Watch Sara Neidorf’s performance of ‘Aspect,’ a videographic recomposition by Han-earl Park with Neidorf, with music by Sara Neidorf with Park. The performance was recorded on November 15 as part of DISTORTIONS, the two-evening event of improvised music and moving images.
A big, big thanks to Sara for committing to the collaboration, and for their smart, oblique, creative choices. Thanks also to everyone who participated in this project—Carina Khorkhordina, Camila Nebbia, Yorgos Dimitriadis, Rabih Beaini and everyone at Morphine Raum—and to initiative neue musik berlin without whose support this project—these compositions, these performances—would not have been possible.
Video credits
Music by Sara Neidorf with Han-earl Park.
Videographic recompositions by Han-earl Park with Sara Neidorf.
Recorded November 15, 2025 at Morphine Raum, Berlin.
Sound engineer: Rabih Beaini. Second engineer: Malte Andrae.
Recording assistants: Valentina Costa.
Mixed by Han-earl Park.
Carina Khorkhordina (b. 1991) is a trumpet player, composer, photographer, video-maker, and interdisciplinary artist from Kaliningrad, Russia, and living in Berlin since 2014. Aside from developing her music on the trumpet and playing concerts she is working on a series of site-specific performances in the public space of Berlin and other places in collaboration with different musicians, presented as short films and bringing together her interest in urban space, sonic possibilities of the trumpet, field recordings and video documentation.
She has been performing in the context of improvised and experimental music since 2017. The active groups include the duo with Eric Bauer, Slurge (with Eric Bauer, Burkhard Beins, Wolfgang Seidel), Klub Demboh, the duo with Axel Dörner and the trio with Eric Bauer and Lena Czerniawska, as well as a variety of ongoing collaborations.
Since 2020 she has been working on a series of site-specific compositions in Berlin’s public space together with various musicians, presented in the form of short films focusing on individual trumpet sound and musical language in the context of urban space, as well as field recordings and video. She is also an artist who works with photography. Between 2016 and 2020 she was a student of various photography programs at FotoDepartament Institute in St. Petersburg, Russia. Between 2009 and 2020 she participated in several photographic and interdisciplinary exhibitions.
Camila Nebbia is a saxophone player, composer, improviser, visual artist, curator and educator debasing hierarchical systems by exploring migrational counterpoints through multiple, but minimally separated, mediums. From Buenos Aires, Argentina, based in Berlin, Germany, the multidisciplinary artist layers her practice through the creation and destruction of archival memory. Has released as a band leader and solo performer ‘A veces la luz de lo que existe resplandece solamente a la distancia’ (Kuai 2017), ‘De este lado’ (Club del disco 2019), Aura (ears&eyes records 2020), ‘Corre el río de la memoria’ (ramble records 2021), ‘Presencias’ (Sound Holes 2021), ‘Una ofrenda a la ausencia’ (Relative Pitch Records 2023), ‘La permanencia de los ecos’ (577 Records 2023). Played and recorded with many artists of the international scene such as Valentin Garvie, El devenir del río, Burka, Paula Shocron, Barbara Togander, Patrick Shiroishi, Paul Pignon, Vinnie Sperrazza, Katt Hernandez, Kenneth Jimenez, Lesley Mok, Violeta García, Axel Filip, Susana Santos Silva, Tom Rainey, Elsa Bergman, l’ Arfi collective of Lyon, Joanna Mattrey, Micheal Formaneck, Vincent Drombowski’s Flow regulator, Sofia Borges, John Hughes, among others. Co-creator and curator of the collective interdisciplinary group and improvised music series ‘La Jaula se ha vuelto pájaro y se ha volado,’ the interdisciplinary festival Guillotina Fest and creator and curator of the streaming concert series called ‘A door in the mountain.’ Runs the concert series and independent label ‘Disfigured Rivers’ based in Berlin. Participated of many festivals around the world such as Winter Jazz Fest NYC co-presented with M3 (U.S), Buenos Aires Jazz Festival (ARG), Lima Jazz Festival (PE), Diskurs Festival (DE), Ultima Oslo (NO), among others, and has assisted to several residencies such as, ART OMI (NYC), SIM (NYC) Jazz & Creative Music dictated by Tyshawn Sorey and Vijay Iyer (CA), Konvent Zero (ES) UNCOOL (CH), Ensemble Evolution (US), CirkusVranen (SE), CCK with Tim Berne, Marilyn Crispell & Ben Goldberg (AR), among others.
Shifting and switching from No Wave skronk to interstellar guitarist-as-drummer virtuosity, from stampedes of miniature Pomeranian Buffalos to All-You-Zombies heterophonies, Han-earl Park (박한얼) has been performing beautifully messy, joyously difficult, ambiguous and discordant improvised musics for over twenty years.
