Yuri Akbalkan | Artist Portfolio

YURI AKBALKAN | ARTIST PORTFOLIO

ricercar for performers, video, sensor and interactive electronics

TRAILER

V I D E O A N N O TA T I O N External link: https://youtu.be/HqYm_wYxEQ4

EXTRACT

V I D E O D O C U M E N TAT I O N YouTube: https://youtu.be/sbqzF0sBHnk?t=389 External link: https://akbalkan.com/ricercar

MUSIC FOR DICE

for performer with two dice

music for dice (text score) the piece intended for one performer. in all: two dice (hexahedrons).

• to twirl (to touch) a dice in one hand. listen to the friction of dice. as much time as needed.

• to transfer a dice to another hand. come to a stop. the number of fallen indicates time of silence. each point (by default) equal to one time segment.

• to twirl (to touch) a dice in this one hand. listen to the friction of dice. as much time as needed.

• repeat this sequence of actions. and further. do it over and over again. as much time as needed.

ASMR CMPSRS

V I D E O D O C U M E N TAT I O N External link: https://youtu.be/2SHoFN_GMgA

ПУСТ* Interdisciplinary Project: Light, Dance, Sound, Finding/Created Objects and Documents

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The title ПУСТ* has several connotations: on the one hand, it signi es a “wild, uninhabited, dense, pathless forest” (Belavezha Forest) that would otherwise consist primarily of emptiness and desolation. At the same time, the word means “let it be”, signifying a kind of acceptance of inhabiting the political wilderness. This is a criticism of society and ourselves.

ABOUT THE PROJECT The project ПУСТ* refers to events that took place on December 7-8, 1991, during which the presidents of Russia, Ukraine and Belarus signed the Belavezha Accords, of cially dissolving the Soviet Union and the Commonwealth of Independent States.

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This extremely important political event occurred in a hunting cabin in the woods of the Belavezha Forest (Belarus), the last primeval lowland forest in Europe. These events, which took place under a veil of secrecy, are still mythologized to this day. Various sources report a variety of controversial events.

Some assert that the premises where the treaty was signed had been surrounded by secret services that did not intervene. Other sources state that the treaties were signed in a drunken state. There is a prevalent rumor that, once signed, the documents temporarily disappeared and were then found in the trash bin the following day. Others conjecture that the signatories feared being accused of treason

and had made preparations to ee across the border to Poland by walking through the forest.

The authors of the ПУСТ* project are representative of a generation that witnessed the disintegration of the Soviet Union and thereby helped shape the historical trauma of the era.

Using artistic methods, the collective attempts to imagine the events in the Belavezha Forest from the perspective of its participants, drawing parallels between fear of the “wild forest” and fear of wild politics, between being completely adrift but also spontaneously decisive, between the enormous impact of this political decision and a series of unpredictable and absurd factors that in uenced it.

PA R T I C I PA N T S The artists’ collective behind the project ПУСТ* consists of four representatives from different artistic genres: the composer Yuri Akbalkan, the video and media artist Snezhana Vinogradova, the choreographer Alexandra Portyannikova and the visual artist Sergey Shabohin. Although the artists work with different types of media, there are similarities in their approach to art and the themes they deal with.

All four collective participants have left the academic concept of art behind them, stepping outside the limits of traditional formats in their artistic practice. Additionally, all four artists work within the framework of art in public space and incorporate elements of physicality into their work. Common themes in the artists’ respective works are archives and maps and the inclusion of political as well as historical elements.

I N S TA L L A T I O N S , R E S I D E N C E S , P R E S E N TAT I O N S A N D PERFORMANCES

THE FIRST RESIDENCE

Schwarzwald und ZKM | Zentrum für Kunst und Medien Karlsruhe, Germany Team: Yuri Akbalkan, Alexandra Portyannikova, Sergey Shabohin, Snezhana Vinogradova

PROJECT P R E S E N TAT I O N Kubus, ZKM, Karlsruhe, Germany Autors Team: Yuri Akbalkan, Alexandra Portyannikova, Sergey Shabohin, Snezhana Vinogradova

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Team ZKM: Luise Wiesenm ller (Produktionsleitung), Hans Gass (Licht, Veranstaltungstechnik), Sebastian Schottke (Tonmeister), Matthias M ller (Tontechnik), Bernhard Sturm (Betriebstechnik), David Luchow (Assistenz Betriebstechnik), G tz Dipper (Musikinformatik), Yannick Hofmann (K nstlerbetreuung), Caro M ssner (Sekretariat), Christina Zartmann, Anna Titova (VideoDokumentation), Anton Kossjanenko (Aufnahme)

THE SECOND RESIDENCE

Minsk und Białowieża-Urwald, Weißrussland Projekt presentation in the frame of the festival „Work Hard! Play Hard! Transmission“ in Minsk Team: Yuri Akbalkan, Daria Plokhova, Alexandra Portyannikova, Sergey Shabohin, Snezhana Vinogradova Camera: Alexey Kubasov

F I N A L P R E S E N T AT I O N , P E R F O R M A N C E A N D I N S TA L L AT I O N Berthold-Zentrum, Saint Petersburg, Russia

Team: Yuri Akbalkan, Isadorino Gore Dance co-op (Daria Plokhova, Alexandra Portyannikova), Sergey Shabohin, VOLNA (Nikita Golyshev, Snezhana Vinogradova)

B E R T H O L D - Z E N T R U M . S T. P E T E R S B U R G

P E R F O R M A N C E A N D I N S TA L L AT I O N Vimeo: https://vimeo.com/246672435 External link: https://akbalkan.com/pust

