Returning for a fourth edition, the CTM 2017 Radio Lab is dedicated to exploration and experimentation with the hybrid possibilities of combining the medium of radio with live performance. The Lab programme will host two projects commissioned by Deutschlandradio Kultur - Hörspiel/Klangkunst and CTM Festival, in collaboration with the Goethe-Institut, the SoCCoS - the Sound of Culture, the Culture of Sound initiative, ORF musikprotokoll im steirischen herbst, and Ö1 Kunstradio.
The CTM 2017 Radio Lab Open Call for works sought unusual ideas for pairing the specific artistic possibilities of radio with the potentials of live performance or installation, that also explore the CTM 2017 Festival theme: Fear Anger Love. The two selected works will premiere at CTM 2017, and subsequently be broadcast via Deutschlandradio Kultur in March 2017. Later in Autumn 2017, these works will be presented by the ORF (Austrian National Broadcasting Corporation) via one of their platforms.
What does a society gripped by fear do? Does it cease to function, or carry on in denial? Or does society’s respect for fear, which is real after all, demand we not ask such questions? Do we live our fear alone or do we share it? How can we tell a story about those emotions and questions?
In 2014, Rima Najdi performed the intervention known as “Madame Bomba: The TNT project” in her hometown of Beirut. Feeling the need to act and open a conversation about anxiety and fear caused by suicide car bombings and pervasive violence everywhere she wore a fake cartoon TNT bomb around her chest while roaming the streets.
Taking off from this action, “Happy New Fear” blends elements of experimental music, sound art, visual projections and live radio drama as it follows Madame Bomba and her search for her lover in the city, a stranger who exists in the collective consciousness and of whom everyone is afraid of. Using audiovisual material sourced directly from Beirut, Najdi maps out Bomba’s walks, her negotiation of her own fear of walking as a breathing bomb. The work aims to explore the feeling of being alone, inadequate, and to confront the illusion of having control over one’s fear. The story reflects how violence is not only direct, explosive and spectacular, but structural, gradual and anonymous, targeting everyone.
Together with musician Kathy Alberici (of Drum Eyes fame) and visual artist Ana Nieves Moya, Najdi aims to explore the environment of emotions, their multiplicity, their uncertainty, and the contradictory nature of their temporality.
“Rima is an artist working on the intersection between performance, audio and choreography. Her piece for CTM Radiolab will be an audio re-staging of her controversial Beirut walk – a sounding of the politics of fear – which captured the jury’s imagination” comments jury member Anne Hilde Neset.
You will not kill me. Not in that way.
I’m a human as you.
Do you remember? Ape not kill Ape [pronouncing it crudely as in the movie].
I love your sci-fi movies, you know?
“The Death of the Anthropocene” is a project by Mexican artist Julian Bonequi that is inspired by radio drama and sci-fi movies. The work imagines a series of one-on-one encounters between ordinary people and mysterious visitors. Mutants, composite human-robot-animals, aliens… these visitors are met with aggression, incredulity, shock and disbelief as they repeatedly paint grim pictures of the future of humanity.
The diverse conversations, animated with narration, incidental sounds and specially composed musical extracts, will be accompanied by Bonequi’s own 3D animation, appearing intermittently during the performance. Expanding the narrative with non-realistic models and non figurative but associative aesthetics, Bonequi aims to create snapshots of imaginary characters and scenarios that activate our frustration towards our global inaction and fear of its repercussions.
Juror Ole Frahm comments: "Julian Bonequi's "Death of the Anthropcene" starts from one of the most disturbing moments in radio's history, Orson Wells famous radio drama "War of the Worlds", which aired life on Hallowe'en in 1938. Bonequi is less interested in the myth about this broadcast and the panic that it caused (or what the media made out of some reactions), but more in the broadcasted text of Wells' adaption. While in "War of the Worlds" the aliens are hostile, do not talk and destroy all that is living, Bonequi's multi-layered, humourous and strange adaption reminds us of the fact that Wells's fantasy is not fiction anymore. I am looking forward to a disturbing performance."
The weekly "Klangkunst" ("Sound Art") broadcast (formerly "Hörspiel Werkstatt" ("Radio Play Workshop") was launched in January 1995 by Deutschlandradio Kultur, German National Radio’s cultural programme. The broadcast was established to extend the formal possibilities of radio play, to experiment with new genres, and to introduce listeners to outstanding examples of international sound art. The programme covers the entire range of new radio art, from experimental sound play to poetry, text-sound collages, soundscapes, multilingual compositions, and electronic and digital radio performances. International networking and exchange among international radio artists are critical dimensions of the programme. Klangkunst is understood as a laboratory for testing the widest possible range of sounds. The programme draws from the varied motifs of diverse sonic environments, creating new amalgams of sound dramaturgy, narrative structures, compositional arcs, and characteristics of radio as a medium. Klangkunst is a member of the Ars Acoustica group of the European Broadcasting Union (EBU).
The Goethe-Institut is the Federal Republic of Germany’s worldwide cultural institute. It promotes knowledge of the German language abroad and fosters international cultural cooperation. The Goethe-Institut provides a comprehensive picture of Germany by disseminating information on the country’s cultural, social, and political life. Through a network of Goethe-Institut offices, centres, cultural societies, and reading rooms / language examination and learning centers, the Goethe-Institut has promoted worldwide cultural and educational policy for over sixty years.
SoCCoS – Sound of Culture, Culture of Sound, is a residency and research network engaging with exploratory music, sound art, and culture. Comprised of members AiR Laboratory (Warsaw), Binaural/Nodar (Sul), Hai Art (FI), Q-O2 (BE), and DISKBerlin (CTM Festival, DE), it provides residency opportunities via exchange of artists, cultural workers, and theorists. Through the residencies, SoCCoS aims to offer time and space away from known environments and everyday routines, to discover new sites, different cultures of sound art and source materials, in order to develop special skills and expand artistic networks. The project focuses on language, differences in urban and rural environment, and work with local communities. It emphasizes a structuralist approach in relation to sound art residencies, connecting different sound art practices, geo-social contexts, and art production typologies. It has a strong focus on research, elaborating on geography, culture, sound, language and site-specificity.
Austria’s Festival Platform for Contemporary and Experimental Music. Functioning as a kind of laboratory, musikprotokoll invites the audience to embark on an exploratory journey to discover the latest developments and trends in music, with all the artistic risks that this entails. From orchestral music with the ORF Radio Symphonieorchester Wien to chamber music, from live performances to sound installations, musikprotokoll highlights a wide range of intriguingly heterogeneous forms and genres and presents works that are for the most part developed and produced specifically for the festival.
Founded by Emil Breisach in 1968, musikprotokoll is organised annually by ORF (Austrian Broadcasting). It is a co-production of the ORF’s two stations, Radio Österreich 1 (Ö1) and Radio Steiermark, which broadcast presented works in cooperation with the steirischer herbst festival.
Ö1 Kunstradio has dedicated itself to experimental radio art since 1987, with online editions available as of 1995. The show has featured many artistic projects which crosslink radio with tangible, intangible, and public spaces, giving artists an entry point and platform for public radio production and broadcasting.