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CARLOS SANDOVAL
RECENT
WORK
THE
THRESHOLD STATEMENT
ABOUT CV
INTERAKTION FESTIVAL
A
festival in the threshold
Berlin, 2009
Haus der Sinne, Berlin
Roulette Duos:
Gerhard
Uebele - Almut Kühne
Hagen
Stüdemann - Olivier Di Placido
Anat
Cohavi - Teresa Hackel
Antonis
Anissegos - Mat Pogo
Rebekka
Uhlig - Richard Scott
Keith O
Brien - Nicolas Wiese
Jason
Levis - Reiner Hess
Joke
Lanz - Olaf Rupp
Audience: 220+,
Votes: 167
First price: Joke
Lanz - Olaf Rupp, (1000.-Euro)
Second Price: Anat
Cohavi -Teresa Hackel (500.- Euro)
A THE TILT Concept: Carlos Sandoval,
Production: Oori Shalev
With the kind support of Initiative Neue
Musik Berlin, e.V.
and Haus der Sinne
A musician, friend of
mine, lost a music performance contest. He was
angry — not at losing, but at the machine
that had produced the result: the jury, the
institution, the closed circuit of
legitimization. He could name the problem
precisely, but he couldn't figure out what
to do about it. I told him: let's confront
the machine with humor. Let random processes
build a structure that laughs at structures.
Sixteen preselected
musicians were paired at random, on the
spot, by roulette. Eight duos. Twelve
minutes each. The audience — not a jury, not
a panel of specialists — voted for the best
interaction. One edition. One statement.
The design is the
score. The roulette is the instrument (as in
Six
Lost Songs). The sixteen musicians
are the orchestra — assembled in eight duos
for one night by chance, never rehearsed,
never introduced to each other. The duration
is fixed. The content is entirely
indeterminate. What happens inside the frame
cannot be predicted or controlled — only set
in motion. This is orchestration: not
writing what sounds, but building the
conditions under which sound becomes
inevitable, like in
Maquina Latina.
The festival generated
fierce opposition within Berlin's improvised
music scene. The established names never
applied — their absence was a position. The
echtzeitmusik calendar refused to
list it. Nearly 220+ people showed up
anyway. Sold out. Many couldn't get in. To
this day the most attended experimental
improvised music concert in Berlin —
achieved without the support of the one
institution that existed to make such things
visible.
Diego Chamy, writing
his
critical defense of the festival, found
the precise description perhaps without knowing it:
"The Interaktion Festival walked a fine line
where everything could have been something
else, and it was never clear to anyone what
was happening exactly or how it would all
end."
By describing the
festival, he was describing
The
Threshold.
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