#Ohad Fishof

[usmaradiomagazine]

🔴 𝗢𝗡 𝗔𝗜𝗥 𝗧𝗢𝗗𝗔𝗬 - Tuesday 5 December at 7:00 pm (CET) - usmaradio.org USMA for Radioart106

𝟭𝟲𝟯: 𝗖𝗼𝗺𝗽𝗹𝗲𝘅 𝗛𝗮𝗯𝗶𝘁𝘀 𝗡𝗼. 𝟵 - 𝗢𝗵𝗮𝗱 𝗙𝗶𝘀𝗵��𝗳 [𝟲𝟬 𝗺𝗶𝗻]

‣ ‘Complex Habits No. 9’ was written, composed, performed and assembled by Ohad Fishof - An artist and musician who works in the fields of sound, dance, text, performance and visual art. His idiosyncratic time-based art, which spans from music to site-specific performance work, dance, video and installation, has been presented by dance companies, festivals and art spaces worldwide. He also teaches art and dance. 

Complex Habits No. 9 Contains sound contributions from Shaul Kohn, Ilan Volkov and Binya Reches. https://ohadfishof.bandcamp.com/album/album-1

>> Radioart106 explores radiophonic works of worldwide radio artists. Radio art is a subset of Sound art where radio art is produced for the medium of radio and is specifically intended for broadcast.A new radio work will be aired every first Tuesday of the month at 7:00 pm CET on usmaradio.org

[halas1]

Ohad Fishof, Ishai Hadar and Binya Reches presenting Audio Works by Uri Katzenstein.

[citorchestra]

Premiering the piece OTOTO of the hybrid Castle in Time Orchestra !

November 23rd Barby Tel Aviv Hosting Ohad Fishof and Victoria Hana

[choreographique]

Ohad Naharin is one of the most sought after choreographers in the world and the man behind the movement method Gaga, practiced by dancers as well as non-dancers. MAX was created for his own company, the Israeli Batsheva Dance Company, in 2007. GöteborgsOperans Danskompani is the first other company to be allowed to perform this masterpiece. With its contrasts of intense speed and absolute stillness it’s a beautifully crafted work. 

 CHOREOGRAPHY Ohad Naharin 

LIGHTING DESIGN Avi Yona Bueno (Bambi) ORIGINAL

 MUSIC COMPOSED AND PERFORMED Maxim Waratt 

MUSIC PRODUCTION & MIX Ohad Fishof COSTUMES Rakefet Levi 

DANCERS FROM GÖTEBORGSOPERANS DANSKOMPANI: Jim De Block, Takuya Fujisawa, Mai Lisa Guinoo, Janine Koertge, Valerija Kuzmica, Dan Langeborg, Fan Luo, Micol Mantini, Pascal Marty, Waldean Nelson, Anna Ozerskaia, Dorotea Saykaly, Ekaterina Shushakova, Ján Špoták, Satoko Takahashi, Lee-Yuan Tu, Arika Yamada, Joseba Yerro Izaguirre

[prtcll]

[Sampler] 30 Music of 2019

Listen: https://www.mixcloud.com/prtcll/sampler30-music-of-2019/

[00:00-] rakish (Shuta Hiraki) / Epilogue [01:50-] Nørstebø, Lercher, Rokseth / Inside Elements [05:48-] Topias Tiheasalo & Niko-Matti Ahti / Part V (from “Four Letters - Life”) [08:40-] Aldous Harding / Designer [09:59-] Dunning & Brosamer / Ack [12:21-] Dine Doneff / Division Within [13:27-] Alexandra Spence / Bodies in Place [16:20-] 9T Antiope / Dry Run [18:09-] Kali Malone / Prelude [20:36-] Grischa Lichtenberger / 0319 16 re 0219 27 EINS d (32 cents) [23:28-] Maggie Nicols, Silke Eberhard, Nikolaus Neuser / Mingus Cat-Alog/Pussy Cat Dues [25:23-] Angles 9 / Pacemaker [27:53-] The Magic I.D. / In My Dream [29:22-] Cravune / U-Bahn, Chattery Kids, a Street Musician and a Vending Machine [31:07-] Chris Abrahams & Sabine Vogel / Floating Head Over [33:53-] Kris Davis / Corn Crake [36:13-] Ohad Fishof / Walong Tudu [38:36-] Roots Magic / Unity [40:03-] Max Nagl Otto Lechner, Bradley Jones / Pills [41:31-] Sun Ra & His Intergalaxtic Arkestra / High Ho! High Ho! (Live) [44:29-] The Chemical Brothers / Bango [47:47-] Susanna Hood & Martin Tétreault / Hello étendues [49:47-] Killing Joke / Asteroid (Live / from “XXV Gathering: Let Us Prey”) [52:09-] Neil Campbell & Sticky Foster / Enge Chaleur Telegraphique [55:20-] Daniel Pemberton / In or Out [57:44-] Oren Ambarchi / Sagittarian Domain [60:13-] Donald Miller / Les Oppositions Ne Sout Pas Asset Violentes Vy Que Les Mouvements Sout Paralleles - For Hans Bellmer [61:25-] Scott Allison & Ben Owen / 5:53 (Track 5 from “Untitled (for Agnes Martin)”) [63:25-] … (Kevin Drumm) / Side B of “No Title (sahko-030)” [65:51-] Tickmayer Formatio / Le jardin du mage

