As a producer and composer Peter Kutin realised a wide variety of works within the field of contemporary and experimental electronic music, often combined with formats such as cinema, film, composition, theatre, light and sound art. His projects have been shown at various music and film festivals. Peter Kutin was awarded several prizes, among others the Karl-Szuka-Preis for the production „Desert Bloom“ in 2016 (together with Christina Kubisch and Florian Kindlinger). He has worked with a variety of musicians, composers, theatre / film directors as well as investigative journalists including Billy Roisz, Christina Kubisch, Nikolaus Geyrhalter, Martin Siewert, Daniel Hösl, Fritz Ofner, Radian, God’s Entertainment and Katharina Copony.
What makes artistic collaboration work?
I guess that if there would be a clear answer to this question, then we reached the point where we have to rethink the term of ‘art’ in general, because then we can let machines do all the work. I believe that there are hopefully too many factors involved, making it impossible that a successful collaboration can neither be predicted nor later analyzed in all its details… there will always be ’Feinstaub’, ‘Unschärfe’ and ‘Chaos’.
I personally work in many different art-fields, cross-genre so to say – and everywhere not only the tools, rooms, overall contexts but also the whole system and its psychology –the pressure, the money-situation, the amount of people involved, the timeframe, the expectations and experiences of the audience etc. differ quite drastically. So every collaboration opens a completely new territory and is therefore hard to be generalized.
A fact concerning myself that seems to be a constant though is that I can only tell from a distance if things have turned out ok. It’s the moment when I look at the work with an emotionally disconnected state of mind – this might be days, weeks or months later… if you still think by then that you created something that kicked you off balance and you still don’t know for a 100% why, then an artistic collaboration or even also a solo show worked out or turned into a piece of art.
How important is the context, in which you perform, to you?
For me there are very clear boarders from a politically aspect where not to put my toes or tones in.
With God’s Entertainment (the performance group I work with here), we always adapt the work to the situation – that doesn’t mean only to the room or space and its size and acoustics but also in terms of the festival’s theme and its audience, surroundings as well as the country and city we are in, etc. We look closely at all these elements and try to create a confrontation for ourselves and the audience in order to open an additional inspirational corridor. So, we work maybe within an extended context compared to projects that are meant to go on ‘tour’ and therefore don’t need to change or adapt.
… but one could easily write a thesis about art and context…
Is music science? Why (not)?
A wolf and a fox are both mammals living in the forest. But they are not the same animal.