Before I started studying Art at the `Hochschule für bildende Künste´ in Hamburg / HFBK Hamburg / I had already completed basic studies in the South Slavic language. I personally preferred phonetics to studying the Old Church Slavonic language.

The way of using my voice as an instrument i call improvisation intuitiva. The improvised singing reflects our aesthetic character, self-image and self-confidence. It reflects our identity. And even if feeling totally free in using your voice and adding it intuitively in your own form, one´s sound will still contain personal behavior patterns and beliefs in the permission or non-permission to simply act and how to act. And the nice thing is, you can expand this field just as you can expand your information and communication field. 

Often I am asked which language i am singing in. I prefer singing lutes, or to simply let sounds freely flow out of the soul  which intuitivly fit somehow in my subjective, listener´s opinion. It is interesting that the once-taught vocabulary of languages and the combinations of vowels and consonants  can come to light,  but also original sounds and noises. - Urlaute. Every language*, whether human or used by animals, only works because the correct arrangement of the sounds or symbols has a defined meaning that the sender and recipient of this information knows and can understand. *(I mean my language in the form of written and spoken, audible tones, not via other forms of energy information) In addition, language is usually done with the will and intelligence, or with the previous mindset. Information is provided in advanced and mostly precise grammatical rules. Without given syntax and semantics, the singing of improvised, especially sounds and primordial tones can cause reactions or certain feelings. Improvisation mostly does not intend apobetics.

Another goal is to combine field recordings, which were made in natural areas and in industrial locations of cities, which are typical of society today. I like combining digitally created sounds with sounds made by nature. To experiment with modulating sounds and vocals is something that inspires me greatly.

Since 2002 I have been working in the field of acoustic & electronic music composition, with a focus on vocal improvisation

and genre-spanning composing,  paired with sound making of found pieces of different materials in combination with acoustic and electronic instruments_______ 

In addition to the art of acoustic & electronic music, I possess a high level of interest in time-related media, scan art and performances in which socio-critical topics are reflected or the attention to meditative, metaphysical questions of life emerge. For this purpose structures of butoh dance, various meditation styles, contemporary dance and tai chi are included.

Improvisation uses space and grants freedom. Or does it simulate freedom? I think, I have all the freedom in improvisation maybe..  or isn´t improvisation always shaped by the elapsed and current emotional world and thus never completely free in itself? If it is so, then I never improvise on my own, but who is then involved in it?! During a session where sounds are incorporated from various artists and where at least two artists are playing together the decision-making process and all the variability of sounds differs of course from a solo improvisation. I go and listen to one or more other sequences that are not generated by me and which affect my decision, my answer. This leads to completely new variables that would probably not have been unlocked by improvisation alone. Am I ever alone or actually never? Yes, even in this world, game, projection I am never alone, because there is always a relation to something or to someone from the beginning of being.

Spontaneous inspiration  underlie improvisation.

That's what I love about it! Sound or language arises and creates an unknown or known entity. A construct of lutes, words, deeds and actions. Playing with found objects, once recorded noises, capturing the moment, modulating or not and simply allowing the sound be in itself.




available since January 2020 at 

Jam Bar, Bangkok

Villa Kuriosum, Berlin

Zaratan, Lisbon

AID (art is dead), Istanbul

Coschey local DIY, Kiev

River studios, London

Gràcia Territori Sonor, Barcelona

Mahal art space, Tanger

indepndent archive, Singapore

espacio Cultural Mi Casa, Buenos Aires

casa do povo, São Paulo

zimmer, Tel Aviv

galeria klandestina, Mexico City

barber fuji, Tokyo


contact :

lijel (at) gmx (dot) net

© 2020 — LIJEL 


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