OHIJ Festival
Onder de brug (Under the bridge) – music theater performance by Iris van der Ende & Yvonne Freckmann. We are featured in a “makers” preview article HERE. Photo credit Over het IJ Festival

The summer is full of festivals featuring new projects, especially collaborations with theatre maker-harpist Iris van der Ende. Come see the Onder de brug performances during Over Het IJ Festival in Amsterdam July 13-22! (See the Agenda for more details.) All the while, Klanktheater is busy preparing for “Multiply by Sharing IX” in October in as year-long Artists in Residence in Werkplaats K in Kerkrade!


During the month of June it was residency time! On June 1st I arrived in Krems an der Donau for an entire month to devote to music-making. I am very honored to have been named an Artist in Residence in Krems, Austria in collaboration with Cellist Clara Rivière for a project making field recordings, composing, and giving a workshop for children with special needs (with Veronika Großberger), all during the month of June!  Furthermore, when I arrived I met new fascinating artists with whom I could explore and make new work and an exposition in Krems. See the picture below!

Thank you to the KlangraumNö Festival and Niederösterreich for sponsoring my work here!


With my new colleagues Adriana Affortunati, Jana Dabac, Clara Rivière and Andrew Neumann, we organized an exhibition and cello performance in a beautiful old garage/former wine cellar in Krems. It is a celebration of our poetic impressions of Krems during the month of June.


Ohrenbetäubendes Geflüster (Deafening Whispers) is an audiovisual exhibition and cello performance that emerged from the collaboration between Adriana Affortunati (Visual artist / Brazil), Jana Dabac (Architect / Croatia), Yvonne Freckmann (Composer / USA, Germany) and Clara Rivière (Cellist / Spain).
The artworks presented are a result of the poetic impressions assembled collaboratively between the artists during their first month of residency in Krems, Austria. Installing the exhibition in an old wine cellar stimulates the proximity between the artworks and the public since it is both a familiar and an authentic setting. The place is an art piece itself and thus multiplies the possibilities of interaction with the artworks, provoking the visitor to create different meanings while experiencing each installation.

During my explorations for sounds I like to send out audiopostcards to share a little bit of what I was hearing throughout my stay.

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