ADRIANA AFFORTUNATI_ Adriana Affortunati (1982) hat einen BA in Bildender Kunst vom Centro Universitário Belas Artes in São Paulo und studierte Philosophie und zeitgenössische Ästhetik an der Staatlichen Universität von Mailand, Italien.

"In den Augen von Adriana Affortunati wirken die Hände der Zeit auf die Endlichkeit der Dinge. Der Künstler sieht das Werk der Zersetzung als jemanden, der die Wahrheit der Welt - den Tod - betrachtet und sie vorführen will."  Francisco Rocha, author

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ABOUT

KUNSTLER/innen

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MARTIN GUT_ After studying music in Feldkirch, the musician and composer, Martin Gut, studied classical guitar at the Music Academy in Vienna, taking in addition courses in harmonic theory and electro-acoustics. As a composer he is however self-taught. Recalling Geothe’s view that architecture is frozen music, for Gut, the Wachau Valley resonates with music and resounds with the echoes of sounds that have reverberated over centuries. Much of Martin Gut’s music is written for an electronically amplified single stringed instrument of his own design. Historically the instrument’s ancestor is an instrument known as a tromba marina or marine trumpet, this consisted of a single string strung over a two metre long resonance chamber. Such instruments are capable of emitting rich sonorous tones and during the baroque were often used as a substitute for the trumpet, which being made of rolled metal, was a very expensive instrument.

 

Martin Gut’s musical influences range from John Cage, Karl-Heinz Stockhausen and Derek Bailey, to folk music and Death Metal. It is to this melting pot that his theoretical considerations are then brought to bear. Apart from an interest in the music of the spheres as described by Plato and Kepler (and up-dated by the music theorist Rudolf Haase), other theoretical considerations include an interest in non-classical methods of tuning. In the case of the Electro-Scheidt, Gut’s compositions often consist of compositional units that allow and draw their final form from spontaneous improvisation as a reaction to the specific circumstances of a concert. The Electro-Scheit enables Gut to extract the overtones that otherwise lie hidden in any note produced by a conventional instrument. By playing both sides of a moveable pick-up head, the musician/composer/inventor is not only able to elicit these hidden tones but can also modulate them. The result is a series of high-pitched overtones that enigmatically meander around an underlying, much deeper pulse of ground tones. Although there are some parallels to throat or overtone singing, in throat-singing, a single ground tone is produced, whilst the singer modulates and forms a melody of overtones using a variety of techniques. The melody that results is thus a sequence of high-pitched overtones set against a deep, guttural growl. In the case of Martin Gut, two ground tones can be sustained, which whilst alternating in close temporal proximity to each other, can be far removed from one another in pitch. As a consequence of this, a complex melody of overtones (as in throat singing) cannot be played but this is not something that Gut is interested in. Rather he is interested in exploring (amongst other things) micro-tonal differences in pitch, this being something that his Electro-Scheit is perfectly designed for. Although this often results in some of the musical units he composes having meditative qualities, others are more dynamic, building up musical tensions which during the course of a composition are then resolved.

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