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Seismic rethinks musical space, where sound unfolds as a physical, almost tectonic force. Seven performers gradually invade the sonic field, sculpting what Maria W. Horn – who composes and performs a new work specially for this project with Ictus – calls “sound monoliths.” Here, slowness is not serenity: it is tension, ritual, and the unveiling of hidden fractures within sound itself.
Seismic dissolves the boundaries between disciplines: movement becomes sound, sound transforms into visual art, and light reshapes perception. The concert space itself turns into an unstable terrain, where the deep textures of music – layered, shifting, unpredictable – reveal their seismic nature. Sound, light, and movement do not simply coexist: they fuse into a single, fluctuating substance, forming a landscape of continuous transformation.
Throughout the performance, the audience is enveloped in a space of disorientation and renewal, where perception oscillates between presence and dissolution, structure and collapse. Seismic is not just listened to – it is inhabited. It is a sonic and visual ecosystem in perpetual mutation, where meaning does not lie in a fixed structure but emerges in the present moment, in the immediate confrontation of sound, space, performers, and spectators.