For I HEAR LIGHT Ayumi Paul recorded sounds at the Kunsthalle for more than a year. Among the many sounds she captured are sounds documenting the three exhibitions preceding her installation, sounds of her over night stay at the hall, aswell as everyday sounds such as birds, rain, the laughter of visitors and the mechanical pinging of a heater. During her 2 full-day performances on November 20th 2016 and January 8th 2017, these sounds will be activated as a site specific soundscape, using raw mp3 modules, which she built herself and simple speakers placed all around the Kunsthalle space. Each sound module becomes a singular object containing one specific sound, interweaving between the artists 8-hour live performance, the space and the visitors. The simultaneity of those nonsimultaneous sound events enlarges the perception of time and unfolds relationships between everything, embedded in an infinite process of change.
The work was conceived in close dialogue with Jan Tichy during his preparation of “Installation No.29 (Neues Rathaus)” and both works will be influencing each other in a continuous cycle of new perceptions created by their interplay during the performance.
TO THE BIRDS is a site specific concert project by illustrator and artist Sarah Illenberger, sound artist Alexis Georgopoulus and violinist Ayumi Paul.
The performance is based on sounding objects and sculptures created on site by Sarah Illenberger. Under the sound direction of Alexis Georgopoulis partly amplified and looped, Ayumi Paul uses the objects to create a soundscape and in a live process creates music for violin, voice and Illenbergers installation.
The Tuscan Edition was created and performed at Villa Lena in September 2016.
Zamin Baazi, which means playground in farsi is a project in collaboration with Leonie Roessler, a composer and sound artist currently living in Den Hague.
Leonie Roessler created a soundtrack from field recordings she took during her stay in Teheran in the spring of 2015 and composed a violin solo piece to be performed with the sound track. The composition is a modular which presents a huge amount of possibilities - many more than can possibly be featured in a given performance. The intention is NOT to make the performer play as much of the material as possible, but rather to have her chose a path through the piece carefully (or freely in the moment).
During the performance a strong awareness of interconnectedness is created, the fragile bonds between different people, different cultures, between sound and noise are made audible. Through free improvisations with the sound material the performer has all the freedom to dedicate and adjust each performance to the space and the audience its performed for.
Zamin Baazi was created together with and for Ayumi Paul, who premiered the project at the Blockhouse Gallery in Tokyo in 2016.
The project can be performed by Ayumi Paul alone with the soundtrack, or together with Leonie Roessler presenting her soundscape live, adding and mixing it during the performance.
UNFOLDING is a project that explores the possibilities inherent to site-specific concerts. UNFOLDING assumes that everything we create already excists.
„UNFOLDING a matter of space“ is a collaboration between Ilit Azoulay and Ayumi Paul and was first presented in January 2014.
They were invited to present their work at Herzliya Museum of Contemporary Art in November 2015.
“I heard that science currently states that every time we actively remember something we lose 80% of the the memory. Meaning, the more we remember, the more we drift away from the actual event we are trying to remember.
When playing a musical classical piece, like Bach or Beethoven, Orchestras nowadays are searching for the prefect sound, the perfect realisation of the written notes. Some interpretations are aiming to reach the most authentic reconstruction of the original form of the piece, & intentions. This search produces mainly one thing, professionalism, immaculate performance, premium products. Productivity in general, & the act of production specifically are in the heart of the capitalistic methodology.
Naturally when the focus tends towards the execution & form, it takes the spot off the content. Shape becomes essence & being measured by characteristics of such. Like every fashion, the tailoring, colouring, figure & style becomes centre. These parameters produce, when successful, audience reactions like “Wow”, “Impressive” & “Spectacular”. Reactions which are immediate, fast & intense.
