Gernik

Reyzl’s practice breaks down the basics of classical DJing. She moves the records manually to distort the music – bass and beats play over scratching and scraping, the records turn faster and slower to alter the pitch. Adding effects she produces a whirlwind of fleeting, drawn out, and disrupted rhythms. Harmonies of atonal roughness, the ephemeral noise of the concrete. Reyzl’s raw material is the media itself. The needle and the grooves clash in varying intensities. In fact, this is the work’s definitive event. The records dictate the narrative that changes from set to set. And so, distant and near voices and sounds are woven together, briefly identifiable and indistinct to the point of abstraction. On the evening of the festival’s first day, Reyzl will end her set with a new collaborative piece with Ronit Rosenthal. Two Jerusalem-based figures who join forces in an experimental and moving live session anchored in honesty and depth.