[halasaudio]

Ohad Fishof, Ophir Illzetzki, Daniel Meir, Alex Drool, Ran Slavin

[mijdancecompany-blog]

Name: MIJ dance company. 

Place: Russia, Moscow. 

Est.: May, 2011.

Contacts:

email: mijdancecompany@gmail.com tel: +972-54-9849656

Participants:

Alesya Dobysh (03.07.1989), 

Snezhana Ezhkova (10.01.1989), 

Marina Pravkina (01.08.1986).

Disciplines:

house dance, be bop uk jazz dance, hip-hop, breaking, locking, contemporary, improvisation.

Education and Training:

- Street dance workshops by founders and top dancers of desciplines: Mamson (Fra), Brian Green (USA), Didier (Fra), Caleaf (USA), Link (hip-hop), John Agesilas & Garry Nurse (UK) (jazz fusion), Hiro Suzuki (Japan), - Intense course “Cunningham Technique”(USA) at Russian summer school of contemporary dance “Tsekh” (Moscow, 2012), - Contemporary classes at “Area” (Barcelona, 2014, 2016), - Contemporary Dance Lab of Dance Academy Russia by Laura Aris Alvarez (Spain/Belgium)(Saint-Petersburg, 2015), - Weekly contemporary course by Manuel Ronda (Ultima Vez) (Moscow, 2014), - Weekly intense course of «Expressive means of Pina Bausch dance theater» (Moscow, 2015), - Workshops with Noa Zuk & Ohad Fishof (Moscow, 2016), - Eastman Summer Intensive from Cidi larbi Cherkau dance company (Antwerp, 2016), - Regular Gaga technique/Dance Ecology and Contemporary dance classes from local Moscow teachers at Moscow Dance Academy (ongoing education)

Competition Experience (street battles):

- “Juste Debout Final” 2016, France – final 2nd place (house 2 vs 2), - “House Dance Forever” 2015, Holland – winner (house 1 vs 1), - “Barcelona Top Styles” 2014, Spain - winner (house 1 vs 1), - “Street Star” 2014, Sweden - winner (house 1 vs 1),

- “Juste Debout” 2013, Italy - winner (house 2 vs 2),

- “Who's That Lady” 2013, France - winner (house 1 vs 1), - “Cercle Underground” 2011, France - winner (house 3 vs 3).

Performance Experience:

- Festival of multimedia contemporary art “FORMA” / Guest performance “LAGOM” (Moscow, 2017), - Festival of fashion and performance art  “Fashion Clash” / Guest performance “LAGOM” (Maastricht, 2017), - International music and dance festival “Universal Playground” / Guest show (Bratislava, 2017), - IV Urban Dance Performing Arts Contest "HOP festival" / Winner prize, company category (Barcelona, 2016),

-  Experimental Dance Festival “Open Your Mind” / Best Stage Work (Saint- Petersburg, 2016),

-  Stage performance with Live musicians “Torino Jazz Festival” (Torino Italy, 2016),

-  Cirque du Soleil/45 Degrees Show “Joel” (Moscow, 2016),

-  International Dance Festival “Summer Dance Forever Theatre Nights”,

The Stadsschouwburg National Theatre (Amsterdam, 2015),

-  International street dance festival “House dance Europe” (Sorrento,

2015),

-  “House Dance Crossing” dance festival (Tokyo, 2015),

-  “Winter Olympic Games” (Sochi, 2014),

-  Scandinavian dance festival “Nordic Soul Festival”(Helsinki, 2014),

-  Site-specific performance “Free Art” at the “Moscow Polytechnic

Museum” (Moscow, 2013),

-  Festival of art “Scandinavian SuperJam” (Stockholm, 2013),

-  “Street LABour festival” (Berlin 2012).

