The Donaueschingen Festival is the world’s oldest and most traditional festival for new music. Founded in 1921 under the auspices of the House of Fürstenberg, it continues to champion new experimental formats in the field of contemporary music and sound art. Every year, around 10,000 visitors from over fifteen countries travel to Donaueschingen in order to experience the diverse program of premieres, sound installations, discussions, workshops and lectures. Internationally renowned ensembles including the Viennese chamber orchestra Klangforum Wien, the Ensemble Intercontemporain, the SWR Symphonieorchester Stuttgart (Southwest German Radio Symphony Orchestra) and the SWR Experimentalstudio regularly perform here.
Akademie Schloss Solitude is delighted that Memory Biwa and Robert Machiri, who together form the duo Pungwe, will be participating in the festival this year. They are fellows sponsored by the Donaueschingen Festival. We are also delighted to report that former fellow Michael Kleine (fellowship holder 2020) is also participating.
The Donaueschingen Festival is organized by the Society of Friends of Music Donaueschingen in cooperation with the town of Donaueschingen, Südwestrundfunk (SWR, »Southwest Broadcasting«) and the SWR Experimentalstudio. The German Federal Cultural Foundation is supporting the festival as part of its promotion of excellence. Other sponsors include the State of Baden-Wuerttemberg, the Ernst von Siemens Music Foundation, the town of Donaueschingen and Südwestrundfunk (SWR, »Southwest Broadcasting«) .
Listening At Pungwe
Live-elektronische Performance, 25 Min.
TWIST Josefstraße 2b 78166 Donaueschingen
The duo Listening At Pungwe, featuring Memory Biwa and Robert Machiri from Namibia and Zimbabwe/South Africa, are not only appearing at Donaueschingen with some of their archival work, but are also debuting a live electronic set. Their sound art is an invitation to listen and feel collectively and to develop a new, decolonial knowledge of space and time.
Michael Kleine exhibits requisites as objets lyriques. In a collection of historical artefacts, natural history objects and modern works of art, such as the Fürstenberg Collection, the distinction between requisite, relic and work of art becomes blurred.
A class of objects exists that is characterized by particularly active communication with their environments. These objects acquire their identity from the places in which they are shown, and through their presence they in turn define the places that surround them. The imaginary worlds of the stage, of sacred spaces and the presentation spaces of art are such places.
The magic of these objects lies in the fact that they enter into a relationship with the people who devote attention to them. They function as a medium. In the process, they become active vectors, surrendering themselves to a state of vibration that exceeds their own presence. They represent absent – real or legendary – persons such as saints or artists, or indeed, these are mediated by the objects’ active, magical vibrations. They are more than simply proxies or signs. This »more« is difficult to name, it transcends both materiality and eludes fixation. Ultimately, the magical activity in all the objects in the exhibition constitutes a movement between audience and artist – a vibration that we call music.
Dramaturgy: Roman Lemberg
Editing: Judith Schneiberg
With special thanks to:
Hannah Star Rogers