The first seed of appreciation for the two individual musical and artistic backgrounds of
Marcello Giannandrea (IT) and Martine-Nicole Rojina (GER) was planted very naturally
by meeting in a fortunate coincidence in Brussels.

With empathy and interest for each others worlds – bassoonist Marcello being
educated in classical music and experimental sound researcher in form of creative
improvisation and Martine who as composer, singer and producer has been involved in
jazz, pop, electronic music, theater and sound art projects – they started to discover
the thriving coherence of their collaboration.

In a multidisciplinary residency studio in Schaerbeek (Brussels), provided by the non
profit audiovisual art organisation „cimatics“ and the „morpho collective“, a space of
plasticity is created where artistic membranes can communicate in free, unconditional
and creative co-existence.

Their musical creations become more and more living, breathing and vibrating
organisms, with collaborating and exchanging cells, initially having different functions,
but working for a contemporary common body with the duo as its core ingridient.
Profound compositions are rooted in multi-dimensions with non-linear musical elements
formed of repetitive comfort and emotionally connectable synergies. Instruments
synaesthetically shift intuitively between pictographic assotiations and actual vibrations.
Marcello and Martine for example see a lighthouse, guiding the way through the entire
piece played by the multi-bassoon-layers in „buddha´s in chains“.

The listener is invited to an infinite story, exploring the universe of vibrations, which -
depending on the element of focus – changes every time it is heard. Like a quantum
changing its state when its being observed from a wave-spectrum to particle.

The best way to discover the effect is to let go of cognition and focus on body
sensations coming along with intuitive assosiations. This way the pieces are completed
by the perception of the listener.

Musical, performative and artistic collaborations are featuring passionate partitioners
from all over europe. Given the possibility to lay the base of the composition in form of
the first layer. To commonly reach out for moments of highest intensity, close to


Marcello Gianandrea (1985 Zevio, Italy) approached the study of music at a young age,
beginning with clarinet and later saxophone. In 2006 he enrolled at the Conservatory
"C. Pollini " in Padua, studying bassoon with the Maestro Alessio Pisani. Adding to his
scientific degree at the high school "A. Cornaro " in Padua, he also obtained a bachelor
degree ( 2009 University of Padua, Faculty of Arts and Philosophy) and became Doctor
in DAMS (Disciplines of music, art and cinema) with music curriculum. He followed
several masterclasses including Maestro Sergio Azzolini ( the bassoon in the Baroque
period ) and Maestro Giorgio Versiglia ( upper Technique for bassoon ) and he
continued his studies at the Conservatory under the guidance of Maestro Leopoldo
Armellini where he graduated in 2013.

In September 2014 he moved to Brussels for a Master degree under the guidance of
Maestro Luc Loubry. In October 2014 he met the multidisciplinary music and media
artist, Martine-Nicole Rojina, with whom he is collaborating on a fusion of the two
fields: classical and contemporary electronic music. Currently involved in multiple
formations e.g. the ensemble Oktopus Connection, as co-founder with Francesco
Cigana in his trio In The Woods, as member of the Improvisation Research Center, the
Orchestra Sperimentale and the Nova Symphonya Patavina (soloist concert in
December 2013). As musician and as commissioner of the direction he is part of the
Gaga Symphony Orchestra. Passing the audition of The Orchestra Filarmonica della
Franciacorta, in December 2013 he participated in the "Super Brain" television format
broadcast on RAI 1.


Martine-Nicole Rojina was educated as professional musician at a very young age,
studied and taught Sound Engineering, Music Production and Video Production /
Directing / Editing @ SAE Munich and later Multimedia Art @ Academy Of Fine Arts
Munich with the focus on interdisciplinary projects between science and art.
She released & co-produced two albums with „MARSMOBIL“(Compost/Gstone),
several featured singles, the album „WEITER“ (Island Records / Universal) as leader,
composer and creative director for music and video and toured Europe.
As director of her own agency „MPATHY STUDIO“ she works as multimedia content
producer in the marketing and artistic field.

Besides many cultural art projects which were supported by the cultural department of
Munich, she lately co-wrote and performed a Syrian-German theatre piece, worked as
Head Of Technical Service, Event Manager, Video Documentarist / Editor and Artist
Support @ the UNPAINTED Media Art Fair in Munich and moved to Brussels as Artist In
Residency @ collection Alain Servais in April 2014, where she works as Sound-Designer
& Engineer for the RAYGUN Studios and KRIS VERDONCK / A Two Dogs Company,
as creative consultant for the advertising agency EMAKINA and holds BA lectures for
SAE Brussels in “Music Business” & “Multidisciplinary Project Management”. Currently
she is artist in residency with CIMATICS and is building an international multidisciplinary
and innovative network as member of the MIMA Art Board and the Team for Artistic
Research at MIMA University.


