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2016

DRUM-MACHINES

performance • 2016

eRikm & Les Percussions de Strasbourg
Teaser 1 & 2
- 
Commissioned by Percussions de Strasbourg & GMEM
World premier : Oct 7th 2016 @ Musica festival, Strasbourg, FR
Joint work for percussion and electro live, 50 ‘
Production : Percussions de Strasbourg
Coproduction : Co opérative, GMEM, Musica,
Cité musicale - Metz.
With the support of CNC / DICREAM.

What is Ours

Dance • 2016

Colin Dunne & eRikm Project
Création june 2016
CND / Pantin . France

Colin Dunne . Dance & Choreography

eRikm . Sound & Spatialization in real time + Scenography and light creation.

Thoughts on percussive dance, the synesthetic blurring of sound and movement encompassing embodiment, speciesation, authenticity, and ethnography. All to inform ostensibly transparent descriptions of the real. Convened by an American dancer and anthropologist.
Production CND

numeridanse

AM [eR+Ai] = t/LAB [5.16]

theaterperformance • 2016


Theatre Research
Conception by Aurélia Ivan & eRikm
Sound by eRikm

Pour le festival « Extension », la Muse en Circuit propose la rencontre inédite de deux créateurs d’univers différents, Aurelia Ivan et eRikm. Ensemble, ils ont accepté le défi d’une création éphémère.
C’est l’histoire d’une rencontre où la notion d’accident est centrale. L’accident portant en lui autant d’anomalies, de défauts, de défaillances, d’imprévus ou d’erreurs qui déplacent les mécanismes habituels de création et de représentation.
Production
C.I.E Tsara & La Muse en Circuit

La Muse en Circuit

2009

Pavlova 3’23

Dance • 2009

Dance creation
duration : 1h00

choreographer by Mathilde Monnier
musical segment by Heiner Goebbels, eRikm,
Rodolphe Burger, Gilles Sivilotto
mixed by Olivier Renouf
lumière Eric Wurtz
scénographie Annie Tolleter
dancer Cecilia Bengolea, Julia Cima, Yoan Demichelis, Julien Gallée-Ferré,
Corinne Garcia, Thiago Silva Granato, Olivier Normand, I-Fang Lin,
Rachid Sayet

Pavlova 3’23’’ refers to the mythical solo created in 1907 by Fokine for the
great dancer Anna Pavlova. Mathilde Monnier takes a keen look again at
this Dying Swanwith a group of ten performers, sketching the contours of
an art of persistence by renewing dance and gesture as a force and a call
and a vivid memory.
photo © marc coudrais

Pavlova 3'23

2008

eRikm & FM Einheit

performance • 2008

duration : 50 mn
eRikm : Turntables
FM Einheit : Metal sheet / Clay bricks / Metal springs
Creation 2008 Festival Musique Action Nancy . France

http://fresques.ina.fr

www.foutraque.com

South

performance • 2008

Festival futuro presente Rovereto . italy
duration : 40 mn
Photographed by franck Hurley
music score : Erikm was perform according to the film ’south’

In December 1914, Shackleton set sail with his 27-man crew, many of
whom, it is said, had responded to the following recruitment notice : "Men
wanted for hazardous journey. Small wages. Bitter cold. Long months of
complete darkness. Constant danger. Safe return doubtful. Honour and
recognition in case of success. -Ernest Shackleton."


this restored version of the film has been construted by the national film
and television archive from a wide range of materials.
the NFTVA has applied its own tinting and toning to match the original prints,
and has produced this handsome and richly coloured testament to a remarkable
episode in the history of exploration

South

2007

All in all

Dance • 2007

Production of Opéra de Lyon . TNP Villeurbanne - France
duration : 40 mn

choreographer : Pierre Droulers
music : eRikm
lights : Simon Siegmann
assistant : Marielle Morales
set designer : Pierre Droulers et Simon Siegmann
performers :Pierre Advokatoff, Fernando Carrion Caballero, Maité Cebrian Abad, Louis-Clément Da Costa, Peggy Grelat Dupont, Yang Jiang, Caelyn Knight, Jérôme Piatka

All in all

Hyperscope by Levox

performance • 2007

music score : eRikm
film action : Gaelle Rouart & Etienne Caire

HyperScope is a new project from Levox - squeezing fresh filmic juice from all those discarded cinematic lemons. Expertly exploiting elaborate optical techniques and sharp, encyclopedic musical juxtapositions, both filmmakers and musician playfully corral the whole gamut of dramatic cinema’s legacy ; it’s stereotypes, its sentimental pronouncements, its fatal dénouements ; reconstituted and reworked by hand, coloured, cropped, re-shot and re-printed ; soundtracks layered, slowed, sped up and reformed.

Gaelle Rouard and Etienne Caire extract HyperScope’s imagery from what seems like hundreds of different films - overlaid, combined and contrasted in a rainbow of new meanings and impossible scenarios, and with the unsettling feel of daylight shadows or midnight bird-song. In a flow of colours and dramatic intrigue the unknown sits next to the known, and perhaps draws some strange new meaning from it.

Meanwhile eriKm brings his patent-pending, made-in -France broken-punk take on Musique Concrète, derived from an approach to turntables that seems just, you know : beyond. As with the filmmakers, the sound is culled and ripped from film soundtracks ; reworked, and layered into half-rhythms of inchoate screams and slammed car doors marking out time. In the end, its this new soundtrack that grips the rudder while light and chemical swirl about in an organic, polymorphing maelstrom.

All in all, a dizzying and intense experience, full of compressed narratives and real drama.

Hyperscope

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