Corpora Aliena

0 Posted by - May 9, 2019 - Event: Past, Music: past

IKLECTIK presents,

Corpora Aliena

Saturday 13 July 2019 – doors 7pm / music 7.30pm | £8 adv / £10 door (fees apply) | BUY TICKETS

Corpora Aliena is pleased to present a concert of diverse experimental music performances featuring leading international and pioneering musicians and composers.

For this Corpora Aliena event, the Russian artists Pavel and Elvira Zhagun will be making a rare visit to London, and will give a live performance of ‘Digitalizm’, an A/V generative acousmatic composition that uses custom-made generative computer programme. This is a rare opportunity to see two of the pioneers of the Moscow experimental music, poetry and video art scenes.

Also included in the programme are:

Avsluta (Lucie Stepankova), whose new composition ‘Ripple’ was produced utilising metallic instruments and objects as the main  sound source. This work is a contemplation on the sonic potentiality of these materials and objects and their extended sonorities arising from their interaction with human body and digital technology. As in most of her works, her focus will be on meticulous investigation of physical and phantom sound creation and detailed inquiry into their flow, development and interrelationships.

Kate Carr will create A performance featuring field recordings, objects, and instruments.

Bernhard Living will be performing a live version of his ‘Composition 2019/06’, which is a continuation of his explorations with tonality – interference patterns – and phases shifting. The music is sparse with glacial movement – maximal repetition and minimal variation.

In addition to the music performances, there will be a screening of two experimental videos by the artist Rebecca Salvadori. The videos are ‘Exercise A  and ‘Exercise B’, which Salvador describes as being synchronized and non-synchronized exercises of arrhythmic empathy. – and present a series of animated shapes and colors, assembled together according to constantly evolving combinations of intentionalities. The combinations never repeat; the arrhythmic evolving movements attempt to break free from a mechanical, predetermined outcome. The videos have been commissioned by composer Sandro Mussida for his Ventuno Costellazioni Invisibili limited edition vinyl release.

The Corpora Aliena Eclectic Electronic concert is an exciting opportunity to see and hear some of the leading international musicians and artists who are an important part of the contemporary experimental arts and music scene.

Corpora Aliena is curated by Dasha Birukova and Bernhard Living

Artists’ Biographies









Avsluta (Lucie Stepankova) is a London-based Czech-born electro-acoustic composer, improviser and sound artist. Recent graduate from Sound Arts and Design bachelor programme at the London College of Communication and a great admirer of contemporary classical, experimental and dance music, her practice is a genre-fluid journey through deep listening situations, sonic abstractions, dream sequences and pulsing layers of ambiance.

Her compositions are created through intertwining synthetic sonorities, field recordings and live and recorded acoustic free improvisation with objects and materials. Her interest in Eastern philosophy and meditation is translated into her work through use of repetition and extensive durations. The uninhibited nature of field recordings and the detailed raw intensity of improvised sonic explorations in connection with the structured synthetic sequences are forming what she calls the Phantom Field. It is a field of deep sensibility to sonic sensations and inner experiences of emotions, altered states and dreams. It is a way of being here and now, being in the right place at the right time.










Kate Carr has been investigating the intersections between sound, place, and emotionality both as an artist and a curator since 2010. During this time she has ventured from tiny fishing villages in northern Iceland, to the flooded banks of the Seine in a nuclear power plant town, recorded wildlife in South Africa, and in the wetlands of southern Mexico.She works with field recordings, instruments, objects and happenstance.









Bernhard Living (b.1948 UK) is an experimental music composer, curator and former multi-instrumentalist (playing alto saxophone and flute). He studied composition under the South African-born composer professor Stanley Glasser at Goldsmiths College, University of London, and philosophy under professors Jonathan Reé and Peter Dews at Middlesex University, London.

Bernhard Living’s digitally-based compositions have taken minimalistic compositional techniques to what he considers to be their logical conclusion, with his music being characterised by sparse textures, long periods of silence, maximal repetition and minimal variation. The compositions are often devoid of musical elements such as melody, harmony and rhythm, and as an alternative they explore the use of sound colour and sonic textures.

Influences for Living’s work range from the historical avant-garde, including John Cage, Morton Feldman and Edgard Varèse; American minimal art, Agnes Martin, Donald Judd, Rosemarie Castoro, and Carl Andre; to contemporary loop-based dance music, particularly techno. In many ways, his music could be considered as an evolved non-dance form of techno, but one that exists within a different cultural context and along a different time continuum.

Live Performances

Composition 2016/06 (The Mysteries of Concrete) at Poetronica  15.12.2016 (Curated by Pavel Zhagun), National Centre for Contemporary Arts (NCCA), Moscow

Composition 2018/08 (Violin Stories) at Poetronica  21.04.2018 (Curated by Pavel Zhagun), National Centre for Contempoary Arts, Moscow










Rebecca Salvadori is an Italo-Australian, London-based video artist with a long experience of filming environments following a non-hierarchical/chronological layering and sequencing of audio to footage. Her film work, including ambiguous short documentaries, artists’ portraits, music videos and non-synced live visuals, is both highly personal and willfully elusive.

