In Body Under Mind, the performer masterfully intertwines voice and movement, inviting audiences to embark on a mesmerizing journey through the realms of physical expression and vocal resonance. This solo presentation encourages viewers to engage with the nuanced interplay between embodied gestures and sound, revealing the intricate layers of human experience that often remain hidden. The performer’s body acts as a chanel for emotional depth, with fluid transitions and mindful breaths that articulate the delicate balance between presence and absence. Each intentional movement fosters a dialogue between sound and motion, prompting profound reflection on the nature of perception and the mechanics of expression. Silence emerges as a instrument within the performance, placing a spotlight on the unseen and challenging the audience to battle with the complexities of connection. In moments of stillness, the interplay of audible and visual elements becomes strikingly pronounced, transforming the experience into a harmonious exploration of being. Ultimately, "Body Under Mind" invites spectators to think about the intricate relationships that inform our understanding of existence, illuminating the profound interconnectivity that binds life and art in a shared narrative.

Entgrenzung - Dissolving Boundaries emerges as a transformative sonic-choreographic composition, born from the visionary collaboration between the dynamic performer Ilmārs Šterns (Riga, LV / Bern, CH) and the inventive pianist Ursula Hofmann (Bern, CH). Premiering within the vibrant context of the transdisciplinary festival PAKT mit/with IRMA at IRMA Republic, Worblaufen, Switzerland on 13 October 2023, this work invites audiences into a realm where artistic boundaries are not merely tested but beautifully dissolved.

Harnessing a bold vision that transcends conventional piano performance, the duo embarks on an exploration of sound and movement that shatters traditional notions. Through innovative interactions with the instrument—opening the piano lid to reveal its inner workings, playing within the strings, and incorporating the rhythms of body percussion—the performers redefine the relationship between performer and instrument. The engagement is further amplified by a synchronicity of movement; meticulously choreographed gestures articulate the piano's resonant nature, transforming physicality into a visceral element of the soundscape.

Each performer, echoing the essence of the piano’s voice, taps into their own bodies, using skin and breath to create a symphony of tactile sound and vocal expression. As they navigate this uncharted territory, innovative augmentations such as wheeled mobility for the piano and the deconstruction of metallic components lead to a reimagined compositional landscape. Entgrenzung does not simply present music; it offers an immersive experience that invites the audience to witness and feel the dissolution of artistic boundaries, reshaping our understanding of how sound and movement can coexist in profound harmony.

In an expressive synthesis of corporeal exploration, Etudes for Bones & Objects emerges as a landmark sound-choreographic composition crafted by the vision of Ilmārs Šterns, showcasing the dialogue between voice, gesture, and the resonant properties of uniquely designed wearable objects, conceived by artist Lara Buffard (London, UK). This work premiered on 19th August 2023 at the Performance Open-Air St. Gallen Festival, nestled within the verdant precincts of Stadtpark, St. Gallen, Switzerland.

This performance offers a profound inquiry into the symbiotic relationship between the human form and the additional dimension of wearable art, a testament to artistic expression that transcends traditional boundaries. The choreography weaves a rich tapestry of visual and auditory experiences, immersing the audience within a multi-layered narrative that is as thought-provoking as it is aesthetically captivating.

Delving into the intricate interplay between skeletal articulation and the playful manipulation of Dadaistic objects, the composition invites viewers into a realm where the past and present collide. The wearable artifacts—crafted from an alchemy of antique and recyclable materials, including a Renaissance-inspired collar and corset—challenge the notion of corporeal movement, inviting the body to navigate innovative pathways of expression.

As Šterns interacts with these enchanting elements, his gestures undergo a transformation laden with both virtuosity and nuanced aesthetic commentary. The performance manifests an arresting blend of unexpected choreographic impulses with an eloquent articulation of the human figure, creating an experience that pulsates with originality and intrigue.

Integral to the composition's conceptual architecture are the sound and kinetic structures inherent to the wearable objects, which deepen the interaction between performer and audience. This multi-sensory landscape engulfs spectators in a poetic dialogue where visual allure intersects with auditory nuance. A concealed pearl, once hidden within the performer’s mouth, emerges to engage with the body's joints and cavities—functioning as both a striking visual symbol and a narrative device. The pearls, cradled and arranged like a collar, serve as a musical instrument when activated by the performer's neck movements, conjuring a sound texture that captivates through its blend of the magical and the avant-garde.

