Constructing Site with Sound – a performance resulting from a two-day long workshop with artist and composer Zorka Wollny, dedicated to architecture and voice. The workshop will be based on creating the relations between points in the space, making drawings creating lines and plains, measuring distances, building the walls by sound. The questions that the artist poses and that will be aliased with the group include: What is the audio dimension of the space? How do you measure it with the voice? How do you sing the line? How do you sing the series of points and the flat surface? How precise can we be in directing the sound?
Zorka Wollny creates acoustic compositions for institutions, factories and empty buildings. Her work inhabits a space between art, theatre and contemporary music, and is closely connected to the historic and functional context of specific architectural sites. Wollny’s collaborative production style often involves public rehearsals and workshops in which she creates structures of cooperation with individuals as well as groups and communities, such as composers, students, actors and activists. In one of her most recent works, Unmögliche Oper (2017), she involved several choirs and citizens of the German town of Oldenburg in an exploration of the voice as a tool of expression and public debate. Order (2015) was composed for the Teutonic Castle in Swiecie, Poland, a 15-person volunteer choir, three percussionists and electronics. In Ophelias. Iconography of Madness (2012), presented at the Museum of Art in Łódź, Wollny staged a performance by eleven actresses, representing the figure of Ophelia as depicted in several historical theatre productions of Shakespeare’s Hamlet. In Oratorio for Orchestra and Warsaw Citizens Choir (2011), developed for the Warsaw Autumn international festival of contemporary music, Wollny devised a concentrated, polyphonic manifestation in the city centre of Warsaw, that was produced in collaboration with NGO’s and the Warsaw Philharmonic Orchestra and is based on the political manifestos and agendas of the participating activists. At the 2018 CTM Opening Concert, Wollny created a new work especially for the occasion using her 2016 installation Vox Populi as a starting point.