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Laboratoire Instrumental Européen European Instrumental Laboratory Lieu Laboratoire Instrumental Européen European Instrumental Laboratory

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Laboratoire Instrumental Européen European Instrumental Laboratory Lieu Laboratoire Instrumental Européen European Instrumental Laboratory lieu 2009 - 2011 Laboratoire Instrumental EUropéen European Instrumental Laboratory lieu Laboratoire Instrumental EUropéen European Instrumental Laboratory “The LIEU (Laboratoire Instrumental EUropéen), is dedicated to the diffusion of contemporary musical creation. Its purpose is the construction of a European network of partners united by a charter of quality and challenge. It favours creation, exchanges between groups, structures and European composers, as well as the circulation of works and artistes from all over the world. $ÀUVWWZR\HDUSURMHFWKDVEHHQODXQFKHGIRUZKLFKWKH7KpkWUH Dunois in Paris is the base. This small Parisian theatre receives each of the ensembles of LIEU in residence alongside the Ensemble Aleph, at the initiative of the network. All partner structures also receive, in turn, events organised by LIEU. Over two years, there have thus been VRPHÀIW\PXVLFLDQVLQYROYHGDQGPRUHWKDQZRUNVSUHPLHUHGLQ some thirty events in eight European countries (Germany, Finland, France, Greece, Latvia, the Netherlands, Portugal and Slovenia). 7KLV SURMHFW LV DLGHG E\ WKH (XURSHDQ &RPPLVVLRQ DV SDUW RI LWV &XOWXUHSURJUDPPHµ Summary LIEU - THE NETWORK ........................... 2 Map of the network ................................................... 4 ([FKDQJHH[SORUHeFKDQJHUH[SORUHU ................. 6 7KHPRUHWKHVWURQJHU6HUDVVHPEOHUSRXUPLHX[ exister ............................................................................ 8 7KHDLPVRIWKHQHWZRUN2EMHFWLIVGXUpVHDX ..... 10 $FWLRQV$FWLRQV ....................................................... 12 /,(8(9(176&$/(1'$5 .................... 16 LIEU ENSEMBLES ................................ 18 '(7$,/63(5&28175< ...................... 19 )LQODQG6XRPL ........................................................ 19 France ........................................................................ 23 *HUPDQ\'HXWVFKODQG .......................................... 41 *UHHFHƧnjnjǂDžǂ ...................................................... /DWYLD/DWYLMD ............................................................ 1HWKHUODQGV1HGHUODQG ........................................... 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PARTNERS.......................................... 96 GERMANY NETHERLANDS *DXGHDPXV0XVLN:HHN (Amsterdam) ,QVRPQLR(QVHPEOH 8WUHFKW 0XVLF&HQWHU7KH1HWKHUODQGV 'DV1HXH(QVHPEOH +DQQRYHU (Amsterdam) 0XVLN1LHGHUVDFKVHQ FRANCE PORTUGAL &GPF 3DULV (QVHPEOH$OHSK 9LWU\VXU6HLQH )HVWLYDO([WHQVLRQ 0LVR0XVLF3RUWXJDO /H0RXOLQG·$QGp $QGp 0~VLFD9LYD)HVWLYDO /LVERQ /D0XVHHQ&LUFXLW $OIRUWYLOOH 6RQG·$UWH(OHFWULF(QVHPEOH /LVERQ 7KpkWUH'XQRLV 3DULV;,,, 4 FINLAND SLOVENIA 8XVLQWD(QVHPEOH +HOVLQNL LATVIA 6ORZLQGZLQGTXLQWHW /MXEOMDQD FRANCE 6ORZLQG)HVWLYDO /MXEOMDQD GREECE $OWHUD9HULWDV(QVHPEOH 5LJD /DWYLDQ&RPSRVHUV·8QLRQ /DWYLDQ0XVLF,QIRUPDWLRQ &HQWHU 5LJD 0D]VDODFD:RUNVKRS $ERXW $WKHQV &HQWUHIRU0XVLF&RPSRVLWLRQ and Performance (Athens) Working and thinking together in a European perspective has now become essential for artistic and professional teams, as identities can only manifest themselves through diversity. The audience should be encouraged to take a fresh look DWPXVLFDOFUHDWLRQVSHFWDWRUVVKRXOGQRWEHFRQVLGHUHG as mere consumers, but as active interlocutors. &RQWHPSRUDU\ FUHDWLRQ XVXDOO\ IRFXVHV RQ VHHNLQJ innovation. It draws its inspiration from the interactions between aesthetic, artistic, cultural, politic and social movements of our present-day world. The LIEU also aims at being a crossroads between disciplines and aesthetics, and a place of research on new tools WKDW DUH DYDLODEOH IRU FUHDWRUV HOHFWURQLFV LQIRUPDWLFV communication networks, instruments, and new media. These tools help to stimulate creation and explore new KRUL]RQV 7KH/,(8DLPVDWEHFRPLQJDQRUJDQL]DWLRQWREHUHFNRQHG ZLWKDQGDWKHOSLQJFRQWHPSRUDU\PXVLFWREHUHFRJQL]HG as an essential tool for the future. Gathering within multiculturalism will make it possible for us to make more rapid breakthroughs and to be more exacting, not only from a sheer musical point of view, but DOVRDVUHJDUGVRXUUHÁHFWLRQRQIXWXUH Exchange, explore )LQDOO\ WKH /,(8 DLPV DW GHPRFUDWL]LQJ WKH DFFHVV WR 6 culture. Travailler et penser ensemble de manière européenne Echanger, explorer est désormais essentiel pour les équipes artistiques et SURIHVVLRQQHOOHV FDU F·HVW j WUDYHUV OD GLYHUVLWp TXH OHV identités peuvent devenir perceptibles. Il faut changer et IDLUH pYROXHU OH UHJDUG GX SXEOLF YLV j YLV GH OD FUpDWLRQ PXVLFDOHRQQHGRLWSDVOHUpGXLUHDXU{OHGHFRQVRPPDWHXU mais le considérer comme un interlocuteur actif. La création contemporaine est habituellement consacrée j OD UHFKHUFKH GH O·LQQRYDWLRQ (OOH SXLVH VRQ LQVSLUDWLRQ GDQVO·LQWHUDFWLRQGHVPRXYHPHQWVHVWKpWLTXHVDUWLVWLTXHV culturels, politiques et sociaux du monde actuel. Le LIEU veut également un croisement entre les disciplines et les esthétiques et un espace de recherche sur les nouveaux RXWLOVTXLV·RIIUHQWDX[FUpDWHXUVpOHFWURQLTXHLQIRUPDWLTXH réseaux de communication, instruments, nouveaux médias. &HV RXWLOV DLGHQW j VWLPXOHU OD FUpDWLRQ HW j H[SORUHU GH QRXYHDX[KRUL]RQV /·REMHFWLIGX/,(8HVWG·DYRLUXQSRLGVVXSSOpPHQWDLUHPDLV DXVVL GH FRQWULEXHUj FH TXH OD PXVLTXH FRQWHPSRUDLQH soit plus et mieux reconnue comme outil indispensable SRXU O·DYHQLU 6H UDVVHPEOHU GDQV OH PXOWLFXOWXUDOLVPH QRXV SHUPHWWUD G·DYDQFHU SOXV YLWH HW GH PDQLqUH SOXV H[LJHDQWHQRQVHXOHPHQWG·XQSRLQWGHYXHPXVLFDOSXU PDLVpJDOHPHQWGDQVODUpÁH[LRQVXUVRQDYHQLU (QÀQOH/,(8DSRXUYRFDWLRQODGpPRFUDWLVDWLRQGHO·DFFqV jODPXVLTXHFRQWHPSRUDLQH The situation of contemporary music in Europe remains precarious and attracts very few people. The audience is mainly represented by composers, musicians or musicologists, who are all directly or indirectly concerned by contemporary music. In parallel, the earnings of composers and musicians are too low, and promotion, awareness and creation activities are too poor. There is, at the origin of this European observation, a set of FLUFXPVWDQFHVZKLFKDUHLQWULQVLFDOO\OLQNHGWRHDFKRWKHU *RYHUQPHQWV WHQG WR RQO\ EDFN XS KLJKDXGLHQFH structures, without questioning the way people see culture and society. &RQWHPSRUDU\ PXVLF RQO\ VXUYLYHV WKDQNV WR WDUJHWHG exceptional government funds, which expire at the end of HDFKSURMHFWZKLFKDUHVXEMHFWHGWRSROLWLFLDQVZKRKDYH the power to decide and which depend on the ups and downs of economic prosperity. )HZJHQHUDOSXEOLFVWUXFWXUHVKRVWFRQWHPSRUDU\PXVLF 7KHUH DUH IHZ SHGDJRJLFDO DFWLYLWLHV WRZDUG \RXQJ people. ,QWKHÀHOGRIPXVLFDOHGXFDWLRQDODUJHSRUWLRQRIWKH teaching staff does not have any genuine skills, or even any interest, in contemporary music. ,QWKHPHGLDWKHKXJHÁRZRISRSXODUFXOWXUHVXSSUHVVHG most opportunities for vanguard movements to get known. %\SXWWLQJWKHLUHIIRUWVUHÁHFWLRQVDQGUHVRXUFHVLQFRPPRQ The more the stronger WKH/,(8SDUWQHUVKRSHWKH\ZLOOÀQGPRUHLQQRYDWLYHDQG HIÀFLHQWVROXWLRQVWRWKHVHLVVXHVWKDQWKH\ZRXOGGRDOOE\ 8 themselves. 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