Wood, Mouth, Ritual – Storytelling at Geneva’s Archipel Festival

Gabrielle Weber
‘Wood, mouth, ritual, possession’ and ‘multiple speakers’. This year’s edition of Geneva’s traditional contemporary music Festival Archipel does not focus on one main theme only, but on several individual motifs. The artistic directors, Marie Jeanson and Denis Schuler, wish to tell stories and create unexpected encounters, with a playful, light-hearted approach and special focus on shared experiences.

Jeanson, organiser of experimental and improvised music, together with Schuler, composer, curated their first joint festival edition in 2021. Although online because of the pandemic, the edition was successful and able to offer plenty of concerts and encounters between musicians, despite the lack of an actual live audience. This year, the festival’s main venue – ‘Maison communale de Plainpalais‘ – will feature music around the clock during ten days and also become a meeting place. In addition to the extensive concert programme – with composer-in-residence Clara Jannotta or a series on Alvin Lucier –  sound installations, shared meals prepared by musicians, nightly salons d’écoute with performers presenting their favourite works in Dolby Surround, or pannels as well as mediation workshops will be featured. In addition, a festival radio programme will broadcast around the clock daily and the programme offers numerous other events spread throughout the city.

The motifs are a hidden thread running through the entire festival, with various composers closely involved and spinning their own stories. Geneva composer Olga Kokcharova is one of them and I spoke with her about her multi-part festival project ‘sculpter la voûte‘ – shaping the vault.

 

Portrait Olga Kokcharova, zVg. Festival Archipel

 

“We have lost our connection to the environment and sound can restore it,” says Kokcharova. The delicate, almost shy composer of powerful natural soundscapes dedicates her central festival project to wood.

Sculpter la voûte is based on several years of research in which Kokcharova studied the growth of trees in Ticino forests. In the process, she examines wood as a sound producer as well as the forest as condition for human culture.

In spring 2021, Kokcharova recorded sounds in a natural reserve in the south of Switzerland. One can hear the physiological activity of the trees. These are almost brutal, raw sounds – deep sonorities, cracking. You sense that there are forces at play that go far beyond human,” she explains.

Kokcharova is originally from Siberia and emigrated to Switzerland at the age of 16. She experienced a real cultural shock, but also a boost of inspiration. In Siberia, she grew up surrounded by nature, far away from cities and did not know anything about European culture.

In Geneva, she first studied architecture, design and fine arts, then piano and composition. Sound has been important to her from the very beginning. Today she works especially with natural sounds and field recordings, integrating them into compositions, installations, soundwalks, sound performances or film music, for festivals and institutions at home and abroad.

 


Olga Kokcharova and Antoine Läng, Venera, 2018

 

Kokcharova’s work is always concerned with larger connections and the relationship between people and their environment.

 

Trees cracking as they grow – raw, brutal sounds

 

In the premiere of Sculpter la voûte- altération’ for amplified loudspeakers, a composition commissioned by the festival and at the same time the first part of her project, she presents the sounds recorded in Ticino through an orchestra of loudspeakers. The forest sound is realistically spatialised by an ambisonic system, a space-spanning ‘dome of loudspeakers’, created in collaboration with ZHdK Zurich, which will also be used for other performances during the festival, such as the Swiss premiere of Luis Naón’s string quartet with électronique ambisonique, performed by Quatuor Diotima on the previous evening.

Kokcharova, on the other hand, supplements these ambisonics with an Akusmonium, a system of additional loudspeakers, whereby she strongly alienates the sound with ‘altérations’.

“It’s like resurrecting the forest. One is directly in touch with the sound of life that inhabits it: you feel you are in the midst of it.”

For Kokcharova, the forest is not a place of relaxation, on the contrary it triggers highest concentration, creating connections with things we do not understand and she draws attention to this through alienations in her piece.

 


Olga Kokcharova, Mixotricha Paradoxa – part II, 2019

 

Performance installatique et sensorielle 

The second part of Sculpter la voûte – ‘auscultation‘, is a collaboration with Geneva’s Ensemble Contrechamps, as a performance installatique et sensorielle. In her installation, Kokcharova traces the sound path of wood: from the living tree, vibrating through the circulation of its sap, to the tonewood, which becomes an instrument in the hands of the violin maker and then comes to life with the musician. This happens tangibly, in the truest sense of the word, as one of Ensemble Contrechamps’ musicians will play for each individual member of the audience. The latter can truly feel the instrument, trace its sound and vibration, and thus experience his or her own expérience vibratoire.

