On Monday morning, a global group of 19 artist-makers will arrive to spend a week hacking together new instruments for live performance. Together with Hacklab hosts Peter Kirn and Darsha Hewitt, the lab space will be inaugurated through an evening of music and surprises.
Mouse on Mars debut their mobile app WretchUp, a crowd-funded open source project, in a live quartet performance on iPhones. Together with WretchUp developers Rupert Smyth and Peter Kirn, Mouse on Mars use live sampling and effects on their phones for grungy, wild results.
WretchUp’s premiere is followed by Berlin-based DJ Hyperaktivist, who provides specially-selected beats for the ensuing celebration.
The MusicMakers Hacklab is a weeklong open, collaborative laboratory that allows pre-selected practitioners from a range of disciplines to reconnect with the work of early pioneers in a new context. Participants will get the chance to mix rediscovered analogue and electronic techniques with new, still-evolving digital processes connecting to the Generation Z : ReNoise exhibition. Open to the public throughout its week of hacking, the Hacklab’s research will culminate in a final performance at HAU Hebbel am Ufer (HAU2) on Sunday 2.2. Several talks and workshops will also take place within the Hacklab’s programmes and are open to amateurs and experts alike.
As Hyperaktivist, Ana Laura Rincón blends hyperactivity with activism in developing electronic music culture in her native Venezuela – a country with few record stores and few electronic music industry affiliations.
Rupert Smyth is the co-founder of YYAA recordings, focusing on release of contemporary music on cassettes, and of the Hallso independent press, which publishes writings, sounds, films, and artworks from the past and present.
Since emerging in the early 1990s, Mouse on Mars has been on a perpetual course of reinvention, indulging in complex, heavily hybridized forms that include everything from ambient, techno, and dub to rock, and post-rock. They’ve taken electronica to new levels with fragmented melodies and an aversion to what’s expected.