I was born and raised in Venezuela (1988) to a Croatian father and an Italian mother. Regardless of a happy childhood, full of mixtures and contrasts, home has always been a virtual place for me, and the feeling of belonging and abstract phenomenon that constantly demands questioning and reinventing.
The search for a way to express myself spontaneously engaged me with music and later took me to Croatia, where I developed and studied as a classical pianist. Although music has always had an essential role in my life, it soon became obvious I needed to explore my own physicality on stage, and the aesthetic possibilities offered by the visual arts. It turned out that technology and live electronics functioned as a bridge to articulate all the diversity I felt I needed. Movement, music theatre, photography, performance art, composition, improvisation, installation performances, they all fourished after I moved to The Netherlands back in 2013.
Nowadays my artistic focus is set on interdisciplinary performances, and more recently, the exploration of the installation format and collaborations related to photography and sculpture, always connecting and re-connecting with sonic experiences. My research is motivated by approximations to exuberant aesthetics, human identity, the body, and metaphysical aspects of our existence. A connection to the piano and my interest in live electronics is constantly pushing me to fnd new sound dimensions involving the use of software and sensors, in an attempt to re-articulate my personal experience and explore the relationships between the instrument and my body.
Marko Ivic at glogauair.net:
The Self Manipulated // exhibition
ArtSci Soirée & Vernissage // Exhibition
DECENTERED - Informal practices in the public space // Artist Talk
WHAT DOES IT MEAN TO BE A CULTURAL KNOWLEDGE PRODUCER IN A THE DEVASTATED LANDSCAPE OF CREATIVE ECONOMY AND IN A NEW ERA OF GLOBAL FASCISM? // Artist Talk
Be the Artworld you want to take part in // Artist Talk
OPEN STUDIOS March 2018
ABOUT MY RESIDENCY AT GLOGAUARTS
After visiting you in January, I decided to apply to your program. I felt connected with the spirit of an artistic family, an environment that fosters artistic creation in an open and warm atmosphere. Personally, doing art has been a specifcally vulnerable process because of my musical background; in this regard, becoming a creator has been consisting of allowing my self to create and venture into ways of expression without judgement. I realized I felt confdent that the environment of fne arts or lets say the arts in a broad sense (outside music or academic music) was and still is the best environment for me and my ideas to fourish and develop.
The ideas I present to you here vary in nature and medium, and also, they're at a different stages of development. My goal is to give you a more or less clear picture of what is my artistic direction, and what are the things I am busy with. I am aware that there are technical limitations, and as we discussed, that some of the proposals seem very diffcult or far from what you usually deal with in the building or in your activities. It is my wish to be as fexible as possible and to fnd ways of making things happen, always, of course, if you feel there is a match between my profle and the characteristics of your residency program.
I am eager to work with other artists, to express myself in new ways, and to be able to dedicate myself to creation. Over the last years, I came to the conclusion collaborations are the best format for my ideas to fow and develop. I enjoy greatly working with people and being stimulated by other disciplines. As you will see in this proposals, they all involve other artists, already defned or yet to be. How will this work within the residency, depends on many factors, but once again, I have my best disposition to make things work.
I am also willing to look up for funding or support for the realization of works, and I'm sure that by having your support that will also be more likely to happen. Having lived in Holland for the past 2,5 years connects me with the scene there as well and allows me to think about a junction between Amsterdam and Berlin in terms of production, collaborations and fnancial support.
The following ideas are not organized hierarchically. I would narrow down the plan and select ideas that both resonate with the residency program, show some cohesiveness and that are also realistic to accomplish; I am open to discuss that with you to fnd the best plan of work.
An installation and/or performance for performer, prepared piano and live electronics
Concept and Performance: Marko Ivic
Artistic advisory: Andreas Hannes Sound assistant: I-lly Cheng Scenography: Paulina Prokop
An installation / performance where a grand piano is set in the middle of a space, connected with the body of the performer using specifc materials / fabrics. The performer's movement pulls the piano so that it moves around its own axis, the back leg, creating a perfect circumference. The back leg has been replaced by a tailor made metal one able to be fxed to the foor to achieve symmetry and evenness in the movement, whilst ensuring stability and support for the whole instrument.