 

Pour entendre le son on a besoin de la matière...

Sound is vibration: it is our connection to the world, says Kokcharova. In order to hear sound, a material, for example wood, is needed. For Kokcharova, this connection also creates a larger context that secretly shapes us: “When we talk about the history of mankind, the focus is always on humans, tools or animals. Plants are never mentioned – but without plants, mankind wouldn’t exist”. She is interested in showing how other life forms – in this case trees – influence all aspects of our lives as well as our cultural production.

Man and nature have always had a relationship, says Kokcharova, so for her festival project she chose to tell a somewhat different, very personal story of wood and man.
Gabrielle Weber

 

Olga Kokcharova, Lutherie Guidetti, Locarno

 

Festival Archipel Genève: april, 1-10th Geneva

Clara Ianotta, Italian composer is artist in residence and present at the festival.

Alvin Lucier, dem 2021 verstorbenen US-Elektropionier ist eine Hommage mit drei Performance-Installationen gewidmet.

Antoine LängQuatuor DiotimaDenis SchulerMarie Jeanson

mentioned events:
Saturday, 2.4.: world premiere Olga Kokcharova ‘Sculpter la voûte– altération’, and ‘Mycenae Alpha‘ by Iannis Xenakis (1978), in honour of his 100th birthday, Olga Kokcharova at ‘système ambisonique‘.

3.-10. April: Olga Koksharova: Sculpter la voûte –  ‘auscultation‘:

Saturday, 9.4., 14h: Gespräch ‘arbre, bois, vibration, transmission‘ with Ernst Zürcher, writer, and Christian Guidetti, lute.

radiofeatures SRF 2 Kultur:
in: Musikmagazin, Sa, 2.4.22, 10h /So, 3.4.20h, by Benjamin Herzog: Café with Olga Kokcharova, editor Gabrielle Weber
Musik unserer Zeit, Mi, 22.6.22, 20h/Sa, 25.6.22, 21h: storytelling at Festival Archipel Genève 2022, editor Gabrielle Weber

profiles neo-mx3:
Festival ArchipelOlga KokcharovaContrechampsLuis Naon

(Français) Et après 2_2

Impacts of the pandemic on musicians in Switzerland and the United States

Laurent Estoppey, composer, saxophonist, sound artist and artistic director of the Ensemble Babel Lausanne, has been a musical bridge between Europe and the United States for many years.

As expert of both continents, I invited him to state his points of view on the consequences of the corona virus pandemic relating to musical creation on both sides of the Atlantic.

Read the second part of his large-scale survey:

Portrait Laurent Estoppey©Wayne Reich

(re)inventing the aftermath ⎜2/2 

Laurent Estoppey
The most important losses and needs musicians faced during lockdown times are easily identifiable and generally shared: playing with others, playing in front of an audience, hugging family and friends.

However, this situation allowed some people to develop a great variety of long-term thoughts and projects, explore new paths, at a different pace. Approaches to the digital world and its possibilities are also very different from one person to another.

“Physical distancing opens up interesting ways of reflection and questions related to performance in a constraining framework for example, the limits of the body and the way in which sound flows out of it, inhabits the space, extends a gesture, encounters others. This kind of directions captures my attention at the moment.”


Laurent Estoppey, Caroline County

New forms of projects are born and it is still very difficult to know if they will be really satisfactory, but they do respond to a desire, an urge to create, to pursue a quest. (see links below)

Many “records” will be released in the next few years…but for which public? And at what price?

For if musicians clearly need an audience, we don’t know if the opposite is true? Has free music made its way into the minds of the (digital) public?

The example of a rock concert in Geneva in May, watched by 13’000 people of which everyone was kindly asked to pay a proposed amount or make a free offer… and only 13 people paid something, is obviously worrying.

The “revival” initiated by some cities by offering free shows – where the artists were payed – also leaves one wondering. The public is accustomed access easily and free, preventing it from being truly professionalized.

