Ahad info

Becoming-Ahad

Zsolt Sőrés (b. 1969 in Budapest, Hungary) is primarily and by nature an interdisciplinary artist. His way of seeing and creating demands that he works with more than just a single medium. With an academic background in literary theory and history, he began making music and various intermedia works in the mid-1990s as a member of Spiritus Noister, SoKaPaNaSz, Mesékstb. and S.K.ψ. These groups performed genres alternating between phonic poetry and free, non-idiomatic musical improvisation. After 2000, Sőrés established himself as a solo composer and performer (mainly of live music for dance performances); thanks to occasional collaborations with Ernő Király, Franz Hautzinger, Adam Bohman, Jean-Michel Van Schouwburg, Jean-Hervé Péron, Christian Kobi, Hilary Jeffery, Rudi Fischerlehner, Anla Courtis and many others he soon gained international recognition.

Sőrés’s profound and versatile mind owes much to his natural abilities to meaningfully articulate pluralities of information and grasp relevant relationships between things and phenomena. The same is true of his approach to creating sound; prior to starting he carefully considers a given sound’s potential space-time trajectory as well as its psychological and social impact. Adhering to the “no sound is innocent” maxim—coined by the musician who influenced him the most, Edwin Prévost—Sőrés pays equal attention to syntactic as well as semantic aspects of selected sounds. The harrowing, surreal imagery of experimental filmmakers (Kenneth Anger, Alejandro Jodorowsky, Shinya Tsukamoto, etc.) has been another important source of inspiration for his music making. He often creates sound settings and imagery that allude to psychedelic consciousness. Three complementary influences driving Sőrésʼ eclectic poetics—non-idiomatic improvisation, surreal film imagery, and an anti-essentialist, anti-systemic and anti-establishment worldview, developed from his reading of Gilles Deleuze, Hakim Bey, and other non-conformist thinkers—have given rise to his potent form of sound-based aesthetics that are divisible hierarchically into the dualities of music and noise, intention and accident, order and disorder, composition and improvisation, affects and emotions. Sőrés does not think of himself as a conventional musician or sound composer but uses the moniker “ghost sonic ontologist” to describe himself and his professional activities. His art has always had higher ambitions than simply representing reality, even if stating so might be reading into things too much. The artist’s engaging sounds reveal social differences, anomalies, wounds, dystopias, and utopias.

In articulating and reflecting on the fluid nature of our modernity, Zsolt Sőrés has become Ahad (one), because it was the only way for him to effectively transcend an overly structured consciousness. In the same way, his iconic instrument, the 5-string viola, abandoned the realm of elitist tonal representations to commit blasphemous attacks on performing arts conventions, becoming an extension of the artist’s body. Mitragyna Metro (2021), Sőrés’s latest recording project, demonstrates this schizo-phonic turn quite impressively.

Text: Jozef Cseres (2021)
https://www.berliner-kuenstlerprogramm.de/en/artist/zsolt-sores/

Aus Zsolt Sőrés wird Ahad

Zsolt Sőrés (geboren 1969 in Budapest, Ungarn) ist in erster Linie und von Natur aus ein interdisziplinärer Künstler. Seine Art zu sehen und kreativ zu sein verlangt nach einer Arbeit mit mehr als nur einem Medium. Mit einem akademischen Hintergrund in Literaturtheorie und -geschichte begann er Mitte der 1990er Jahre als Mitglied von Spiritus Noister, SoKaPaNaSz, Mesékstb und S.K.ψ Musik zu machen und sich mit verschiedenen intermedialen Arbeiten zu beschäftigen. Diese Gruppen versuchten sich in Genres, die zwischen Lautpoesie und freier, nicht idiomatischer musikalischer Improvisation changierten. Nach 2000 etablierte sich Sőrés als Solokomponist und -interpret (hauptsächlich von Live-Musik für Tanzaufführungen); dank gelegentlicher Zusammenarbeit mit Ernő Király, Franz Hautzinger, Adam Bohman, Jean-Michel Van Schouwburg, Jean-Hervé Péron, Christian Kobi, Hilary Jeffery, Rudi Fischerlehner, Anla Courtis und vielen anderen fand er schnell internationale Anerkennung.