The preparation of the instrument (besides the replaced leg), consists of blocking the sostenuto pedal so the strings are always open. It is also set with contact, transducer (c-ducers) and other mics, which register the vibration of the sound board and the strings as the piano moves. The performer is equipped with mics as well: a contact mic to register his heartbeat and another mic to register his respiration. The resulting signals are then routed to the computer for audio processing and amplifcation (all stored inside the piano), and then sent to the sound system wirelessly.
The piece is an exploration of the relationship between a pianist and a piano. This relationship is taken out of its music-making context and represented in space as the interaction of two bodies, two objects. Their interaction is characterized by their difference in dimension and mass, as well as the signifcance of the actions of pulling and endlessly rotating. Even if pianists never take their instruments with them, having to literally “carry” the piano makes the pianist's role comparable to the one of Sisyphus.
However, both bodies share aspects in common: both have interventions, such as the piano leg and the fabrics around the pianist's body; both bodies are exposed ( the piano lid is removed, and the pianist's chest is naked); both are “monitored” by mics. By suppressing the music-making aspect, the installation focuses on the objective physical interaction, and its resulting sound. Moreover, we could say the soundscape is created out of existing shared “inner realities”: it is as natural for a piano to generate string related vibrations when moved, as it is for a human body to have a heartbeat and breath.
Over the last months I became fascinated with the format of an installation, and how it removes most
of the performative rules of interaction between performers and audience. More specifcally, the the ritual of music and its codexes were completely absent, opening up new perceptual opportunities. Connecting with my personal investigation of my relationship with the piano, I got intrigued by the idea of a pianist manipulating the piano as an object in a (non musical) space, incessantly. The development of this idea and the wish of a repetitive scenario led me to defne the movement as a never ending circular one, which frstly connected with the rondeau as a circulating dance form, and later to the well known music form that deals with the repetition of thematic material.
Rondeaubecame then a possibility to exemplify the representability of music, transposing structural components into the space and body and then back to soundscape. It monitors the sound of non- musical actions and organizes them in the form of a rondeau. The structure of the piece coincides with the form of a classical fve-part rondo (ABACA), organizing and articulating all the generated material created during performance: speed, direction and intensity of the turning, choreographic aspects of the performer i.e. decisions regarding what and how to do with the body, and organizing the generated sounds and their amplifcation and processing.
The resulting soundscape is an ever-going machine-like sound (the piano rotating) with reminiscence of vibrating piano strings accompanied by aleatoric rhythmic patterns created by the vital signs of the performer. This sounds are amplifed and (subtly) effected live to create new textures connected to specifc sections of the rondeau. Once sent to the speakers, the room becomes an immersive sound space through which the visitors can navigate.
Time will be set within the context of movement and trajectory; the rondeau could then for example take the circumference as a fxed reference to determine its duration and organize sound, dividing it to create its different sections (ABACA). It could as well take a bigger trajectory (several completed circumferences) to dictate and organize its structure. The length of the performance is fexible and adaptable to the needs of the venue. It has the character of a durational performance of around 45 minutes, being repeated over and over, but it can as well be presented as an evening performance with a beginning and end time.
Sound recordings (trial of a rotating piano) https://vimeo.com/204257353/4656135daa
Refects is a performance installation that integrates sound, light and movement. It is a minimal music piece for piano and live electronics which transcends to a sculptural reality where sound interacts with light and moving mirrors.
The piano is in a sort of cage made by suspended mirror like geometric and semi- geometric objects, which either rotate by means of a kinetic installation or either by the use of fans and air fows. Lights are installed and surrounding the cage from the outer space of the room, but also from the inside, and built in into the structure, so that it is possible to achieve multiple ways of refecting and re-directing light during the performance. Using live electronics, all this dimensions are connected to the sound: Lights and mirrors respond to the sound depending on certain parameters. The audience is free to walk around it, but also sit, lay down, dance or choose how to experience the performance. It can be considered to arrange the shape of the cage differently, or to allow the audience to also enter the inner space of it.
The music has developments, but its minimal nature emphasizes an ecstatic feel with the conscious intention of leading to a state of trans or meditation. Within the piece, several developments are fxed, but improvisation still plays an important role, also considering the fact the piano becomes an extended instrument, so it also lights up, moves and refects, and the improvisatory quality of the music extends to those realms. The motivation of the piece is my wish to create an involving environment through the experience of luminosity, minimal music and space. Personally, it responds to my fascination with light, but also its metaphysical meaning: Light breaks into a million pieces, creating a vast universe of complex relationships, always changing, always ethereal, immaterial yet palpable, not present yet experienced. For me, its also an immersion in the complexity of human identity and that which we are and we can't touch, that which we are and is more than what we can understand.
