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• Multi-layeredness in Solo Performance (last edited: 2019) author(s): Søren Kjærgaard, Gianluca Elia connected to: Rhythmic Music Conservatory Copenhagen This exposition is in progress.
  Multi-layeredness in Solo Performance A B S T R A C T What potential lies in the interferences between dissemination and performance, between retrospection and improvisation, between re-play and play? And how can these seemingly disparate fields be converged into a multi-layered, immersive experience where insights are not presented but played out, performed live, in sound, on video? These are some of the core issues at work in the research practice of solo pianist, Søren Kjærgaard. who seeks to reposition the pianist in multiple locations: physically, sonically, visually, virtually. In this regard, interference is to be understood as an impulse, a wave, a signal of disturbance that fluctuates in-between formats, clouding clarity, obscuring the message, yet allowing for an altogether different approach of the artist as a messenger, a mediator who transmits information while being at the same time in immediate interplay with his or her own material. The purpose here is also to contribute to how practitioners, especially solo artists, can work across formats more dynamically and with greater flexibility in the interaction between the various conditions of their work, and to contribute with methods of documenting and disseminating these processes in more hybrid and non-textual forms of communication. In Kjærgaard’s own work, this has included experimenting with different methods of observation, of how to listen and look (back) into the documented process, which leads to the question of how one can re-contextualize the process documents in a performative setting. This has resulted in the development of the video keyboard, an audio-visual sampler that resembles the 88 keys of the piano, but in altogether different instrument. Now, each key represents a sample of a previously documented event, which can be dialled up and played out in an instant. These events, documented in formats such sound, video, photo and text, thus become a virtual memory map that await new circuitry. As the physical limitations of the relation player-piano are massively expanded, a new set of problems arise: How to navigate this ‘time machine’? How to travel across and re-actualize this virtual map of information as an improviser?
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  Action vs. Reaction (last edited: 2018) author(s): Jacob Anderskov connected to: Rhythmic Music Conservatory Copenhagen This exposition is in progress.
  "Action versus Reaction - Artistic encounters with an aesthetic otherness", was a research project undertaken at the Rhythmic Music Conservatory in Copenhagen in 2015-2016. The primary artistic output of the project is the album ”Resonance”, released on Sundance Music in September 2016. My ensemble Resonance (previously known as ” Strings, Percussion & Piano”) consists of 3 string players as well as Peter Bruun on drums and myself on piano. The string players all have a background in European classical music and (composed) new music, whereas Peter and I originally came out of improvised music, jazz and its neighbouring regions. In this ensemble, we have been dealing with artistic encounters between our different aesthetics backgrounds for several years. I have realized that my primary curiosity orbits around the questions: 1) How can all members of a cross-genre ensemble stay true to their own musical intuition, developed through decades of full immersion? 2) How can these confident artists then transcend their notion of themselves and meet anew in an aesthetic field different from their respective origins? In 2018, Jacob Anderskov was nominated for the Nordic Council Music Price for the album Resonance.
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• My first exposition (last edited: 2018) author(s): Casper Schipper This exposition is in review.
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