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projektbeschreibung  (english see below)   pdf (17mb) >>



"UNTERHOLZ" 

(seit 2006)



"unterholz" ist ein stück das sich (wie reales unterholz eines waldes) im lauf der zeit, d.h. von aufführung zu aufführung und von ort zu ort verändert, material mit sich führt, sedimentiert und dazu neues material ansammelt.

die anfangssituation war die einer installation mit einem zuspielband aus sinus-klängen und einem video einer sich sehr langsam durch ein "urwald-dickicht" bewegenden sequenz. dazu spielen instrumentalisten aus einer partitur, aus der auch die sinuston-klänge abgeleitet sind. während der aufführung werden video- und tonaufnahmen aufgezeichnet. diese neuen schichten werden in die video/ton sequenzen eingearbeitet und überlagern dann bei weiteren aufführungen das ältere material.

die aufführung kann konzertant oder sehr lange sein, dann haben die instrumentalisten ihren platz und können kommen und gehen. die orientierung erfolgt nach der uhrzeit und zeitangaben in den stimmen, die eine koordination mit dem zuspielband/video ermöglichen.







unterholz #23 (A/B)(lagerhaus neufelden, austria (A)garage + (B)galerie / september 2023) marcus kaiser, cello

unterholz #22 (lagerhaus garage neufelden, austria / august 2023) marcus kaiser, cello

unterholz #21 (ainsi maastricht / september 2021) germaine sijstermans, bassklarinette / antoine beuger, flute / marcus kaiser, cello

unterholz #20 (kaiserwellen düsseldorf / february 2021) marcus kaiser, violoncello

unterholz #19 (A/B)(lagerhaus galerie neufelden, austria / july 2020) germaine sijstermans, bassklarinette / marcus kaiser, violoncello

unterholz #18 (A/B)(here.here, UCA farnham (A) + IKLECTIC london (B), UK / may 2019)
chris jones, electric guitar / arusik nanyan, acoustic guitar / paulius valteras, electric guitar / emmanuelle waeckerle, percussive objects / harry whalley, percussive objects / marjolaine charbin, piano / marcus kaiser, cello / ed lucas, trombone / edward shipsey, percussive objects

unterholz #17 (lagerhaus neufelden, austria / august 2017)
marcus kaiser, cello

unterholz #16 (klang im dach, münchen / januar 2017)
marcus kaiser, cello
 
unterholz #15 (tafa tianjin, china / juni 2016)
marcus kaiser, cello
 
unterholz #14 (strahler - raum für fotografie, berlin / april 2015)
rebecca lane, bass flute / johnny chang, viola / rishin singh, trombone
 
unterholz #13 (studio acht, berlin / november 2014)
johnny chang, viola / nils ostendorf, trumpet / rishin singh, trombone

unterholz #12 (hallen der isartalbahn, münchen / märz 2014)
marcus kaiser, violoncello

unterholz #11 (kunsthallen rott5 bochum / mai 2013)
christiane conradt, violoncello / marcus kaiser, violoncello

unterholz #10 (galerija kapelica, ljubljana / november 2012)
marcus kaiser, violoncello

unterholz #9 (ICA london / november 2011)
manfred werder, klavier / michael pisaro, gitarre / marcus kaiser, violoncello

unterholz #8 (kultur & kongresshaus aarau / september 2011)
johnny chang, violine / erik clark, violine / stefan thut, violoncello / dante boon, klavier / lee ferguson, schlagzeug / marcus kaiser, violoncello

unterholz #7 (goetheinstitut rotterdam / mai 2011)
antoine beuger, querflöte / heleen van haegenborgh, klavier / marcus kaiser, violoncello

unterholz #6 (klang im turm münchen / dezember 2010)
marcus kaiser, violoncello

unterholz #5 (kaiserwellen düsseldorf / august 2010)
antoine beuger, klavier / marcus kaiser, violoncello / andré o. möller, gitarre / sylvia alexandra schimag, stimme

unterholz #4 (kaiserwellen düsseldorf / august 2009)
antoine beuger, querflöte / marcus kaiser, violoncello / andré o. möller, gitarre

unterholz #3 (jazzatelier ulrichsberg, austria / februart 2009)
jürg frey, klarinette / marcus kaiser, violoncello

unterholz #2 (kaiserwellen düsseldorf / august 2008)
antoine beuger, querflöte / marcus kaiser, violoncello / andré o. möller, gitarre

unterholz #1 (kunstraum düsseldorf / juni 2006)
antoine beuger, querflöte / jürg frey, melodika / carlo inderhees, claves / marcus kaiser, violoncello / ulrich krieger, saxophon / radu malfatti, posaune / andré o. möller, gitarre  (tacet) / anastassis philippakopoulos, stimme / michael pisaro, gitarre / burkhard schlothauer, violine / sylvia alexandra schimag, stimme / craig shepard, posaune / thomas stiegler, violine
 



 
UNTERHOLZ (“undergrowth”) is a piece, that, like real undergrowth in a forest, continually changes in the course of time, i.e. from performance to performance and from place to place, carrying and sedimenting old, accruing new matter.

