Brigitte Wilfing – Choreographic Composition

Choreographic Composition
in the form of Conversation Pieces, through a thinking_in_conversation_practice

I never think alone. One never composes alone. When one talks about componere – of putting things together – the question of who or what the subject of the composition is, of who puts what together, becomes urgent. The term Choreographic Composition refers to my performative work that focuses on the permeation of movement and sound. It takes on the format of music theatre, performance and performative installations and it refers to my choreographic thinking that leads to compositions in any medium.
The main research method – Conversation Pieces –, which is simultaneously the artistic form of my thesis, allows me an examination of the practice of componere, that is always a shared authorship. This research method enables me to shape and stimulate a choreographic web of co-authors: of events, thoughts, materials, affects, phenomena, resources, discourses, conversations among humans, non-human situations, modes of relating, etcetera. When they interweave, they generate synergies – reflections / diffractions (K. Barad) and thereby make the interdependent creation of meaning and sense-making tangible. A web, where other ecologies of attention can emerge, where the hierarchisation of information into important/ unimportant and project oriented research is suspended. In such a research process researchers are allowed to give their undivided attention also to matters that seem to be incidental, arbitrary, side-effects „only“, while exactly such secondary effects and encounters finally might turn into a punctum (R. Barthes).

Conversation Pieces signifies a (philosophical) stance, a way of relating and referencing. A poetic affirmation of being-with (J.L. Nancy) and of thinking-, choreographing- and composing-with. They follow an extended dialogical principle. Starting point is an aesthetic contagion, by which an artistic response is formulated, so that the traces of inspirations and their continuous resignification (‚Mit- und Weiter-Geschrieben-Werden‘ (H. Cixous) takes shape. Especially in musical composition, the roles of composing and interpreting often fall apart. A practice that focuses on the agency of what has been „read“ and proposes a „writing“ with what has entered one’s own presence (T. Ingold), connects these roles to composer-performer. Choreographic techniques will help to extend this nesting, the dwelling of the „other“ in time and space.

This research aims to inhabit the liminal space between projects and process. Conversation Pieces might take different forms like (lecture)- performance, essays or a video-work, but they are considered as byproducts – as a temporary formulation of precise decisions. This byproduct will be fed in again into the field of choreographic composition that is currently cultivating and can fall apart again into its
compo ne nts, become material again, and can make new connections. This is my practical attunement to the not-yet-book (E. Manning). A book that also writes into the space. A space that is composed by an extended book, that quotes and references through dances, images and other media, that hold my research with its past and future ghosts and companions. From inside-out outside-in, like F. G. Lorca’s octopuses, entangling ways of thinking and symbolizing.

My role is to take care that in this liminal place the relationality can be expressed. My role is the hyphen so to say, the hyphen between composer-performer, research-creation, discoursively-artistically, process-project, thinking-making, making-thinking, observer-observed etcetera.

Brigitte Wilfing is a choreographer and performer, based in Vienna. Her work is shown at home and abroad. Since 2005 she has been initiating and participating in numerous transmedial settings and collaborative research projects at the intersection of theory and practice. Since 2014 she has been working on the permeation of movement and sound to choreographic compositions that take on the format of music theatre, performance and performative installation. In 2019 she received her Master in Choreography and New Performative Practices at the University of Arts, Stockholm. In 2019 she co-founded the ensemble andother stage – a transdisciplinary collective at the interfaces of choreography, composition, performance, media art, game design and artistic research.

Ivar Roban Krizic – Improvised music and electro – acoustic extensions

Ivar Roban Krizic, 1990, Zagreb. MA in Double Bass at the Jazz Department in Graz. Award winning soloist and sideman active in a wide variety of international projects ranging from contemporary jazz to experimental music. Professional improviser.

“Improvised music and electro-acoustic extensions”
The dissertation project deals with improvised music through its performance-related aspects, digital extensions and fields of knowledge that provide a theoretical foundation for these practices – cultural anthropology, aesthetics and gender studies. Through this process of exploration, a body of work will be created that questions the boundaries between art and academia and in turn generates new modes of improvisational knowledge and methods of expression. The aim of this research is to advance the development of a theoretical framework that will aid in the progress of legitimizing improvisational practices both in the performative and in the academic sense.

Illia Razumeiko – Chornobyldorf. opera aperta


Illia Razumeiko, Roman Grygoriv, NOVA OPERA

The world of Chornobyldorf is dedicated to the research on imaginary culturological post-apocalypse. CHORNOBYLDORF as “opera aperta” (a term coined by Umberto Eco) combines an archaeological opera(music-theatrical performance) in seven novels with a multiple and open-ended finale, a series of video performances created during expeditions through post-industrial landscapes, two fictional Institutions: Anthropological museum of CHORNOBYLDORF, and Institute of Chornobyldorf culture, and a real virtuality opera — a virtual space that blends all physical, video, and textual elements of the project online.