Sőrés’ tiefgründiger und vielseitiger Geist basiert auf seiner instinktiven Fähigkeit, verschiedenste Informationen ordnend zu artikulieren und relevante Beziehungen zwischen Dingen einerseits und Phänomenen andererseits intuitiv zu erfassen. Das Gleiche gilt für seine Herangehensweise an die Erzeugung von Klang. Bevor er sich ans Werk macht, untersucht er penibel die potenzielle Raum-Zeit-Bewegung eines bestimmten Klangs sowie dessen psychologische und soziale Auswirkungen. Getreu der Maxime „Kein Klang ist unschuldig“ – geprägt von Edwin Prévost, einem Musiker, der ihn stark beeinflusst hat – achtet Sőrés gleichermaßen auf die syntaktischen wie semantischen Aspekte ausgewählter Klänge.

Die aufrüttelnde, surreale Bildsprache experimenteller Filmemacher (Kenneth Anger, Alejandro Jodorowsky, Shinya Tsukamoto und andere) ist eine wichtige Inspirationsquelle für Sőrés’ musikalisches Schaffen. Häufig kreiert er Klangkulissen und Bilder, die auf ein psychedelisches Bewusstsein anspielen. Drei komplementäre Einflüsse – nicht-idiomatische Improvisation, surreale Filmbilder und eine anti-essenzialistische, anti-systemische und anti-etablierte Weltsicht, die sich aus seiner Lektüre von Gilles Deleuze, Hakim Bey und anderen nonkonformistischen DenkerInnen entwickelt hat – treiben Sőrésʼ eklektische Poesie an. Sie sind die Geburtshelfer seiner wirkmächtigen klangbasierten Ästhetik, die sich hierarchisch in die Gegensätze von Musik und Geräusch, Absicht und Zufall, Ordnung und Unordnung, Komposition und Improvisation, Affekte und Emotionen aufteilen lässt. Sőrés sieht sich selbst nicht als konventionellen Musiker oder Klangkomponisten, sondern verwendet den Namen „Ghost Sonic Ontologist“, um sich und seine professionellen Unternehmungen zu umschreiben. Seine Kunst hatte schon immer höhere Ambitionen als nur die Realität abzubilden – auch wenn eine solche Interpretation etwas übers Ziel hinausschießen mag. Die Sounds des Künstlers ziehen einen in Bann und fördern gleichzeitig soziale Unterschiede, Anomalien, Wunden, Dystopien und Utopien zutage.

Auf seinem Weg, die fluide Natur unserer Moderne zum Ausdruck zu bringen und zu reflektieren, ist Zsolt Sőrés zu Ahad („der eine“) geworden, weil es für ihn der einzige Weg war, ein über die Maßen strukturiertes Bewusstsein effektiv zu transzendieren. Auf die gleiche Weise hat sein ikonisch gewordenes Instrument, die 5-saitige Bratsche, den Bereich elitärer klanglicher Repräsentationen hinter sich gelassen, um blasphemische Angriffe auf die Konventionen der darstellenden Künste zu verüben. Sie wurde zu einer Erweiterung des Körpers dieses Ausnahmekünstlers. Mitragyna Metro (2021), Sőrés’ jüngstes Aufnahmeprojekt, demonstriert diese schizo-phonische Wendung ziemlich eindrucksvoll.

Text: Jozef Cseres (2021)
Übersetzung: Anna Jäger
https://www.berliner-kuenstlerprogramm.de/de/artist/zsolt-sores/

Born 1969 in Budapest, Zsolt Sőrés (aka Ahad) is an experimental musician, composer, conceptual and sound artist, radio artist, intermedia artist, (sound) art critic, acoustic ecologist, curator, editor and an active, internationally known figure of Hungarian electroacoustic improvised music since the early 1990s. His main instruments are the 5-string viola, voice and electronics.

