The ensemble „a200ms“ wants to present its interdisciplinary work to interested people. “ a200ms“ understands its work as interdisciplinary and free of hierarchy.
Painters are part of an ensemble rehearsal. Musicians experience themselves as part of the individual process in a painter’s studio. A prerequisite for truly equal and truly interdisciplinary work. Collaboration instead of cooperation. The abstract visual reference as a method.
An adaptation of Earle Brown’s notation form offers the chance to establish sound as a component of visual art. Our findings and experiences should animate other artists to truly interdisciplinary musical projects.

How are abstract pictorial compositions perceived?

What is music?

What is a composition?

How does a painter interpret the phenomenon of time in his work?

These are just some of the questions we deal with in the ensemble „a200ms“.

Meetings in the studios and the rehearsal rooms provide the space to discuss the necessary questions. Texts on topics such as examining the difference between visual and auditory perception, discussing questions about the similarities between color resonance in painting and resonance in the helmholtzian sense, looking closely at the phenomenon of time, and of course, trusting each other to let ensemble members from other disciplines participate in individual processes. All this together provides the basis for an equal joint creation.
Understanding the painter as a composer and developing a common language with the musician is the prerequisite for interdisciplinary creation.
Out of this common creative process arises the idea of a common presentation. The considerations already start with the name of the presentation, leading over the positioning of the abstract visual reference and the sound body to the lighting and the duration of the performance.
The recipient should be given the opportunity to witness the interpretation. To perceive the abstract visual reference as well as the musical performance at the same time. To position, the musicians in a kind of orchestra pit would put the visual work in the foreground. To position, the musicians classically frontal to the audience would not do justice to the work of the painter. At the current stage of our considerations, the positioning of the audience behind the musicians comes closest to an equal presentation.
To look over the shoulders of the musicians as silent witnesses and to listen to their interpretation seems to be a suitable position for an interested audience.