After the creation and evolution of the fictional toponim “CHORNOBYLDORF” into a complex “chornobyldorf post-apocalyptic theory,” a number of video archaeological expeditions were organized and a mobile research and performance group engaged during the search for artifacts, objects, and evidence of the existence of Chornobyldorf culture. The exposition of the Anthropological Museum, which was established as a result of expeditional journeys  is based on the finds and ethnographic material collected from direct descendants of Chornobyldorf residents or members of ethnic groups whose ancestors came into contact with this culture in the 21st – 27th centuries.

The Video-Performances in the piece that play the role of portals to different places and times were created during several video-archaeological Expeditions, connected the Chornobyl Exclusion Zone with the Dnipro River near the Enerhodar NPP, Kryvyi Rih industrial Zone and post-industrial galleries of Mystetskyi Arsenal in Kyiv.

Work on the opera began with an expedition to Zwentendorf, a town on the Danube 50 kilometres west of Vienna. Built here in 1978, the powerful nuclear power was never launched due to mass protests by environmentalists and a national referendum, becoming a huge “investment vault,” a 1970s technology museum, and a symbol of triumph of “green” politics. Eight years later, in 1986, a nuclear catastrophe struck in Ukrainian Polissia, and Chornobyl became the great divide of the world and human history.

Tian Fu – An Integration of Rap Music into Neue Musik

This artistic research is centered on the integration of two fields of music — rap music and Neue Musik (European art music in the 21st-century). The idea came out of my identity: On the one hand, I am a composer, who received systematic training of European art music (composition, piano, and music theory) for more than ten years; on the other hand, I am an MC (rapper), a beat maker, who engaged in rap music since my teenage years. I put out underground albums and held concerts together with my crew L.C.T. as one of the pioneers who started to rap in Mandarin Chinese in my hometown Hohhot (呼和浩特). At the same time I am immersed in the context of Neue Musik and continually creating music for different combinations of European instruments, Chinese instruments and voices (bel canto). It seems that my artistic practices in these two fields of music are totally separate. But there is always an aspiration in my mind to remind me: It’s time to break the boundary!

Instead of stressing on the opposition between art music and popular music, this project aims to find intersections and to explore the possibilities of comprehension and interaction. Knowledge will be generated via the processes that fuse the different techniques, aesthetics and social-cultural connotations of these two fields. As a result, scholars, composers, musicians, and hip-hop artists can benefit from the establishment of an “integrating mechanism” which will not only give inspirations to the intended  “boundary-breaking” artistic practice, but also support to change the fixed mindset in a wider social context.

The project begins with these questions: What kind of musical elements shape the rap music, and how do they work? What kind of musical elements that constitute a piece, which could be defined as Neue Musik? What are both the distinctions and commonalities between the artistic practices in the field of Neue Musik and rap music, and how do they affect my artistic practices in both fields? How to establish a collaborative model with an hip-hop artist in order to bring the MC’s creativity into full play?

With the methods of music analysis, participant observation, interview and collaborative rehearsal, studio recording, and live performance, the project will be implemented in several steps: First, in order to deepen the understanding of rap, a comprehensive analysis of rap is necessary which includes an investigation of the usage of language. Chinese rap will be the central focus of the analysis, which will be expanded later to a comparative study of rap in Chinese, English and German. Second, interaction with hip-hop artists will be established via participant observation and interview. Finally, based on the collaborative working with hip-hop artists, a series of artistic works will be realized as output of different levels/dimensions of integration

TIAN Fu (in Chinese: was born in Hohhot (China) in 1989. He received music training at his early age. After moving to Beijing in 2008, he studied composition at the Central Conservatory of Music, where he earned his Bachelor’s degree in 2013 and his Masters degree in 2017. His compositions won several prizes during his study in Beijing. In 2020 he was accepted as doctoral candidate at Universität für Musik und darstellende Kunst Wien, under supervision of Johannes Kretz, Wei-ya Lin and André Doehring. Meanwhile he studies computer music with Marko Ciciliani at IEM Graz. His important composition teachers including Beat Furrer, Christian Ofenbauer, Weiya Hao, Wenjing Guo, Jianping Tang, Zhitong Xu, Shixiang Li and Lin Liu.

His compositions include four stage works. Two chamber operasBen Yue (2013) and Flee by Night (2019). Two works for choreography: Waiting for the Wind (2015) and Mu Lan (2016). His orchestral works include: Green Day for large Orchestra (2013), Far-away Thoughts (2014), The Light (2016), On the Road for String Orchestra (2018), The Memories of Winter (2019) and Drinking Alone Beneath the Moon (2020). His compositions also include numerous chamber works for Chinese instruments and mixed ensemble.

In the field of hip-hop music. He joined the group L.C.T. as MC and beat-maker under the stage name of Croche in 2005. Several underground albums and EPs were made during the active time of L.C.T. from 2006 to 2017. Meanwhile, concerts were held in their hometown Hohhot as well as in Beijing.