zehn
Dortmund

Meetingpoint: Bar Etage 1
Brückstraße/Ecke Lütgebrückstr.
Entrance: Lütgebrückstr | 1. Floor

Why?
Very few things in human life repeat themselves as precise as birthdays do. Everybody has birthday once a year. To pay additional attention to quarter and half centuries are considered to be especially fancy for festivities of such kind. In the field of german non-profit organizations one is already happy about a decade.

Why?
Stimulated by the "Het Apollohuis" of Eindhoven and the "Experimental Intermedia Foundation" of NYC the Dortmund-based non-profit-organization "mex" was founded on Santa-Claus-day of the year of 1992 and unexpectedly so fare didn’t get resolved. Also it seemed that mex successfully managed to stay small instead of becoming deformed to a thing that we call an institution. Throughout notorious and continuos co-operations with likeminded ladies and gentlemen within Germany and abroad, a living and still branching network was constructed, that naturally gained national and international acceptance and attention. Over the years mex tried to present artists that where hardly ever or not often enough presented to the international audiences of the national basements and vice versa. The focus was always on the experimental character of the art work that was presented and hopefully never distracted by attempts to establish an artistic genre or any sort of status quo. Naturally mex would mostly like to thank the many artists that created, generated and produced the success of anything presented themselves. However, we would also like to thank the Kulturbüro of the City of Dortmund, who managed continued support of a project, that happens to become untypical for todays standards in cultural politics, as we are neither interested in quantities, nor surface. "zehn" presents "new" positions and artists as well as a selection of artists that have been of great influence if not existential for the definition of "mex".

The concerts and installations are not placed in our beloved basis-basement in the Künstlerhaus, but within the abandoned apartments and storage-spaces of the Brückstraße, a quarter that was formally known for its beauty from within (and a lot of strange things on the outside). But who is interested in the reason of a party, anyway.
Because

Jens Brand / mex

presentation
10 Jahre mex-design,
Christa Marek
16 h–24 h

DJ segment
(genesungswerk)
mix mex
20 h–24 h

>more>> event Cologne

08.Dezember 2002
//concerts

Concerts begin
19 h, 20 h, 21 h, 22 h
Duration: 30-40 Minuten
Meetingpoint: Bar Etage 1 | Brückstr./Ecke Lütgebrückstr. | Entrance: Lütgebrückstr | 1. Floor

//raum 1
Anne Wellmer
[D] [*1966]
travelling barefoot – mappings
für Computer & Video

Bettina Wenzel
[D]
Aufblasbarer Gesang IV, 2002.
Performance für Video, Elektronik & Stimme

//raum 2
Kirsten Reese
[D] [*1968]
Kompositionen von Peter Ablinger, Heinz Holliger und Kirsten Reese für Querflöte & Elektronik

Heinz Holliger "Lied” [1971]
für verstärkte Altflöte
Peter Ablinger "Piccolo und Rauschen” [1996/97]
Kirsten Reese "dulationen” [2002]
Querflöte und Electronik plus Sounds von einem Sommer auf dem Lande...

Pierre Berthet
[F]
"Piece for Extended Speakers"

//raum 3
Rolf Julius
[D] [*1939]
Elektronik

Heinz Weber
[D] [*1957]
bass – 110,
ein Klangstück ; Tonbandkomposition

/////////////////////////
Anne Wellmer
layers of maps, maps representing sonic events, locations on the map where the musicians process the video image with their sound, other places where the map starts to process the sound of the musicians - "mappings" is a journey with an interactive improvising map. It is a journey through a computer program by two powerbooks and one to three performers. Thoughts about home ('heimat') and leaving it behind by vilem flusser and doretti neander are woven into the structure of the piece. Every performance is a unique movement through the landscape of the piece. "mappings" is a work in progress. 'the map', a collage of flight charts, is not an image of where sounds were produced or recorded. it is a representation of movement and dislocation and of the desire to be somewhere else.

Bettina Wenzel
"it is about interdependence of sound and movement: A screen, an inflatable object, with a camera in the size of a finger connected to it and a dancer on a pneumatic pump.” Bettina Wenezel sort of translated by Jens Brand

Kirsten Reese
Based in Berlin, Kirsten Reese studied flute at the Hochschule der Künste. She works as a composer, soundartist and writer.

Pierre Berthet
Pierre Berthet is a soundartist and Composer. His pieces for modified speakers started as electro-acoustic percussion works. "But”, as he says "it didn’t happen for a long time now that I hit something in it”.

Rolf Julius
Julius music is ethereal, once in a while disconnected by sudden breaks, musical holes, and sudden crecendi, and within it an organic flow of a composition that seemingly surprizes itself with harsh industrial Klangwerten and deep bass-sounds. It comes and goes almost at the same time...” Excerpt from a text by Christian Schneegrass, sort of translated by Jens Brand

Heinz Weber
"100 bowed and caressed greetings for the tenth year. It is art to make the heavy light, but never forget that this are the moments when the air gets thinner. "bass 110" are 110 bases or one bass added 110 times. " Heinz Weber, sort of translated by Jens Brand

08.Dezember 2002
//exhibition

16-24 h
Meetingpoint: Bar Etage 1 | Brückstr./Ecke Lütgebrückstr. Entrane: Lütgebrückstr. |
1. Floor

//raum 4
BITOM
fixture:plane [1991]
for a stereoscopic light piece
by Maria Blondeel
Jerry Hunt
[USA] [1943-1993]
stereoscopic light installation, Maria Blondeel [1997]
sound processing, Guy De Bièvre

//raum 5
SP 9+10 / Sea Jelly Yellow
for baritone saxophone
Phill Niblock
[USA] [*1933]

//raum 6
Gleichzeit
Paul Panhuysen
[NL] [*1934]

//raum 7
Achim Wollscheid
[D] [*1959]

/////////////////////////
Maria Blondeel
Bitom (f:p) is a work for slide projectors, microphones and sound-alternating devices, meant to function both as an installation or as a performance. All devices are computer-controlled and are executing a similar score. The audience acts as an unpredictable interactive parameter.http://listen.to/street_work

Phill Niblock
SP 9+10 / Disseminate Q + EZAZ all notes + Guitar too, for four
The SPs (=slidepieces) show a seemingly endless chain of dissolving images of landscapes and places that have been visited by the manic traveler, composer, film-maker and photographer Phill Niblock . They are taken within in the past 30 years somewhere between China, Slovakia, Australia and Mexico. The soundtrack that comes with them will make your pants move.
http://experimentalintermedia.org/

Paul Panhuysen
The Dutch soundartist is known for his interests in collecting and his special desire for beauty, uncovered by calulations. In his new work "Gleichzeit" he will wind up his collection machanical clocks.

Achim Wollscheid
The installations of Achim Wollscheid are audiovisual, interactive and site-specific. Lightsources and loudspeakers are conducted by realtime transformations and start a dialogue with the audience.