Ng/ Ng Revisited av Johan Jutterström

29 April @ 18.00 -RISK (RIMI/IMIR SceneKunst) Ng/ Ng Revisited av Johan Jutterström (SE) in Collaboration with NyMusikk Stavanger Jutterstrom is an artistic researcher at the University of Stavanger, Faculty of Performing Arts, attached to the Norwegian Artistic Research Program.

Ng/ Ng Revisited av Johan Jutterström Ng/ Ng Revisited av Johan Jutterström

Ng revisited is an artistic research project and concert performance by Johan Jutterström. In Jutterström’s research project and concert piece, he tries to refine a music-choreographic aesthetic expression; something that he first attempted with the piece ‘Ng’ in 2013. Jutterström notes about the project: “As a saxophonist educated at some of the finest universities of Europe, I found that there seemed to be very little to talk about outside of instrumental technique and pure problem solving. In my artistic research project, I work to move away from this pragmatic view on music ...by abandoning the musical instrument; hoping to contribute to the theories and practices of western art music while also challenging conventions that I felt was weighing it down—just as the saxophone weighed around my neck. “

18:00: Ng will be performed as a headphone concert, with limited seating. The ensemble performing Ng consists of: Ingeborg Zackariassen, Joakim Envik Karlsson, Johan Jutterström, Linda Oláh, Sofia Jernberg and Toby Kassell.

18:30 Ng revisited will be premiered and performed live. The ensemble performing Ng revisited consists of: Ingeborg Zackariassen, Jennifer Torrence, Johan Jutterström, Linda Oláh, Sofia Jernberg and Toby Kassell.

Jutterström’s artistic statement: “In juxtaposing the two pieces (Ng and Ng revisited), I hope that my research questions and methods, as well its context will simultaneously activate and illuminate my artist practice which is firmly situated in the field of music and at the boarders of choreography. Will the choreographic elements of the music take over and subvert it into a pure dance performance, or will the tension between the musical intention and the choreographic means help open the situation up for something new and interesting? I ask three overarching questions in my artistic research project: 1) can my choreographic approach offer a substantial donation to western art music theory and practice? 2) Can such a premise challenge how music notation is approached and help expand how music structure is thought of beyond how it is communicated through notation? 3) Can it change time measuring mechanisms of music and advance the way space is approached? I would to ask the audience to keep these questions while listening to and watching the performance, as I believe that my answers to these questions are not necessarily more valuable than yours.”