ZKM | ZENTRUM FÜR KUNST UND MEDIEN

P R OJ E C T P R E S E N TAT I O N External link: https://zkm.de/media/video/i5681_16_MAP_P_VL_SK_beloRussian_Performance.mp4

CREDITS Idee, Design, Objekte Sergey Shabohin Choreogra e Konzept, Performance: Isadorino Gore Dance co-op (Daria Plokhova, Alexandra Portyannikova) Kostüme: VOLNA Lichtinstallation Konzept, Produktion: VOLNA (Nikita Golyshev, Snezhana Vinogradova) Elektronische Montageunterstützung: Nikita Savinyh Konstruktion: VOLNA (Dmitry Gavkalyuk, Katerina Morza) Klang Komponist: Yuri Akbalkan Digitaler Synthesizer Entwicklung und Programmierung: Sergey Kostyrko Videoinstallation Konzept, Redaktion, Produktion: VOLNA Kamera: Alexey Kubasov, Sergey Shabohin

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ZKM | Zentrum für Kunst und Medien Karlsruhe Leitung der Institut f r Musik und Akustik: Ludger Brümmer Licht, Veranstaltungstechnik: Hans Gass Tonmeister: Sebastian Schottke Tontechnik: Matthias Müller Musikinformatik/Systemadministration: Götz Dipper Aufnahme: Anton Kossjanenko Betriebstechnik: Bernhard Sturm Assistenz Betriebstechnik: David Luchov Softwareentwicklun: Chikashi Miyama Projekte/Veranstaltungen: Yannick Hofmann, Luise Wiesenmüller Video-Dokumentation: Anna Titova, Christina Zartmann, So a Kessel Mediaartbase.de: Daniel Höpfer Sekretariat: Caro M ssner Besonderer Dank Alexey Bratochkin, William Cohen, Ksenia Diodorova, Vera Dzedok, Viktor Fiht, Justina Fink, Zhanna Gladko, Tatjana Kirianova, Beate Körner, Evgeny Korniag, Roman Krasilnikov, Klim Losovsky, Alexey Lunev, Simon Matikashvili, Pavel Preobrazhensky, Tatjana Pronina, Nemanja Sarbajic, Agata Semenova, Viktor Smolensky, Nikola Spesivtsev, Dzina Zhuk, Tatjana Zhukova

Projektdokumentation Kamera: Polina Korotaeva, VOLNA Foto: Valery Smirnov

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Goethe-Institut St. Petersburg Institutsleiter: Dr. Günther Hasenkamp Initiatorin des Projekts, Institutsleiterin des Goethe-Institut St. Petersburg, 2014-2017: Dr. Angelika Eder Projektkoordinatorinnen: Jana Soboleva, Snezhana Vinogradova

Foto: Valeriy Smirnov (1, 2, 9, 15) Ў Gallery (6) Sergey Shabohin (12, 13) Alexey Kubasov (18) Videodokumentation Kamera: Polina Korotaeva Bearbeitung: VOLNA

EULER'S BOOK the cycle

ABOUT THE CYCLE Each realization (1, 1a, 2a, 3, 4a-d) is a part of a great planned cycle under the general title Euler’ s Book.

As a starting point for this project served a treatise An attempt at a new theory of music, exposed in all clearness according to the most well-founded principles of harmony (lat. – Tentamen novae theoriae musicae ex certissismis harmoniae principiis dilucide expositae) created in 1739 by famous mathematician Leonhard Euler. In this treatise Euler operates with such aesthetic categories as pleasant/unpleasant, perfect/ imperfect and connects with them a number of propositions of consonance and dissonance.

In the Chapter XI (About harmonies of diatonicchromatic genus) he demonstrates a table with chain of harmonies divided into species and arranged according to their acceptability for hearing. (The fragment of Euler ’s table is reproduced as an addendum at the end of score).

For example, piece for orchestra should to be performed simultaneously with the chains of harmonic sets from the Euler’s table in two acoustically separated spaces — hall / lobby or hall / another hall; or two different stations (in case of radio broadcasting).

Every time, in the process of acoustic realization of the table, musicians should to decide how to relate to a concrete harmony, building up a consonant or dissonant (from their point of view) interval, and thus revealing their personal intention in representing of beautiful and ugly. In this context, white noise is a kind of allegory, which leveling the very issue of dissonance and consonance.

R E A L I Z AT I O N 1 : O R C H E S T R A A N D E U L E R ' S TA B L E S

External link: https://akbalkan.com/realization-1/

Realization 1: orchestra and Euler's tables Yuri Akbalkan

YouTube: https://youtu.be/ay-bJMsGVKQ The piece for orchestra should be performed simultaneously with the chains of harmonic sets from the Euler’s table in two acoustically separated spaces—for example, hall / lobby or hall / another hall; or two different stations (in case of radio broadcasting).

TIMELINE Realization 1: orchestra and Euler's tables for orchestra and piano Realization 1a: sine wave and table No. 1 for sine wave and piano Realization 2a: froth on the table No. 1 for piano Realization 3: extract bass from table No. 1a for bass instrument Realization 4: clarinet, cello and noise according to the table No. 1 for clarinet, cello, white noise generator and piano Realization 4a: instruments and noise according to the table No. 1 for two instruments, white noise generator and piano Realization 4b: clarinet, viola and noise according to the table No. 1 for clarinet, viola, white noise generator and piano Realization 4c: ensemble and noise according to the table No. 1 for clarinet, violin, cello, percussion, white noise generator and piano Realization 4d: ensemble and noise according to the table No. 1 for saxophone, violin, percussion, white noise generator and piano Work in progress

÷³ FOR CHRONOMETER, GROUP OF MUSICIANS, AND VIDEO

V I D E O D O C U M E N TAT I O N Vimeo: https://vimeo.com/223992320

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