h.21 Auditorium San Fedele
Sound engineer: Filippo Berbenni
In collaboration with Goethe-Insititut Mailand
The seventh appointment of the INNER_SPACES review is staged on Monday 13 February, which continues its long journey of offering the public the most exclusive realities between electronic experimentation and audiovisual art. The evening sees the return to the Milanese scene of Lawrence English, Australian composer and sound experimenter, who will adapt his performance Viento to the spatial dimension of the acusmonium: two suites derived from field recordings carried out in Patagonia and Antarctica, capable of restoring the power and the invisible physicality of air currents during a storm. Prolific and tireless artist, Lawrence English has been the protagonist for years of a varied and eclectic path, which has led him to investigate concepts and dynamics such as memory, perception, the impact of sound on interactions between living beings, space, relativity and the relationships between interiority and exteriority, without ever losing sight of the focus on the essence of the sound itself. In recent years, his path has focused on the search for an impact sound capable of translating feelings such as frustration and inner revolt in a concentration of synthetic harmonies, fragments of organic sounds and drone layering. A theoretical background materialized and accomplished in albums such as The Peregrine (2011) and Wilderness Of Mirrors (2014), the latter widely acclaimed as one of the masterpieces of contemporary electronic production.
In the second part of the evening the German Jan Jelinek will perform, one of the key figures in electronics from the 2000s to today. In a tortuous and varied path, partly hidden through pseudonyms and alter egos (Farben, Gramm, Gesellschaft Zur Emanzipation Des Samples, The Exposures), Jelinek has engaged in a slow and constant redefinition of the boundaries of minimal-techno, exploring its lands of contact with dub, jazz, funk and soul. His first album, Loop-finding-jazz-records (1999) is now a true cult object, and has inaugurated a series of albums all released for Stefan Petke’s (Pole) ~ scape label, one of the tutelary deities of the glitchy universe of the nineties. Going around the rules of traditional musicality, Jelinek assembles sound collages from tiny fragments, forgotten and rediscovered musical sequences, from samplers, tape recorders, media players and other recording media. By means of loops and slight modulations he manages to distill the essence of a piece of music and define it more clearly while masking its original source. An operation borrowed suggestively from the acousmatic reduction of the musique concrète, which will find the ideal instrument for his expression in the spatialization offered by the Acusmonium Sator.