His autonomous sound art is characterized by further reflection on the possibilities of conceptual/metamusic free improvisation: by unleashing the power of sound to model alternative sonic realities, and intuitive music brought to the surface during the creation of a resonant-dynamic live music space (“inner virtuosity”, “form crushing” techniques, and the creation of finely layered metarepertoires).
Zsolt Sőrés has been dealing with the practice and aesthetics of sound art for twenty years. In his doctoral studies, as a researcher, he deals with the relationship between new materialist sound ontology, sound installation art and the electroacoustic free improvised music. He also often works with fine artists, filmmakers, performance and video artists, contemporary dancers, theater companies, writers and poets. Over the past more than two and a half decades, he has performed at numerous experimental music concerts, performance art events, sound art events and exhibitions, festivals, and participated in symposiums, international projects in Europe and North America.

During the last 30 years of activity Sőrés performed hundreds of festivals, international collaborations, special events worldwide. Current groups and projects (selected): Inconsolable Ghost (with Hilary Jeffery and Gideon Kiers etc.), collaboration with the legendary krautrock band Faust, member of the Electro-Acoustic Ensemble Sonic Mountain (with Christian Kobi, Klaus Filip, Franz Hautzinger, Tomas Korber, Hans Koch, Thomas Peter, Taku Sugimoto), collaboration with Marcel Zaes composer, trio with Richard Barrett and Milana Zarić, duo with Anla (Alan) Courtis (from Reynols), duo with David Maranha, duo with Rudi Fisherlehner, I Belong to the Band (with Adam Bohman, Oli Mayne and Jean-Michel Van Schouwburg), duo with Christian Kobi, collaboration with thr Theme (a project by Stuart Carter and Richard Johnson since 1997), trio with Hilary Jeffery and André Vida, trio with Liz Allbee and Andrea Parkins, trio with Yorgos Dimitriadis and Richard Scott, duo with Nicola Hein, duo with Tomomi Adachi, duo with Ute Wassermann. He also worked with the Hyperion International Ensemble (artistic directors: Ana-Maria Avram /1961-2017/, Iancu Dumitrescu, with Yoni Silver, Tim Hodgkinson etc.). Since 2007 he has been working on his solo project Ahad (formerly Ahad’s Masters Garden).

Since September 2014, he teaches film music and sound analysis, electroacoustic improvised music at the Electronic Music Media Art Department at the Liszt Academy of Music in Budapest and since 2019 at the Electronic Music Media Art Department at the University of Pécs, Faculty of Music and Visual Arts, Electronic Music Media Art Department.
Between 2003-2010 he was the main organizer of the underground film screening series called Invisible Films’ Club at the Ludwig Museum in Budapest. From 1996 to 2002 he was one of the artistic director of Pause-Sign International improvised (later: Experimental) Music Festival and from 2008 to 2010 he was the main organizer of  Relative (Cross)Hearings International Independent Contemporary Music Meeting in Budapest. In 2005 he was the series editor of the Szünetjel Könyvek (Pause Sign Books), and published the Hungarian versions of the following books: Jozef Cseres: Musical Simulacrums (Hudobné simulakrá); Michael Nyman: Experimental Music. Cage and Beyond; Edwin Prévost: No Sound is Innocent. AMM and the Practice of Self-Invention. Meta-Musical Narratives. Essays. In 2008 he edited one of his last book and wrote a preface study about New Chances of Autonomy with the texts by Peter Lamborn Wilson aka Hakim Bey among other onthological anarchists. He is an author of two books with the collection of his poetry. From  2008 to 2018 he is collaborated with the cult horror/underground/surreal film director Andrey Iskanov from Khabarovsk, Russian Far-East. In 2012 he was the Hungarian curator of the international Sound Exchange sound art project. In 2014 he was the curator of the first collective international sound installation exhibition in Hungary called On the Edge of Perceptibility – Sound Art at Kunsthalle, Budapest.
Zsolt Sőrés launched his own experimental music label Hinge Thunder in 2020.
Zsolt Sőrés is a 2021 fellow of the DAAD Artist-in-Berlin-Program.
From 2021, Sőrés will live and work in Berlin.