Tomoko Sauvage
Feminale of Music
Her musical experimentation is grounded on a live-performance-based practice that investigates the improvisation and interaction with the environment – the acoustic space and medium affected by architecture, temperature, humidity and human presence.
Tomoko Sauvage was born and raised in Yokohama, Japan. After studying jazz piano in New York, Sauvage moved to Paris in 2003, where she currently works and lives. Through listening to Alice Coltrane and Terry Riley, she became interested in Indian music and studied improvisation of Hindustani music. In 2006, she attended a concert of Aanayampatti Ganesan, a virtuoso of Jalatharangam – the traditional Carnatic music instrument with water-filled porcelain bowls. Fascinated by the simplicity of its device and sonority, Sauvage immediately started to hit China bowls with chopsticks in her kitchen. Soon her desire of immersing herself in the water engendered the idea of using an underwater microphone and led to the birth of the electro-aquatic instrument. Tomoko Sauvage worked on this »natural synthesizer« which combines water, ceramics and hydrophones (underwater microphones). Porcelain bowls, water drops, waves and bubbles as well as hydrophonic feedback and electronics are the main ingredients of her instrument that generates the sculptural and fluid timbre. Through primordial elements augmented by technology, enlivened by ritualistic yet playful gestures, Sauvage's work contemplates, tunes and connects with both the material and the immaterial in keeping a fragile balance between hazard and mastery. For example, there are parameters in her performances that cannot be planned. Sound space, temperature as well as humidity have a great effect on their performances or even the evaporation of water, which is influenced by the presence of the audience.
Sauvage has published two solo albums, Ombrophilia (and/OAR, 2009) as well as Musique Hydromantique (Shelter Press, 2017). Her compositions have been diffused on radios and TV's such as BBC, France Musique, NPR, ORF and Deutschlandfunk Kultur. Sauvage's performance has been presented at international festivals and venues including: The Long Now – Maerz Musik (Berlin), Centre Pompidou Metz, Roskilde Festival, Unsound Festival (Krakow), Nyege Nyege Festival (Uganda), V&A Museum (London), Museo Reina Sofia (Madrid) and Riga International Biennial of Contemporary Art. Her installation work has been exhibited at art centers and museums such as: Sharjah Art Foundation (UAE), Ex Teresa (Mexico City) and Empty Gallery (Hong Kong). In 2016, she was the artist in residence at Boulder Museum of Contemporary Art (Colorado).
*Supported by La Pommerie/ CRAFT (creation of the porcelain bowls, Limousin, France) and Aquarian Audio (Hydrophones, USA)
Feminale of Music
Live interview with the composer Tomoko Sauvage
Feminale der Musik: Live-Interview mit der Komponistin Tomoko Sauvage
Musik Pieces
Calligraphy, published, composed and produced by Tomoko Sauvage can be found on »Musique Hydromatique«, 2017 Shelter Press
Fortune Biscuit, published, composed and produced by Tomoko Sauvage can be found on »Musique Hydromatique«, 2017 Shelter Press
PRESENCES électronique 2013, published by Ina GRM, 2013
Disclaimer
-
Links to external websites of other providers
The ZKM’s express objective is the accuracy and current relevance of any information it makes available on this web site. Mistakes and ambiguities cannot, however, be fully excluded. For this reason, the ZKM is unable to fully guarantee the current relevance, accuracy, completeness or quality of the information it makes available. The ZKM is not subject to coercible legal rules and regulations and to any kind of damages of a material or immaterial nature that may possibly be caused by the use or non-use of the information provided, including free downloads. The ZKM reserves the right to change or delete, to temporarily or permanently suspend access to the web sites at any time.
The responsibility for »external content« to which access is made, in the form of e.g., links, presupposes, among other things, positive knowledge of illegal or punishable content. The ZKM has no influence on this external content and entirely distances itself from such content. Should the displayed external web site include unlawful or offensive content, the ZKM expressly distances itself from such content. When made knowledgeable of such content, the ZKM will deactivate the corresponding link. The same holds for external entries contained in Blogs and discussion forums, links directories, mailing lists and all other forums of databanks operated by the ZKM, the content of which is rendered possible via write access.
All content of the present web site (texts, images, video stills, videos, audios, graphics etc.), the structure as well as the layout of this web site is protected by copyright. These contents, and the information made available by the ZKM (e.g., text and image materials) are available exclusively for individual usage by users of this web site, and not for commercial purposes. These contents may be distributed and copied, made public on the Internet and used for commercial purposes only with the prior consent of the ZKM. Similarly, the placing of deep links, inline links, frame links or similar links in which the ZKM web site is not clearly evident as source, is permitted only with the prior consent of the ZKM. Messages and references to content »share« in social media (e.g. Facebook) do not come under the proviso of this reserve approval. For press releases and photographs valid instructions for usage can be found at: www.zkm.de/en/press/service.
All labels and trademarks named and protected by third parties are subject to the unreserved stipulations of the respective registered owners. That trademarks are not protected by third part rights cannot be assumed merely by mention of the name.
This disclaimer is to be understood as part of the ZKM’s Internet content. In so far as part or single formulations of this text do not, are no longer or are do not entirely correspond to this legal provision, the remaining parts of this document remain unaffected in its content and validity.