“I am afraid that as the economic situation is improving, this interlude only served to forge the next speeches on crisis and austerity, despite the promises of support regarding some essential professions and the promise to review priorities.

I hope, however, that the fact of having experienced a rare moment of “deviation” in our production pace, including in the cultural industry, will remain in the memory of a few people who will look at all this differently.”


Dragos Tara, Horde

The passion of musicians on both sides of the Atlantic is intact, but will we have the energy to make our activities viable and recognized as real professions?

Many artistic questions remain:
Do we have to reinvent the concert situation in terms of new and sustainable health standards?

Will the creation and performance modes of the recent months become the new standards and if so, will we settle for lesser quality and experiences?

Will the crisis reinforce our demands and our artistic needs or will it push towards a quasi-economic renunciation of musical practice as experienced in the USA?

What we realise, is also that musicians’ associations such as SONART or FGMC (Fédération genevoise des musiques de création) also have a very important role to play in the reflection and management of the “aftermath”.


Viva Sanchez, Brice Catherin, Numéro 2

In conclusion, two reflections by American musicians:
I believe the music scene was very exciting but definitely dying. What I miss the most is maybe something that actually never existed.

The pandemic saved me from a burnout. I appreciate this period and try to make the most of it, through meditation, reflection and gardening. The health crisis and the (potential) political awakening are extremely inspiring and stimulating for composing music and songs. »

It’s up to us to react and to dream!

Laurent Estoppey (2/2)

Here some links to specific projects carried out during lockdown times:
Atomwrec Bob Parking Garage Bidness
Brice Catherin / Noisebringers
Jacques Demierre Decálogo Sonoro – 3° entrega
Nicolas Lira 72 seconds solos
Dragos Tara Lisières (avec entre autres Patricia Bosshard, Laurent Estoppey…)
Andrew Weathers Llano Estacado Monad Band
Association Insubordinations / Cyril Bondy, Jacques Demierre, Anouck Genthon…
ensemBle baBel Walking Venezia
Hyper-Duo (Julien Mégroz et Gilles Grimaître)
Article suggested by Julien Mégroz

Quotes in italics are from musicians who participated in the survey:
Antonio Albanese, Aaron Bachelder, Cyril Bondi, Patricia Bosshard, Laurent Bruttin, Brice Catherin, Vattel Cherry, Jacques Demierre, Susan Fancher, Edmée Fleury, Antoine Francoise, Shawn Galvin, Anouck Genthon, James Gilmore, Gary Heidt, Jonas Kocher, Antoine Läng, Nicolas Lira, Julien Mégroz, David Meier, David Menestres, Luc Müller ,Raphaël Ortis, Robert Pence, Will Redman, Noëlle Reymond, Viva Sanchez, Dragos Tara, Vinz Vonlanthen, Andrew Weathers.

Many thanks to you all!

Neo-Profiles: Laurent Estoppey, Association Amalthea, Julien Mégroz, Jonas KocherDragos Tara, Ensemble Babel, Jacques Demierre

What next???

Impacts of the pandemic on musicians in Switzerland and the United States

Laurent Estoppey, composer, saxophonist, sound artist and artistic director of the Ensemble BaBel Lausanne, has been a musical bridge between Europe and the United States for many years and launched many intercontinental collaboration projects between experimental, transdisciplinary, improvised music as well as sound art.

As expert of both continents, I invited him to state his points of view on the consequences of the corona virus pandemic relating to musical creation on both sides of the Atlantic.

After conducting a large-scale survey, Estoppey concluded that the pandemic revealed the system’s fragility and encouraged a fundamental questioning of the music industry as such, but also inspired new methods of creation and collaboration.

Read his insights in the two-part series below:

Portrait Laurent Estoppey©Wayne Reich

1/2 face the facts

Laurent Estoppey
Well, let’s not beat around the bush, we’ve all been hit very heavily by this situation and not “only” financially, but deeply and on all levels, we faced an existential crisis that forces us to imagine and seek other possibilities.

Is the pandemic and its consequences experienced in the same way on both sides of the Atlantic?

To try and answer this question – since there are almost as many situations as there are musicians – at the beginning of June I sent a short questionnaire to some forty musicians who all have rather independent activities in the fields of contemporary, improvised and experimental music.


