- TEF Vol.10 Performance [Open Call Program]
TEF Vol.10 Performance [Open Call Program]
|Date||2016.1.29(Fri) - 2016.1.30(Sat)
|Organize||Tokyo Metropolitan Foundation for History and Culture, Tokyo Wonder Site
|Artist||＜Exchange Residency Program＞
Susanna HERTRICH (Switzerland, Germany | Sculpture, Photography)
WANG Lien-Cheng (Taiwan | New Media)*Exhibit Only
＜Institutional Recommendation Program＞
Félix-Antoine MORIN (Canada | Sound Installation)
＜Research Residency Program＞
Renata CRUZ (Brazil | Drawing, Installation)
Gottfried HAIDER (USA | Installation)
Stephanie ROTHENBERG (USA | Bioart, Installation)
Gabriela López DENA (USA, Mexico | Installation, Architecture) *Exhibit Only
GU Minja (Korea, Belgium | Performance) *Exhibit Only
In a unique kind of sound performance, Eisentanz creates fascinating and archaic sounds, with his self-made instruments made from everyday scrap materials. Another part of the show is a live noise and sound scoring to the 1928 surrealist silent film "La Coquille et le Clergyman" by Germaine Dulac. And last but not least he will play his metal body drum.
Date: January 29 (Fri), 30 (Sat), 2016 * Finished
Start: 19:15 (Doors Open: 19:00)
*Duration 75 mins
Venue: Tokyo Wonder Site Hongo
Ticket: 1,500 yen
- 1. Booking should be made by E-mail or Fax.
Email: firstname.lastname@example.org / Fax: 03-5689-7501
- 2. Please inform us of your name, phone number, date/ time/ name of the performance and number of tickets with a subject of "Booking for OPEN SITE". (On booking by Fax, please let us know your Fax number, too.)
- 3. Payment should be made at the venue on the day of performance.
- 4. Booking will be closed by 17:00 of the day before each performance, or as soon as the seats are fully booked. For the latest ticket information, please check this page.
Additional ticket information （ Sat. 30th）
Tickets available at the door on 30th. (Limited number only)
Please visit venue 15 minutes before the performance starts (19:00).
dedicates himself to the challenging path of sound research. He builds his instruments himself as prototypes made from everyday scrap materials. The variety of noises he plays is truly spectacular. His sound will appeal equally to lovers of dark, melancholic, yet also percussive, sound collages, and fans of spherical, conceptual film music, and will delight enthusiasts of art exhibitions and genre-spanning performances anew. Eisentanz follows his own rules and does not fit in any musical pigeonhole. With somnambulistic openness, Eisentanz falls upon curious ears even after quarter of a century of sound technology.
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