bangaloREsident@Attakkalari Centre for Movement Arts
Martin Lutz studied sound art at UdK Berlin and musicology at LMU Munich. He works as a composer, musician and sound artist for dance, performances, theatre, installations and film.
His work focus lies in the nature of sound and it's relevance for the space. Field recordings and experimental sound production are the basis for compositions that take sounds and soundscapes out of their natural context to give them a new content-related and spatial sense.
Martin Lutz has been invited by Attakkalari Centre for Movement Arts to work out and realise a sound concept and music score for their dance production Bhinna Vinyasa – Multiple Assemblages. The performance will premiere at the Attakkalari India Biennial 2017.
As part of the bangaloREsidency 2014 Deepa he has already worked on parts of the performance.
The starting point of the artistic process is a consideration of site-specific Indian urban developments and the social and cultural transformation of individuals and societies. The goal is to find a sonic language that characterises typical urban Indian milieus and their inner dynamics. He will work with Indian musicians from Bangalore and also with video and light artists from Europe to find a performative way between (sound-)installation, performance and music for contemporary Indian dance.
The performance Bhinna Vinyasa was premiered at the Attakkalari India Biennial 2017.
The premiere preceded a very intense period of artistic examination and dialogue with the collaboration partners from India, Italy and Spain.
Under the leadership of the artistic director of the Attakkalari Centre for Movement Arts,
Jayachandran Palazhy, Bhinna Vinyasa was created together with six dancers from the Attakkalari Repertory Company, the Spanish dramaturge Andrés Morte, the Italian video artist Luca Brinchi, the Indian lighting designer Shymon Chelad, the Indian musicians KRV Pulkeshi, Balasubramanya Sharma and P. Janardhana and myself, who was responsible for composition and sound design.
Bhinna Vinyasa, a ‘realm of changing configurations/assemblages’, explores metaphysical journeys prompted by internal and external forces resulting in profound changes in the lives of individuals and communities.
© Attakkalari Centre for Movement Arts Alluding to the imagined ancient idea of the ātman (individual soul) and paramātman (universal meta soul) as well as the rhizomatic relations in the “post-humanist future”, Bhinna Vinyasa traverses the notions of self through a continuous process of becoming and disappearing, where the coordinates of time and space appear elastic.
The fusion of Indian traditions (dance, music and philosophy) with a contemporary global awareness and aesthetic appeal made the composition a challenge.The musical aspect is based on a specific kind of traditional Indian music, composed and recorded by musicians from Bangalore. To bring the idea of the piece together with the aesthetics of the Indian music, I was trying to transform components of the Indian music, to destroy them or only use certain aspects of them.
© Martin Lutz The sounds I’m working with are mainly field recordings from transit facilities, sounds of deconstructed instruments or the elements, like wood, metal, water, whatever and recordings of electromagnetic waves of the Silicon Valley of India. The result is electro-acoustic music between multi-channel sound installation, soundscape and noise.
Bhinna Vinyasa was co-produced by Fabbrica Europa (Florence) and had its European premiere in Florence in June 2017 with a subsequent tour through Italy (Rome, Ancona, Milan, Verbania).