Han Halewijn (*1963 Leeuwarden/NL) studierte Oboe am ARTez in Arnheim und Sonology am Royal Conservatory in Den Haag. Er gründete Music Design und das Künstlerkollektiv ParaKwadraat. Als Künstler, Spieler und Kollaborateur entwickelt er interaktive kommunikative Surroundings und Performances wie Tagged Space, Vision in the Dark, Belgrad Reporter, Space-01 und the WHOom. Er gewann Preise u. a. mit Interactive Woods, Disturbing Utopia, the Breakfast Eaters. Seine Werke werden in vielen Ausstellungen und Biennalen gezeigt.
Rochus Aust: After studying in Arnhem and attending several Masterclasses with the oboe you studied Sonology at the Royal Conservatory in Den Haag. Where did your sonic-art-interest came from?
Han Halewijn: In these days people thought computers would take over real instrumentalists. For me as a oboe player the computer was an addition to the instrument it allowed me to play a duet with the system that could very easily play all kind of multiple complex harmonies that would take me month to study. It created a beautiful interaction of sound and made it possible to create things together.
Rochus Aust: You met some of the most interesting personalities of the music world. What did you learn from John Cage, Witold Lutoslavski, Olivier Messiaen and Iannis Xenakis?
Han Halewijn: These composers inspired me in several ways even though their presence was short the quarter fell. Cage gave me a freedom of choice (like putting jazz into classical music). Messiaen inspired me to create philosophical art/music and showed me that the best works need integration. After Sonology using the computer system of Xenakis at UPIC' showed me the problematic relation of drawing sound(creation) and this stimulated my out of the box thinking, record elements to use them as instruments later at home. Getting in contact with the works of Lutoslavski with their mathematical influence and connecting them to the musical world of Skrjabin I started to merge sound creation with colors and other kinds of art. In the end all other composers that I've seen alive and dead became pieces of my puzzle.
Rochus Aust: One major line through your work is interactivity. How did it start and what will be the future?
Han Halewijn: Interactivity for me is creating a work that is alive and ready to be reflective towards its surrounding. It started with Interactive Woods for the Young Creators Competition in the field of sound and art. I wanted to show the importance of cooperation between the nature, the technology and the human race. Without technology we didn't have the ability to create such a great instrument as an hobo that came from nature without the human we wouldn't be able to hear its beauty and create the harmony in which the wood would emerge, you could say it's a sort of cradle to cradle. The future exists by its growth out of today supported by the residu of its historical existence in the same way it will direct my future works.
Rochus Aust: You are a composer, musician, artist and technology-freak. Your interests seem to broaden up by each project. Is your personality already splitted?
Han Halewijn: Almost, because now even age is getting into the equation I have to be young in mind (surprised by new possibilities or materials) looking in a rapidly changing world to the developments as if they are totally unknown, but in the meantime my body and my mind also have an age that sometimes blocks these experiences as their references are historically right but at this moment in time and reality wrong. Nevertheless, creating and reflecting on the life we live in is the most binding energy you can have, so every time after I made a new work, if it's for a museum, on the wall or just to listen to I'm whole again.
Rochus Aust: You invented Music Design 25 years ago, why and what for?
Han Halewijn: I started Music Design to do research into the field of new media, interaction and human interference. It was a good vehicle to work together with industrie to create the technology needed for several projects of which many where supported by KED, love and good friends. I love looking, listening and reflecting totally independent of rules, social wishfulness and share my interpretation with everyone at several levels of understanding: wrong can be right and vice versa. Now lets enjoy the future and remember the past.
Han Halewijn und Rochus Aust arbeiten seit Ende der 1990er immer wieder in interaktiven Projekten zusammen wie 1997 beim VIDEO PROJECT 01 u. a. in der Bundeskunsthalle/Bonn und auf der Transmedia/Berlin und 2000 im Deutschen Pavillon auf der EXPO Hannover mit ihrem CONCERTO GROSSO PERIPHERER MUSIKER FÜR ZENTRIERTES PUBLIKUM. Im Februar 2017 gingen sie zusammen mit dem Maler Marc de Vos auf eine "digitale Tour" durch Belgien, die Niederlande und Nordrhein-Westfalen und realisierten das Projekt SUITCASED SOUVENIR im Rahmen von Transfer International des NRW Kultursekretariats.
ChezON wird am Abend des 30.5. im ON-Büro bei der Alten Feuerwache stattfinden.