Chameleon – solo performance – Brehmer’s hall (Różana 2, Laboratory of Culture)
/ All the things that could possibly be audible – exhibition /
chameleon (solo performance)
For her performance chameleon Ute Wassermann uses bird whistles to mask her voice She creates a hybrid vocal instrument with oscillating, swirling tone-colours. Her vocal sounds seem to be disconnected from the human voice, a soundworld dissolving into the sounds of birds, machines, electronics and mimesis of fragmented language. The microphone is used as an instrument to magnify vocal distortions, bleeps and breathy sounds. With her chameleon like voice she creates a poetic diversity of iridescant sculpural sounds.
installation for voice, fieldrecordings, objects, framedrums, speakers
Framedrums on top of speakers function as a stage and as a sound instrument for resonating objects in motion excited by the sounds of vocal drones, of breathing and of short vocal outbursts.
An acoustic habitat (playback of fieldrecodings of insects, birds and voice) is interfering with the sounds of the objects.
Ute Wassermann is known as a vocal soloist and composer/performer for her extraordinary, many-voiced and extreme vocal sound-language, which she has brought into experimental/contemporary music in diverse ways. She has developed techniques to “mask” the voice using birdcall-whistles, palate whistles or resonant objects, and designs sound-installations. A particular interest is the development of compositions for spaces with unusual acoustic qualities.
She studied visual arts (sound installation and performance art) at the Hochschule für Bildende Künste in Hamburg with Henning Christiansen and Allan Kaprow among others, and subsequently visual art, music and singing at the University of California, San Diego (with a DAAD grant). As a vocal soloist in contemporary and experimental music Ute Wassermann has performed in festivals, galleries and clubs throught Europe and also in Australia and Asia. As an improvising musician she performs regularly with musicians of the London scene (for example in John Russell’s Mopomoso and Fête Quaqua events) and in duos with Richard Barrett, Aleks Kolkowski and Birgit Ulher, in the quartet “speak easy” (with Phil Minton, Thomas Lehn and Martin Blume) as well as in larger formations such as the octet fORCH
. As an interpreter of contemporary music she has given premieres of numerous works composed specially for her voice, for example by Richard Barrett, Chaya Czernowin, Henning Christiansen, Hans-Joachim Hespos, Michael Maierhof, Michael Finnissy and Ana Maria Rodriguez, with the ASKO Ensemble, Elision, Munich Chamber Orchestra, KNM Berlin and others. She has taken part in music theatre productions by Matthias Kaul (Ensemble L’art pour l’art), Salvatore Sciarrino, Gerhard Stäbler and others, and performances with dancers, circus artists and visual artists; pedagogical projects and workshops with her choral composition “mimic” for festivals and cultural institutions.