„Chris Gall provides evidence that jazz is alive and kicking in Germany.”, the Jazzwise
(UK), one of the biggest Jazz-Magazines in Europe, said about Chris Gall. And true,
hardly any other German pianist over the years broadened up the borders of jazz as
consequently and original as Munich based pianist Chris Gall, who is proud to be called
a style pirate, musical buccaneer and genre-breaker extraordinaire in the german jazz-
scene. After playing renowned festivals such as Montreux Jazz Festival, Jazz Baltica,
the Estonian Jazzkaar and the Vienna Concert Hall with his own trio, Chris Gall now
explores the supreme discipline among pianists, the Piano-Solo-format.

„It is a thrill to bring together some elements of minimal music with its repeating
patterns and strength with the freedom and unpredictability of improvisation”, Chris Gall
says. Therefore, he reduced his powerful way of playing piano and musical ingenuity to
the essentials. Recurring motives that alter their color through slight changes of accents
and displacing rhythms. After all, the multi-layered matrix comes out of Galls love of
simplicity in which you can discover blurry complexity. Such as a surrealistic painting,
that distorts the well known, enabling new and diverse interpretations… As if Eric Satie,
Keith Jarrett and Philip Glass have met in the studio!


Sam Louwyck (Bruges, 1966) is a Flemish dancer, choreographer, actor and singer. He
is known as a writer and performer of alternative ballet. Since 1993 he has been
involved with ‘Les Ballets C de la B’. With this group he performed all around the world.
He also acted in several films – first mainly as a dancer – later increasingly as an actor.

In 2003 he made quite an impression with his rendition of the so-called ‘Windman’ in
the motion picture ‘Any Way The Wind Blows’ by Tom Barman. He got his next major
role in ‘Ex Drummer’ as the deaf guitarist Ivan Van Dorpe. In 2009 he took on the lead
roles in ‘Lost Persons Area’ and ‘May 22nd’. Sam also performed in the critically
acclaimed drama film ‘Bullhead’ which was nominated for an Academy Award in the
category of Best Foreign Language Film in 2012. Amongst his most recent
accomplishments are ‘La Cinquième Saison’ and ‘Little Black Spiders’.

Besides his dance and acting career Sam Louwyck sings in the avant-garde rock band
‘Falling Man’.

Photo © Katrijn Michiels


Vanessa di Fine began violin studies at age of seven. Since the early years of her
studies, she has took part in important concerts as a member of the Orchestra
Giovanile della Capitanata in Foggia, which debuted in Göppingen and Stuttgart in
2005. In 2008 she played for a TV show live in Rai Italian Channel. Before graduating in
2010 from the Conservatory “Nino Rota” in Monopoli, she was a member of the
National Orchestra of Italian Conservatives, performing in major theaters such as Parco
della Musica in Rome in 2012, and many times in the Vatican “Sala Nervi”, for the
European Day of University Students, with the participation of the Pope.

In the year 2011/12 through the Erasmus program, she attended one year abroad in
Czech Republic, specializing in chamber music with violinist Alena Cechova, and cellist
of “Ostrava 's Janacek Philharmonic”, M. Jan Haliskha, taking part in more concerts
with the orchestra of the Academy of Music in Ostrava. She attended in some master
classes, among the most important with S. Krylov, Ettore Pellegrino, Anton Diaconu,
Konstantin Bogino, Rita Mascagna, Cristiano Rossi and Marco Fiorini, last one first
violin from 2006 in Orchestra of Santa Cecilia in Rome.

Through the Placement project in 2013, she won a scholarship as trainee for the
Hochschule für Musik und Theater Felix Mendelssohn Bartholdy in Leipzig, where she
lived three months, being part in the academy baroque orchestra, which has performed
in several major projects such as the Alte Musik Fest and the Bachfest, working and
collaborating for the school which has decreed positive reviews on her complete and
efficient job performance in chamber music and orchestra section. In the same year she
was a member of "Italian Youth Orchestra 2013" performing in a National and
European Tour, that included most importants Italian theaters such as Carlo Felice in
Genova, Maggio Musicale Fiorentino in Florence, in Pordenone, Perugia and Mestre,
Konzerthaus in Berlin, Le Grand Théâtre de Provence in Aix -en -Provence, directed by
importants directors of high professional level such as the pianist Alexander Lonquich,
Pascal Rophé and Wayne Marshall.

Recently she has also started a career in baroque violin with M. Tampieri Alessandro
(first violin in the Byzantine Academy ) in Monopoli, taking part in some masters of
baroque music one of them organized by FIMA in Urbino with the violinist Susanne
Scholz; she has also won the audition for the youth Baroque ensumble Pietà dei
Turchini in Napoli , with the collabotation of Elisa Citterio, violinist since 2004 in Teatro
alla Scala in Milan. She gratuated this April 2014 in violin II level (chamber music
curriculum) in Conservatory "Nino Rota" of Monopoli with 110/110 vote.