The piece suits well a performance space as much as a museum or a dark chamber. Solely as an installation, it can be presented without the piano, with a looping soundtrack that still operates lights and movement live.
The sketch bellow shows the frst image that came to me about the piece. The cage's shape is fexible and open for further experimentation. Similarly, the team to work with is still to be defned, although I have already in mind visual artists and sculptors / installation artists who might be interested to collaborate.
The concept of Matter comes out of my wish to research the physical boundaries of the body and its interaction with the space. The theory established in physics explaining how relative differences are between objects and spaces, reveal a fascinating fact for me: Nothing can ever disappear, so in a way, there is no difference between my body and space. We're both “bound” to be here, being matter.
Our existence is a compendium of interactions: when I play piano I include it in my physicality, when we have sex we physically become one, when we eat, the food becomes us, when we breath, air becomes us, when we see, we see everything inside us. On a physical level, our cavities are channels with which we can communicate with the world and the world communicate with us. Our “border”, the very form of our bodies, and the capability of movement, set a whole range of possibilities of interaction with space. Another aspect to research is the principle of clothing / nakedness and how clothes become our body's most common extension. I would like to explore the concept of sculptural clothing, with an emphasis on the explicit interaction of my body with the objects or materials.
As a pianist, the idea of having an “instrument” immediately suggests the role of an extension to the body. I am interested in researching this relationship, but physically and visually. By this I mean I would like to maximize the “surface” and the “border” of my interaction with the piano, creating a sculpture that holds me and a piano inside, for example. In a way, I want to represent unity in the most aesthetically exaggerated way, bringing out a reality that we all accept but hardly are able to grasp.
My idea is to create a set of photographs portraying this concepts about the interaction of my body with the space. I would like to create a set of sculptures that I can connect/wear on my body and portray. This could result in an exhibition with photography, the exposition of the sculptures used in them, videos of some of the scenes in which movement would be crucial, and a potential sculpture-installation.
For this project, a collaboration with a photographer and a sculptor / designer is essential.
December 2016 Intensive Movement Course,
School for New Dance Development (SNDO)
Theaterschool, Amsterdam, NL
2014 - 2016 Master of Music - Live Electronics
Conservatorium van Amsterdam, The Netherlands
2008 - 2013 Master of Music - Piano performance and
University of Zagreb, Croatia
2012 - 2013 Erasmus exchange program
Lemmensinstituut, Leuven, Belgium
February 2017 Simulacra Studies
for performer, video and sensors, by Solomiya Moroz
Huddersfeld Electric Spring Festival, UK
– March 2017
Performance / Installation by Samson Young
Exhibition at Kunsthale Duesseldorf, Germany
September 2016 Short wave apocalypse or the box
Music Theater production by Solomiya Moroz
Amsterdam Fringe Festival
June 2016 IF
Music Theatre production by Marko Ivic
Conservatorium van Amsterdam
September 2015 Not Only Futurists
Music Theatre production by Jerzy Bielski
Winner of 1st prize of the Jury at Amsterdam Fringe Festival
September 2013 Now what?
Music Theatre production by Marko Ivic
April 2016 Art Residence: Research on wireless sensors for performance.
Studio for Electro-instrumental Music (STEIM) Amsterdam, The
January 2016 Amsterdam Schools of the Arts Funds (AHK)
Financial grant for Music theatre production “IF”
MUSIC & SOUNDTRACKS
May 2017 Soundtrack for Goat Song, a physical theatre production by Espen
Hjort, Theatre Utrecht, NL
November 2016 Soundtrack for The Container, dance performance by Andreas Hannes
SNDO, Amsterdam, NL
January 2016 Soundtrack for Celebration of life!, theatre production by Espen Hjort,
Theaterschool Amsterdam, NL
October 2015 Piano piece no.8 by Marko Ivic
Splendor hall, Amsterdam, NL
April 2014 Soundtrack for Lineage, Olga van de Brandt's short animation.
May 2013 Music Album From Within – Marko Ivic
Own improvised Electro-acoustic Music.
January 2013 Soundtrack for Bart Lindemann's short animation Fing