ZKM | Karlsruhe /// Specials /// Specials ZKM | Karlsruhe

[MASTERCLASS]! Das Stipendienprogramm für kunstinteressierte Jugendliche am ZKM

[15.07.2022]

In der [MASTERCLASS] bekommen die Teilnehmer:innen während eines Schuljahres die Möglichkeit, mit Unterstützung des ZKM | Zentrum für Kunst und Medien, aktuelle Kunstströmungen sowie das Programm des ZKM kennen zu lernen sowie die Chance selbst ein Kunstwerk zu schaffen und dies im Rahmen einer öffentlichen Präsentation auszustellen. Der Austausch mit Gleichgesinnten und professionellen Kunstschaffenden ist dabei eine einmalige Gelegenheit, sich und seine Arbeit in einem künstlerischen Umfeld auszuprobieren und weiterzuentwickeln. Fünf bis sieben Bewerber:innen mit einer erkennbaren Begeisterung an Kunst, neuen Medien und dem ZKM werden von einer Fachjury für das einjährige Stipendium ausgewählt.

Gemeinsam mit der Fördergesellschaft ZKM / HfG e.V. und der Unterstützung der Gunther Schroff-Stiftung initiierte die Museumskommunikation 2014 die Schüler:innen-Begabtenförderung [MASTERCLASS] am ZKM.

Blind Date with a Book | Hugo Gernsback und seine historisch-technischen Magazine in der Bibliothek des ZKM.

Der in Luxemburg geborene Hugo Gernsback (1884–1967), dessen Familie aus dem Badischen stammt, und der seine technische Ausbildung in Bingen erhielt, wanderte 1904 nach Amerika aus. Dort begründete er mit der Herausgabe der Zeitschriften wie »Amazing Stories« (1926–1929) und »Wonder Stories« (1929–1936) das moderne Genre der Science-Fiction-Literatur. Als einer ihrer wichtigsten Begründer hat Gernsback wertvolle Anregungen für erfinderische und experimentelle Arbeiten im Bereich der Technik gegeben und die an neuen Erfindungen interessierte Jugend wesentlich beeinflusst.

Anfragen zur Nutzung der Archivbestände unter bibliothek@zkm.de und weitere Informationen auf zkm.de

Work-in-Progress concert

[06.05.2022]

Takuto Fukuda: »Simulacra« (2019 – 2022)
for five cellists and audiovisual electronics, 34’ European premiere

»Simulacra« is a composition for five cellists and audiovisual projections. This piece reflects Jean Baudrillard’s concept of “simulacrum” defined as a “copy without original,” and addresses the following question: what is it that engenders a sense of ‘authentic’ concert experience in the age of simulation? In his book »Liveness: Performance in a Mediatized Culture« (2011), Philip Auslander asserts that the authentic object for listeners in pop music concerts has changed from performers' actual musicianship to a simulation of recorded performances that have never existed in the real world, but were created with the extensive use of studio production techniques (e.g., lip-synced performances). Drawing on this historical transition of authenticity in concerts from actual to fictional performance, this composition presents the hybridity of corporeal performance and audiovisual imagery as a new authentic experience in a concert. The piece reflects the concept of “simulacrum” in theatrical and musical ways. Theatrical simulacra are achieved by the use of multiple visible “copies” of a single main cellist. The copies may be other performers whose identity is unidentifiable, as they wear a mask, perform off stage and perform in a virtual world created in the video projections. Musical simulacra are brought into being by the use of audible “copies” of a cello performance. This copies may be created by splicing recorded performances, using physical modeling synthesis and immersive audio projection systems. These approaches enable »Simulacra« to merge the actually existent and fictionally projected performances into an unrealistically augmented real performance.

Fundamental to the realization of the piece is the collaboration with cellist Esther Saladin, who is scanned during her playing in order to reproduce the processed recordings in the concert space. This virtualization of the cellist's playing in Takuto Fukuda's work is realized by using Volumetric Capturing. The process makes it possible to record, edit and store scenes in their three-dimensional reality. Volumetric capturing is an elaborate process that scans the instrumentalist from all sides using a large number of sensors distributed throughout the room and reassembles this data into a complete image. The process makes it possible to change the viewing angle afterwards.


Esther Saladin is in demand as a soloist and chamber music partner of various trio formations and ensembles in the field of contemporary and classical music on the stages. She often combines music with other art forms in her productions.

Mit Werken von Conlon Nancarrow, Klarenz Barlow, Jagyeong Ryu (UA), Jean-Claude Risset, Ludger Brümmer, u.a.; Soloklavier: Susanne Achilles

[25.09.2021]

Im Rahmen des Projektes »EASTN-DC« werden selbstspielende Klavierwerke im ZKM Foyer präsentiert.

Die wohl gelungensten akustischen Musikmaschinen sind durch die Integration von Instrument und Computer steuerbare Konzertflügel. Deren Entwicklung folgt einer langen Historie von autark spielenden Player Pianos bis hin zu Nancarrows präziser Papierrollen-Steuerung mit pneumatischer Mechanik. Computerflügel ermöglichen eine ungeahnte rhythmische Präzision, die sich bei mehreren verwendeten Instrumenten auch als Raumklang artikuliert. Mit freundlicher Unterstützung des ComputerStudio der Hochschule für Musik Karlsruhe, das dieses Konzert mit der Leihstellung von drei Computerflügeln ermöglicht, werden im großen Klangraum des Foyer des ZKM insgesamt vier Computerflügel von einem Computer gesteuert.

Residency initiative »bangaloREsidency-Expanded« | Concert

[05.03.2022]

Yashas Shetty »Approximation of the Sea«
(2020 – 22), for tanpura, piano and electronics, 30’

The ‘drone’ influences Western minimalism for almost 60 years now. Beyond its influence on Western classical music, its presence has extended into popular music as well, with early bands such as The Velvet Underground to some German Krautrock groups borrowing heavily from the concept of the drone. Its influence reaches deep into popular music and culture of today. Yet, the historical narrative of the drone has always been a one way street. It is a story told by American composers in which the early origins of this transfer of technology are shrouded in mythology and mystification.

»Approximation of the Sea«, developed by sound artist Yashas Shetty in collaboration with ZKM | Hertz-Lab sound engineer Benjamin Miller for tanpura, piano, and electronics, explores both the technical and aesthetic challenges of composing with surround systems. It is designed especially for the ZKM_Cube. The piece in itself extends from Shetty's ongoing research into the history of encounters between Western composers and Indian artists in the 20th Century and is rooted in his broader artistic practice of extracting histories from mythologies.

Residency initiative »bangaloREsidency-Expanded« | Concert

[05.03.2022]

Yashas Shetty »Approximation of the Sea«
(2020 – 22), for tanpura, piano and electronics, 30’

The ‘drone’ influences Western minimalism for almost 60 years now. Beyond its influence on Western classical music, its presence has extended into popular music as well, with early bands such as The Velvet Underground to some German Krautrock groups borrowing heavily from the concept of the drone. Its influence reaches deep into popular music and culture of today. Yet, the historical narrative of the drone has always been a one way street. It is a story told by American composers in which the early origins of this transfer of technology are shrouded in mythology and mystification.

»Approximation of the Sea«, developed by sound artist Yashas Shetty in collaboration with ZKM | Hertz-Lab sound engineer Benjamin Miller for tanpura, piano, and electronics, explores both the technical and aesthetic challenges of composing with surround systems. It is designed especially for the ZKM_Cube. The piece in itself extends from Shetty's ongoing research into the history of encounters between Western composers and Indian artists in the 20th Century and is rooted in his broader artistic practice of extracting histories from mythologies.