Theatrical works:

- “LAGOM” (23 min, 2017), directed by “MIJ Dance Company”

-  “Graces” (15 min, 2016), directed by “MIJ Dance Company”,

-  “Mimicry” (15 min, 2016), directed by Zakusova Anna,

-  “Points of Singularity”(50 min, 2014), directed by Banzay (“FarFor”,

Moscow),

-  "What Are You Looking At?”(50min, 2013), directed by Manuel

Ronda(ULTIMA VEZ, Belgium),

-  "FarFor: Free Art”, (55 min, 2013), directed by Banzay (“FarFor”,

Moscow),

-  “All Colors of Jazz”, (30 min, 2012), directed by “MIJ Dance Company”.

Other projects:

- Improvisation performances with live jazz musicians at city’s venues, - Dance–music collaboration with Moscow producer/DJ Lay-Far at Annual Jazz Festival “Usad’ba jazz 2015”, - “Evening of Improvisation” - organization of jazz event for musicians & freestyle dancers for exchanging their skills, - “Crazy week with MIJ” - organization of one week Moscow’s intense educational course for dancers for developing their body, mind and soul “Crazy week with MIJ”, - Organization of market-parties for young local artists to represent their products and art.

[gallowhill]

Ohad Fishof, Twelve O'clock, 2005

[halas1]

One solo X One Voice 

Live recording from the Hanut 31 – 05 Sep. 2016

Short solo sets from Israeli experimental artists. The sets are completely free and could include improvised or written music, or anything in between, so long the artists adhered to the main restriction of the evening: a solo performance on one instrument alone!

*

הקלטה חיה מגלריה תאטרון החנות – 05 לספטמבר 2016

סטים סולניים קצרים של אמנים ישראלים מתחום האילתור/מוסיקה חדשה/נסיונית, או בקיצור, מוסיקה! הסטים חופשיים ויכולים לכלול מוסיקה מאולתרת, כתובה או כל מה שביניהם כל עוד האמנים נשמעים למגבלה העיקרית של הערב: הופעת סולו על כלי אחד בלבד

*

Set List

Daniel Meir

Alex Drool

Ohad Fishof

Ran Slavin

Ophir Ilzetzki

*

סדר המופיעים בהקלטה

דניאל מאיר

אלכס דרול

אהד פישוף

רן סלוין

אופיר אילזצקי

[halas1]

At Home #14 with Ohad Fishof playlist:

id m theft able "Cold and Sweaty and Cold" from Teeth Teething (Maang)

Baby Dodds "Tom Tom Workout" from Footnotes to Jazz,Vol.1 Baby Dodds talking and drum solos (Folkways Records)

Nicolas Gaunin "Noa Noa" from Noa Noa (Artetetra)

Ohad Fishof "Jungle Johnny" from Album 1 (Entr'acte)

Ohad Fishof "One(Freeze)" (Unreleased)

David Toop "The Chairs Story" from New and Rediscovered Instruments" (Obscure)

Yom Gagatzi "Strea Medina" (Unreleased)

Raadraaca Fanka "Maxaa ani iigu jira" from Careys Ciise Kaarshe (taken off Youtube,unknown label)

Etienne 'Doko,David Wa and Martine Sènwan "Séam ko mè" from Central Arrica:Sanza Music in the Gbaya (VDE-GALLO)

The Institute of Ongoing Things "Under the Ukelele Tree" (Unreleased)

[halas1]

Multitudes

Ofir Klemperer, our guest on the 27th installation of Experimental Israel, presents us with a musical split personality. On the one side, he is a classically trained musician who writes highly stylised and meticulous scores, and who claims to be dissatisfied with something intrinsic to improvisatory practices. On the other hand, he is a wonderful improviser with quite a record to show in the field, which currently, can be seen as one of his main activities. To me this is already very interesting, and carries with it something of the experimental spirit.

Trying to define his personal ideas regarding experimentation, Klemperer revisits ideas first introduced by our former guest, Alex Drool. Similarly to Drool, Klemperer recognises in himself a deep dissatisfaction, boredom, or need for change, which he subjectively equates with experimentalism. Perhaps it is more of a means towards an end, but still, if the end is experimentation then indeed the means is of less importance.

