Komposition und Lichtregie
Yiran Zhao is a composer, performer, sound- and visual artist. She was born in China and lives and works in Europe. She was supported by the Ernst von Siemens Stiftung as composer-in-residence and concert curator for the Forum of Younger Composers 2016 at the Bavarian Academy of Arts. She studied composition in China and Europe with Guoping Jia, Caspar Johannes Walter, Erik Oña, and Carola Bauckholt, as well as organ with Jörg-Hannes Hahn. She has worked with numerous artists and groups in Europe, Asia, and North America; including Ensemble Musikfabrik, ensemble recherche, Ensemble Phoenix Basel, Ensemble Garage, ensemble this ensemble that, the Philharmonia Chorus Stuttgart, Iktus Percussion. Yiran Zhao also took part in festivals like the Festival Internacional Zaragoza Contemporánea, Wien Modern, and many others.
Her works focus on various modes of expression incorporating musical and performative elements, lighting, visual arts, and other media. In Europe she started to work with the human body and objects as compositional material with great interest in the physicality of performance. Her first piece is “Verwickelte Synästhesie” (2012) for conductor quartet, which presents the eight hands of four conductors lead by and leading each other in different tempi and groups simultaneously. 2013 in the Fluxus project in cooperation with the Staatsgalerie Stuttgart she presented her Fluxus portrait-concert “No Instrument, No Concert Hall”. Since her stay in Basel light and interaction combined with scenic elements became important in her works. “Ohne Stille II” (2014) is based in this period, it is written for a bass drum with live lighting inside and on the stage, manipulated and moved as a visual and auditive body by two percussionists. Later she worked on several more pieces involving instruments and objects, such as “Observables” (2016), “Fluctuation la” (2016) and “Inverse” (2017). One of her latest works are the “other eye” (2018), a collaboration with Kirstine Lindemann, which situates the convergence of and difference between two bodies at the center of its dramaturgy, and “Oder Ekel kommt vor Essenz” (2018) which is an orchestral work based on the dual-language French-German collection of poems “Le Fleuve dans le ventre” by the renowned poet Fiston Mwanza Mujila who presently lives in Austria.