A new live set with visuals by Mark Ridder. In contrast to our previous set – which dealt with fast, rhythmical fragments – this time it’s a slow but continously developping soundscape. Starting with very subtle micro textures, the set gradually transforms into a theatrical, delerium-like soundscape and heavy percussion. Part of the Azimuth program at TodaysArt 2018. Azimuth is an organization dedicated to the production and performance of spatial (multichannel) electroacoustic music.
Three sculptures by Lotte Ooms, presented at EXPOSED. Her work ‘The Sense of The Perceived’ is a representation of how people with Synesthesia experience colors through other senses: tactility and sound. For her research Ooms interviewed a synesthete, blind since the age of five, on his perception of the colors Red, Blue and Yellow. She used this as guidelines for the various properties of her textile sculptures, to which I designed ongoing sound installations.
Based in Japan during Spring, Sakura presents a mind-bending narrative as a way to communicate the beginnings of life. This experimental film collects footage recorded in Japan and presents it in collage-like form. The film ties the various segments together with music and an outsider voice-over narration, which ponders topics such as history, philosophy, technology and society.
With this set, Jim Zweerts aka FLUQS and Mark Ridder explore different relations between rhythmical patterns in both sound and visuals. Intuitively they play with contrast, synchronicity and interference between the different media. The result is a raw mix of fragmented club sounds, glitches and percussion, accompanied by flickering and organic projections
A collaboration with Aura Rendon Benger and Leslie Nagel. Their installations and sculptures create a surreal environment comprehending movement and interaction. The sculptures create dialogs through rhythmic motion and sound. For this exposition I created a soundscape by transforming sounds of water and the machinery of the installations.
With his project ‘Origin’, Mischa Daams sets out audiovisual expeditions into the abstract, organic universe that results from a video feedback loop. In this continuous process of recurrence and ‘translating’ some of the information is lost; this results in the mutation and transformation of the image. For Origin: Sustained, he applies tools to make the system analyze its output and respond to this, a self analytical feedback loop. The analysis-data is both controlling the camera and sound modules designed by me.
Exposed at Atonal Berlin, Ars Electronica, FIBER Festival and TodaysArt
Composition for Angela Fegers’ choreography The Dangers of Spring, at Let Me In Festival Berlin.
“DAE #TVclerici is a live TV studio where media is presented in the making. Experimenting with facts and fiction, props and performance, and individual bodies and objects, we create an alternate reality for a world of designed fakery.”
A continuous performance series of alumni of Design Academy Eindhoven at Palazzo Clerici, Milan. Music, sound design and mixing by Jim Zweerts
Choreography by Edan Gorlicki
Music for a promo video for Enrichers, an innovative design studio based in Eindhoven.
A study on the deformation of skin. By leaving the bodies of the dancers to dry in clay, crackles reveal the patterns of moving parts of the skin. A collaboration with Institute of Applied Motions and Ziggy Pictures.
Soundtrack for the first teaser of Anne Fehres’ Sakura, An Archetypal Journey. A poetic essayfilm on the culture and philosophy of Tokyo. Spring and impermanence. Part of a series dealing with the four seasons in different parts of the world.
Dance performance by the Institute of Applied Motions with live music by Jim Zweerts at the Dutch Design Week in Sectie C, Eindhoven. A pilot of the Skin // Fluqs project.
Photo’s by Ziggy Pictures.
Choreographer Bryan Arias invited me to compose for his upcoming work …in frayed edges for Nederlands Dans Theater 2, as part of the series Up & Coming Choreographers.
Dance has the inherent capability of effectively staging a sense of temporal awareness. Arias centralizes this metaphysical idea of time: an always passing and ever present precondition of our understanding of life and the universe that surrounds us.
For this work I composed a piece with material merely extracted from a surgery recording. Sound transformations were applied on different time scales, varying from bigger rhythmical blocks to the inner microstructures of the sounds. These variations are exposed in a playful, non-chronological order creating a Lynchian network of transformed memories.
Performed 30 september till 5 october at Korzo Den Haag