Tea Plesnicar (1991) started learning harp at the age of 8 in the class of prof. Urška
Križnik Zupan at the Music school in Nova Gorica (Slovenia). She completed her
primary studies under prof. Dalibor Bernatovic. In 2006 she was accepted to the
Conservatory of Music in Ljubljana in the class of prof. Mojca Zlobko Vajgl. She
graduated in 2010 and is now a student of Academy of Music Ljubljana where she
studies with prof. Ruda Ravnik Kosi. This year she was accepted to the Royal
Consevaroty of Brussels in the class of prof. Jana Bouškova as an Erasmus exchange
program student.

Tea Plesnicar has achieved many good results at several national and international
competitions. As a chamber musician and soloist she has played in various festivals in
Slovenia and Italy and Austria. She has played with the Slovenian Philharmonic,
Slovenian National Theater orchestra and others.

She has also attended masterclasses and seminars with professors Sirin Pancaroglu,
Diana Grubišic, Gabriella Mossyrisch, Coline Marie Orliac, Patriza Tassini, Marie-Pierre
Langlamet and Jana Bouškova.


„During my studies I developed an increasing interest for the timbrical research and a
melodical approach to the instrument, bringing me to try to apply them in all the various
musical genre I’ve come across in my artistic journey, from avant-garde to pop. Almost
as a natural consequence I embrace the improvisation music, in which the vastness of
expressive possibility and the direct relationship with the sonic material almost force the
musician to focus on musical aspects that are too often neglected in the studies of my

For me any stimulus channelled to the music production (sounds, images, classical or
graphical score, conduction,gesture) involve a path based on the curiosity to explore
not only the physical limit of my instrument, but especially the personal and expressive
side of it, forcing me to create and investigate without prejudice or habit. Curiosity is the
force that drives me most, and leads a challenging path that I want to follow. “

Francesco Cigana


The artist Jérôme Porsperger, born in 1978 and based in Brussels (Belgium), is initially
a graduate in bio-engineering.

He shares classical music in multiple contemporary forms for more than 10 years. He
possesses a collection of thousands of classical recordings and studies of music theory
and history and followed piano and singing lessons. His knowledge and sensitivity have
grown to a point that he wants to share it in new and different ways. In his performance
«The Invisible Concert» (Le Concert Invisible), he takes the various roles of Classical
Music DJ, countertenor- female voice opera singer and «air-conductor». It happens in
public spaces, art galleries or unusual venues.

Porsperger also renews the visual aspects of classical music throughout a production of
videos, installations, posters and site specific performances. He is always looking for new
ways of sharing classical music, is open to collaborations, far from traditional methods,
venues, aesthetics and audiences.

Porsperger’s body of work shows that by revisiting and working in multiple forms, the
universe of classical music can be liberated from its «ivory tower» and be made more
contemporary, fresh and accessible. Since 2004, he has multiplied the contexts of sharing
his work, such as parks, boulevards, a car parade, churches, forests, rock cafes, storefronts,
as well as galleries, festivals and museums. The past few years he has been creating more
in art residencies which allow him to explore other quirky, desecration and iconoclastic forms.
Belgium, France, Germany, Italy, USA, Thailand, Quebec, UK, Czech Republic, Malta, Sardinia,


At the age of five Simon-James Reynolds (Australia) was selected for the Australian
National team in Artistic Gymnastics and competed at that level for ten years. At age
eight, he was nationally ranked and received 2nd place in the Junior International Elite
Stream level. During his schooling, Simon-James competed and won state titles in
dance, gymnastics, diving and athletics, as well as performing in numerous musical
theatre productions including “the Wizard of Oz”, “Oliver Twist”, “Alice in Wonderland”
and rock-eisteddfods.

In 2010, Simon commenced studying at the National Institute of Circus Arts (NICA,
Melbourne Australia) winning the NICA “Achievement Award” – for most outstanding
2nd student, in both 2010 and 2011. He specialised in contortion hand-balancing,
tumbling tight-wire and teeterboard performing in numerous productions including;
“Finding Your Feet’ (NICA, 2010), Tasmanian Circus Festival (2011), “CODA” (NICA,
2011), KMarticus (Royal Exhibition Centre, Melbourne, 2012) and “Lucy and the Lost
Boy (NICA, 2012). In his final year at NICA, Simon-James was appointed to be the male
representative of NICA for the Heath Ledger Young Artist Oral History Project and a
cast member of the overture of “Cirque de Demain” (Paris, France 2013). After a short
research tour of France and Germany, was offered and position as an acrobat with
Cirq’ulation Locale. In 2013, he was assigned the role as artistic coordinator of one of
the company’s performances “Second Life”, that toured from the UAE, all through out
Europe and across into the USA.

