Concept, performance, instrument : Kaspar König
Performance : kollektiv international totem
Venue Kunstraum Walcheturm
This production is about creating a narrative with the circumstances - The floor of the venue is very cracking and thus embodying the current situation of a time and space and, of course, give a sound. For instance we perform with the audience.
But then the agreement, also made with the audience in advance, is that the boundary between the spectator and the makers must be removed.
Everyone observes each other and the experiment threatens to take no path at all. Then one of the artists provokes with a gesture that expresses as precisely as possible what might have value or validity for everyone at that moment. Maybe it's hot, and an artist wipes his or her brow, a bit more demonstrative, more theatrical than usual. This should and could be the impetus for further gestures and movements that allow improvisation, like a snowball effect between audience and performer. Also part of our repertoire, based on our artistic way of working, are objects, instruments, puppets or even simple animated projections. This creates a framework for another kind of interaction and moving improvisation. Resillience arises precisely in these moments.
Kaspar König has been working as a freelance designer, composer and sound artist since his design degree at the UDK in Berlin in 2002, and his sound art and composition degree at the HfM in Mainz. His background as a graduated designer& sound artist is visible and audible in his invented instruments and sound installations. He deepened his knowledge and skills in the field of sound and performance in the master program Sound Art Composition. Currently he works as an artistic-scientific assistant at the Zurich University of the Arts (ZHdK) in the research focus transdisciplinarity as well as at the directorate as an artistic assistant for the lived sustainability.
As a composer and sound inventor, Kaspar König has already participated in numerous dance, theater and film productions as well as museum exhibitions. Many of his own sound works and formats, such as "My City Is My Instrument," also flow into his work as a lecturer. In his own artistic work he moves in a field of tension between epistemic research and artistic prototype.