Cybulski/Kurek || Śniedź

Kamer/Ton is an instru­ment for gen­er­at­ing sound and image through ana­logue feed­back, enabling impro­vi­sa­tion in con­stant dia­logue with a prim­i­tive yet expres­sive elec­tron­ic tool.

Kamer/Ton has been pre­sent­ed at the Audio Art fes­ti­val in Kraków, dur­ing Warschau Week in Düs­sel­dorf, and at the New Inter­faces for Musi­cal Expres­sion con­fer­ence in Australia.

Kamer/Ton acquires a fur­ther dimen­sion in a duo with per­cus­sion­ist Wojtek Kurek. The ana­logue-gen­er­at­ed image is pro­ject­ed on screen dur­ing the concert.

Śniedź — An iron­ic oper­at­ic diva and an acro­bat of extend­ed vocal tech­niques drown­ing togeth­er in impro­vised glitch-tron­ics. Śniedź’s music is cre­at­ed through impro­vi­sa­tion. Their debut album ‘zero prawdy’ was recent­ly released and was declared the 4th best album of 2023 in the world by Dr Simon Cum­mings on the blog 5:4, ded­i­cat­ed to the most inter­est­ing, inno­v­a­tive, and note­wor­thy phe­nom­e­na in con­tem­po­rary music. Their work is best described by the words of Zbig­niew Ziegler: “Śniedź on their first album sounds a bit like a solo Atti­la Csi­har, a bit like a lost 385 project by Mike Pat­ton, at moments like a muezzin at five in the morn­ing from a bro­ken loud­speak­er, and at oth­ers like won­ders from the archives of mas­ter Rud­nik. And where the vocal­i­sa­tions give way to words, it is dadais­tic and witty.”

Pro­gram:

Kamer/Ton (Krzysztof Cybul­s­ki, Wojtek Kurek)Śniedź (Alek­san­dra Klim­czak, Antoni Beksiak)

*world pre­miere

Per­form­ers:

Krzysztof Cybul­s­ki Kamer/ton audio/video feed­back sys­tem­Wo­jtek Kurek per­cus­sion instru­mentsAlek­san­dra Klim­czak, diva voice, elec­tron­ics­Baskak (Antoni Bek­si­ak), divus voice, whistling, elec­tron­ics, objects

Pro­duc­tion:

pro­duc­tion: Woj­ciech Błaże­jczykvi­su­al iden­ti­ty: Alek­san­dra Ołdak­sound engi­neer­ing: Woj­ciech Błaże­jczyk­The Hash­tag Lab Con­tem­po­rary Music Space is co-fund­ed by the City of War­saw. The media patron of the Hash­tag Lab Con­tem­po­rary Music Space is POLMIC​.PL and Dwój­ka Pol­skie Radio.

If you want to learn more about the artists/works:

Krzysztof Cybul­s­ki — Musi­cian and sound artist. In his work he com­bines ana­logue, dig­i­tal, acoustic, and mechan­i­cal solu­tions, cre­at­ing inter­ac­tive sound objects and instru­ments. He is a lau­re­ate of the Poli­ty­ka Pass­port for 2018 in the cat­e­go­ry of dig­i­tal cul­ture (togeth­er with the pan­Gener­a­tor group, which he has co-cre­at­ed since 2010), sec­ond prize at the Guth­man Musi­cal Instru­ments Com­pe­ti­tion in 2020, and an hon­orary men­tion at the Ars Elec­tron­i­ca fes­ti­val in 2017. Lau­re­ate of MKiDN schol­ar­ships in 2017 and 2024, the City of War­saw Artis­tic Schol­ar­ship in 2019, and a ben­e­fi­cia­ry of the Com­po­si­tion­al Com­mis­sions pro­gramme in 2013 and 2015. He received a doc­tor­ate with dis­tinc­tion in sound engi­neer­ing, com­po­si­tion, and per­for­mance at UMFC. He teach­es and runs numer­ous work­shops at the bound­ary of art and tech­nol­o­gy, includ­ing at the Acad­e­my of Music in Byd­goszcz, and gives guest lec­tures at, among oth­er insti­tu­tions, the Geor­gia Insti­tute of Tech­nol­o­gy (USA) and Kun­stu­ni­ver­sität Linz (Aus­tria). He has par­tic­i­pat­ed in events such as the Future Inno­va­tors Summit/Ars Elec­tron­i­ca Fes­ti­val (Aus­tria, 2018), Athens Dig­i­tal Art Fes­ti­val (Greece, 2018), Inter­na­tion­al Con­fer­ence of New Inter­faces for Musi­cal Expres­sion (Den­mark, 2017; Unit­ed King­dom, 2020 and 2025; New Zealand, 2022; Nether­lands, 2024), Ars Elec­tron­i­ca (Aus­tria, 2017), Guth­man Musi­cal Instru­ments Com­pe­ti­tion (USA, 2014, 2015, 2016, and 2020), Warsza­wska Jesień (2015, 2016, 2019, 2022, 2023), Musi­ca Poloni­ca Nova (2018), Bien­nale Wro (2015), Ad Libi­tum (2015), Audio Art (2018, 2024), Insta­lakc­je (2015). He has col­lab­o­rat­ed with artists includ­ing Emil Schult, Robert Cur­gen­ven, Krzysztof Knit­tel, Anna Zarad­ny, and Nor­man Leto.