© Marcello Giannandrea & Martine-Nicole Rojina, 30.4.2015


icamp Munich website

German-Japanese project "Verlassenschaften"
around the 3rd memorial of Fukushima, including dance/theatre performances/lectures @
icamp neues theater Munich. Supported by the cultural department of Munich.



Martine created a painting only by her thoughts.



BYOB website

UNPAINTED BYOB with Rafaël Rozendaal / curated by Martine-Nicole Rojina & Annette Doms

Big data, cloud, network neutrality, Facebook and Twitter: who would have expected that these technologies would once have such a large impact on our society? Artworks made by using new technologies are no longer only on the margins. Today, artists are constantly creating new worlds of experience and increasingly take positions that reflect the digital age.

Artists gauge technical innovations, critically assess the range of digital media and find new uses for the modern means of communication and data streams which define everyday-life. Media Art is the art of today, the art that people will remember in the future. (Annette Doms, Director of the UNPAINTED media art fair)






PROPAGANDANIE / UNKONFERENZ / 14.2. 18 - 22 UHR & 15.2. 10 - 22 UHR OETINGENSTR 67

Institut für Volkskunde / Europäische Ethnologie an der LMU München facebook



REDUZIERT on facebook




RFERL_RELOADED is broadcasting on the original site from 14th december 6 pm till 15th december 2013 6 am.

RFERL_RELOADED is radio, live stream, performance and likewise temporary acquisition.
A huge monitoring station of all obtainable terrestrial and telecommunicate media in between 1950 and 1992 at the margin of the English Garden, a recording, evaluating, archiving apparatus for propaganda and counter-propaganda, a former hospital, a today’s university building for numerous institutes of cultural studies and science are the location for the twelve hour performance RFERL_RELOADED.



Imagine the heart-gripping thrill of uproar and demonstration against an oppressive regime, you fight with your bare claws with the risk of loosing everything. The brutal regime answers back violently, but you have pride and stubbornness, you get back on your feet and continue fighting. The regime hits against you once again, this time harder than before, numbers of dead civilians are on the rise, your everyday is turned upside down, one day your cousin is suddenly missing out of the blue, the next day you suddenly have no home and are forced to flee into exile, with remnants of war lingering in the back of your head, slowly creeping its way into your consciousness.

How do you deal with it? How does one's consciousness deal with that, and how does that look like deep down in your subconscious in the shape of dreams?

Dreams are often said to be like pieces of art, a collection of recollections, set up in your very own universe, which doesn't follow any logic of everyday life. Mey Sefan's work in progress- piece "Zerstörung für Anfänger" deals with the themes of the Syrian uproar based on a huge collection of real dreams from Syrian people.

The opening scene included a dystopian soundscape, with the three performers playing around with a balloon, evoking a sense of longing for nostalgic innocence. Slowly the scenes turned into bizarre sceneries. The scenes created by the three performers were continuously contrasted by a silent observant male figure, sitting in a chair. This turned out to be Amar Matar in real person, the Syrian journalist, human-rights activist and documentarist, whose activities have gotten him into conflicts with the Syrian Assad regime. Amar Matar, who has been forced into exile and whose brother has been missing for 3 months.

Gradually the audience got drawn into a dream-like performance landscape, mixing sinister acts contrasted with cheap looking toys, balloons in flashy colours, giving an almost pitch-black humorous edge to the activities. We had a surreal birth, producing off-springs in form of cheap toys, which were carelessly thrown around, accompanied by a loud bang as the landed on the floor.

In one scene, one of the female performers was posing towards the rear wall of the scenes, with the other one drawing the outline of the body with crayon, creating frozen images of human beings. Later in the performance, these drawn figures would act as victims for a shooting massacre with paint guns. The fact that the journalist Amer Matar sitting there in real person acted as a reminder that even-though dreams are disconnected with everyday, it comes from real people and real experiences.

Even though the scenes didn't follow any logic, the props were cleverly connected and made the sceneries look almost childish and naive, but together with the rituals, bordering up towards sadism, it created a spine-chilling atmosphere., such as when one the women was sitting on a chair, being force fed with coloured fluids, letting them drip out of her mouth. Through this and the soundscape, the audiences’ mind was weaved into blurry impressions of war, hope, injustice and inhumanity.

Although this is piece-in-progress with quick decisions being made under a lot of time pressure, - which already looked promising - so do look forward to the more elaborate follow-up piece by Mey Sefan named "Zerstörung für Fortgeschrittene".