Difference between revisions of "Elisabeth Schimana"

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Born 1958 in [[Innsbruck]]. Works as a no-singer, -performer, -composer, -radio artist and artistic process manager in an electronic environment. She studied at Vienna’s University of Music and the Performing Arts and at the Universities of Vienna, York and Keele. Schimana began working on the “Klangnetze” (sound networks) project in 1994 and has been its regional director in Lower Austria since 1998. That same year, she received the Province of Lower Austria's Award of Recognition for Music. Since 1997, Schimana has been working together with the [[Theremin Center]] in [[Moscow]].
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Since the 1980s the musician and composer '''Elisabeth Schimana''' has been active as one of the Austrian female pioneers of electronic music with projects marked by a radical approach and equally unconventional aesthetics.
  
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In 2000, Schimana was named a member of the board of directors of [[V:NM]] – Society for the Advancement of New Music. The following year, she was granted a postgraduate grant by the Province of Lower Austria/Art Section.
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After completing vocal training, she earned degrees in composition, computer music, musicology, and ethnology. She has worked intensively with the theremin in Moscow and with the Max Brand Synthesizer in Vienna. Not only has she created countless radio works in cooperation with ORF Kunstradio but numerous sound installations and interdisciplinary and performative projects as well. Her concepts for experimental set-ups fathom the social field and put to the test new ways of interacting musically on the Internet.
  
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In 2002, Schimana spent a term as a trainee at the Moscow Cultural Forum, founded Salon Elise, served as guest composer at the Institute for Electronic Music in Graz and was guest artist at Werkstadt Graz.
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In her artistic work, Schimana examines questions of space, communication, or the body in its presence or absence, especially the imparting of compositional concepts (scores), which gives rise to completely new approaches that experimentally explore how we hear and demand a heightened musical presence on the part of the performer. Her probing approach also led her to found the [[IMA|IMA Institute of Media Archeology]], which has dedicated itself to acoustic media at the analogue/digital interface and to the subject of women, art, and technology since 2005.
  
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In 2005, she was involved in setting up the [[IMA|Institute for Media Archeology]], which she now heads.
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Schimana's award-winning and internationally performed work spans the gamut of composition and free playing, is inextricably bound to her as a live performer, makes reference to historical positions, but resists all attempts at categorization, and stands out, strikingly and reduced, with tremendous intensity.  [https://elise.at/elise/en (Milena Meller)]
  
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; Links
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* [https://elise.at/ Website]
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* [https://ima.or.at/en/projekt/imafiction_portrait10/ IMAfiction Portrait #10: Elisabeth Schimana], 2018, 34 min. A portrait by Seppo Gründler & Johanna Moder.
  
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http://elise.at/
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[[Series:Computer music]] [[Series:Electronic music]]
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{{DEFAULTSORT:Schimana, Elisabeth}}

Latest revision as of 08:21, 18 September 2023

Since the 1980s the musician and composer Elisabeth Schimana has been active as one of the Austrian female pioneers of electronic music with projects marked by a radical approach and equally unconventional aesthetics.

After completing vocal training, she earned degrees in composition, computer music, musicology, and ethnology. She has worked intensively with the theremin in Moscow and with the Max Brand Synthesizer in Vienna. Not only has she created countless radio works in cooperation with ORF Kunstradio but numerous sound installations and interdisciplinary and performative projects as well. Her concepts for experimental set-ups fathom the social field and put to the test new ways of interacting musically on the Internet.

In her artistic work, Schimana examines questions of space, communication, or the body in its presence or absence, especially the imparting of compositional concepts (scores), which gives rise to completely new approaches that experimentally explore how we hear and demand a heightened musical presence on the part of the performer. Her probing approach also led her to found the IMA Institute of Media Archeology, which has dedicated itself to acoustic media at the analogue/digital interface and to the subject of women, art, and technology since 2005.

Schimana's award-winning and internationally performed work spans the gamut of composition and free playing, is inextricably bound to her as a live performer, makes reference to historical positions, but resists all attempts at categorization, and stands out, strikingly and reduced, with tremendous intensity. (Milena Meller)

Links
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