Borderline Festival 2018 | 3rd Day / ONASSIS CULTURAL CENTRE

Borderline Festival 2018 | 3rd Day

Friday 20 April 2018

Borderline Festival 2018

20 APR 2018
Outside the Onassis Stegi & Upper Stage
Sound installations activated by the wind in the vineyard of the Agricultural University, a live music concert/performance created by adults with disabilities and 3 more back to back concerts in the Upper Stage of the OCC. This is the 3rd day of the Borderline Festival.
Free entrance events and events with tickets

Presale: OCC's Friends - 21 March | General - 28 March, at 12:00
Friday 20 April

Alan Courtis (with a group of people with intellectual disability)

Upper Stage | OCC | 3 € (Full price) - 2 € (reduced, OCC's Friends, Unemployed, People with disabilities & Companions)

Francisco Meirino
Angharad Davies, Tisha Mukarji & Dimitra Lazaridou-Chatzigoga*
Richard Dawson

Upper Stage | OCC | 7 € (Full price) - 5 € (reduced, OCC's Friends, Unemployed, People with disabilities & Companions)


Pierre Berthet | The goodwill of Aeolus | Sound Installation

Agricultural University of Athens | Vineyard | Admission free | within the Geometries exhibition
Friday 20 April: 17:00-21:00
Saturday 21 - Sunday 22 April: 12:00-21:00

*Dimitra Lazaridou-Chatzigoga will not participate, due to unforeseen circumstances.


Curated by: Michalis Moschoutis

Pierre Berthet's participation is supported by:

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In the context of Borderline Festival 2018, the OCC presents a music workshop for adults with disabilities led by Alan Courtis. This music workshop will lead to a music concert on the OCC's Upper Stage.
Alan Courtis was founder member of Reynols, a group that integrated a drummer with Down’s Syndrome and released over 100 albums on labels from USA, Europe, Japan & New Zealand, etc. He has also worked on worldwide music projects integrating people with disabilities and has released more than 300 solo releases and collaborations.
He holds a degree Communication Sciences from the University of Buenos Aires, where he runs an annual Music Workshop and a Seminar about Art & Disability. He currently works as a music professor for disabled people at the Fundacion Artistas Discapacitados (Disabled Artists Foundation), Talleres Fontanarrosa (Programa de Integración Cultural de la Ciudad de Buenos Aires) and at the Conservatorio Municipal “Astor Piazzolla” in Buenos Aires, contributing also with institutions such as UBA (University of Buenos Aires), UNSAM (University of San Martin), AASW (Argentine Williams Syndrome Asociation), Centro de Investigaciones Artisticas and Universidad Torcuato Di Tella.
Alan Courtis has also conducted workshops for many institutions all over the world. He has also published articles about art and disability in magazines like: The Wire (UK), Leben mit Down-Syndrom (Germany), Musicworks (Canada), Revue et Corrigée (France), El Cisne (Argentina), Educación Especial (Peru) and Grupo Docente (Spain).

Spanish-born in 1975, Francisco Meirino is active since 1994 in experimental music and live performance. His music explores the tension between programmable material and the potential for its failure; he is primarily interested in the idea of recording what is not supposed to be – gear failures, the death of PA systems, magnetic fields and electro-static noises – and in how he can use them and hear them radically out of context.

Angharad Davies, Tisha Mukarji and Dimitra Lazaridou-Chatzigoga formed the trio Outwash joining forces for a performance and a recording session in St Anne and St Agnes church in the City of London, in December 2011. Their cd Outwash released in 2012 by Another Timbre made it to several end-of-the-year lists including The Wire’s ‘Outer Limits’. 
“The balance in the trio is wonderful, with each taking it in turns to add rhythmic parts, with patterns often appearing in the music as it gradually revolves, but with each of the group choosing their moment to disrupt things. Mukarji’s piano adds a wonderful depth to the music, often dipping into deep, booming wooden strikes to offset the lighter touch of the shorter strings, and Lazaridou-Chatzigoga adds a glowing warmth to proceedings, her sounds softer and rounder than the grainy textured masterstrokes of Davies’ violin." – Richard Pinnell, The Watchful Ear

Richard Dawson rising up from the bed of the River Tyne, a voice that crumbles and soars, that is steeped in age-old balladry and finely-chiseled observations of the mundane, Richard Dawson is a skewed troubadour at once charming and abrasive. His shambolically virtuosic guitar playing stumbles from music-hall tune-smithery to spidery swatches of noise-color, swathed in amp static and teetering on the edge of feedback. His songs are both chucklesome and tragic, rooted in a febrile imagination that references worlds held dear and worlds unknown. 
Both live and on record Dawson is a barrage of musical expression and personality. A shambling exterior, amidst tales of pineapples and underpants, ghosts of family members and cats, his stage presence is at once inviting and awe-inspiring. The visceral power of his voice against the lurching modality of his guitar lines conjure false memories of Tim Buckley and Richard Youngs duetting with Sir Richard Bishop and Zoot Horn Rollo. There is a rawness to the music that embodies timeworn singing traditions – the fire and pestilence gait of the Sacred Harp singings, the fractured call and response of the Gaelic Psalms, the unbridled power of Mongolian throat singers – its power tempered by intimacy, flecked with human emotion anchored by a sense of place.

In the context of the collaboration between Geometries and Borderline Festival, Pierre Berthet will present a sound installation of wind harps (20-22 Απριλίου), and two performances.
For this sound installation with the title The goodwill of Aeolus (20-22 April), Pierre uses various suspended can-resonators linked with wires and activated by small motors and possible winds. 
On Saturday 21 April he will present Tom Johnson’s Galileo, a composition/instrument that swings on five pendulums. The slowest of these hangs from a line about 260 cm long, suspended from a height of about 4 meters. The other four pendulums must be carefully measured, following the formula discovered by Galileo Galilei some 500 years ago, so as to make their cycles in 1/2, 2/3, 3/4, and 4/5 the time necessary for the longest. A sequence of short compositions allow us to hear all the different combinations of tempos. The piece has evolved slowly from three pendulums to five, from 10 minute to over 40, in a variety of situations.
On Sunday 22 April he will present a Concert for various objects. Music with drops, balloons, tubes, stones, vacuum cleaners, snail and mussel shells, hooks, dry plants, seeds etc. Blowing, hitting, shaking, moving, singing.
Since the 90s, Pierre Berthet has been designing and building sound objects and installations using steel, plastic, water, magnetic fields, vacuum cleaners, dry plants, seeds and various objects he finds in nature. Pierre Berthet studied percussion with André Van Belle and Georges-Elie Octors, improvisation with Garrett List, composition with Frederic Rzewski, and music theory with Henri Pousseur.

sponsoring / partnerships

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Hospitality sponsor

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