Wojtek Kurek — Impro­vis­er, per­cus­sion­ist, pro­duc­er, cre­ator of sound instal­la­tions and music for the­atre and ani­ma­tion. He oper­ates in exper­i­men­tal, elec­troa­coustic, and folk music. He pro­grammes his own instru­ments and effects (Max/MSP envi­ron­ment), using them to process acoustic sounds and gen­er­ate organ­ic struc­tures. He has released over 30 albums, pub­lished in Poland, the USA, Ger­many, Aus­tria, Italy, Por­tu­gal, and Scot­land. He search­es for his own idiom in his approach to per­cus­sion, impro­vi­sa­tion, and electroacoustics.

Śniedź — The ensem­ble was formed in 2017, inspired by an enthu­si­as­ti­cal­ly received con­cert as part of the leg­endary impro­vised con­cert series Impro Mityng at the now-defunct Eufemia club. In May 2019 the ensem­ble gave a show­case at the WORM club (Rot­ter­dam, Nether­lands) at the pres­ti­gious Classical:NEXT fair, hav­ing received an offi­cial invi­ta­tion from an inter­na­tion­al jury of experts who, in order to present a broad range of high-qual­i­ty artists and pro­duc­tions across every genre from ear­ly music to con­tem­po­rary, from tra­di­tion­al to exper­i­men­tal, select soloists and small­er or larg­er ensem­bles, opera pro­duc­tions, and music the­atre projects, which are pre­sent­ed in the form of a show­case con­cert. Their debut album ‘zero prawdy’ was recent­ly released and was declared the 4th best album of 2023 in the world by Dr Simon Cum­mings on the blog 5:4, ded­i­cat­ed to the most inter­est­ing, inno­v­a­tive, and note­wor­thy phe­nom­e­na in con­tem­po­rary music.

Baskak and Klim­czak also co-cre­ate the vocal ensem­ble “Gęba,” whose per­for­mances of Zbig­niew Karkowski’s “Encum­brance” were released by Bôłt Records and who per­formed this work at the fes­ti­val in Hud­der­s­field in 2017 with Thomas Lehn.

Baskak (Antoni Bek­si­ak) — Music crit­ic, edi­tor, art cura­tor, com­pos­er, vocal­ist, com­put­er freak. Ini­tia­tor and ani­ma­tor of phe­nom­e­na in the field of Pol­ish vil­lage music (Dom Tań­ca — co-founder, Tupot Niedźwiedzia/Niewte), con­tem­po­rary com­po­si­tion and avant-pop (Turn­ing Sounds), sound art in urban space (Fry­deryk Chopin. Cien­nik oso­bisty in the BUW Gar­den), impro­vi­sa­tion (Ad Libi­tum), and recent­ly the­atre cre­ator (per­former in Requiemaszy­na by Chór Kobi­et, col­lab­o­ra­tor of Michał Bor­czuch in Zostań. Zostań) and film cre­ator. Author of analy­ses and radio broad­casts (on the 2nd Pro­gramme of Pol­ish Radio and for­mer­ly on Rozgłoś­nia Harcer­s­ka), for­mer­ly sec­tion edi­tor at “Ruch Muzy­czny.” For a quar­ter of a cen­tu­ry he has been engaged in extend­ed vocal tech­niques, advo­cat­ing a new mod­el of the uni­ver­sal vocal­ist, and increas­ing­ly active as a per­former: with Alek­san­dra Klim­czak as Śniedź, with Con­stan­tin Popp as baskak+popp, and in the War­saw Impro­vis­ers Orches­tra. From 2006 to 2011 he ran the fes­ti­val series “Gębo­fon,” which pre­sent­ed the most var­ied phe­nom­e­na of uncon­ven­tion­al vocal­ism: from beat­box­ing through sound poet­ry to the art of scream­ing, paving the way, among oth­er things, for the intro­duc­tion of beat­box­ing into con­tem­po­rary com­po­si­tion at “Warsza­wska Jesień.” He runs the ephemer­al vocal ensem­ble Gęba (Karkowski’s Encum­brance). In Niewte he is respon­si­ble for the digi­ti­sa­tion of mazur­ka rhythms (Osmęt­ni­ca elec­tron­i­ca, 2020/21, 3rd prize in the Folkowy Fono­gram Roku com­pe­ti­tion). At the turn of Feb­ru­ary and March 2022 he was res­i­dent at Elek­tron­musik­stu­dion in Stock­holm. At the Muse­um of Mod­ern Art he is recon­struct­ing Czarny Pokój SEPR. In his spare time he plays the alto sax­horn in a local dance brass band.