Ayumi Paul & Ilit Azulay are doing just the opposite. Being in “UNFOLDING”, is like being aware of history without the act of remembering. It’s being in the present with total awareness of history, but not by focusing on it but rather experiencing a one-time space & time specific event, which is like walking on the yellow brick road, like Dorothy, remembering her home was blown away by discovering new worlds. The attentiveness needed by the viewer is completely different from listening to a concert. This performance enrols all the senses to take part, not only listening. It is personal, not general, it is changing through-out the hour, and most of all, it could never be repeated. It is a one-time event, one time complex emotion, one time journey.
The weirdest side effect of the performance is that it doesn’t leave you. It stays as a memory, an abstract one. Ayumi & Ilit are creating history. But unlike history that exists mainly through text & story telling, this history exists by breaking text into letters, and creating amnesia. This amnesia makes the assembly of broken signs from different times, possible. A combination which is not only happening, but creates a whole, an existence. It is specific and pre-textual. It is just there. You don’t need to remember it. You can’t. All you can do is be present, be a part of it.
I might contradict myself by stating that “UNFOLDING” did create a “Wow” effect in me. But it was a different wow. It was primal. it was new but whole. It was the wow of watching a birth taking place. the wow of falling in love.”
Avri Olschwang (Film & Artistic Director)
Rubber Boots was created by painter Maureen Jeram and violinist Ayumi Paul, when they were asked to participate in the “Frost Radio” project in Seoul/Korea, curated by Sora Kim Haeju Kim and Ari Benjamin Meyers. Participants were asked to contribute short audible projects, which were transmitted through a temporary radio station moving through Seoul.
Maureen Jeram describes a series of Rubber Boots paintings of hers, while Ayumi Paul improvises miniature pieces for violin, prepared piano and voice relating to the different colours of the boots.
AMAEBI is the band name of media- and sound artist Achim Mohné and violinist Ayumi Paul. They create music for Violin and Vinyl and collaborate with their mutual interest in researching the sound/music that lies hidden in the medium itself.
Achim Mohné started working with record players and other “sound-media-apparatus” in the mid ’90 s. He subjects the support material to a forensic autopsy, for example, by analysing the dust particles inside an ending vinyl groove. Using a triple vinyl deck set-up, his analytic auditory observations of ending grooves – all grooves sound different, depending on how dust has effected and transformed the soft surface of the vinyl – convert tiny dust particles into a “sound sculpture”. Ayumi Paul composes and improvises within the sound sculptures, creating an abstract sound path of her own, using extended techniques for violin and voice.
They are currently recording their first album.
Aki Takase heard Ayumi Paul perform the „Partita“ by Witold Lutoslawski in 2012 and afterwards convinced her to start improvising and to collaborate with her. They have been working together since. Both coming from completaly different backgrounds, each of them is bringing their own musical language into an expressive dialogue of sounds without any limitation of genre or style. They improvise freely but often use material of Takases compositions too. Their first album Hotel Zauberberg, recorded at RBB Berlin-Brandenburg studio was released on INTACT and received praising reviews.read more
“Aki Takase and Ayumi Paul’s first collaboration stands out through its light-footed intelligence as well as a sense of the abysses of the ‘Magic Mountain’, which turns into a world-theatre of love, illness and death. Thomas Mann, whose work includes music as a subject in itself as well as a language, would have enjoyed it.” (Manfred Pabst)
“I have to confess that, while all of my other Takase albums sit very comfortably in my jazz section, I felt the only appropriate place for this one was in my classical section, where she could rub shoulders comfortably with Toru Takemitsu. I was not surprised that the GRAMMY judges did not know what to make of the album; but, in my book, this was one of the most absorbing recordings of recently composed music that I encountered in 2015.” (Stephen Smoliar)
Photographs from “A Song to heaven or Japan Sublime in Frank Lloyd Wright”, the award winning travelogue project by architect Marta Pedro are the starting point for a creative collaboration between her and violinist Ayumi Paul. They started their collaboration in August 2013, when they performed an enthusiatically received live performance of an improvised dialogue between images and sounds at the BLOCKHOUSE gallery in Tokyo.