The Berlin-based Norwegian artist and musician Lars TCF Holdhus will perform aquadrophonic “composition” for a baroque chapel. Jonatán Pastirčák describes Holdhus’ work as “unpredictably flowing ambient soundscapes that meet abstract rhythmic structures, so as to create impressive sonic landscapes full of surprising moments and sound accidents.” The randomness of Holdhus’ music comes out of his fascination in encryption and computer algorithms – the name of every track is a sequence of numbers and letters, same as the name of the performance prepared for PAF itself. It is of no use to divide the piece Aedrhlsomrs Othryutupt Lauecehrofn into visual and musical projects, since they are very tightly connected, they develop on similar motifs and the only difference is the presentation media, similar to the anagram of the name.
MM We have talked about a hybrid form of presentation of your music and art projects. Do you find a musical club discourse less comfortable nowadays for you?
LH I’m not really involved in the club scene anymore. My artistic output ranges from installations to music and hardly anything club related. While there are elements from club music, in some of my music I have my own set of references to those particular sounds. At the moment, I hardly go out to clubs because I want to focus on my work.
MM You are preparing some visual part for your live performances. Can you describe a little bit the idea behind?
LH The idea is a sort of a feedback loop of references that relates to specific parts of my artistic practice in general. I’ve been hesitant about pairing my live performances with my video works, but I’m feeling more and more confident that this can be done. I like when all my work gets recontextualized and I feel this is a good way to do that. The content will stretch from personal moments to documentation I’ve been filming. Most of the material is shot by me with the help of Matthijs Diederiks and Lukas Bohnenstengel. I’m interested in moving away from “vj’ing visuals” and go in the direction of live scoring my own film right in front of me.
MM Your work is based a lot on cryptograms. They are used as titles for your songs or art works. Is there still a possibility to find a key, how to “read” a song or print through this titles or we just read some signs from quite a closed system?
LH It’s a closed system for now. In that way I create a private space that moves around in public. There’s a possibility to find out what all of these codes means but I won’t be easy. It’s a system that I like to maintain for myself while it’s widely spread around the world. Spreading bits and pieces of me online as a potential value opens up a rereading of my work later on.
Martin Mazanec’s interview with Lars TCF Holdhus
The performance and lecture was held as part of the Festivals of Live Cinema project activities.
3 Dec | 11 pm | CCC | Lars TCF Holdhus (NO): 40 FC 4A 83 F9 BD A8 30 3F F2 33 C3 0B 5E 34 50 04 9C D9 4C 93 59 BE 6D 2E 36 D6 B3 9A D7 34 39 | performance | Animation beyond Animation