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CAST
UMS 'n JIP: music,
production
Zeughaus Kultur Brig-Glis,
Ackermannshof Basel, Kunstraum Walcheturm
Zürich : co-production
Brüder Grimm :
text (Aschenputtel,
Schneewittchen, Sterntaler, Rumpelstilzchen,
Der süsse Brei, Knoist, Die arme Bettelfrau)
Hans Christian Andersen : text (Das Mädchen mit den
Schwefelhölzern)
Charles Perrault : text (Rotkäppchen)
Simon Wunderlich : stage/lights
Wolfgang Beuschel : oeil
extérieur
Ulrike Mayer-Spohn
(UMS) : recorder/actor, electronics
Javier
Hagen (JIP) : singer/actor,
electronics
BIOGRAPHY WOLFGANG BEUSCHEL (oeil extérieur)
Wolfgang Beuschel.
Born in 1954 in Nuremberg, Wolfgang Beuschel
studied at the Staatliche Hochschule für Musik
Heidelberg-Mannheim and at the University of
Heidelberg. His career as an actor began in 1985
at the Theater Pforzheim. After engagements in
Aachen, Basel, Constance, Lucerne, at the Zürich
Opera House and Deutsches Schauspielhaus
Hamburg, he works as a speaker, actor, director
and coach. At the Zurich Opera House, he played
the composer Franz Schubert in Claus Guth's
"Fierrabras" - the DVD being released by EMI
Classics. Handel's "Messiah," he produced for
the Theater Aachen. In Zurich, he directed 2004
"Top Dogs" by Urs Widmer, 2005 "Dirty Dishes" by
Nick Whitby for which Javier Hagen wrote the
theatre music. He is also coauthor of the choral
book "Chorissimo" with a focus on scenic working
with choirs, published by Carus. www.wolfgangbeuschel.ch
BIOGRAPHY SIMON WUNDERLICH (stage & lights)
Simon Wunderlich
received his instructions in art in Germany,
Spain, the United States of America and
Switzerland. The overall interest in
Wunderlich’s work is questioning the
perception of reality in order for the viewers
to achieve a stronger sense of awareness. He
achieves this by allowing them to take their
time and engage them actively in a spatial and
temporal situation, either within outdoors or
indoors. Time plays quite an important role in
his projects and they are often subjected to
the changes of natural and artificial light.
Recently he has been developing many of his
art pieces within the architectonical context
of the spaces where he is working at or where
he is going to exhibit them. He tries
to draw the viewers’ attention by creating
appealing environments to penetrate their
momentary reality in a way that the current
experience through the interaction with the
piece becomes the important part. In these
situations the viewer is confronted with a
variety of phenomena, such as reflections,
projections of light, mirroring effects, plays
of shadow and light, experiments in the
darkness, vortexes of smoke, malfunctions, sound
installations, representations of space, etc.
Wunderlich creates the phenomena by
experimenting with products and materials from
building supllies stores or so called DIY (Do It
Yourself) superstores, that he uses because of
their easy accessibility and their universal
dimensions to which everybody can easily relate
to since we are surrounded by them. By the
choice of the materials and the setup of the
artwork Wunderlich tries to make it clear to the
viewer that he offers only a mock-up for the
ultimate experience that any kind of art
actually can’t provide. DIY materials are
characteristically simple and practical and they
lack of delicacy and they have the spirit of
spontaneity and directness. In the beginning
their cheap and raw appearance can be awkward,
but through process of assembling they lose
their sturdiness and convert into something
beautiful, actually delicate and often
ephemeral. The imperfection of the DIY materials
shall help the viewer to enjoy the experience in
the situation rather than to be overwhelmed by
high-end finishes full of effects, which can
distract and raise questions how something is
really done instead of asking what it is and
what does it do. Wunderlich’s work turns into
authentic “homemade” experiments creating
situations about the exploration of the
spiritual and sublime, while at the same time
lending irony to itself through its practical
character of the construction and its
imperfection, which all can be understood as
well as questions about the boundaries of art. www.simonwunderlich.com
BIOGRAPHY UMS 'n JIP (composers
& performers)
['umsnjip]
is one of the
most
innovative and
accomplished
Swiss
contemporary
music
ensembles.
Founded in
2007 by Ulrike
Mayer-Spohn
[UMS] and
Javier Hagen
[JIP], it is,
alongside
Ensemble
Modern,
Ensemble
Intercontemporain
and the Kronos
Quartet, one
of the most
active
contemporary
music
ensembles
worldwide
commissioning
>10 works
(2013: 28) and
performing
>100 (2012: 136) international
concerts
annually,
including
mobile chamber
operas &
multimedia
performances.
UMS
'n JIP explore
new musical
and scenic
settings for
voice,
recorders and
electronics
ranging from
live to
digital
performance as
well as
European to
non-European
music. Since
their studies
(composing,
audio design
& musical
performance)
in Holland,
Germany, Italy
and
Switzerland,
UMS and JIP
have been
invited to
prestigious
contemporary
music and
theatre
festivals
(Avignon, TKF
Zürich, TKF
Lausanne,
Shanghai,
Donaueschingen,
Hong Kong, New
York,
Karlsruhe,
Berlin, Basel,
Bern, Paris,
Strasbourg,
Moscow, St.
Petersburg,
Adelaide,
Riga) where
they have
premiered more
than 200 works
as soloists
and as a duo,
collaborating
with both
world famous
and aspiring
young
composers such
as Goebbels,
Rihm, Kagel,
Reimann,
Eötvös, Stefan
Pohlit,
Vladimir
Gorlinsky,
Chikashi
Miyama, Huang
Ruo, Wen
Deqing and Guo
Wenjing. UMS
'n JIP are
also involved
in the
direction of
the Swiss
Contemporary
Music Festival
Forum : :
Wallis,
chaired by the
International
Society for
Contemporary
Music
Wallis/Switzerland
IGNM-VS. They
are board
member of ISCM
Switzerland
and board
member of the
UNESCO
Commission for
the Inventory
of Cultural
Heritage in
the Canton of
Valais. Within
these
structures,
UMS 'n JIP
have initiated
more than
additional 200
projects and
commissions. Since
2013 UMS 'n
JIP take part
in two
international
research
projects: The
Recorder Map
and
iTreasures. UMS 'n JIP is coached by Irvine Arditti. >>
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