For this Outbound event, the violinist Aisha Orazbayeva (Kazakhstan) and the visual artist Lily Wittenburg (Berlin) question the notion of movement by exploring the different relationships they have with their instruments, to one another, as well as to the movements of the audience in space.

Light and sound, different materials with different time intervals, come into contact for a moment, mix and separate according to the position of the observer. Two forms of expression from different substances. Simultaneously and autonomously. Trying to feel something unknown in the concrete materiality of what is recognisable.




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Listen to the radio show of this event with backstage interviews, concert excerpts and impression from the audience:


A series of still sounds – Performative installation
Aisha Orazbayeva and Lily Wittenburg

Thursday 4th May 2017 at ausland, Berlin


Aisha Orazbayeva is a Kazakh-born London-based violinist with an interest in filmmaking. She has released two critically acclaimed solo albums on Nonclassical and PRAH recordings featuring her own compositions, and has performed internationally in venues such as New York’s Carnegie Hall. Recent releases include Bryn Harrison's Receiving the Approaching Memory with Mark Knoop on Another Timbre, vinyl EP Seeping Through with Tim Etchells on PRAH recordings and Scelsi's Duo vinyl EP for violin and cello on SN variations. Aisha regularly performs with ensembles Plus-Minus and Apartment House. Her music video for Leo Abrahams’ Steal Time single was recently premiered on Clash Music magazine. Aisha's third solo album Telemann Fantasias played using contemporary/extended violin techniques was released in November 2016.

“Orazbayeva has already made a name for herself working with composers from Royal Academy students at Gabriel Prokofiev's Nonclassical in Hoxton, to Johannes Maria Staud, and Pierre Boulez. And she played Sciarrino's Caprices with an ease and directness Ihaven't heard before. (…) Instead of gossamer wisps of sound, she made Sciarrino's music seem present, embodied, and exciting, somehow fleshing out Sciarrino's soundworld of shadows and spectres – and making the audience forget the incredible technical demands this music makes on any player.” The Guardian


Lily Wittenburg examines, in her work, material spaces and architectures on their intangible properties. She translates her observations into installations, drawings and films. Large, space-grabbing works are created, as are complex drawings and assembled film collages. Often, she combines the different media for her exhibitions.
Her work revolves around real places and events, which are analyzed from a personal angle. It is important for Wittenburg to have her own relation to the material and not to draw from archives of the world, but from what is specifically seen. Starting from these realities, the artist often develops spatial models of worlds of experience with her works. Spatial structures with their physical and social conditions are of interest to her, because they determine our humanity in one place. Whether we meet or not at what time a speech is possible is determined by the built reality. Wittenburg detects tactile perceptions of space and builds fields around her concepts for her complex works, at the center of which is the real concept as a leeway.

Lily Wittenburg studied at the Hochschule für bildende Künste in Hamburg from 2002-2008. Her work was shown in individual and group exhibitions at home and abroad, such as the Kunsthaus Hamburg, the Kunstverein Hamburg and the KM Galerie, Berlin. She received the working fellowship of the Freie und Hansestadt Hamburg in 2012 and was a scholarship holder at the Künstlerhaus Lauenburg in 2013. In 2015 she received the sponsorship award of the Arthur Boskamp Foundation in Hohenlockstedt.

Odessa Theda Stein von Lily wittenburg