| FRANCESCA GRILLI & GIORGIO ANDREOTTA CALO’ |

Hoop Doop meets Francesca Grilli and Giorgio Andreotta Calò
Interview by: Agnese Roda

“HOUSE WITH A VIEW  ON ART LIFE”

How did you start thinking about being an artist? Is there a specific moment you realized that was the beginning of your career? It can be anything … a meeting, a revelation, an inspiration …

Giorgio: When I moved to Holland I was able to work as a “full-time” artist. That was the only condition, because it allows you to think of yourself as a real artist. And it turns a dream, ambition, and aspiration into a fact. As a young kid, I wanted to be a fisherman.

Francesca: I think it has always been a requirement for my well-being. Since childhood, I remember myself drawing, the effort I put in the first ones, into realizing them. I do not remember ever having thought you could have done anything else in life. Then, in order to make Art, I became a full time artist and it ‘took a little’ time to achieve it. I like to think life itself is the art form that accompanies me, and the final work is the result, the fruit of it.

What do you like about your job?

Giorgio: A vision becomes reality. I like being a spectator of any work and I can get excitement, energy, from it. I love challenges. Heavy, hard work is an experience that allows you to do any work, always different, always new. I have no risk of getting bored.

Francesca: The feeling and the strength. Appearance, occult, talisman, coded messages, language, and what is indecipherable. People who know me think I can find all these things in my work. It is my intimate daily practice of finding myself. It ‘s my sport, the oxygen in my bones. As well as torture and punishment.

Do you work every day? Could you describe a typical day at work?

Giorgio: I always work. My work is the result of a continuous time invested and never limited. It shapes from meditation and solitude, as well as sharing with others. I cannot separate my life from work. They are only one thing.

Francesca: Since Agata, our baby, is born work rhythms are different. Before I was used to working disciplined, dedicated to it.  Now I start my day with kindergarten and rhythms are dictated by life. In Amsterdam, I have a study in the Smart Project Space, but the real work is done elsewhere, outside, in different locations and ideas come at unexpected times.

Your partner is an artist? How do you live a life of art?

Giorgio: I really appreciate Francesca. To some, the condition of artistic life is very heavy. Painful, unbearable.Francesca and I chose for a life where the art is very present. I hope this will become a privileged status for my daughter, an intense and happy presence, and an experience where there is no heaviness and pain.

Francesca: Art life can be reality, even though not always surrounded by an atmosphere of romance and absinthe. In fact, it is hard and pragmatic. There are clashes with yours and the other person’s ego and that is your mirror. You grow together, always trying to be true, to support and sustain each other. It requires patience and love. But it is also super fun, especially when Agata will be older, she will be swept away by our surreal projects, life, and work. I could not think of my life in a different way.

What are your artistic influences?

Giorgio: I am mainly influenced from artists who have operated in Between the 60’s and 70’s.

Francesca: Maya Deren, Demetrio Stratos, Walerian Borowsky, and Laurie Anderson.

What inspires you on a daily basis?

Giorgio: You cannot be inspired daily, because inspiration is a state of exceptional depth, which comes from an impulse. One of the thousand you face every day.

Francesca: Giorgio gives me the possibility to think deeply on the job and I thank him for this kind of not easy, but essential exchange. Agata is the purest and greatest thing I have ever made. In this moment of my life, family feeds my inspiration.

What music do you listen to?

Giorgio: My musical knowledge is very limited. I also read very little. Probably because I invest too much time in listening, observing, feeling.

Francesca: There were several musical phases in my life. I have listened to so many different things. Lately I have been researching lullabies, and I also try to use them in my work. I use sound in a wide and extensive way.

Favorite movie?

Giorgio: Tarkovsky created 7 masterpieces.

Francesca: Picnic at Hanging Rock, Peter Weir, 1975

If you weren’t an artist, what would your job be?

Giorgio: I have never thought about it. I did a lot of jobs in the past. Maybe I would have been a doctor, like my father. It would have been a good way to understand him better and try to live in a completely different way.

Francesca: The life is art; I would do everything I could get from it.

Why making art today is important?

