Alexandra Ivanova is a composer, musician, researcher and writer, mentored by Lebanese-American composer and pianist Tarek Yamani. Through her writings and music, Alexandra aims to recreate connection and relatability between cultures that are othered in present times. Alexandra is working on new compositions and deepening her study of Azeri and Cuban folklore.
During her NES residency, she also discovered Icelandic folkloric songs through the history of the forgotten Icelandic Fidla. Alexandra sheds light on possible links of certain Icelandic folklore to Oriental influences and is creating new arrangements that celebrate these unlikely connections.
Performance live on July 30th, 2020 in @lian.kulturraum Vienna with Mahan Mirarab (@mahanmirarab) on guitar.
When not on the keys, Alexandra is researching and writing about identity, belonging and privilege. Her activities and interviews with Skagaströnd’s local community are part of her process creating an interactive theatre piece that questions social norms.
Building on her recent debut concert in Vienna, Alexandra is also combining her spoken word poems and compositions in live performances that spark questions around current social and cultural topics.
Follow her on Instagram: @a.i.jazz Photography credits: (1)Group in Skagaströnd: http://ludwignikulski.de (2) Solo image: Sam Adutwum (@samadutwum) Live video credits: Amin Ebrahimi (@amin_embrahiimii)
“Since 2014 my predominant media are painting and installation while exploring different random processes. My work has been very influenced by residency times and travels to Iceland where my observations of the color of the sky over a day, a week, a month led me to the Weathertranscriptions.
This practice has been more and more conceptualized and is rooted in the taoist philosophy and the idea of the sky of as a continuous movement and creative energy. I work with materials that are not very common for painting as plotter foil, other plastic materials and tracing paper which have the translucence that reminds of the sky’s impression.
So while as in a traditional landscape painting the sky and the earth are on one ground the result of my work is both vertical and horizontal as I work on the wall, performing a very simple gesture of tracing a line on the underground and in parallel collect the paint on the floor on paper, foil or other materials.
Often the process is documented by photography or even video. Deliberately I do not control the dripping paint, the notion of letting go or letting happen is part of my approach.
The results are abstract paintings that embody the notion of time and space and can be seen as landscapes in some ways.
Alongside my painting practice I dance a lot since a few years and I started to make video captures of those dances in the lasts months as it links to my older photographic work where I staged myself in different settings. I want to dedicate my time at Nes to find out if and how I could combine those two approaches to something broader like performance or choreography.”
Adriene Jenik is an artist and educator who resides in desert. Her computer and media art spans 3 decades, including pioneering work in interactive cinema and live telematic performance. Her mediated performance projects have been written about in The New York Times, published in The Drama Review, and recognized by the Rockefeller Foundation.
Jenik’s current creative research projects include “data humanization” performances, immersive learning experiments and street performances reading “climate futures” with her ECOtarot deck. At Arizona State University, she serves as Professor of Intermedia in the School of Art, affiliate faculty in the School for the Future of Innovation in Society and a sustainability scientist at the Global Institute of Sustainability.