Cathy van Eck (1979 Belgium/Netherlands) is a composer, sound artist, and researcher in the arts. She focuses on composing relationships between everyday objects, human performers, and sound. Her artistic work includes performances with live-electronics and installations with sound objects which she often designs herself. She is interested in setting her gestures into relationships with sounds, mainly by electronic means. The result could be called “performative sound art”, since it combines elements from performance art, electronic music, and visual arts. Her work transcends genres and is presented at occasions as diverse as experimental or electronic music concerts, open air festivals, sound art gallery venues, digital art events, or performance art festivals.
Cathy works closely with performers to develop her piece, oftenin interdisciplinary fields, and collaborating regularly with theatre directors and choreographers. Her projects are shown at festivals and venues all over the world.
Cathy has a permanent teaching position at the Department for Sound Arts of the University of the Arts in Bern, Switzerland. She is a regular guest lecturer at other art and music universities. In her PhD-research Between Air and Electricity (supervisors Richard Barrett, Marcel Cobussen and Frans de Ruiter; accepted in 2013 by the University of Leiden, The Netherlands), she investigated the use of microphones and loudspeakers as musical instruments. Her book Between Air and Electricity – Microphones and Loudspeakers as Musical Instruments has been published in 2017.
Performances and Festivals (selection), see also my agenda for up to date information.
- Munich (Germany) Premiere Phone Call to Hades 15th Munich Biennale (2016)
- Stuttgart (Germany) Premiere Breeze Eclat Festival (2015)
- Salzburg (Austria) Song No 3 by Ute Wassermann Salzburg Biennale (2015)
- Shanghai (China) Music Stands, Song No 3 and Groene Ruis Chronus Art Centre (2014)
- Cologne (Germany) Music Stands, Song No 3, Groene Ruis and Klangverordnung Academy for Media Arts (2014)
- Schangnau (Switzerland) Song No 3, Groene Ruis and Klangverordnung Open Air Festival Zapperlot (2014)
- Berlin (Germany) Premiere 412 Meter Laufen DieOrdnungDerDinge (2014)
- Huddersfield (United Kingdom) Song No 3 by Ute Wassermann Huddersfield Contemporary Music Festival (2013)
- Hilltown (Ireland) Premiere Uncage the Colours Hilltown Festival (2013)
- Belgrade (Serbia) Wings by Ginger Ensemble (2013)
- Graz (Austria) Premiere Double Beat Mind The Gap Symposium (2013)
- Bern (Switzerland) Premiere Klangverordnung Bone Performance Festival (2012)
- Munich (Germany) Premiere a Game of Fives – Ways and Means 13th Munich Biennale (2012)
- Cologne (Germany) Premiere geluid gemeten nr.23 en nr.32 new talents biennale cologne (2012)
- Berlin (Germany) Premiere Stumme Diener Klangwerkstatt Festival (2011)
- Porto (Portugal) Hearing Sirens, Wings and Song No 3 Trama Festival (201l)
- Buenos Aires (Argentina) Premiere of Muziek als Licht with Mandala Boogie Woogie (2010)
- Cascais (Portugal) Zwischen Schlaf und Schlaf, Cascais Art Center (2010)
- Tilburg (Netherlands) Wings, in blik and Hearing Sirens incubate Festival (2009)
- New York (USA) Hearing Sirens, NYCEMF Festival (2009)
- Minneapolis (USA) Hearing Sirens and Groene Ruis SPARK Festival (2009)
- Zurich (Switzerland) Hearing Sirens Performance Festival Der längste Tag ((2008)
- Cagliari (Italy) Groene Ruis and in blik Festival Spazio Musica (2008)
- Schwaz (Austria) Groene Ruis and in blik Festival Avantgarde Schwaz (2008)
- Holon (Israel) Hearing Sirens Hapzura Festival for Digital Arts (2007)
- Leuven (Belgium) Premiere of a search for renoise – Wings festival TRANSIT (2007)
- Amsterdam (Netherlands) Premiere of Hearing Sirens Mobile Music Academy (2007)
- Berlin (Germany) Premiere of Blik na blik Festival Klangwerkstatt (2006)
- Rümlingen (Switzerland) Premiere of Oefening in stilzwijgend zingen Festival Rümlingen (2005)
- Teaching Member of the Sound Arts Department, both at the Sound Arts Bachelor as at the Master of Arts in Contemporary Arts Practice (MA CAP) at the University of the Arts Bern, Switzerland: since 2009
- Department of Sound Arts, University of the Arts Bern, Switzerland: Lecturer, 2007–2009
- Teaching Workshops on themes such as “Microphones and Loudspeakers as Musical Instruments” and “Gestures in Electronic Music”, for example at the Young Composers Meeting 2015 in Apeldoorn, University of the Arts Berlin, Institute for Sonology The Hague, University of Film Konrad Wolf and SARMA in Brussels.
- Guest lectures at for example the Cologne Music Academy, Zurich University of the Arts, Institute for Sonology The Hague, Amsterdam Music Academy, Institute for Computer Music and Sound Technology Zurich, and Royal Academy of Art in The Hague.
- 2015-2017 Team member of the SNF Research Project Mit Kopfhörern unterwegs – Wahrnehmung, Aneignung und diskursive Konstitution von öffentlichem Raum. Künstlerische und ethnografische Verfahren im Dialog at the University of Zurich.
- 2014 Team member of the PEAK Research Project TransCoding–from ‘Highbrow Art’ to Participatory Culture.
- 2013 Dissertation Defense Between Air and Electricity—Microphones and Loudspeakers as Musical Instruments.
- 2013 Team member of the Urbane Künste Ruhr Project Sonozones—Labor Mülheim ZHdK.
- Lectures and posters at conferences and symposia such as SAR Meeting at the Stockholm University of the Arts (2013), Digital Art Week (2007, ETH Zurich, Switzerland), The Musician as Listener Conference (2008, ORCiM, Ghent, Belgium) or Theatre Noise Conference (2009, University of London, London, United Kingdom).
- Articles (selection):
- sonozones, together with Jan Schacher, Kirsten Reese and Trond Lossius, JAR No. 6 ((Journal for Artisic Research) (2014)
- Song No 3 – Singing through Gestures, JAR No. 0 (Journal for Artisic Research) (2011)
- Where music starts, RTRSRCH No. 2 (2010)
- A good servant dismissed for becoming a bad master – Zur Geschichte der gleichstufigen Temperatur, Dissonance No. 110 (2010)
- Lautenlaute – Humor in Musik über Musik, Zeitgenössische Komische Oper, edited by Titus Engel und Viktor Schoner (2010)