CERN‑a

The project CER­Na was cre­at­ed for the res­i­den­cy Vila Sul, Goethe-Insti­tut, Sal­vador, Brasil. The idea was to find artisitc par­ti­cles, there­fore cre­ate cri­te­ria of research, and go into dia­log and arts pro­duc­tion. A big top­ic of the idea of CER­Na nav­i­gat­ed around the his­tor­i­cal and also nowa­days posi­tion­ing of Euro­peans in Brazil and the pro­jec­tion sur­face of Europe for Brazil­ians. The two geo­graph­i­cal enti­ties strug­gle to bal­ance the rela­tion­ship, due to his­to­ry and self under­stand­ing. An attempt for redi­rec­tion­ing the self-con­cep­tion was to define one­self togeth­er with oth­er coun­tries to the con­struct of Glob­al South. Sound­ing sita­tions (Mile­na Kipfmüller & Klaus Janek) cre­at­ed the for­mat CER­Na by tak­ing in con­sid­er­a­tion all this attempts and top­ics of bal­ance, and researched artists, hav­ing to re-adjust and revis­it the cri­te­ria many times. By find­ing the artists, the idea of the togeth­er cre­ation took place in a day of get­ting to know, debate and decide togeth­er, what a poten­tial result could be. There­fore the 6 active artists share the author­ship. In order to cre­ate a trans­paren­cy in the dis­course, 6 inter­views were held before hand and answers were found to fol­low­ing ques­tions:

What is your sub­jec­tive def­i­n­i­tion of arts in music?
Where do you find artis­tic con­tent inside instru­men­tal music?
How does the process of arts cre­ation work in your prac­tice?
How to imag­ine instrin­sic econ­o­my in arts pro­duc­tion?
What kind of dis­si­pa­tion is absolute­ly nec­es­sary in the artis­tic pro­duc­tion?

The excerpt of the answers became the “over­ture” of a con­cert event held by the invit­ed artists: Jean Souza, Chris­t­ian Figueró, Heitor Dan­tas, Edbrass Brazil, Mile­na Kipfmüller and Klaus Janek. The excerpts of the inter­view became musi­cal pres­ence by being core sound­ing ele­ments of Mile­nas instru­ment.