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Moderation: Elena Agudio",[266],{"type":257,"attrs":267},{"class":259},{"type":136,"attrs":269,"content":270},{"textAlign":34},[271],{"text":272,"type":140},"Contemporary artistic creation seems to be increasingly nourished by aesthetics and scientific methods. The duty of permanence and irrefutability of science makes it a new Eldorado for artistic creation, which seems to find something greater than itself, a new god marked with the seal of truth as a search engine. Art, known as a unique expression of our biological specificity, draws by its phenomenon a primary function of this strange animal that we are, physiologically constituted to imagine, to tell, but also, to believe.",{"type":136,"attrs":274,"content":275},{"textAlign":34},[276],{"text":277,"type":140},"Focused on a relationship between fiction and reality, these two fields, art and science, propose hypotheses of understanding and manipulation of the world that it is legitimate to question. When Art is inspired and shaped by contact with the so-called “hard” sciences in the same way as society, it is legitimate to ask what power is thus attributed to science? Are we at the level of sorcerer’s apprentices, and can a counter-power be opposed to it? against terror and its untiring weapon, in spite of their personal tears, all men who, not being able to be saints and refusing to admit the “ideals”, nevertheless decide to become doctors.",{"_uid":279,"component":161,"propRichtext":280},"a1a14502-d5bc-44a1-9bf3-1dbe410d4d60",{"type":133,"content":281},[282,290,295,314,329,336],{"type":249,"attrs":283,"content":284},{"level":251,"textAlign":34},[285],{"text":286,"type":140,"marks":287},"Salon Souterrain ",[288],{"type":257,"attrs":289},{"class":259},{"type":136,"attrs":291,"content":292},{"textAlign":34},[293],{"text":294,"type":140},"is a format created by Elisabeth Bakambamba Tambwe in 2018 as a response to the unbridled accentuation of the exclusionary dynamics, which have become the prerogative of our societies in Europe.",{"type":136,"attrs":296,"content":297},{"textAlign":34},[298,300,305,307,312],{"text":299,"type":140},"In 2019, ",{"text":301,"type":140,"marks":302},"Lena Fankhauser",[303],{"type":304},"underline",{"text":306,"type":140},", founder of ",{"text":308,"type":140,"marks":309},"music (CH)AMBER",[310],{"type":311},"italic",{"text":313,"type":140}," became cooperation partner and is curating the orchestral music program (trio, quartet ,ensemble).",{"type":136,"attrs":315,"content":316},{"textAlign":34},[317,321,323,327],{"text":318,"type":140,"marks":319},"Cléo Duplan",[320],{"type":304},{"text":322,"type":140},", cooperation partner since 2019, is funder of ",{"text":324,"type":140,"marks":325},"Les Lunes Bergers",[326],{"type":311},{"text":328,"type":140},", a publishing house of books-objects that offers a stage space to take away. 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This gave rise to a regular musical partnership that encompasses music from Haydn to their namesake Schoenberg and well beyond.",{"type":136,"attrs":357,"content":358},{"textAlign":34},[359,361,364,366,367,369,370,372,373],{"text":360,"type":140},"Pieces jouées:",{"type":335,"marks":362},[363],{"type":304},{"text":365,"type":140},"Joseph Haydn————-Opus 53 Nr. 1",{"type":335},{"text":368,"type":140},"Zoltan Kodaly—————Intermezzo",{"type":335},{"text":371,"type":140},"Jean Sibelius—————Suite in A major",{"type":335},{"text":374,"type":140},"2nd movement: Andante con Moto",{"type":136,"attrs":376},{"textAlign":34},{"type":136,"attrs":378,"content":379},{"textAlign":34},[380,384,386,387],{"text":381,"type":140,"marks":382},"Elisabeth Bakambamba Tambwe",[383],{"type":304},{"text":385,"type":140}," ",{"type":335},{"text":388,"type":140},"is a choreographer, performer and visual artist based in Vienna, Austria. Born in Kinshasa (DRC) she grew up in France where she studies Fine Arts. 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Der thematische frame spannt sich dabei über Modelle des Pivotalen als Ausdruck von virtuellen und physischen turns, das gestische Repertoire des homo digitalis, Manier und Manien im digitalen Kommunikationsraum, die Problematisierung und Gefahrenanalyse der technologischen Klassik und ihrer Standardisierungsprozesse.",{"type":136,"attrs":485,"content":486},{"textAlign":34},[487],{"text":488,"type":140},"Kulturgeschichte ist Handlungsgeschichte. Res gestae als Geschichtsbegriff formuliert, wie Handlungen geplant, wahrgenommen und erinnert werden. Objekte und Artefakte sind dabei, neben der festen Kontur der Sprache, Erzählungen in ihren jeweils eigenen Formaten – und Medien. Eine phänomenologische Beschreibung der Geste in ihrem Verhältnis zu den Apparaten unternimmt Medienphilosoph Vílem Flusser (1994). 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Dabei arbeiten sie auch immer wieder mit angewandten und interaktiven Kunstformen und haben eine umfangreiche künstlerische Praxis zur Phänomenologie des device und bildhauerische Erfahrbarkeit des Hand-Gerät-Gestus entwickelt.",{"type":136,"attrs":528,"content":529},{"textAlign":34},[530],{"text":531,"type":140},"Ihre Werke wurden unter anderem im Haus der Kulturen der Welt in Berlin, im Eyebeam Center for Art + Technology in New York, im Palais de Tokyo in Paris, im Garage Museum of Contemporary Culture in Moskau, im Wiener MAK, im MAK Center for Art and Architecture in Los Angeles sowie im National Art Center in Tokio 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