Park is drawn to the noisy poetry of interactive play; its pleasurable complexities, and joyous discords. He has become increasingly fascinated by the possibilities of refracting the improvisative through narrative tropes and forms, sometimes transposing techniques from fiction and cinema. He seeks musics that are ‘inconvenient,’ that resist easy resolution, and seeks practices that, despite understanding that connection is, in a way, unknowable, take seriously consent, affinity, agency, trust and compassion.
Park is the mastermind behind ensembles including Eris 136199 with Catherine Sikora and Nick Didkovsky, Juno 3 with Lara Jones and Pat Thomas, and Gonggong 225088 with Yorgos Dimitriadis and Camila Nebbia. Park also performs as part of a duo with Richard Barrett, and as part of Thoughts of Trio’s dark extemporizations, the avant-disco of QLH, and The Names’ hyper-lyricism. He has performed with Wadada Leo Smith, Paul Dunmall, Pauline Oliveros, Charles Hayward, Mark Sanders, Lol Coxhill, Louise Dam Eckardt Jensen, Evan Parker, Ingrid Laubrock, Josh Sinton and Franziska Schroeder. His constructions and compositions include ‘Bandwidth,’ a videographic work for improvisation; the online #lockdownminiature series; the machine improviser io 0.0.1 beta++; and Metis 9, a playbook of improvisative tactics.
His ensembles have appeared at festivals including Jazz em Agosto (Lisbon), EFG London Jazz Festival, Brilliant Corners (Belfast), Freedom of the City (London), ISIM (New York), dialogues festival (Edinburgh) and Sonic Acts (Amsterdam). Park’s recordings have been released by labels including NEWJAiM, Waveform Alphabet, Ramble Records, SLAM Productions, Creative Sources and DUNS Limited Edition.
Sara Neidorf (they/them, b. 1990, Philadelphia) is a Berlin-based drummer and film curator. Neidorf drums in the genre-expansive, heavy bands Mellowdeath, Mad Kate | The Tide, Soporose, and Sarattma. As a session musician, they’ve recorded and toured internationally with such artists as The Brian Jonestown Massacre, Peaches, and Sometimes With Others, and have also drummed for theater and dance productions at the Volksbühne, Berliner Ensemble, Sophiensaele, Radialsystem, and at festivals such as Berlin Atonal, Tanztage, 3hd, and Grauzone. As an instructor, Neidorf has focussed their teaching efforts on women, queer, and non-binary students and has formerly taught at organizations as varied as BIMM University Berlin and Girls Rock Philly. When not drumming, Neidorf co-directs Final Girls Berlin Film Fest, which showcases horror made by women and NB filmmakers.
Yorgos Dimitriadis, born 1964 in Thessaloniki Greece, is an experimental musician, composer performer based in Berlin. Using percussion, microphones, field recordings and minimal electronics his music focuses on real time sonic landscapes, with an emphasis on timbre, sound color and long durations.
Since 2006 he lives in Berlin and appears at festivals and concert series worldwide. He has performed/recorded as a soloist and in collaboration with an array of renowned international artists like Audrey Chen, Paul Dunmall, Tristan Honsinger, Alexander von Schlippenbach, Matthias Bauer, Frank Gratkowski, Lori Freedman, Michel Doneda, Amir ElSaffar, Tobias Delius, Marc Turner, Hilary Jeffery, Robin Hayward, Oguz Büyükberber, Meinrad Kneer, Silke Eberhard and many more.
Current projects include: “14 20 22” (Solo for drums & electronics), Duos with Achim Kaufmann, Andrea Parkins, Michael Thieke, Floros Floridis, DYET with Erato Tzavara (video), Trios GRIX (w/Antonis Anissegos, Floros Floridis), Van Huffel/Kneer/Dimitriadis, GLUE (w/Tom Arthurs, Miles Perkin), KERN (w/Edith Steyer, Matthias Müller), TWIRLS Quartet, FABRIC (w/Frank Paul Schubert, Mike Majkowski) and BeingFive (w/Axel Dörner/ Lori Freedman/ Andrea Parkins/ Christopher Williams).
Festival appearances at Festival International de Musique Actuelle de Victoriaville, Jazzfest Berlin, Jazzdor Berlin/Strasbourg, Suoni Per Il Popolo Montreal, Something Else Festival Hamilton, Enjoy Jazz, Onassis Cultural Center Athens, Nice Jazz Festival, Theatre de la Bastille, Paleo Festival Nyon, Jazz and More Festival, Konstanzer Jazzherbst, Soundance Festival, Berlin Solo Impro, Moving Silence Nicosia and others. Yorgos Dimitriadis can be heard on Relative Pitch, Room40, Jazzwerkstatt, NoBusiness, Creative Sources, FMR, Trouble In The East, Evil Rabbit and Wide Ear record labels.
