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Matthias Schack-Arnott
Performance/installation, tors-søn, Spanien 19B
External link: matthiasschackarnott.com
Matthias Schack-Arnott
Percussionist (AUS), 1988
 
”The creation of art is the inevitable response to the perceptual clausterphobia induced by existing in human form“

Matthias Schack-Arnott works primarily in the fields of new music and hybrid-arts and he often uses unconventional percussive techniques. His debut solo project Chrysalis, that can be experienced at SPOR 2013, is a unique percussive-architectural space that encloses only one audience member at a time. Schack-Artnott uses falling materials as a percussive technique to perform on the exterior walls, creating an immersive composition that references pre-natal experience and live burial.

Matthias Schack-Arnott is part of the Artistic Associate of Speak Percussion, one of Australia’s leading and most innovative percussion groups. With the Speak Percussion group, Matthias has toured throughout Europe, Asia and USA, performed as a soloist, and co-composed a major theatre-music duo with the Artistic Director, Eugene Ughetti.  Matthias has worked with many leading composers including Steve Reich, Brett Dean, Liza Lim, Thomas Meadowcroft, Chris Dench and  Anthony Pateras. Matthias is a guest artist with Melbourne Symphony Orchestra, Australian Art Orchestra, Malaysia Philharmonic Orchestra, Chamber Made Opera, Synergy and Nick Tsiavos Ensemble. He also performs regularly as an improvisor in the realms of experimental and noise music.

3 questions for Schack-Arnott

What opportunities, qualities or restrictions do you think sound has as an artistic material?

"Restrictions…?Sound cannot be swallowed.
Opportunities…
The control of other people’s minds and bodies.
The articulation of space that doesn’t exist."     

What does silence represent to you – in generel and in regards to your artistic practice?

"Silence is a utopian ideal. In reality, our aural life is experienced as a succession of shifting noisefloors.
The creation of art is the inevitable response to the perceptual clausterphobia induced by existing in human form. Our inability to escape from our prison of perception - the constant noisefloor - leads to the next best option; the gaining of the illusion of control through the crude manipulation of our sonic and visual stimuli."

How do you work with the relation between sound and context in your artistic practice - or with the particular artwork/ composition you are bringing to SPOR 2013?

In Chrysalis the musical instrument and the space from which the audience expereiences the work are literally the same thing. In that sense, the ’sound’ and the ’context’ are inextricably linked, and reinforce each other through their aesthetic construction.
 
> Seth Kim-Cohen
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