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Studio Loos | The Hague 2010-2011
Release date: 27.12.11
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WONDERWERP is a monthly series for the promotion and development of new, unstable, non standard forms of art that are presented live at studioloos.



Why you've decided to create the series?


Wonderwerp was born in 2008 in The Hague, out of the need to perform of a group of musicians working in the field of free improvisation and experimental electronic and electro-acoustic music. The Hague was not as active as it is today, artists didn't take the initiative to present their work, I think because we didn't know how or where to make the effort to organize the events we wanted to participate as artists and as audiences. Of course you would find avant-garde music performances, for instance at the conservatory (in the Sonology or composition departments), in the art academy, or in sporadic festivals but of course, we needed stages outside the academic environment to present and listen regularly what was being created.

We started at Regentenkamer, a squat with a small theater stage, organizing it completely, making and spreading flyers, buying the drinks to sell at the concert in the supermarket, performing, being the waiter, cleaning…
After some editions I was invited to organize events at Studio Loos, so in april 2009 wonderwerp was moved to Studio Loos, where the facilities in terms of equipment, and a symbolic budget provided by the local government of The Hague, made it much more convenient. Slowly people started to get to know it and to become involved as audience and performers, not just from the city, but from many other places as well, connections made thanks to the mouth to mouth artists networks.

The alternative scene for experimental music and performance art has become much bigger now in The Hague. There are several events a week well attended where you can enjoy or perform this form of expression. We have now a stable community willing to keep active, so hopefully we can maintain this even if, as it seems, tough times are waiting for us.


Creative process as curator


Looking backwards, as a curator I can see a progressive involvement into the role of curating itself, in response to what I feel needs to be highlighted in the actual creative environment we are surrounded by.
In the beginning of wonderwerp I really wanted to stay as transparent as possible and as open as possible. When receiving a request, I did not want to let performances outside for personal taste reasons. Of course a filter was necessary, so the first and most important condition was that the proposals should be a project with very little spaces where to be shown in society, Jazz (and free-jazz), fixed media (tape pieces) and classical contemporary compositions, were out.

Naturally derived from that first constraint, the project to present had to have its unique personality, and the convergence of performer-creator was a must. Apart from that, just the fact of having the initiative and the will to present was enough to be shown, so projects were presented as they were getting to me. Wether free improvisation, noise, live electronics, drones etc, they were mainly sound performances.

This changed, I tried to have different aesthetic approaches, contrasting sets every edition. Along with the growing amount of requests, the artistic proposals presented at wonderwerp have naturally developed parallel to the work of local artists, which are inevitably influenced by the global nowadays alternative scene. We could see more inter- or multi-disciplinary sets, people including light, body, visuals, self designed instrument-machines… the fields of exploration have opened their horizons.

This year I am making more use of my function as a curator. Not deciding so much about the aesthetics to include, I think this is naturally getting clear, but more in the way I structure the different proposals, seeing connections between them, and asking artists that work in those areas to participate. After observing the latest development in the inclusion of new disciplines, in or outside the projects involving just sound, for this season 2010-2011 I decided to give each edition a specific identity, choosing a subject and representing it with projects that have different approaches to it.
For example: an analogue audio-visual night showing very different performances (a light synthesizer, circuit bended radios creating image and sound, free improvisation with live painting) where nothing is digital; another night with works only done digitally; different approaches to non standard PA; new ways of interactive works etc.

Unfortunately we have no more than a symbolic budget, so I can't bring all what I would like to present at wonderwerp. More over, there are just ten editions a year, is difficult to have just one for each subject. This choice has made me to have to let projects out either because the night was full or because the artist could not make it that specific day. As the projects I present, I try to keep my curating also experimental, in the three editions already past this year, I can see a positive outcome of this initiative, but we will see how it results at the end of the season.


Advantages and disadvantages of independent curatorial spaces


The best quality I find at independent curatorial spaces is freedom to present projects that are found interesting, responding to the necessities of the creative community around that specific space, and not depending on outside regulations in the aesthetic choices they want to promote.

