| Kinetic Engineering
My work involves an exploration of the relation between movement and stasis by juxtaposing drones with more dynamic counter-elements - a process that may be called 'kinetic engineering'. The latter entails the creation of slowly throbbing and enveloping meshworks of sounds, which converge and disperse. A mix of drones and microsound intertwines meso and micro, or tectonic and subtle movements, thus creating an immersive effect. The aim is to hint towards compossibilities of different sonic trajectories, which may reveal topological features. The focus on the internal dynamics of sound and composition thus established may lead to a reconsideration of what a sonic event can be said to entail.
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| Solo performances | ||||||||||
| 2002 - present | solo performances as 'swerve' and 'mvk' | Selected performances:
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| Installations | ||||||||||
| 2009 | Mani-fold | Audiovisual installation at the Kunstuitleen (art library) in Utrecht, the Netherlands, in collaboration with Arlo Laibowitz. The installation was made using only audio and video recorded on site, which was presented at various levels of abstraction and manipulation. The installation concentrated on notions regarding interior and exterior, and abstraction and recognition by presenting the aforementioned material on 9 different location inside and outside the Kunstuitleen building, thereby playing with experiences pertaining to the inevitability of perspective and situation.
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| 2004 | Untitled | Installation for a conference on art, "Für das Argument der Künste", which took place at the University of Arts (Universität der Künste), Berlin, Germany in the winter of 2004. The installation involved a multi-speaker setup and two cd players. One cd has short fragment, the other longer, more drone-like sounds. The cds were played on shuffle mode and thus randomly created new configurations of the material.
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| 2001 | Untitled | Using piezo contact microphones installed in a classroom, the project attempted to articulate sonic properties of that space, the people residing in it and the sounds produced by them. These sounds were fed through Audiomulch and were streamed to the web. The sounds were occasionally manipulated, thus allowing the installation to maintain a level of contingency: by allowing the installation to oscillate between existing 'active' and 'passive' intervention, it acts more as a catalyst which provokes us and points us towards events that may otherwise come to pass unnoticed. Listeners are transformed to both a living witness of the space in which they are located and an active element of the composition: the space itself with its assembly of sound producers and listeners becomes the instrument.
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| Radio | ||||||||||
| 1999-2003 | Radio 100 | Radio show on Amsterdam's infamous radio 100 during which I presented contemporary experimental electronic music, often mixing existing material. Guests featured on my show: Michael Northam, Yannick Dauby, Kim Cascone, members of the Hactivist collective.
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| Music for dance | ||||||||||
| 2006 | "Plisé" | Collaboration with Ina Senftleben (choreography and installation).
Performed in the summer of 2006 at the Wasserschloss Groß Leuthen. The performance won a prize in a contest organized by the Rohkunstbau foundation and Theater Hebel am Ufer.
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| 2005 | Untitled | Collaboration with Ina Senftleben (choreography)
A procession of Russian girls enters the room, holding candles. Meanwhile, traditional Russian songs are performed. The performance took place in a Bunker at the Flutgraben in Berlin, Germany, and was part of a larger exhibition called "Der Freie Wille" (the free will). I composed music for the parts prior to and after the performance of the singers.
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| 2001 | "1...2...3...4..." | Collaboration with Lisa Marie Patzer (performance)
Performance and installation first performed at the Bunt Port Theatre in Denver, Colorado and later displayed as a projected video piece. The work is based on a quote by Maria Prophetissa: "In the beginning, there is always ONE. The ONE manifests into TWO which necessitates a THIRD. All together, ONE, TWO and THREE create a FOURTH. The composition was created using only metal as source material.
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| Music for film | ||||||||||
| 2003 | "Paranoia" | Music for "Paranoia" directed by Arlo Laibowitz. The soundtrack was recorded in collaboration with Martin Kloos and Lars Zwanepol.
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| Music for theatre | ||||||||||
| 2002 | "Kus van de Spinnevrouw"
(Kiss of the Spider Woman) |
A play written in 1983, which was adapted from Manuel Puig's novel 'El beso de la mujer araña' by the author himself. Performed several times in Utrecht, the Netherlands during the spring of 2002.
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| Other collaborations | ||||||||||
| 2002 - present | Radoud Mens & Matthijs V. Kouw | A collaboration started in 2002 using only recordings of feedback made with a minidisc recorder as source material. Microsound, clicks 'n cuts, and noise are intertwined in rhythmic and non-rhythmic pieces, which vary from soundscapes using microscopic particles to drones and minimal techno.
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| 2004 - 2005 | U.V.E. | Improvisation collective formed in 2004. Collaboration with Claudia Maria Steens and Markus Wenninger.
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