{"id":97,"date":"2023-09-21T16:08:44","date_gmt":"2023-09-21T16:08:44","guid":{"rendered":"https:\/\/simultan.org\/2023\/?p=97"},"modified":"2023-09-23T23:19:57","modified_gmt":"2023-09-23T23:19:57","slug":"ana-fosca","status":"publish","type":"post","link":"https:\/\/simultan.org\/2023\/ana-fosca\/","title":{"rendered":"Ana Fosca"},"content":{"rendered":"\n<p><strong>Poised at the edge of structure<\/strong><br>\u2014 Live performance<\/p>\n\n\n\n<p>5 OCT 2023, 22:00 &#8211; Muzeul Corneliu Miklosi<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"732\" src=\"https:\/\/simultan.org\/2023\/wp-content\/uploads\/2023\/09\/ana-fosca-foto-Ed-Gumuchian-1024x732.jpg\" alt=\"\" class=\"wp-image-98\" srcset=\"https:\/\/simultan.org\/2023\/wp-content\/uploads\/2023\/09\/ana-fosca-foto-Ed-Gumuchian-1024x732.jpg 1024w, https:\/\/simultan.org\/2023\/wp-content\/uploads\/2023\/09\/ana-fosca-foto-Ed-Gumuchian-300x214.jpg 300w, https:\/\/simultan.org\/2023\/wp-content\/uploads\/2023\/09\/ana-fosca-foto-Ed-Gumuchian-768x549.jpg 768w, https:\/\/simultan.org\/2023\/wp-content\/uploads\/2023\/09\/ana-fosca-foto-Ed-Gumuchian-1536x1097.jpg 1536w, https:\/\/simultan.org\/2023\/wp-content\/uploads\/2023\/09\/ana-fosca-foto-Ed-Gumuchian-2048x1463.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\"><em>Credit photo: Ed Gumuchian<\/em><\/figcaption><\/figure>\n\n\n\n<p><strong>Ana Fosca<\/strong> a ap\u0103rut ca o prezen\u021b\u0103 de luat \u00een seam\u0103. Aici o femeie furioas\u0103, lupt\u0103, comunic\u0103 \u0219i \u00een mod evident e preocupat\u0103 de tendin\u021ba umanit\u0103\u021bii pentru tragedie, violen\u021b\u0103 \u0219i nenorocire. \u0218i este cu o anumit\u0103 tensiune a zgomotului &#8211; unul care este aspru, mizerabil, \u00eensp\u0103im\u00e2nt\u0103tor &#8211; felul prin care ea valorific\u0103 aceste condi\u021bii. \u00cen timp ce catalogul ei de \u00eenregistr\u0103ri este scurt, Ana Fosca (n\u0103scut\u0103 Linn Hvid) \u0219i-a perfec\u021bionat capacit\u0103\u021bile, perform\u00e2nd \u00een mod constant \u00een Danemarca, Suedia \u0219i Germania, \u00een special prin comunitatea dinamic\u0103 a haosului din Copenhaga natal\u0103. Expresionismului s\u0103lbatic pe care l-a dezvoltat \u00een spectacole este \u00eenso\u021bit de numeroase antecedente existen\u021biale \u0219i conceptuale care informeaz\u0103 opera lui Fosca. Kirkegaard. Plath. Tarkovski. Hannah Arendt. Ac\u021bionismul vienez. Abordarea radical\u0103 a ascult\u0103rii a lui Eliane Radigue. Filmele lui Kurt Kren. G\u00e2ndurile \u0219i scrierile lui Simone de Beauvoir.<\/p>\n\n\n\n<p><em>Poised at the edge of structure<\/em> marcheaz\u0103 debutul lui Fosca pentru agen\u021bia Helen Scarsdale. Pe aceast\u0103 \u00eenregistrare, ea \u00ee\u0219i expune opera de art\u0103 total\u0103 ca Ana Fosca \u00een toat\u0103 prevestirea ei \u00eengrozitoare. Ea compune \u00een jurul tiparelor ciclonice de for\u021be \u00een opozi\u021bie, zgomotului arz\u0103tor \u0219i dronelor amenin\u021b\u0103toare. C\u00e2nd \u00ee\u0219i folose\u0219te vocea, Fosca \u0219opte\u0219te repetitiv, ad\u00e2nc, o incanta\u021bie cathartic\u0103 \u00een care se poate g\u0103si sens \u00een toat\u0103 aceast\u0103 agonie \u0219i disperare. \u201eMatematica durerii\u201d este o expresie pe care Fosca o folose\u0219te pentru a descrie acest album care \u00eei amplific\u0103 experien\u021bele personale legate de pierderi pentru a explica condi\u021bia uman\u0103 \u00een general. Acest album nu se instaleaz\u0103 niciodat\u0103 \u00een tropii electronicii puternice, a dark ambientului, industrial death sau a practicilor electro-acustice studiate, ci absoarbe cele mai impactante fa\u021bete ale tuturor acestor estetici. Ie\u0219ind din scena undergroundului danez, munca ei g\u0103se\u0219te un teren comun cu sunetele timpurii \u0219i s\u0103lbatice ale izol\u0103rii elegante, aplec\u00e2ndu-se spre miasma violent\u0103 a Maeror Tri\/Troum in momentul lor cel mai industrial.<br>\u2014 de Jim Haynes, The Helen Scarsdale Agency, 2022<br><br><a href=\"https:\/\/anafosca.bandcamp.com\/\">BANDCAMP<\/a><br><a href=\"https:\/\/www.instagram.com\/ana_fosca\/\">INSTAGRAM<\/a><\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Extreme Music : Ana Fosca\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/C77n2wdcNWk?start=2148&#038;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n","protected":false},"excerpt":{"rendered":"<p>Poised at the edge of structure\u2014 Live performance 5 OCT 2023, 22:00 &#8211; Muzeul Corneliu Miklosi Ana Fosca a ap\u0103rut ca o prezen\u021b\u0103 de luat \u00een seam\u0103. Aici o femeie furioas\u0103, lupt\u0103, comunic\u0103 \u0219i \u00een mod evident e preocupat\u0103 de tendin\u021ba umanit\u0103\u021bii pentru tragedie, violen\u021b\u0103 \u0219i nenorocire. \u0218i este cu o anumit\u0103 tensiune a zgomotului [&hellip;]<\/p>\n","protected":false},"author":4,"featured_media":98,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[11],"tags":[],"class_list":["post-97","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-live-acts-ro"],"acf":[],"_links":{"self":[{"href":"https:\/\/simultan.org\/2023\/wp-json\/wp\/v2\/posts\/97","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/simultan.org\/2023\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/simultan.org\/2023\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/simultan.org\/2023\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/simultan.org\/2023\/wp-json\/wp\/v2\/comments?post=97"}],"version-history":[{"count":5,"href":"https:\/\/simultan.org\/2023\/wp-json\/wp\/v2\/posts\/97\/revisions"}],"predecessor-version":[{"id":342,"href":"https:\/\/simultan.org\/2023\/wp-json\/wp\/v2\/posts\/97\/revisions\/342"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/simultan.org\/2023\/wp-json\/wp\/v2\/media\/98"}],"wp:attachment":[{"href":"https:\/\/simultan.org\/2023\/wp-json\/wp\/v2\/media?parent=97"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/simultan.org\/2023\/wp-json\/wp\/v2\/categories?post=97"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/simultan.org\/2023\/wp-json\/wp\/v2\/tags?post=97"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}