What happens to interaction when gesture and context are removed by distance? A playful, noisy exploration of the oblique fictions of Here and Now, and Then and There.
Watch the first eight minutes of ‘Bandwidth,’ my audio-visual piece performed as part of SPLICE back in October.
What happens to interaction when gesture and context are removed by distance? A playful, noisy exploration of the oblique fictions of Here and Now, and Then and There.
A ‘first-take’ made on a rainy day. First in a new series of studies (‘#onetakestudy’) that folows on from the #lockdownminiature series, and on parallel tracks to #spliceimprov.
I’m not 100% sure this improvisation holds focus entirely for its duration, and it could do, for my taste as a listener, with more contrast, but it meanders in a pleasing way. A kind of reverie on an overcast day. Enjoy.
As the looper becomes more a part of my sound, I begin to again question the disconnect between gesture—visible, weighty—and the auditory. As I watch myself in play (in video playback), I find myself alienated from the experience. [Read the rest…]
See the pinned comment to read my thoughts about this piece, and what I think doesn’t work about it.
What happens to interaction when gesture and context are removed by distance? Han-earl Park and Carina Khorkhordina each perform their compositions for solo improviser and video projection. Building on their work developed before (and during) ‘all-our-lockdowns,’ SPLICE is a playful, noisy exploration of the oblique fictions of here and now, and then and there.
It’s an unusual situation for me, as an improviser, whose work depends on a certain kind of immediacy of response—of audience feedback—to present a work for the first time ‘for real’ after having lived with it for this long. ‘Nervously excited’ doesn’t even begin to describe how I’m feeling. Please, please join me next week on this moment of discovery.
Was passiert mit Interaktion, wenn Geste und Kontext aufgrund von Distanz nicht mehr vorhanden sind? Han-earl Park und Carina Khorkhordina stellen jeweils ihre Kompositionen für Solo-Improvisatoren und Videoprojektion vor. Aufbauend auf ihrer Arbeit, die sie vor (und während) der “all-our-lockdowns” entwickelt haben, ist SPLICE eine spielerische, lautstarke Erkundung schräger Fiktionen im ‘Hier und Jetzt’ und des ‘Dann und Dorthin.’
What happens to interaction when gesture and context are removed by distance? Han-earl Park and Carina Khorkhordina each perform their compositions for solo improviser and video projection. Building on their work developed before (and during) ‘all-our-lockdowns,’ SPLICE is a playful, noisy exploration of the oblique fictions of here and now, and then and there.
Improviser, guitarist and constructor Han-earl Park (박한얼) has been crossing borders and performing fuzzily idiomatic, on occasion experimental, always traditional, open improvised musics for twenty years. He has performed in clubs, theaters, art galleries, concert halls, and (ad-hoc) alternative spaces across Europe, Korea and the USA.
Park is the mastermind behind ensembles including Eris 136199 with Catherine Sikora and Nick Didkovsky; Juno 3 with Lara Jones and Pat Thomas; and Sirene 1009 with Dominic Lash, Mark Sanders and rit.; and has a duo with Richard Barrett. He is the constructor of the machine improviser io 0.0.1 beta++, and instigator of Metis 9, a playbook of improvisative tactics. He has performed with Wadada Leo Smith, Paul Dunmall, Evan Parker, Lol Coxhill, Pauline Oliveros, Josh Sinton, Louise Dam Eckardt Jensen, Gino Robair, Tim Perkis, Andrew Drury and Franziska Schroeder.
His ensembles have appeared at festivals including Jazz em Agosto (Lisbon), Freedom of the City (London), Brilliant Corners (Belfast), ISIM (New York), dialogues festival (Edinburgh) and Sonic Acts (Amsterdam). His recordings have been released by labels including NEWJAiM, SLAM Productions and DUNS Limited Edition. Park taught improvisation at University College Cork, and founded and curated Stet Lab, a space for improvised music in Cork.
Carina Khorkhordina is a trumpet player, photographer and an interdisciplinary artsit living in Berlin since 2014. Aside from developing her music on the trumpet and playing concerts she is working on a series of site-specific performances in the public space of Berlin in collaboration with different musicians, presented as short films and bringing together her interest in urban space, sonic possibilities of the trumpet, field recordings and video documentation.
She has been performing in the context of improvised and experimental music since 2017. The active groups include the duo with Eric Bauer, Slurge (with Eric Bauer, Burkhard Beins, Wolfgang Seidel), Klub Demboh, the duo with Axel Dörner and the trio with Eric Bauer and Lena Czerniawska, as well as a variety of ongoing collaborations.
Between 2016 and 2020 she was a student of various photography programs at FotoDepartament Institute in St. Petersburg, Russia.
