ABTIN pursued his passion into music by attending the art-school for fine-arts before attending the Music conservatory in the city of Karaj.
He received music instructions from credible musicians, including Afshin Alvavi, Siavash Esmaili, Hesam Jafari, Farhad Ebrahimkhani, Alireza Akbarpour. He has received a few awards for his performance with the ‘Sehtar’ instrument at least for two consecutive competitions while studying at the art-school. He eventually started studying ‘Audio Technology', at Azad University Central Tehran branch, where he is currently receiving education under the supervision
of Reza Sabooni.
He employs creative coding, programming environments and generally the sound technology for making sounds, using Pure Data (A visual and interactive computer music development programming language).
He received music instructions from credible musicians, including Afshin Alvavi, Siavash Esmaili, Hesam Jafari, Farhad Ebrahimkhani, Alireza Akbarpour. He has received a few awards for his performance with the ‘Sehtar’ instrument at least for two consecutive competitions while studying at the art-school. He eventually started studying ‘Audio Technology', at Azad University Central Tehran branch, where he is currently receiving education under the supervision
of Reza Sabooni.
He employs creative coding, programming environments and generally the sound technology for making sounds, using Pure Data (A visual and interactive computer music development programming language).
"Here is the sound file for the sound installation I made on Sherkin Island and in Wroclaw.
The installation is made up of Irish and Polish artists audio interpretations of nonsense prayers.
I wrote mixing Irish and Polish prayers together, also found footage and field recordings from Poland and Ireland, The recording of just the installation is clearer than the spatial recording of me performing with it. The work is called Arcze-N-athasz"
The installation is made up of Irish and Polish artists audio interpretations of nonsense prayers.
I wrote mixing Irish and Polish prayers together, also found footage and field recordings from Poland and Ireland, The recording of just the installation is clearer than the spatial recording of me performing with it. The work is called Arcze-N-athasz"
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[…] In Dylan Kerr’s performance Árcze n-Athasz, the analysis and deconstruction of the word provides the starting point for the artist’s examination of the parallels between Ireland, where they were born, and Poland, where they lived. Kerr focuses on the similarities arising from religion – its impact on the cultural and national identity and social traumas caused by the Catholic Church. The ritual process of deconstructing the language of religion and constructing a new linguistic hybrid opens up a therapeutic space, in which there is room for whatever has been denied or rejected. Kerr intertwine their private story and personal experiences with social and ideological changes sweeping through both countries, exploring whether a new type of spiritual community could possibly emerge. […]
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Photos :Małgorzata Kujda
Arcze-N-athasz