Ensemble Babel, Christian Marclay: Screenplay part.2

I was particularly touched by the feedback’s generosity and honesty, which of course reflects the need to express oneself in this time of need and frustration. I had expected rather short answers, but many developed several points and gave numerous inputs for reflection.

To my great surprise, the artistic reactions are absolutely the same for most of them.

The only big difference is that musicians in the United States have little or no possibility of compensation (knowing that fees – when they exist – are much lower than in Switzerland or Europe in general and the possibilities of private or public subsidies are five to ten times lower).


Ensemble Batida, Haiku

“We all realize that, even if money is important, it is not the main thing. The last few months have prevented projects from happening, which generates an immense feeling doubt for most of us. »

“This situation influences my life and therefore also my artistic practice, but in a rather global way, which will reveal itself entirely only later on, I believe.»

If for many Americans, making music has little to do with economic aspects, Swiss musicians faced the great precariousness of our profession through the pandemic. “Like many people in this profession, I protect myself by having a second job. »


Julien Mégroz, Défibrillation décongelée

The general reactions to the crisis were – of course – quite similar: first frustration, the reaction to the forced stop, then discovery of other spaces, physical as well as temporal, which led to a deep introspection and to a great questioning – at least until the activities seemed to start again – of the “previous” situation.

“Am I creator or project manager?”

Let’s go back to that “previous” situation with a few statements many can relate to:

In a way this shows the fragility of a system. Music is the weakest link of performing arts. Mainly because it has not been able to professionally develop and establish itself in the same way as theatre or dance.”

This crisis highlights the precarious way the musician’s profession is considered in Switzerland, one does what he or she can to earn a living and put aside enough time to create».

This brought the precariousness and dysfunctions of the creative music branch to light. »

Does this approach really generate quality or does it just add ‘events’ to the quantity of cultural products in an area?

What do I really have to say as an artist? Do I want to depend on a cultural market and state or private funding and support for a long time to come? 

Am I creator or project manager?


Laurent Estoppey, Always something there

All the issues that were already at hand before the crisis are crucial. However, there is a frightening difference on both sides of the Atlantic. Whereas the Americans have long since given up on the possibility of real income through their artistic activities (most of them teach full-time or have totally different professions “to pay the bills”, such as computer scientists, translators, graphic designers, etc. and very little time to devote to concerts), the Swiss want to believe in a greater appreciation of their art.
But: “We are asked to be creative, to bounce back, find solutions, whereas in my opinion the fight is political and the question is: do we want real and proper working conditions for artists and musicians? »
Laurent Estoppey (1/2 )

Here some links to specific projects carried out during lockdown times:
Atomwrec Bob Parking Garage Bidness
Brice Catherin / Noisebringers
Jacques Demierre Decálogo Sonoro – 3° entrega
Nicolas Lira 72 seconds solos
Dragos Tara Lisières (avec entre autres Patricia Bosshard, Laurent Estoppey…)
Andrew Weathers Llano Estacado Monad Band
Association Insubordinations / Cyril Bondy, Jacques Demierre, Anouck Genthon…
ensemBle baBel Walking Venezia
Hyper-Duo (Julien Mégroz et Gilles Grimaître)
Article suggéré par Julien Mégroz

Quotes in italics are from musicians who participated in the survey:
Antonio Albanese, Aaron Bachelder, Cyril Bondi, Patricia Bosshard, Laurent Bruttin, Brice Catherin, Vattel Cherry, Jacques Demierre, Susan Fancher, Edmée Fleury, Antoine Francoise, Shawn Galvin, Anouck Genthon, James Gilmore, Gary Heidt, Jonas Kocher, Antoine Läng, Nicolas Lira, Julien Mégroz, David Meier, David Menestres, Luc Müller ,Raphaël Ortis, Robert Pence, Will Redman, Noëlle Reymond, Viva Sanchez, Dragos Tara, Vinz Vonlanthen, Andrew Weathers.

Many thanks to you all!

Neo-Profiles: Laurent Estoppey, Association Amalthea, Julien Mégroz, Jonas KocherDragos Tara, Ensemble Babel, Jacques Demierre