Johannes Kreidler: Fremdarbeit (Outsourcing) (2009)
for 4 Instruments and Moderation
In 2009, I received a commission from Klangwerkstatt Berlin, for a new piece for a given instrumentation. Then, I searched on the Internet for composers in China offering their skills. I found a Chinese composer, whom I gave recent compositions of mine with the instructions that he should write in a style imitative of my music for that instrumentation. Then, I looked for a cheap programmer in India. I gave this composer the same pieces that I gave the Chinese composer; the Indian programmer was then asked to write software that would algorithmically imitate my music. A third task was that the Chinese composer should use the Indian programmer’s software…
One point of this concept is the question of authorship: Who actually composed this music? A second question concerns exploitation. Like industry does, I moved the production of my work into countries with cheap labour. I received €1500 for my commission, whereas for my workers in Asia who wrote the score I only had to pay $150.
Johannes Kreidler: Composer / moderator
Jacob Abela: Sampler Keyboard
Freya Schack-Arnott: Cello
Aawa White: Flute
Matthias Schack-Arnott: Percussion
Johannes Kreidler: product placements (2008)
for Moderation + Video
n 2008, I composed a 33-second-long elecronic piece, containing 70,200 samples from other people’s music. Consequently, I had to regiser that piece with 70,200 regisration forms where every part of the music that is not “from me” had to be mentioned and registered. As a sort of music theatre, with a truck full of paper, I drove to the GEMA (German APRA – recording industry association) and brought into quesion the problems of creativity and copyright in the digital age.
“For me, music never exists alone; a composer must always deal with interrelationships. Music deals with technology and the politics of technology, with consumption behaviour, and the cultural and economic value of art. These things play a role in my creative work; I use them as artistic material.” Johannes Kreidler
Berlin-based composer Johannes Kreidler works in the mode of ‘expanded composition’. His compositions, while musical, are not about music – but rather the systems, economies, and regimes of value that structure music’s place in our world. Pursuing this music/not music approach Kreidler has become a leading figure in musical ‘conceptualism’, an approach at the intersection of composition and conceptual art.
While in Melbourne, Johannes Kreidler is a guest of the RMIT international Artist in Residence program (iAIRt).
Johannes Kreidler is generously supported in Australia by the Goethe Institut.
Supported by Speak Percussion