In February 2016 composer and oboist Heinz Holliger was invited to the Orpheus Instituut in Ghent, by pianist Jan Michiels. During his visit to Orpheus he explored his relation to his own music and to the music of others like Debussy or Schumann - by playing, explaining and coaching. The video recordings of this event are now published online.
Composition as Critical Technical Practice
Orpheus Research Seminar 2016
21-23 November 2016, Ghent, Belgium
The arts of the twentieth and twenty-first centuries have pushed us relentlessly to question inherited notions of the self, expression and communication: to ask ourselves, again and again, who we think we are and how we can speak meaningfully to one another. Increasing globalisation and the development of recording and photographic technologies, running alongside psychoanalytical understandings of selfhood and the impact of scientific principles of uncertainty, are often theorized as having prompted a crisis of identity, representation and authenticity. At the same time, the throwaway playfulness of pop culture and digital manipulation offer endless possibilities for self-reinvention. It is perhaps harder than ever to know who 'I' am, but 'I' am ever more self-aware. The fluid, dynamic, embodied and contingent qualities of subjectivity are experienced on an everyday basis.
During the first half of October Orpheus Institute welcomed its first South African visiting researcher: Mareli Stolp. Mareli is not only an excellent piano performer, specialized in contemporary classical music, she is also an inspired advocate of Artistic Research practices in her native country. Orpheus Research Fellow Luk Vaes engaged with her in a stimulating chat, and as a result of this encounter, Mareli accepted Luk's request to write a guestentry on his Artistic Research Reports-blog.
Following on meetings with members of Orpheus Research Centre - at the 2013 PERFORMA Conference on Performance Studies in Porto Alegre, Brazil, and the Limits of Control: Tradition, Experiment and the Imagination in Musical Performance seminar hosted by the Orpheus Institute in 2014 - South African pianist Mareli Stolp was thrilled to accept an invitation to take up a position as Visiting Researcher at the Orpheus Institute in October 2015. While a Visiting Researcher at the Orpheus Institute, she will focus on finding resonances between her own work on subjectivity and consciousness in artistic research contexts, performer-perspectives applied to music analysis; site-specific performance approaches; and experimentalism in music performance and three of the currently active Research Clusters at Orpheus: Performance, Subjectivity, Experimentation (Principal Investigator Catherine Laws); MusicExperiment21(Principal Investigator Paolo de Assis); and Experimental Legacy (Principal Investigator Luk Vaes).
DARE 2015 – The Dark Precursor - is the first international conference entirely dedicated to the relation between artistic research, French philosopher Gilles Deleuze and Félix Guattari. Choosing as its title the concept of ‘dark precursor,’ the conference reflects the duality and openness inherent to artistic research. Deleuze appropriated this expression from meteorology, where it designates a stage in a cloud-to-ground lightning sequence. In line with the theme of the ‘dark precursor’, the conference convenors are particularly interested in receiving proposals for scholarly and artistic presentations that that investigate this relation.
The Orpheus Institute is looking for a researcher at the pre-doc or post-doc level who has strong research, organizational and writing skills, who has a technical interest in the making of pianos, and who is interested in taking on a key role in a collaborative project to reconstruct and manufacture an early nineteenth-century piano of historical and artistic significance.
The successful candidate will be integrated in the Research Cluster “Declassifying the Classics” under the supervision of senior researcher Prof. Tom Beghin and in collaboration with historical keyboard maker Chris Maene.
Application deadline: May 1, 2015.
The Orpheus Institute (Ghent, Belgium) and the Fund InBev-Baillet Latour are very pleased to announce a substantial research funding for the Orpheus Institute. The funding announced today will allow the Orpheus Institute and Tom Beghin to build a research group of high-potential researchers, industrial partners and well-established musicians and interpreters of 18th- and early 19th-century music. This grant reinforces the institute's position as a centre of excellence and as a frontrunner in Artistic Research in Music.
Orpheus Instituut is pleased to welcome Jonathan Impett as its new Director of Research. Jonathan’s appointment and the outset of this new position at Orpheus Instituut mark an important development for our research centre, as we seek to enhance both the breadth and focus of artistic research activities.
On January 2, 2015, Bob Gilmore passed away.