Visiting Artist (Salims Salon)
Born in 1977 in Bremen. Between 1988 and 2003 he studied Composition with Nicolaus A. Huber and Thomas Neuhaus on the Folkwang Academy in Essen, as well as with Beat Furrer on the University of Arts Graz in the frame of the DAAD scholarship. Among other things, he created works on IRCAM (Paris), in ZKM (Karlsruhe), in the electronic studio of AdK (Berlin) and in IEM (Graz). He received numerous awards and was scholarship awardee of Darmstadt Summer Courses for New Music, scholarship holder of Academy of Arts Berlin and DAAD. He received the first price on the competition on Impulse 2005 and composition competition of Bremen Landesmusikrat 2006.
Hannes Seidl developed his pieces with numerous renowned ensembles like Ensemble Modern, KNM Berlin, Ensemble Mosaik, Klangforum Wien or the New Vocal Soloists Stuttgart. His compositions were presented, among others, on Donaueschinger Musiktagen, Ultraschall-Festival Berlin, Festival Ultima Oslo, on steirischen herbst Graz, ECLAT und Warschauer Herbst.
Since 2008 he works together with the video artist Daniel Kötter, with whom he developed music theater, among others, „Freizeitspektakel“, 2013 – 2016, Trilogie “Ökonomien des Handelns – KREDIT, RECHT, LIEBE”, installations, short movies and radio plays.
In 2016 Hannes Seidl initiated the internet radio project “Good Morning Deutschland” which since then broadcasts multilingual radio from Frankfurt und Stuttgart, made by and for the refugees.
Hannes Seidl lives in Frankfurt a. M.
How important is the context, in which your work is performed, to you?
The context has a huge influence on the perception of the work and therefore is important already in the conception of the work: in what relation is the audience to the musicians, are they surrounding them, sit side by side, does the audience see the musicians etc. Shorter works that are combined with other pieces in one evening immediately comment on each other, so especially fragile pieces can be destroyed by their surroundings.
I always try to reflect the context and react to it for the performance. On the other hand I try to develop works that can function in different contexts and get influenced by it in a way that creates an interesting and unforeseen interaction between context and work.
Where are the limits of notation?
What makes artistic collaboration work?
Finding a common language between the collaborators. In collaborations it is important that everyone involved as well as every medium involved comes to its own. An event needs to make sense for everyone. In music theater, e.g. an event needs to make sense in its aural and its visual as well as in its meaning. My experience also showed me that it is necessary to leave space for everyone else.