the enchanted everyday

curated by Cathy van Eck

Thursday, April 15th – Ackersmanhoff Basel
Friday, April 16th – Walcheturm Zürich
Saturday, April 17th – ONO, Bern

the enchanted everyday

curated by Cathy van Eck

CONTAINER Ensemble likes to think that sound is the main concept which they work with. Sound and its perception through listening goes beyond the academic labels or production sources. Objects, musical instruments, technology or commonly used electronic devices are equal in their potentiality when thinking on a performance.

It is clear that there is a conceptual, institutional and marketing division between Contemporary Music and Sound Art. As performers with a music academy background, many great composers and artists have been unknown for us until the day that our own curiosity jumped in. As listeners, though, the musical and sensible interest is completely appealing in both fields.

Some names are very well known in history and exist as a hinge between both worlds (John Cage, Alvin Lucier, David Tudor, Pauline Oliveros, etc), but mostly, new music composers and sound artists (that are also composers) move in different circuits. Our interest, as a new music ensemble, is to be a hinge between these two apparently– separate worlds. Artists such as Nic Collins or John Bischoff are rare to listen to in a new music concert. We find, though, that the listening and perception of sound goes far beyond those mentioned labels.

All these reasons led us to think of Cathy van Eck as a curator and working partner, believing that her research and artistic point of view were a perfect fit for next season’s second proposal: “The Enchanted Everyday”. Her main interest in putting her gestures in relation to the sounds, mainly by electronic means, as well as having an specific artistic view on the use of feedback instruments and objects makes Cathy van Eck a great tandem to cocreate the 2021 concert series. concept

The Enchanted Everyday is a sound performance proposal that will focus on the rethinking of everyday objects, devices and technologies presented in a poetic, beautiful way. We would like to blur the edges between what is considered New Music and Sound Art staging pieces that focus mainly on sound and it’s multiple perceptive ways. We want to re-discover the beauty and sounds that hide in our daily life revealing them to the audience in a performative context.

In addition to that, and following what CONTAINER Ensemble considers as one of its main pillars, we want to engage ourselves with the young and new swiss creation. For that, we will commission a piece for the project to a swiss young artist. We are considering names such as Lara Stanic (www.larastanic.ch), Lilian Beidler (www.loul.ch) or Leo Hofmann (www.leohofmann.com), all of them swiss sound artists and composers that are very active in the international sound art and music scene.

Cathy van Eck

Cathy van Eck composes relationships between everyday objects, human performers, and sound. She is interested in setting her gestures into unusual, surprising or poetic relationships with sounds, mainly by electronic means. The result is a kind of performative sound art, since it combines elements from performance art, electronic music, and visual art.

Cathy van Eck (1979 Netherlands) is a composer, sound artist, and researcher in the arts. She focuses on composing relationships between everyday objects, human actors, and sound. Her work includes performances with live electronics and installations with sound objects, which she often designs herself. She is interested in setting her gestures into relationships with sounds, mainly by electronic means. The result could be called “performative sound art”, since it combines elements of performance art, electronic music, and visual arts. Her work transcends genres and is presented on such diverse occasions as experimental or electronic music concerts, open-air festivals, sound art galleries, digital art events, or performance art festivals.

Cathy works closely with performers to develop her pieces, often in interdisciplinary fields, and works regularly with theatre directors and choreographers. Since 2007, she has a teaching position at the Department for Sound Arts of the University of the Arts in Bern, Switzerland. Her book Between Air and Electricity – Microphones and Loudspeakers as Musical Instruments was published in 2017. Her current research is concerned with composing gestures for electronic music and interactive sound art. She lives and works in Zurich.

www.cathyvaneck.net