/ INCONSOLABLE GHOST – Zsolt Sőrés Ahad, Hilary Jeffery Gideon Kiers – Kinoteatr 19.08 22:00 /
Inconsolable Ghost – Sokołowsko Channelling
Hilary Jeffery – tromboe, voice, electronics
Zsolt Sőrés Ahad – viola, voice, electronics
Gideon Kiers – computer, electronics
In his 1970 book called „Expanded Cinema” Gene Youngblood defined one of the features of the genre by referring to artistic practices leaving behind the „objecthood” of art and drifting towards environments in which certain, not always controlled and intended events and actions occur. In this sense, expansion of cinema means that the focus of attention cannot be limited to cinema screen and can include various ways of projecting sound, choreography, scenography, audience behaviors and others. In case of Inconsolable Ghost it also means turning a cinema into a space of spiritual seance of audiovisual channelling. The history of tension between cinema and ghosts is again quite old and definitely older than the history of expanded cinema. Not unlike tableau vivant, the earliest history of cinema is full of paranormal activities, the most obvious of which were characters on screen gaining its second life, either after death life or life parallel to their everyday existence. Cinema from its beginnings had something of an occult machine to it and until today there is a strong trend in experimental cinema to relate to that – from the famous „Flicker” by Tony Conrad (1965) to „Capitalism: Slavery” by Ken Jacobs (2006) which are just a couple of exemples of films reaching out to unknown realities.
Born 1969 in Budapest Zsolt Sőrés Ahad is an improvised/electroacoustic and noise musician, sound artist, conceptual artist, editor, performance and conceptual artist. He is playing on viola, 5-string viola, toy synthesizers, circuit bent toys, dictaphone tapes, lo-fi sound sources, contact microphones, effects, objects. He is working both as a musician and composer with the use of conventional instruments and viola that I use in unconventional ways (for preparation, conversion and through new playing techniques), and partly by the use of unusual music – and sound instruments. Genrewise his music lays in the focal point between jazz, rock and modern classical music. This form of music can be best described as lasting a part of modern improvised music (”instant composing”) that has developed through collaboration between musicians from all over the world since the mid-60s.