© Sarah Ambrosi

Saturday night, straightforward after THE EX, radical electro-acoustic and audio-visual treats will be presented by three of RASTER’s top artists.

The beginning does the label’s young shooting star GRISCHA LICHTENBERGER from Bielefeld who lives and works in Berlin as a sound producer and visual artist. He has been inspired not only by THE EX but also to create new forms of presenting his work specifically for this event, and this space. For him the venue and the space are very important, especially with installation pieces. He understands technology not as a source of perfection, but rather one of errors and flaws. This is the origin of his art which he brings to the stage in the striking form of energetic beats, skittering melodies and original visualisations. In his very own way, Grischa Lichtenberger is examining limits, new experiences and unfulfilling expectations.

»I will premiere some new tracks from the second half of la demeure/ il y a péril en la demeure. These tracks are wrapped around questions about the voice – its authority, its connection to language, its emotional intimacy. As a child i remember using my voice as my first musical source. When i was 6 or 7 i would bike home from school – a long empty road between Westphalian fields of corn, slightly downwards, very straight – and i would sing sort of in English but i didn’t really know any words. Remembering this now, i wonder what sort of symbolic authority music also conveys, that i would have this language without words, without understanding, but still a residue of significance that i felt in singing it. That situation of language, that belongs to another, is kind of a core topic for the demeure / il y a peril en la demeure constellation. You have a refuge, a hiding place (la demeure) that is animated (insouled) by a kind otherness, but with time you exile yourself from this very home as these traces of the friendly become a ghostly voice, a pull into peril and crisis or a mark of death. For me using voices in my music was taboo for a long time. I lost the access to singing when i was moving out of my hometown. Now i use synthetic voices, sample libraries, speech generators: in their imperfections they reveal a materiality that works for me like a memorial vehicle, remembering using a language without understanding it.

I am happy to be allowed to realize a bit of an installative performance for the A L’ARME! festival. Besides the dancefloor a small environment will be placed. A speaker hanging from the ceiling (covered by a downwards directed pyramidal felt element) will transmit only the voice-parts of the performance onto the floor where a sort of mini ensemble / or a figure will try to make something small, secretive, almost hidden. The voice will be received by this figure, so to say, while the audience is watching the projection and the stage. I thought it might be a nice metaphor for this two dimensions of language and the voice – a public and a very private connotation, both conflicted and rewarded with an abstract authority.«

© Grischa Lichtenberger