Alek­san­dra Klim­czak — Voice per­former, singer for spe­cial mis­sions. Grad­u­ate of the Vocal and Act­ing Fac­ul­ty of UMFC in War­saw, in the class of Anna Radziejew­s­ka. Three-time schol­ar­ship recip­i­ent from the Min­is­ter of Cul­ture and Nation­al Her­itage for orig­i­nal projects: #Witkacy622 (a per­for­mance for singer, elec­tron­ics, harp, and flute, which pre­miered at Mózg Powszech­ny in War­saw, June 2016) and Vox Ani­mae Sym­pho­nialis — Hilde­gard von Bin­gen #840retractavit — a per­for­ma­tive musi­cal mon­odra­ma for sopra­no and elec­tron­ics (Sep­tem­ber 2020), and in Decem­ber 2025 her third schol­ar­ship project pre­miered: Can­tus de Sanc­tis Polo­ni­ae. On the one hand, as a soloist she col­lab­o­rates with cul­tur­al insti­tu­tions such as the Pol­ish Roy­al Opera, per­form­ing in baroque, clas­si­cal, and lat­er reper­toire. How­ev­er, her domain is world pre­mieres of con­tem­po­rary com­po­si­tions and the pur­suit of break­ing genre bound­aries in music and oth­er art forms. She con­stant­ly seeks an uncon­ven­tion­al path of exis­tence as an opera singer, romanc­ing with impro­vi­sa­tion, sound art, and field record­ing. She exper­i­ments with voice and elec­tron­ics, both in her solo work and in col­lab­o­ra­tions with out­stand­ing musi­cians from the impro­vi­sa­tion scene. She con­cen­trates on projects that com­bine opera with oth­er musi­cal gen­res and with dra­mat­ic the­atre [includ­ing Tech­no­opera with the CUKT group and Neo­Quar­tet (2023, 2024), Krysz­tałowy Pałac at Wrocław Con­tem­po­rary The­atre, 16 psów. Rzecz o tre­serce zwierząt at the 39th PPA OFF and the Dotknij Teatru Fes­ti­val at Nowy Teatr im. K. Dejm­ka in Łódź with Joan­na Szu­mach­er and Mał­gorza­ta Walen­tynow­icz, dir. K. Siwińs­ka, 28 dni by O. Szy­la­je­wa at the Pol­ish The­atre in Poz­nań, dir. K. Siwińs­ka]. In 2017 she per­formed in a musi­cal show by the Mięśnie ensem­ble direct­ed by Jacek Bel­er for Teatr Ochoty. She has per­formed on var­i­ous stages, includ­ing OPT Gardzienice, the Kon­tek­sty Fes­ti­val in Sokołowsko, Mózg Fes­ti­val, Unsound, Sacrum Pro­fanum, Wydźwię­ki, Wratislavia Can­tans, TW-ON, the Low­er Sile­sian Phil­har­mon­ic, the Łódź Phil­har­mon­ic, Grand The­atre in Poz­nań, Baltic Opera, Nation­al The­atre in Miskolc (Hun­gary), Opera Nova in Byd­goszcz, Teatr Wybrzeże, the Shake­speare The­atre, Con­tem­po­rary The­atre in Wrocław, Nowy Teatr, the Zbig­niew Raszews­ki The­atre Insti­tute, Teatr 6. Piętro, the EL Gallery in Elbląsk, and CSW Zamek Ujazdowski.

Tickets

40 PLN