The base situation is an installation with sine tones played back and a video showing a very slow sequence moving through a “jungle thicket”.

Each performance of the piece is filmed and sound recorded. These recordings are then processed into the video/sound sequences for subsequent performances.

Performances may be concert length, but they can also be very long. In this case the musicians have their places and may come and go.
 

(unterholz#21 / ainsi maastricht (musica sacra) /  september 2021)
(germaine sijstermans, bassklarinette / antoine beuger, flute / marcus kaiser, cello)


Unterholz is an interdisciplinary work that combines video projection, audio, and live music. The visitors' senses are flooded with accumulation in all layers of the work, in what the artist himself calls a jungle thicket. It is up to the visitor to follow their own path through this environment of sound and image. All the layers in unterholz are the work of Marcus Kaiser: the composition, the audio and visuals, and the editing and processing of the latter. Unterholz is not a work that is simply performed anew each time, but rather a continuous circular process. Each performance of the piece is filmed and sound recorded. These recordings are then processed into the video and sound sequences for subsequent performances. This process is repeated with each performance, embedding each previous version in the next one.

For unterholz Kaiser took inspiration from mycorrhiza. This symbiosis between fungi and plant root hairs, mostly found in jungles, is a nearly lossless cycle of precious nutrients. In the context of unterholz the term, in a broader sense, refers to collaboration between different disciplines: drawing/painting and photography – image and sound – live performance and recording. In unterholz Kaiser also works with foreground and background, similar to the double system of evolution and co-evolution. The development of the interdisciplinary work can only take place in its complete form of visual and sound elements, of recording and live performance. It is impossible to separate the video/audio “background” and the live performance “foreground”.

The first unterholz video originated from Kaisers photography work mykorrhiza I (layering of jungle recordings with photos of this grüne bilder paintings) by applying minimal changes in position and scale, creating a slowly shifting sequence. This video was the “background” for the musicians that played in the first performance. The score was orchestrated for sine tones and played softly in the performance space. The instrumentalists' parts were derived from the score and weaved into the framework of sine tones.

The instrumentalists' parts are a growing part of the whole and originate from the score, depending on the circumstances of a new performance, like new ways and paths in a growing forest. The parts are so called “open scores” in which aspects like timing and played material are free within determined time frames and given material. They are played with a stopwatch, ensuring the correspondence of transitions through the score in all layers of the work. The instrumentation can vary from a soloist to large ensemble, from classical instrument playing and singing, to unpitched objects and spoken words. Thanks to the circular process in unterholz, more and more people appear in the image and sound, merging together and disappearing into the thicket, becoming a virtual ensemble that plays together beyond the boundaries of time.

Since 2006 twenty performances of unterholz have taken place, which are embedded in the Musica Sacra performance. In turn this performance will be a permanent part of the whole of unterholz, appearing in feature performances. The musicians during Musica Sacra are Marcus Kaiser (cello), Antoine Beuger (flute) and Germaine Sijstermans (bass clarinet).

Marcus is a cellist–painter–architect–composer–builder/designer–maker of sound pieces–video artist. He studied cello at the Robert Schumann University of Music and Media in Düsseldorf before graduating from the city’s Art Academy. He is part of the international wandelweiser group of composers and active worldwide as an artist and musician. In 2001 he received the “Förderpreis” of the city of Düsseldorf, where he has his atelier.
Pursuing an interdisciplinary approach, Kaiser produces works oscillating between art and music. Usually working simultaneously on different series and groups of works over long periods of time (years, decades), the artist sometimes combines the results to complex installations on the occasion of major exhibitions – installations that may provide him with a starting point for interactions and further works of art. Nature and ecosystems are recurring themes in his work, be it literally (as in his installations), as a subject (like in his paintings), but also in the rhizomatic manner in which the works in his oeuvre are interconnected.

Antoine Beuger is a composer and flautist. In 1992, he founded Edition Wandelweiser with Burkhard Schlothauer, of which he is artistic director, and in 1994 established the well-known KLANGRAUM concert series in Düsseldorf. Beugers music has been performed and recorded worldwide and has received several international prizes.

Germaine Sijstermans is a clarinetist, composer and installation artist. Since 2020 she is connected to new music production house Intro in Situ (Maastricht) as artistic developer. She is currently working on the development of her works that intertwine composition and installation art, with support of the Performing Arts Fund NL.