Rather than following a classic, linear narrative, these take the form of visual compositions built through chance, association and repetition.

Throughout the years, Salvadori has accumulated an extensive video archive from which she creates assemblages. This acts as the basis for filmic portraits of moments, people and environments. Salvadori has exhibited her audio/visual work at venues and festivals throughout Europe including Macro Museum of Contemporary Art (IT), Barbican Art Center (UK), Festival of Film and Animation Olomouc (CZ), Festival IMAGES (CH), Crosstalk video art Festival (HU), David Lynch’s Silencio (FR), SCHNUCK Glaspalais (NL), Sophiensaele Theatre (DE).

Synchronized and non-synchronized exercises of arrhythmic empathy. 2017 (Exercise A 10:48 min, Exercise A 10:48 min)

Since 2012, Salvadori developed a visual language under the Pseudonyme of Euroemptiness

Vision overload and information excess together with a desire of “silence” are the fundamentals of the project euromptiness.

From the artist’s desire for “emptiness”; “emptiness” of meaning; “emptiness” of prospective; “emptiness” of thought and has been subsequently transformed into either live Installations, live visuals or large prints.

The last incarnation of ‘euroemptiness’ is ‘synchronized and non-synchronized exercises of arrhythmic empathy’ that premiered on the 21th July 2017 at the Encyclopedia of Human Relationships show curated by Mark Fell in Galeria dos Prazeres, Madeira. The video has been selected for several shows including the recent D.REM, a dream sensorium at the Freud Museum.

Exercise A and Exercise B are two visual compositions present a series of animated shapes and colors, assembled together according to constantly evolving combinations of intentionalities. The combinations never repeat; the arrhythmic evolving movements attempt to break free from a mechanical, predetermined outcome. The videos have been commissioned by composer Sandro Mussida for his Ventuno Costellazioni Invisibili limited edition vinyl release.












Elvira Zhagun – art historian, video artist and curator of the international festival of contemporary poetry, sound art and video art POETRONICA (2008-2019), teacher of the department of cinema and contemporary art Russian State Unversity for the Humanities (RSUH).

Education: Department of history of art in Russian State Unversity for the Humanities.

Author of 24 glitch video works «Artification» (Rhizomatique publishing, Frankfurt-am-Main, 2010), “SILF”, (NOSTRESS NETLABEL, 2011), “Ready-media of Duchamp”, 2012 etc.

Author of articles about glitch art (Error as a formative strategy in contemporary art, 2013; The understanding of aesthetical aspect in glitch art, 2017; Glitch as recognizing of software use creative ability in contemporary art, 2018; Problematization of artistic aspects of glitch art in contemporary glitch studies, 2019)


Pavel Zhagun (aka Piezo, p13z0) is a composer, poet, media artist, sound artist and art curator.


Kyiv R. Glière Music College and Termen Center of electro-acoustic music Moscow Coservatory.

Composer and pioneer of free electroacoustic and acousmatic improvisation.

One of the founders of the Russian electronic academic avant-garde “third wave”. He investigates generative computer electroacoustic composition. He studies verbal phonetics of poetic texts and their semantic structure. Develops its own software machines for experiments with the latest generative computer composition. He has more than 30 albums, including published international cult labels new experimental, and acousmatic music. Author of six poetry books. Member of the short-list of the most prestigious literary award named after Andrei Bely. Curator of many art, poetry and music projects. Author of spatial generative multichannel installations and special tracks for artistic performances and films. Organiser of the international festival of contemporary poetry, sound art and video art POETRONICA. Participant of scientific conferences and symposia on culture and contemporary art. Lives and works in Moscow.

Curator Biographies











Dasha Birukova (b. 1985, Russia) is a curator and writer based in Lisbon. She graduated from the Russian State University for the Humanities, Moscow, Russia, art history department and at the Russian State University of Cinematography (VGIK), Moscow, Russia, cinema history department. Her specialisms are experimental film, video and media art,

Birukova curated the “New Media” programme at the National Centre for Contemporary Arts (Moscow) and co-curated the Festival of Media Art “VideoFocus” organised by NCCA (2014 and 2015).

She was a co-curator of the exhibition “Error Message” that was part of the 4th Moscow International Biennale of Young Art, 2014.

In 2016, Birukova joined the team of the high-profile project “Geometry of Now” curated by British artist Mark Fell, organised by the VAC Foundation in Moscow.

In 2017, she curated the exhibition “Pink Flamingos” at the art space BLEEK in Belgium.

During 2018 Birukova lectured at The Russian State University for the Humanities, Moscow, Russia, Department of the art history and at the British Higher School of Art and Design, Moscow.