Moreover, the composition employs elastic tape as a mechanism for experimental abstraction, reimagining the visual potential of body movements. This dynamic tool enables the performer to articulate individuality and defy conventional constraints. The tension of the elastic, stretched between hands, embodies a paradox of limitation and liberation, while the manipulation of spatially dispersed elastic string gives rise to unconventional gestural language. The performer's muscular training transforms these explorations into a virtuosic “ballet” of aesthetic discovery, continually seeking new realms of motion and expression.

In Etudes for Bones & Objects, the seamless interplay between sound, visual art, and the human body invites an immersive reflection on the nature of movement, creativity, and the material world—challenging audiences to engage with the extraordinary potential that resides at the intersection of aesthetics, gesture, and objecthood. This performance resonates as a defining moment in contemporary artistic discourse, echoing themes of transformation, innovation, and the enduring inquiry into what it means to inhabit a body in motion.

This project explores the dynamic interplay between two performers and a harp, seeking to unearth novel musical possibilities through the interplay of gesture and sound. In this exploration, we are invited to reconsider collaborative modes of composition and listening, their reverberations transforming the relationship between performers and spectators alike.

Positioned on either side of the harp, the performers face one another while the audience encircles them, creating an intimate setting that amplifies the breadth of their gestures and the directionality of sound within the shared performance space. This staging fosters a collective journey into the intricate universe of sonic and kinetic interactions, inviting countless of interpretations.

Two Humans & a Harp manifests as a series of eight somatic compositions that serve as both an encounter and an exploration. The compositional process is not merely intellectual; it is deeply grounded in action, striving towards an extraordinary organic sound sculpture. The live compositions forge a symbiotic connection between the harp and the two human bodies, with each performer responding not only to the instrument but also to the movements and sounds created in tandem with one another. This interplay results in a dynamic, distorting mirror that continuously reshapes their mastery of the harp and their vocal expressions.

Pushing the boundaries of traditional harp playing, the performers confront extended techniques—striking surfaces, scratching strings with nails, and manipulating levers—while intertwining these sounds with their vocalizations. This innovative approach unveils a distinctive body language, revealing vibrant overtones and resonances emanating from the harp’s corporeal structure. 

The voices of the performers play a crucial role in this auditory dialogue. At times echoing or commenting on the emergent overtones and unpredictable sound patterns, their voices intertwine with the harp's sonorous fabric until the distinction between voice and instrument dissolves into a singular auditory experience. As these interactions unfold, sound transcends into a tangible form; gestures evolve into musical expressions that influence one another, giving rise to an encounter where something more then human emerges.

Complementing this artistic endeavor are the costumes designed by Sandra Lemp (Bern, CH), whose creations reflect a meticulous attention to both form language and functionality. Grounded in the performers' conceptual framework, the garments are designed to facilitate maximum freedom of movement while folloving closely to the body, allowing for an abstract and sculptural view of the performers within the spatial context. 

Crafted from entirely natural materials supplied by two Swiss companies (Swiss silk and Swiss Flax), the ensemble features eggshell-coloured silk and linen, with an ingrained commitment to sustainability shaping the design ethos. Contrasting with the organic aesthetics of the fabrics, Lemp introduces an unexpectedly vibrant shade—a deep, rich blue—that evokes a striking visual tension. Accents such as the rugged black zipper introduce an element of duality, representing a confluence of strong artistic intentions.

Additionally, the padding devised for the performers’ instruments—the harp and their hands—consists of several layers of fabric, roughly edged and stitched in a manner that mirrors the scores produced during the performance. This intentional design choice encapsulates the very essence of the work, grounding its explorations in a tactile dialogue between artistry and form.

In Two Humans & a Harp, the synthesis of sound, movement, and visual identity challenges conventional perceptions, inviting viewers to engage with the transformative power of performance and the boundless possibilities that arise from the intersection of human expression and musical innovation.

The Meeting of Two premiered in Bonaduz in 2021 as an innovative compositional concept collaboratively devised by Ilmārs Šterns (Riga, LV / Bern, CH) and Mirko Kircher (St. Gallen, CH / Bern, CH) for the Rapid Open-air Festival. This duet performance unfolds through a series of five distinct segments, wherein the performers engage in a visceral dialogue, employing their bodies as instruments of creation, drawing with charcoal upon the expanse of a canvas.

