Music for the eyes: Lightness, Quickness, Exactitude, Visibility, Multiplicity - a collection of five essays by Italo Calvino forms the thematic basis of the production Grace Note , in which PHACE collaborates with a group of internationally renowned artists: Arturo Fuentes, Austrian choreographer Chris Harling, and Gunter Brus.
In this interdisciplinary project, the visual performance art, sound, acoustic instruments and electronics interlock with each other to form a dynamic structure of reaction and interaction, sound and motion. In the manner of a film in which parallel stories and temporal levels come together to form an overall narrative, five scenes are created in which a bodily movement can break a sonic rhythm or a drawn line can touch off a series of new events. PHACE interprets music that is in constant motion, much like a harmonic rain falling fragmentarily onto the bodies present on the stage.
Two figures, a man and a woman. Nameless protagonists. Not a couple, much more passersby in a contemporary world of passageways, at the horizons of which mythical images from the story of Orpheus and Eurydice shimmer through. The entrance to Hades. The forbidden glance. The wrong move. Two figures, then: divided/united in search of their (mutual?) lost time, history and experience. Two attempts to look behind existence. Two attempts, through memory and repetition, to discover anew forgotten utopias in the light of desire. A hope which remains unfulfilled to the last. Vain parallel actions in the shadow of isolation. (Self-)encounters do not happen. What remains is the darkness of (un)lived moments. And the form of the question: is there a way out of this solitary path? Through desire?…
111 cyclist reach famed opera house Teatro Colon to welcome Mauricio Kagel , one of the great composers of the 20th Century, who was born in Argentina, but left the country and settled in Germany in 1957. However, his adventurous music remained an inspiration to a number of forward-thinking Argentinean musicians, and in 2006 he returned to Buenos Aires for a Kagel festival where he was to direct a major concert by Buenos Aires Philharmonic, but also worked with a group of young and eager musicians advocated to his repertoire, the Ensamble Suden . Filmmaker Gaston Solnicki was on hand to capture Kagel's visit on film, and the documentary suden chronicles the composer's efforts in working directlt with the musicians as well reflecting the situation of modern music in Argentina as such. The documentation surprises for its capacity to captivate even those who are not interested in contemporary music.