourdellon is the largest of all the flutes. With ElectrOctobass at Art’s Birthday an interactive dialogue with the real-time electronic composer and video artist Bruno Chénerilles an improvised live music takes place, which leads into the open, into an acoustic adventure, into unknown depths of sound.

Papa Pacini

They use prepared loudspeakers without casing. Simple electronic circuits cause the membranes to vibrate, which are then manipulated with the fingers in order to cause systematic harmonic variations. The loudspeaker becomes an instrument and its original function is subverted, playfully explored or suspended. By using additional material and simple mechanics, which react against the membranes, the resulting sound can be colored and enhanced further. In the process, temporary and interacting sound sculptures are created: A postdigital soundscape of polymetric shiftings.

Mats Gustafsson

Mats Gustafsson is a fixture in jazz and improvised music. As a solo improviser he often works in collaboration with contemporary dance, visual art, poetry and theatre. He is also internationally known with bands like “The Thing” and “FIRE!”.


The trio Radian was formed in 1996 in Vienna and is influenced by experimental music, post-rock and jazz. Their style is very close to the sound aesthetic of the electronic Clicks & Cuts genres. At Art’s Birthday 2014 they will present the newest developments of the Radian-own ‘microscopic’ focus on sound details and smallest nuances using acoustic and electronic particles with machine-like precision.

Radian / Mats Gustafsson

The Art’s Birthday is the first meeting of the abstract rockers Radian with the extreme saxophonist Mats Gustafsson. The apparent contrast between the Radian-own ‘microscopic’ focus on sound details and smallest nuances on the one hand, and the expressive presence of Mats Gustafsson’s powerful baritone saxophone on the other hand, opens a wide field of synergy, compression and intensification options in total.

Mats Gustafsson and Radian develop especially for Art’s Birthday a highly original vision of experimental music, changing between meticulously-composed pieces and freer, almost improvised sections (otherwise in the Radian context a rarity), oscillating between abstract Extended Technique miniatures and electroacoustic Wall-of-sound broadsides.

The Human Factory Band

Harald Kimmig’s composition One Island is a setting of the poem by Robert Lax. The interaction between the five musicians results into an unconventional, genre-overlapping sound, that connects free improvisation and new music and reminds sometimes of the Art Rock of the Eighties. The Tone Scale uses a list of high-frequency vibrations of light, that were reduced by division to reach values in the audible frequency range between 30Hz and 20kHz. The way of writing was done in a combination of musical notation and graphic notation and provides the ensemble in this way within a clearly notated work with sufficient space for improvisation.


qwqwi performs in the center of the audience while using voice, DIY-tools, analogue sound generators and kitchen instruments to provide you with fresh juice, screaming noise and ass shaking riddim.


In free improvisations the spaceship goes from scape to rhythm, back and forth; passing sound, melody, noise, echo and collides with the sonic barrier.

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