Andreas Hiroui Larsson is a Swedish aesthetician,
artist, researcher, and musician.
Larsson conducts an interdisciplinary artistic practice, in which his method of contextualising aspects of non-idiomatic improvisation, the non-productive attitude, and pluralist aesthetics, enables the concepts and materials to play the roles and fulfil the purposes of one another. Thus, in terms of ontology, his works are – be it contemporary music, experimental literature, or digital graphic music scores – as much works of music and philosophy as they are works of visual art.
His books include Souvenir (forthcoming, 2023), Shadowboxing (2022), Education (2020), and Essays on the Epistemic Relativism of European Aesthetics [Essäer om europeisk estetiks epistemologiska relativisering] (2018).
His articles include “Manès Sperber Park – Parkgasse – Schillerplatz” (Ideell Edition, 2022), “Re-take Babel (After Willem Oorebeek)” (Peter Lang, 2021), “Does Non-Idiomatic Improvisation Exist? [Existerar icke-idiomatisk improvisation]” (ISCM Sweden, 2021), “Two Graphic Music Scores [Två grafiska partitur]” (ISCM Sweden, 2021), “An Alternative Interpretive Model of Non-Linguistic Performative Acts” (Royal College of Music, 2020), and “An Ontological Perspective on Contemporary Music [Ett ontologiskt perspektiv på samtida musik]” (ISCM Sweden, 2018).
Larsson is educated at Akademie der bildenden Künste Wien, Conservatoire National Supérieur de Musique et de Danse de Paris, the Royal College of Music in Stockholm, the Royal Institute of Art in Stockholm, and Uppsala University.
Larsson conducts an interdisciplinary artistic practice, in which his method of contextualising aspects of non-idiomatic improvisation, the non-productive attitude, and pluralist aesthetics, enables the concepts and materials to play the roles and fulfil the purposes of one another. Thus, in terms of ontology, his works are – be it contemporary music, experimental literature, or digital graphic music scores – as much works of music and philosophy as they are works of visual art.
His books include Souvenir (forthcoming, 2023), Shadowboxing (2022), Education (2020), and Essays on the Epistemic Relativism of European Aesthetics [Essäer om europeisk estetiks epistemologiska relativisering] (2018).
His articles include “Manès Sperber Park – Parkgasse – Schillerplatz” (Ideell Edition, 2022), “Re-take Babel (After Willem Oorebeek)” (Peter Lang, 2021), “Does Non-Idiomatic Improvisation Exist? [Existerar icke-idiomatisk improvisation]” (ISCM Sweden, 2021), “Two Graphic Music Scores [Två grafiska partitur]” (ISCM Sweden, 2021), “An Alternative Interpretive Model of Non-Linguistic Performative Acts” (Royal College of Music, 2020), and “An Ontological Perspective on Contemporary Music [Ett ontologiskt perspektiv på samtida musik]” (ISCM Sweden, 2018).
Larsson is educated at Akademie der bildenden Künste Wien, Conservatoire National Supérieur de Musique et de Danse de Paris, the Royal College of Music in Stockholm, the Royal Institute of Art in Stockholm, and Uppsala University.
Johan Jutterström
2006 - 2010 Bachelor in Music: the Royal College of Music in Stockholm.
2008 - 2009 Exchange studies at Conservatoire National Supérieur de Musique et de Danse de Paris
2011 - 2013 Master in Fine Arts, Music: the Academy of Music and Drama in Gothenburg.
2015 - 2018 Artistic research education: the Norwegian Artistic Research Programme, University of Stavanger.
2006 - 2010 Bachelor in Music: the Royal College of Music in Stockholm.
2008 - 2009 Exchange studies at Conservatoire National Supérieur de Musique et de Danse de Paris
2011 - 2013 Master in Fine Arts, Music: the Academy of Music and Drama in Gothenburg.
2015 - 2018 Artistic research education: the Norwegian Artistic Research Programme, University of Stavanger.
Anna Lindal, with a background as Concertmaster and Professor, is a freelancing violinist primarily active within experimental and contemporary chamber music and free improvisation but also in baroque and classical repertoire.
She is part of a number of different permanent ensembles like Lipparella, Makadam, Skogen, Fire! Orchestra, Violin
duo Bäver with Eva Lindal. She has collaborated with many composers and also runs several interdisciplinary collaborations with directors, choreographers, fine artists and authors.
She is part of a number of different permanent ensembles like Lipparella, Makadam, Skogen, Fire! Orchestra, Violin
duo Bäver with Eva Lindal. She has collaborated with many composers and also runs several interdisciplinary collaborations with directors, choreographers, fine artists and authors.