If I have to name an inconsistency regarding curating, I would say that for me the error would be to try to program what (the mass of) people want to hear instead of following their concept, in order to be more successful or make more money. To be honest I see this mistake more often in stablished festivals or big events than in new and independent spaces, which for me, as they are independent from institutions, they can enjoy the freedom of keeping pure.
Of course, the inconvenience is the almost inexistent budget. Sadly we can't refund artists properly. We all accept the situation and keep on going because we love it and have the necessity to do so.


Is there anything else you want to add?


Normally these alternative forms of art are not completely accepted by the general society, in the sense that they have minimal audience and minimal economical resources which are coming either (rarely) from governmental subsidy (in the particular case of The Netherlands or Norway for example), or from entrance tickets or donations of the audience, in the end not being remunerated as they should. Other genres, by being more popular, have their roles completely defined, audiences, organizers and artists are specific to their function, but in this non standard forms of art, we are our own consumers, switching constantly between artists, curators and audience. These three social positions, plus the spaces to host the events, are interdependent, they need each other. For me, being active is a responsibility that we all should take in account if we want to keep non traditional genres of Art, in all its disciplines, alive and in constant development.

There is something in my opinion almost as important as the style or quality of the performances. Is the scene, the gathering of the (constantly interchanging roles of) artists and audiences, what we could call a community of sharing ideas, opinions and inspirations, that I see for instance happening more and more in The Hague, thanks to the actual active scene happening at Studio Loos (with Ephémère and wonderwerp); Villa Kabila; Delta; TodaysArt; De Vinger; Zzondag; Korzo; Dag in DeBrandig; Nuithuis… The effort and pleasure of carrying out this enterprise is not (or shouldn't be) done for us, but for Music and Art themselves, for their development as forms of expression. To contribute to that active progress, the only way I see is by sharing what is being created, whatever its format (live concerts, exhibitions, net labels, magazines etc), and that is the reason why I want to contribute with wonderwerp.



Yolanda Uriz, 13 December 2011, The Hague





01.Xavier Lopez, computer . 2011.11.21 wonderwerp 28

French and free-lance, mainly active as a improvising laptop player He studied at Amsterdam’s Hogeschool voor de Kunsten. He’s now based in Paris since 2006. The last years he developed an autodidact approach to laptop playing using copyleft software ppooll.The material he uses is rather minimal: sine waves, white noise, feedback, oscillators, most of his sounds are synthetic. His work as a sound artist is inspired by a broad range of aesthetics as well than other issues (perception, surroundings, survival, theory)

02.The Monarchy(Den Haag/Tilburg, NL) 2010.11.18 wonderwerp 19
Steffan de Turck |
John Fanning |
Leilani Trowell

"The Monarchy is a developing performance and sound art project initiated by Steffan de Turck (NL), John Fanning (US/NL) and Leilani Trowell (US/NL). The project focuses on interpretations of monarchy by using found objects, primarily items from the trash and general cast-offs of our modern society. Fanning and Trowell play King and Queen, De Turck is the lowly serf who generates sound in his Small cardboard shack and is the general slave of the King and Queen who live in a much more ornate cardboard castle. This is the first performance of the Monarchy."

03.John Fanning(New Hampshire, USA/Den Haag, NL) 2010.11.18 wonderwerp 19

"Embracing a DIY ethic from an early age Fanning has been a self-publishing ‘zine editor, university radio & live party DJ (touring three times fresh out of high school in Europe & Japan) and conceptual/experimental fashion designer concurrent to his main focus areas of visual art & experimental performance. He is currently exploring an idea called "Re-formance", subverting and redefining the idea of how a performance is presented to the public, especially within the context of what could be a concert or a live art execution."

04.Ofer Smilansky. Track title: Transience. 2010.11.18 wonderwerp 19 |

‘Transience value is scarcity value in time’ Freud
"Transience is an audiovisual performance in which the digital distortion of natural elements and found objects offers a reinterpretation of the symbolism contained in the 17th century still lives called Vanitas. The intention of the artist is to celebrate the beauty of the transience nature of things. The natural elements and found objects are filmed on a macro level and are given sonic properties."

