Dimitri de Perrot

by Dimitri de Perrot

The scenic 3D-sound installation uses high-traffic places in the public space to extract an interventionist theatricality from a deadlocked randomness of their daily rituals and processes, thus opening up a widening view of the interstices of the supposed familiar.

„One aspect of the work that was repeatedly emphasised in the reactions and, it seems, touched the visitors, was the restrained design of the work. I was concerned to show the work compositionally and in volume as part of a whole, a more complex structure. I was particularly pleased with the comments, because with this work I wanted to emphasise precisely this communal coexistence.“ (Dimitri de Perrot, Interview)

History and stories often tell of great deeds, striking events or legendary outsiders. However, life also consists above all of moments in between, changes and small situations along the way; from one place to the next, from one question to another. With its sound narrative moments, UNLESS can scrutinise or break through the well-rehearsed processes of a public place and playfully opens up a new perspective on the everyday, on the poetry of normality.

UNLESS plays with the events of a postmodern, accelerated city life that seeks its way through a hectic everyday life of duties; from one task to the next, from one like to the next post. The possibility of creating individual or social presence as testimony can create inspiring oases of thought and feeling in the here and now.

At the 2019 Theaterspektakel, UNLESS was positioned in the entrance area of the festival site, where people queue to get a ticket after all, perhaps to withdraw money from a cash machine or wait for a friend. In Hong Kong, UNLESS was located on the middle floor between the busy Causeway Bay metro station and the entrance to a shopping mall. In-between times, in-between places, in-between games. Social media marketplace. Contact zone. The perception of presence can be surprising at a time when pretty much everything is multiplied and "shifted" in the media.

Concept / composition / set design: Dimitri de Perrot
Additional music and sound research: David Bircher, Michael Flury, Vera Kappeler, Julian Sartorius, Peter Bräker.
Sound engineering and programming @ ICST: Peter Färber
Sound design: Max Molling
Light designe and electronic: Jay Schütz
Technical support stage set: Patrick Hari
Construction stage set: Dick Ko Art Production
Construction assistance: Leo Hoffmann
Technical office Studio DdP: Pablo Weber
Think Tank and communication Studio DdP: Christoph Meier

Executive Production and Diffusion: Studio DdP

Co-production: Hong Kong Arts Centre, ICST (Institute for Computer Music and Sound Technology @ Zurich University of the Arts - ZHdK), Studio DdP.

Sponsor: Hysan Development Company Limited.

Support: Zurich department of cultural affaires, Department of cultural affaires Canton Zurich, Pro Helvetia - Swiss Arts Council, Stiftung Corymbo, Ernst Göhner Stiftung, Landis & Gyr Stiftung.

End rehearsals at Hong Kong Arts Centre with premiere on the 13th of July 2018 at Hysan Place Hong Kong @ Dragonix Multi-Arts Festival 2018.

Photo © 1 Adrian Huber, 2 + 3 Alexis Saile

MYOUSIC with Julian Sartorius
Photo © Augustin Rebetez

Photo © Adrian Huber

Concerts & DJ Sets
Photo © Unknown

KLIRR @ Klang Moor Schopf
Photo © DdePerrot

MYOUSIC - Recording Sessions
Photo © Peter Tillessen

MYOUSIC with Julian Sartorius
Photo © Augustin Rebetez

Photo © Mario Del Curto

Photo © Mario Del Curto

Photo © Mario Del Curto

Photo © Mario Del Curto

Photo © Mario Del Curto

Photo © Mario Del Curto

Photo © Mario Del Curto

MYOUSIC with Julian Sartorius
Photo © Augustin Rebetez