“Improvisation”, claims Klemperer, “is the power of listening; it’s knowing when a moment requires change”. And by saying this, Klemperer already sets himself within the great corpus of artists on this research who manage to extract a theory from within musical practices, which can then be attributed to many other aspects of art and life. However, Klemperer expresses a deep-rooted dissatisfaction with an ongoing attempt amongst some practitioners to make free improvisation into an “establishment” – an establishment linking itself to exclusive aesthetics, rather than fighting for the continuation of the Tabula Rasa attitude he believes free improvisation should embody.

When thinking of improvisation, Klemperer expresses a common frustration for composers. As a composer, one plans minute moments in painstaking rigour, whereas the improvised moment requires no planning. This is doubly frustrating, as the spontaneous moment can turn out to be nonsensical and unimportant, and thus, in Klemperer’s eyes, diminish the value of art. Yet sometimes the spontaneous moment can turn out to be artistically masterful, and in many ways better and fresher than any written composition. This raises the questions of whether the planned moment does not require some of the unknown, or the openness so characteristic of “free” music.

Klemperer tells us of an event he partook in as a student of the Royal Conservatory in The Hague; with an improvisation ensemble he was part of – the Royal Improvisers Orchestra. A basic plan for an impromptu orchestral composition was thwarted by one of the violinists who forgot to get on stage. Soon after the performance commenced, the violinist, realising his mistake, started running frantically towards stage whilst playing his “part”. This action “high jacked” the entire performance, as now, the improvisers on stage were forced to interact with this new and unforeseeable action. Thus, the compositions was suddenly shaped around this “mistake”, and the piece ensued with each performer leaving the stage in turn, leaving the same violinist alone on the empty podium at the end of the performance. Although Klemperer recognised this moment and indeed the way the piece unfolded as beautiful, he could not help but be annoyed. “Music allows us to communicate these great emotions, and this moment became farcical”. Whereas Klemperer was searching for musical communication on a profound level, this action felt more like entertainment. This is why Klemperer enjoys performing his music (specifically contemporary music) in bars – not as a headliner on stage, but simply in the role of musac. In this scenario, listening isn’t guaranteed, and if he still manages to get the audience’s attention, it is due to the ad-hoc relationship created with them based on carefully chosen materials.

When speaking of scoring or visual musical specification, Klemperer admits he doesn’t believe or much enjoys improvisatory means inserted into through-composed pieces, or indeed structured improvisation: “This isn’t improvisation”, he tells us. However, as a composer Klemperer recognises the different shades of specification a performer could potentially react to. Whereas one performer could react best to the through-composed part, another could react best to partial specification, and yet another could react best to no specification at all. In this manner, each performer is approached with a method that would allow them to bring the required or utmost energy into the piece. The trick, tells us Klemperer, is to know your musicians, and write for each performer, even within the same ensemble, with means befitting her or his performance sensibilities.

In his current home in Cincinnati, Ohio, Klemperer performs every Sunday with his band – Sun Night, in the Lava Bar. These performances usually include interactive musical games incorporating the audience. Klemperer gives us a few examples: A game in which each audience member writes down a word on a card later given to the performers. The performers react to the written cards in music whilst showing the same cards to the audience, but not to each other. This allows for cacophonic moments to still be accepted and appreciated by the audience, as they are let into the process with an advantaged vista. Another example is what Klemperer terms “Shred Nights”. Here a video screen is employed, showing a video performance of a known band with the original sound turned off. Sun Night then continue to mimic the on-screen performance whilst attempting to react to specific musical cues, only doing so with completely different and unrelated music. The “Light Show” is a collection of LED lights connected to a lighting desk, controlled by an audience-member. This same audience-member, through the lighting desk, is now a cuing mechanism for the band, each of whom is allocated a dedicated LED bulb. Hence, the band is allowing the unknowing audience member a glimpse into conduction. In relation to his aforementioned ideas regarding scoring, these are all methods for Klemperer to extract the utmost materials from his musicians and audiences in non-ideal circumstances.