05.Ariel Ninas (a.k.a. Mauro Sanín Leira). 2010.12.16 wonderwerp 20
Ariel Ninas, electro acoustic hurdy-gurdy |

"Ariel Ninas (Galicia /north-west of Iberian Peninsula) discovered the secrets and miracles of sound and silence in his twenties -having been doing music before- but kept engaged to the acoustic phenomena since then. Now in his thirties, is concerned about continuity of noise in everyday life. He conceives the music as channel of invisible physical transmission between two, or more, bodies."

06.Moonrise Hernandez. 2010.12.16 wonderwerp 20
Michael Straus |
Ted Coffey |

07.Microseq (Pandelis Diamantides). 2011.01.20 wonderwerp 21

"If there is anything interesting in composing -with or without computers- is the opportunity to deal with abstract concepts while manipulating concrete material. In particular, computer-based compositional systems provide extended control over sound properties and aspects of musical structure presenting the opportunity to merge those two into new musical forms..."

08.Duel Protocol. 2011.01.20. wonderwerp 21
Aurimas Bavarskis (LT) & Yiannis Tsirikoglou (GR) |

"Duel Protocol explores the limits of digital sound, perceptualization of systems to an aural/visual experience and human interaction, particularly interested in non standard ways of sound synthesis and light/sound feedback systems among others. They use only their own developed software for live performances and installations, plus specially designed equipment (like light sensor-based controllers and VLF receivers)."

09.ZLB (Miguel Cerdeira Marreiros Negrão). 2011.04.21 wonderwerp 25

"Miguel Negrão is a sound artist born in 1981 in Lisbon, Portugal. Under the alias ZLB he has been active with Drone and Ambient music projects. He has recently finished a Masters at the Sonology Institute in the Den Haag Conservatory on the topic of Strategies in diffuse spatialization, and is doing software development for the WFS system of the Game of Life foundation."

10.Hatzatz (Felixbrod-Harari-Ziblat). 2011.01.20 wonderwerp 21
Maya Felixbrodt, on viola & electronics |
Ilya Ziblat, double bass & electronics |
Tomer Harari, Harmonium, singing saw, ipod & electronics |

"Dealing with such question as- how to integrate the electronic and acoustic worlds of sonority, and how to combine a sense of improvisatory freedom inside set musical structures, is the trigger for many possible routes and directions which makes experimental music justifiable and worthwhile. This new project, tries to find answers for such questions, while still holding on to some sense of spirituality. "

11.Ayankoko - Gerri Jäger 2011.02.17 wonderwerp 23
Gerri Jäger, drums, percussion, electronics |
Ayankoko (David Vilayleck's solo project), live electronics |

Gerri Jäger, troughout years of playing in numerous different bands from free-jazz to alt-rock, playing modern dance-improvs, experimental club music and improvisation, Gerri developed into a flexible listening musician, looking for ways to tense boundaries in music without being afraid of being expressive.
Gerri Jäger, drums, percussion, electronics |
Ayankoko, formerly a guitar player with various background influences such as jazz, electro, traditional and improvised music, rock focused on experimental ambient noise sound from 2004.

12.Enka (Nikos Kandarakis) 2011.02.17 wonderwerp 23

"ENKA is an electronic musician/producer, based in Rotterdam The Netherlands. His music -a characteristic deep soundscape expressed in a multiphonic environment. A sound paradigm that can be roughly categorized as ambient/IDM electronic music."

13.Basshaters 2010.10.21 wonderwerp 18
Tony Dryer, electronics, contrabass
Jacob Felix Heule, electronics, percussion

"Striving to match the fluidity of their textural acoustic music, electronics expand the timbral and dynamic options to new extremes. The duo seeks directnessnand intensity in execution; subtleties emerge from the bold statement of simple ideas."

