Michael Fischer, feedback saxophone performance
Videopremiere 3. April 2020 20:00
Vinicius Ciccone Cajado – Kontrabass
Michael Fischer works on the speech immanence of sounds on saxophone, violin, soundscapes and conducted instant compositions.
In 1999 he started implementing the electro-acoustic phenomenon feedback in his work, developing the feedback_saxophone, based on a non-effect, analog set-upfurther elaborated at the ZKM Karlsruhe and presented at ZKM’s ‚Globale‘-Festival. Exploring the common grounds of poetic manifestations within the different media/art-forms he has ongoing extensive collaborations with writers in contemporary experimental poetry, worked with artists in experimental movie, op-art, conceptual art, video such as Marc Adrian, Gerhard Rühm, Dmitri Prigow, Lore Heuermann, Eileen Standley and performance labs like Baby-q dance comp. Kyoto, TheMeetingPoint Amsterdam or Liz King/Dance.ID.
He collaborated with John Edwards, Marc Sanders, Sarah Brand, William Parker, Denis Charles, Irene Schweizer, Michael Vatcher, Daisuke Terauchi, Ken Okami, with Marcos Baggiani, argentinien drummer in the duo BAGG*FISH since 2004, and since 2016 in collaboration with polish composer/performer/media-artist Franciscek Araszkiewicz a.m.o.
As instant composition conductor, he works with international improvising orchestras / choirs f.i. for Wien Modern, Festiv. Internacional de Improvisación Madrid, Peabody Institute/Johns Hopkins Univ. a.m.o.
In 2004 he launched the Vienna Improvisers Orchestra. Festival appearances, tours, projects, guest-lectures in Europe, Libanon, Japan, USA and Canada, f.i. Audio Art Festiv. Krakow, Mozg Festiv. Warsawa, Sonic Circuits Festiv. Washington, High Zero Festiv. Baltimore, Irtijal Festiv. Ashkal Alwan Beirut, ReMap4 Contemp. Art Meeting Athens, Donaufestiv. Krems, Parallel Vienna 2019, POL festiv. neue musik Frankfurt, Festiv. Kaleidophon, Festiv. Konfrontationen,, ArtActs Festiv., Elevate Festiv., Urbanguild Kyoto, Bunka Kaikan Tokyo, UpLink Factory Tokyo, Cricoteka Krakow, MAK Wien, 21erHaus Wien, Moozak Festival/MediaOpera, Univ. Newcastle upon Tyne/UK, Univ. f Applied Arts Wien, MQ Wien Tonspur live, Bruckner Univ. Linz, Seiwa College/J, Univ. f Architecture Vaduz, Ö1 Kunstradio a.m.o.
Vinicius Ciccone Cajado is a musician with no boundaries between styles. Raised in São Paulo ,Brasil, his unique approach to the bass led him to win the jazz performance and award with honors of most creative and unique playing at the International Society of Bassists competition (Prague, Czech Republic). He has performed in many festivals including Saalfelden Jazz Festival, Jazz and the City Festival Salzburg , Jazzwerkstatt Vienna, 20 Years of Curva Minore Palermo, Studio SP and Studio RJ (now Blue Note rio) Brasil, Porgy & Bess Vienna, The Kitchen NYC and also international tours in many different continents.
Besides performing his spectrum of work included sound engineering, composition for film and theater, and also was musical director, choir conductor and arranger in Escola Mobile (Sao Paulo, Brasil) in a project that is focused on teaching teenagers history, theater and music. Additionally, Vinicius had the pleasure to perform with Barre Phillips, Wolfgang Puschnig, Mark Dresser, Savina Yannatou, Gerald Preinfalk, Vienna Improvisers Orchestra, Bassmasse, Daniel Schnyder and Young Bruckner Orchestra, Mauricio Takara (Sao paulo underground), Sebastian Gramss, Leila Boudreuil, Raashan Ahmad, Michael Fischer, Alegre Correa, Alessandro “Bebe” Kramer, Koenig, Andreas Lindenbaum, Mahan Mirarab and Fabian Rucker. The musician, also was artist in residence at the Leopold Museum Vienna with Klub Bahoe, (poetry slam and music) and opened Andy Warhol’s and Basquiat exhibition in vienna’s art forum, which also counted with members of Velvet Underground in the line-up.
Vinicius’s playing, technique, tone and sound is a mixture between lots of different styles, and all of this extended by the immense color palette that is improvised music. The Bassist uses traditional and unconventional techniques, to make the tradition new, and also cut any borders that have been created in modern music in order to make the stage an organic space of interaction.
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