I ask Klemperer whether this approach doesn’t, in effect, negate his feelings regarding improvised music and improvisation. Very aware of this conflict, he retorts with a profound understanding that acted also as a pivot point for our former guest, Ohad Fishof: “In me I have multitudes”. These multitudes might not be in peace with each other as much as they are with Fishof, but Klemperer recognises them and allows them their due place. This short exchange reminds him of an older piece of his, Kera Kahol (Blue Tear) which started off as a song performed and recorded by Klemperer himself as singer-songwriter. Later the same song was rearranged for his Amsterdam based band during Klemperer’s Dutch years. In this version the song already sounds a bit more stylised and gains the feel of a cabaret song, yet still maintains its earlier character. Finally, commissioned by a friend to write a piece for ensemble and soprano, Klemperer reissues the piece, now as a sort of classical aria maintaining only faintly recognisable links to the original. Here too, there is something with that very distinct aroma of experimentalism, a leanness of material, and mainly an ingrained understanding of cause and effect of the musical craft. It all leads to this exciting whole called Ofir Klemperer. I urge you to check out his works:

[halas1]

Not Having to Decide who I am

Experimental Israel continues its journey on its 23rd installation with an artist that, through his work, manages to perfectly embody the ethos of experimentation. Ohad Fishof is perhaps still best known in the Israeli music scene as the front man of the mythical 90s rock group – Nosei Hamigbaat. In its own accord, Nosei Hamigbaat presented an experimental twist within the pop genre, and indeed with its disbandment some of its members turned towards more esoteric artistic realms. This is especially true for Fishof, who, since, has been affiliated with multidisciplinary work seeming to dwell comfortably between the avant-garde and pop. To those acquainted with Fishof this comes as no surprise, as his career includes training as dancer alongside his musical output. And indeed, a meeting with a sample piece by Fishof, whether installation, dance performance, or pure music, seems always to present a work veering towards a meeting point between different mediums and forms of expression.

Another aspect of Fishof’s work is a trademark at “world making”. I compare this tendency to a similar one to be found in the work of David Lynch, claiming that there, too, is to be found an abundance of detail leading one towards a feeling of meaning, yet a tendency to keep this meaning opaque. Fishof’s reaction is in claiming that he, as an artist, tends to listen to different types of reason, and attempts to shape these supposed meanings into forms. Meaning, continues Fishof, is a consequence of interaction, yet one that the artist can formulate without fully understanding. He relates this practice to his love of exoticism and science fiction, both of which present us a reflection of ideas and potential meanings that are very hard to explain vis-à-vis one’s own culture. This same train of thought finds itself entering frequently into Fishof’s works, where, according to him, he attempts to imagine different realities or a different “me”, as he terms it.

For Fishof, Experimentation and self are two interconnected ideas creating a whole. One’s own research of self requires experimentation with one’s “peaks” – a term borrowed from the world of audio. A peak value is the highest voltage a waveform will ever reach. Transferable to audio, the peak represents the utmost amplitude an audio device can produce. The RMS value (i.e. root-mean-square) is the effective value of the total waveform, or its mean in terms of audio. Using this analogy, Fishof identifies experimentation with one’s own artistic “peaks” as a means to enhance the RMS. This idea sends us into a discussion of Fishof’s creation practices and unfolds his current work on a new album, which attempts to encompass an array from pop songs to abstract forms. We also discover in him a fascination and firm belief in processes – a space in which a sometimes mundane idea can become a wonderful piece, and this only due to the rigour to which the idea was subjected. On one hand, Fishof immediately seems like a critical artist, aware of his artistic surroundings with which he is in an ongoing discourse. The other side presents us with Fishof the teacher, who realises the importance of a non-critical practice for art students, as well as his students of Gaga – the movement language and pedagogy developed by the Israeli choreographer, Ohad Naharin. The latter presents a practice that does not seek to be validated by the culmination in artistic expression. However, Fishof also recognizes a personal attraction with another dance practice, namely the dance language invented by Noa Eshkol that, to him, represents a meeting point between life practice and artistic expression.

At the conclusion of our interview I enter with Fishof into a direct discussion regarding experimentalism, and why he personally believes his art tends, more often than not, to choose that direction: As a teenager in Jerusalem of the 80s, Fishof was confronted with more than a few examples of multidisciplinary art (Fishof mentions Laurie Anderson, Meredith Monk, The Residents, etc.) that didn’t proclaim themselves as avant-garde, rather maintained or even paraded their pop status. Fishof claims that the times were probably ripe for the underlying understanding claiming that the avant-garde, too, can become traditional. Hence, Fishof, as a product of his time, grew up thinking that music is an experimental art, and more so, allows one to not have to decide exactly who s/he is or where s/he stands. It was a pop art that didn’t seek to adhere to a setting or framework, as well as resounded a loud no to definition.