14.Visumatic Craft 2011.09.29 wonderwerp 27
Claudia Ignoto |
Augusto Pirodda |
Michele Bagaglio |

Michele Bagaglio born 1981 near Milano, studied composition and sonology in Den Haag, flamenco guitar in Rotterdam. Claudia ignoto, born in 1980, studied art in the art academy in Den Haag. In her work there is a connection between the nature and organic forms. Augusto Pirodda, piano player born in Italy 1971.Among the most important collaborations there is the meeting with the Dutch artist performer Neel de Jong (together they perform in the Fringe Festival in Edinburgh and Dublin and many other international venues), and a trio record named "No Comment" , recently released by the German label Jazzwerkstatt, with two of the most important figures in Jazz: the bassist Gary Peacock and the drummer Paul Motion.

15.Luc Döbereiner & Yota Morimoto. 2010.10.21 wonderwerp 18 |

"Döbereiner & Morimoto are developing compositionally motivated experimental sound synthesis methods, whose structural and sonic possibilities are explored in an audio-visual improvisational live setting... using software developed by the composers. Besides the sound reproduction, the generated digital signals are also visualized using self-developed 2-D waveform plotting software."

16.Robert Blatt - Glossolalia -, Marie Guilleray. 2011.06.16 wonderwerp 26 |

"Every limb of my body would, as a result, be set a fire. At such moments my tongue recited what no man could bear to hear." Composed from twelve descriptions of ecstatic experiences found within sacred texts translated three times into twelve different languages, Glossolalia is a piece for voice and electronics written for Marie Guilleray. It is both a movement towards utterance and an exploration of altered states of consciousness, using an abundance of speech sounds, multiple languages and the introduction of stroboscopic effects. Robert Blatt is a composer and guitarist born in Anaheim. Marie Guilleray is a vocal performer and improviser.

17.Gail Priest. 2010.09.16 wonderwerp 17

"Simultaneously harsh and ethereal my sound is created from multiple manipulations of vocal & instrumental material and field recordings with the intention of releasing the hidden melodies and broken beats found in sonic debris. My works seek the slippage between the visceral and the digital, the sensual and the intellectual, the figurative and the abstract, to create potent atmospheres and nearfuture fantasies."

18.Future Fossils. 2011.11.21 wonderwerp 28

Raoul van der Weide, contrabass, crackle boxes, sound objects |
Takuro Mizuta Lippit (aka DJ Sniff), turntables |
Sanne van Hek, trumpet |

"From pitch-to-noise free improvisation trio shapes and re-shapes the sonic spectrum ranging from simple and impossible beats to urban desert sounds mixed with recycled historical free improvisation legacy’s"





Studio Loos | The Hague | 2010-2011




WONDERWERP CONCERT SERIES is curated by Yolanda Uriz at Studio Loos.
Promotional compilation curated by Julian Bonequi.

Each track in this document has the credit of the artists.

Recorded at Studio Loos. The Hague, Netherlands 2010-2011. Picture by Ofer Smilansky, "selfportrait". Design by Aniana Heras.

Special thanks to Xavier Lopez, The Monarchy, John Fanning, Ofer Smilansky, Ariel Ninas, Moonrise Hernandez (Michael Straus & Ted Coffey), Microseq (Pandelis Diamantides), Duel Protocol (Aurimas Bavarskis & Yiannis Tsirikoglou), ZLB (Miguel Cerdeira Marreiros Negrão), Hatzatz (Maya Felixbrodt, Ilya Ziblat, Tomer Harari), Ayankoko, Gerri Jäger, Enka (Nikos Kandarakis), Basshaters (Tony Dryer, Jacob Felix Heule), Visumatic Craft (Claudia Ignoto, Augusto Pirodda, Michele Bagaglio), Luc Döbereiner, Yota Morimoto, Robert Blatt, Marie Guilleray, Gail Priest, Future Fossils (Raoul van der Weide, Takuro Mizuta Lippit aka DJ Sniff, Sanne van Hek), Yolanda Uriz and Studio Loos.