Rooted in a framework of fictional, agreed-upon rules of engagement—evocative of the strategic intricacies inherent to chess—the performers transcend their individual identities to become dynamic figures etched onto the canvas. This interaction prompts a nuanced reflection on the interplay between subject and object, challenging conventional hierarchies and inviting a reconsideration of relational dynamics within the artistic space.

Mirko Kircher articulates a manifesto that resonates deeply within this work: “All people are unique. Abolish prejudices and hierarchies! Listen to each other! Be empathetic! Be attentive, open, honest, critical and open to criticism! Reflect yourselves! Admit to being flawed! Learn! Celebrate the unfamiliar, for it moves you forward! Celebrate spots and holes, because they mean life! Question given structures! What kind of person do you want to be?” 

This call to action encapsulates the essence of The Meeting of Two, emphasizing the significance of empathy and self-reflection within the context of performance. It urges both performers and spectators alike to embrace vulnerability and engage with the multiplicity of perspectives present in the shared experience of art. 

As charcoal marks intertwine and evolve across the canvas, the work becomes a living testament to the intricacies of human connection, the beauty of imperfection, and the potential for transformation found in collaborative expression. In this shared artistic endeavor, The Meeting of Two invites audiences to partake in a broader discourse on identity, interaction, and the profound impact of creative engagement.

Nominated for the Excellence in Art Award by Ober-Gerwern (Berne, CH), Sound Performance for Clothes and Experimental Voice embodies a pioneering exploration of sonic-choreographic compositions conceived by Ilmārs Šterns (Riga, LV / Bern, CH). Premiered in Bern on 17th June 2020, this performance delves into the intricate relationship between sound, movement, and the corporeal experience of wearing garments.

Structured into twelve distinct segments, the solo performance reveals the complex dialogue between the human body and a diverse array of clothing items, including shoes, trousers, and shirts. Šterns utilizes the inherent characteristics of these garments—their elasticity, form, and auditory properties—as a foundational element for choreographed body gestures. Through this exploration, he cultivates a unique sonic vocabulary that merges the performer's voice with the sounds of the clothing itself, thereby crafting a distinctive language of garment interaction.

As the voice intertwines with the rustling, stretching, and shifting of fabric, the boundaries between human expression and material sound dissolve. Listeners are drawn into an immersive experience where they can no longer discern the echoes of the performer’s voice from the inherent noises produced by the garments. Šterns’ gestures—imitation, silencing, commentary, and contradiction—play an essential role in navigating the unpredictable frequencies and rhythmic patterns of cloth, creating a kinetic tapestry that celebrates the dynamic interplay of body and material.

In Sound Performance for Clothes and Experimental Voice, the performance transcends the traditional boundaries of clothing as mere fabric, inviting audiences to reconsider their relationship with objects and the profound resonance of sound that exists within the textures of everyday life. 

Wolf Piece, premiered at Museum Rehmann in 2018, is a compelling sonic-choreographic composition crafted by Ilmārs Šterns (Riga, LV / Bern, CH). The work unfolds in four distinct segments, drawing inspiration from the sounds and actions inherent to the wolf, creating a profound dialogue between the primal and the poetic.

At the heart of Wolf Piece lies the voice, which has consistently served as a focal point in Šterns’ work. In this particular exploration, he delves into the potential of the human voice as it engages in a dialogue with the vocalizations of wolves. The compositional structure is intricately woven from a collection of recorded sounds and observed behaviors of these majestic creatures, thus forming a colourful texture where elements of animal communication converge with the nuances of human expression.

Performed by a solo artist, Wolf Piece invites audiences to witness the intricate interplay of sound and movement, where signs of wild instinct resonate alongside the creativity of poetic human behavior. Each segment serves as a vessel for an evocative exploration of our connection to nature, prompting reflections on the boundaries between the human experience and the instinctual world of animals.

Through a delicate interplay of wolf sounds and human vocalization, Šterns conjures a profound atmosphere that transcends the mere representation of animal behavior. Wolf Piece becomes a rich meditation on identity, animality, and the rhythmic pulse of communication, challenging viewers to reconsider their relationship with the natural world and the expressive capabilities of the voice.