Årets andra internationella residens tar plats mellan den 24 juli och 4 augusti på Ärlegården. Koreografen och dansaren Anna Holter har bjudit i tonsättaren Rupert Huber.
The cooperation Huber / Holter intends to use a multi‐layered musical composition technique that use sensors entirely controlled by movements. The residency will enhance the possibilities of dance and music in a symbiotic spatial dimension and intensify the collaborative work being in the same physical space, where some of the technique needed will be build up.
End -90 and early 2000 Huber and Holter collaborated in a few dance pieces first in Berlin and then in Munich, Germany. 2021 Huber and Holter met in Vienna again and picked up a dialogue of collaboration. Early 2023 Huber and Holter was invited to have a few days residency in Linz to work and try out some of their ideas and the technique at Ars Electronica Solution in Linz and shortly after in Graz and the AVL Cultural Foundation, Austria.
Huber and Holter works on a dramatized music installation with dancers and with a choreography that guides and direct the music layers composed by Huber. Huber’s focus, the last decade, have been site specific music installations. At Expo in Dubai 2022 his composition “Music for the Senses” a unique, site‐specific, multi‐layered sound experience was enjoyed by hundreds of thousands of people from all around the globe. The space and the architecture in Huber’s installation determines the tonality. As music is transmitted via waves, the wavelength of a tone can be set in relation to the dimensions of a room. The use of sensors, following Huber’s technique, allows him to compose music architectural pieces that are controlled entirely by the movements in Holter’s choreography and in the arranged space.
The research in Gothenburg tends to find out how the music varies differently by walking through the room as “audience” in an exhibition compared to dancers “guiding” the music. We will work on “shifting and sliding through” the different fields of sounds and silence in the physical and nonphysical room and within the transportation of choreography and musical composition explore finding spaces of contrasts of sounds and movements. The technique that is used for this project can look and be installed differently. For Gothenburg there will be three sensors that together create 72 fields, which can during a performance be change again in a multiply ways of musical possibilities and are with very generously support from AVL Cultural Foundation in Granz transported to the residency in Ärlegården, Danscentrum Väst. Also possible was to invite the two international dancers, Bernadette Leitner from Vienna, and Francesca Perrucci from Milan to join the residency.
One of Holter’s latest projects was the initiative to create and direct the short film series MOVING ISOLATION – an artistic diary.
It was a reaction of what happened during the pandemic as cities had to close completely or partly and how artists and, in this case, freelance artists were affected by closed theatre cancelled or postponed contract. A strong impulse made me collect dance artists around the world, from San Francisco to Osaka, Stockholm to Nairobi, Berlin to Warsaw, Zürich, Vienna, Montpellier, Düsseldorf, Copenhagen to keep together, continue being creative, active and create together. (Holter) It turned out not to be a just “a pandemic” film but a portrait of these people whom she in total met digital for approximately two years, the result was a 40-minute short film series with eight editions. The film-series has won prizes like “Best Short Film” and “Best European First Time Director” and was invited at numerous international film festivals as in New York, Paris, Athens, Antwerp, Prague, Rome.
Anna Holter took her dance exam at Iwanson Schule für Zeitgenössischen Tanz 1995. Since then, she has worked internationally as a dancer, choreographer, actress and teacher. Holter worked as choreographer for her own dance company Anna Holter + Company, founded 2001, as well as for opera and theatre in productions at Teatro alla Scala Milan, Salzburger Festival, Deutsche Oper am Rhein Düsseldorf, Bayerisches Staatsschauspiel München, Theater St Gallen, Junge Oper Nationaltheater Mannheim, Malmö Stadsteater, Läckö Slott as well as for smaller independent theatre groups and as a dancer for among others Rosemary Butcher, Milli Bitterly, Istock Kovach, Marco Santi and Swedish Charlotta Öfverholm and in production at Bayerische Staatsoper, Theater Basel, Dansens Hus Stockholm. As co-director for “Vampyren” at Läckö Slott and “Koohlhaas!” at Teater Giljotin in Stockholm. 2022 and 2023 Holter was a jury member at the New York City Independent Film Festival and 2022 at Screendance Film Festival in Stockholm. www.annaholter.com
Rupert Huber is a composer based in Vienna, Austria. From October 2021 to March 2022, he represented Austria as composer for the exhibition “Music for Senses” at the Expo in Dubai. Music by Huber is organized structures, sounds and tones for multiple known and unknown real and electronic spaces: Dimensional Music.
Rupert Huber and Richard Dorfmeister’s group TOSCA has released 14 albums over the last 20 years. TOSCA has performed live music with worldwide success at events such as the Coachella Festival and has won Austria’s Amadeus Music Award.
My music is space. It projects a space and cloaks an existing “real” space. (Huber)
Huber’s music activities range from commission compositions for example at Wiener Festwochen, Centre Pompidou, Ars Electronica Festival, to film soundtracks, TV, radio, dance performances and beyond. He has been collaborating with AGF, Chris Eckman, Sam Auinger, Alvin Curran, Robert Adrian x among others. Huber studies composition in Vienna. He is an alumnus of DAAD Artists-in-Berlin residency 1997, was a member of the jury of the Prix Ars Electronica 2007 and 2009 and nominated for the World Technology Award in 2010.
In 1992 I defined my theory of a composition technique of music projection in known or unknown spaces of a known or unknown number. I have followed, applied and refined it since then. This technique allows one to conceive of a piece of music projected in multiple dimensions during its inception. The possible projection in known or unknown spaces of a known or unknown number in known or unknown listening situations for a known or unknown number of listeners is part of the composition process. The notation, traditionally written like a book, is extended to a spatial dimension. The notation becomes three dimensional. The notion becomes structural, object-like. (Huber) www.ruperthuber.com