Header_Realtime.JPG

Realtime Research

Header_Unterseite-Realtime.jpg

Realtime Research

electro-acoustic / noise / transmedial scenography

 

2012 Sep 8

Solo Oslo - 300acting spaces/Ultima Festival

 
solo oslo/nina red

Soloperformance in a series of three concerts at the Ultima Festival, Oslo as part of Alex Gunia`s artistic-research project 300acting spaces. I am processing the sound of the quartetone trumpet, noises and voices using a condenser microphone wich is inserted into the mouthpieces cup. I had been experimenting with Ansgar Nake in Cologne to be able to amplify the little small noises and resonances of articulations, tonguings and consonants.

 

2001 - 2008

Realtime Research - Sound Works

 

While realtime research was founded as a transdisciplinary performing arts collective I also kept a focus on music and sound. Electro-acoustic improvisation and the creation of a hybrid setup for trumpet and electronics led to a series of concerts, studio work and workshops. I started to collaborate with super-collider expert Alberto de Campo, soon Hannes Hoelzl and Joker Nies became the backbone of these collaborations. The processes of programming and the formation of a minimalistic improvisation technic influenced each other reciprocally. In 2006 Dieter Gaertner had built a custom-made quartertone valve for me - at that time I wasn`t interested in alternate tuning systems or maqams - I just wanted to be able to improvise at a most minimalistic level and thought of quarter tones to be below or beyond the formation of average musical structures. I also developed extended technics utilising breathing sounds, multiphonics, circular breathing or pedal tones searching as aquivalents to the electro-acoustic and electronic sounds.

2007 - 2009

small, low solo and so/quiet noise

 
 

2005 - 2006

einsein

 

 
 

2004/2005

dreamachines - everything is deeply intertwingled

 

Matthias Mainz - concept, text, quartertone-trumpet, voice, processing
Luis Negron van Grieken - video-concept, video processing, editing
Hannes Hölzl - supercollider programming, surroundcontrol
Alexander Peterhaensel - drums, processing
Joker Nies - raw electronics, recording
Anna Schütze - voice

Nov 18/19 2004 – Kunsthaus Rhenania, Cologne
Apr 21/22 – C.U.B.A. Münster w Matthias Neuenhofer
Jul 9 2005 – BWA Gallery, Bielsko Biala, Polen w Matthias Neuenhofer/Stan LaFleur

 

2004

electronic post jazz

 

Live in Zabrze


Matthias Mainz - Trumpet, EMS Synthesizer

Boris Polonski - Electronics

Nils Tegen - Drums, Fender Rhodes

Chris Dahlgren - Bass, Electric Bass

Alexander Peterhaensel - Drums, Electronics

Daniel Burkhardt - Video

Alexander Peterhaensel - Editing

Joker Nies - Recording

1oth Upper Silesian Jaz! Festival - Jaz Festiwal Muzyki Improwizowanej

 

2003 Nov 15 - Dec 23

Skullhop - The Danse Macabre

 
quadrat_b.jpg

Music for a videoloop as part of Matthias Groebels solo-exhibition of media-mash-up paintings of the remnents of St. ursulas 11.000 virgins and dinosaurs from Tervuren. Improvised extended trumpet technics on a loop of breath-pushes with some jazz-licks on top, all organised by the careful editing and noisy drum programming of Alexander Peterhaensel.

“The danse macabre is grim and festive. Like the related motifs of memento mori and the triumph of the dead, it began as a form of religious expression disengaged from biblical stories. In the 14th century, as the black plague spread across Europe, it gained widespread popularity. In those days, there was a thin line between fervent entreaties for transcendent relief and the no less enthusiastic celebration of the fleeting moments of worldly life. Skeletons, merrily engaged in all aspects of life from dancing and drinking to fornication, were the ultimate symbols of the danse’s ambiguity, and were soon adopted as its mascot. Many artists have found the danse macabre to be a useful expression of ambiguity and contradiction. In turn, this has often made it a convenient disguise for sharp critiques of society.

Collective Memories is Matthias Groebel’s second one-man show at Universal Concepts Unlimited in New York. The gallery exhibition will run from 15 November to 23 December 2003. Collective Memories Online complements the exhibit by presenting background material to Groebel’s work, including details of his primary sources and the paintings’ thematic backdrop. Much of Collective Memories comes from the tradition of the danse macabre, and in particular its use by three artists: Simone Baschenis, James Ensor and the Grateful Dead. The paintings were created from Groebel’s video footage of the church of St Ursula in Cologne, Germany and the Royal Museum for Central Africa in Teruven, Belgium. Both places were built to preserve memories. St. Ursula is homage to 11.001 martyred virgins. The museum showcases Central African art.”

Matthias Mainz - trumpet, sounds, composition
Alexander Peterhaensel - editing, drum programming
Joker Nies - recording (extended trumpet)
Alex Gunia, Thomas Lieven - recording (jazz solo)

Collective Memories, Universal Concepts Unlimited, New York, Nov 15 - Dec 23 2003