Giorgio: Today valuable and important things are measured in economic terms, in market terms. If you do not exist in the market, you do not exist as an artist. Of course, this has nothing to do with the value of the work itself, because making art does not strictly mean generating financial gain. It does not necessarily refer to the product of a cultural industry. The question might then be, why is it today that producing profit (making money) is important? Why does Economy decide about aesthetic value (defined as the convergence and synthesis of higher values, “the Beautiful” as a whole)? To be able to answer these questions I should go far in writing. Reality remains then as a response to this situation, the artist today can become a form of resistance and commitment, even in defense of a social role and values, which are completely missing nowadays.

Francesca: Our most intimate side is usually disconnected from real community life. It is our duty to try to reconnect our souls with the rest of the world. Art, in its widest sense, allows you to create this bridge to link yourself and society, even though it is a deep and painful experience. The artist in contemporary society covers the role the Wizard had in the past. Every community should have Art, to illuminate the path and identify new ways to follow it.

A story of Bijlmer Rap!

DRET EN KRULLE – BIJLMER STYLE |

Hoop Doop meets Dret en Krulle.
Interview by: Agnese Roda

Photos by: Attilio Brancaccio

What’s your name, where do you come from, how did you become a rapper?

I am Dret, I am 25 years old and I come from Bijlmer. Amsterdam South East. Neighbourhood Kraaiennest.
I was always interested in music, and with music I mean all music.
I don’t know when it was; I think I was 10 or something, at that time I already listened to some hip-hop tunes…
A friend of mine showed me some CDs from No Limits Records he was bringing them almost every week… I went so deep into them… I was almost like a collector; I had to have everything from them. 
I was really into hip hop, I like it very much but at that time I wasn’t even making my own music until my cousin brought me to his project team. I was 14 or 15.
This is cool, I thought. I started joining him and then we made a group called VaderLozeTroepe. We were five guys. I was always with him; we are cousins and he is also my best friend.
Later on I met Krulle via an ex of mine. 
He looked older than me.  Already when he was 13 he had a beard and a big moustache!
When I am with Krulle, people think I am the young one. But he is now 21, while I am 25.

So it is more than 10 years you rap together?

Yes man, we go back 10 years. When I met him he was already rapping and I heard a song from him, it was about his teacher and he was kind of brutal in the tone. I thought “you filthy mouthed little boy”…you are good, I like that.
I felt we were the same… If I want to say something, I say it, and if you don’t like it: Fuck it!
I told him I am going to take you and you are going to rap with me.I brought Krulle to VLT. We were always linked to them; it happened they represented us.
VLT was my cousin’s project, it was never meant to be big…
When I had Krulle “under my wing” we started performing all together. More people started to follow the project. But, it wasn’t making money.
My cousin had responsibilities so they were doing it only for fun… but people wanted to have more…

Then when did you arrive to De Grote Prijs van Nederland on your own?

It happened when M.O en Brakko won De Prijs in 2008. I thought if he can do it, we also want to do it. We liked to try it, we didn’t have anything to lose, so why not…
How are we going to do this?  We thought. We had to make things clearer for people.
Was it Dret en Krulle, or VLT?
So we gathered all the guys and explained them we wanted to try to participate, under the name Dret en Krulle. They agreed. The duo began with De Grote Prijs. 
If you look at the videos before that, you see video from VLT with Dret en Krulle rapping. 
Our first independent video was “Verder”.
De Grote Prijs is a performance battle and they look at how many people you bring, if you rock the crowd. In 2009 we won and our story changed. We didn’t start this to go big, but it turned out like that. And I really like it. 
We just said… Fuck, we give it a shot, and until the first final we didn’t take it so seriously… the sound wasn’t perfect… but they gave us the benefit based on the feel for the potential we had. When we arrived to the final, we took care of all those things, we mixed all the beats, and we went practicing…
We had never practiced before! Never in life, maybe just few minutes before the show…
The final helped us to make this all thing serious and professional…
If we can go to the finals, we can go big, we are good… we said to ourselves, if we can get that chance we are going to rock… and we are going to win… 
I remember the last seconds of the performance, when we felt we were going to win, it was such a good feeling!tv

Then when did you arrive to How did you career change?

It is Holland, so it is not that big like the US, but people around recognize us.
In 2 years we made Holland recognizing us!
2010 was a lot of gigs, every week a show, especially in the South of Holland, Tilburg, and Eindhoven, Den Bos all the big venues.

What about the choice of rapping in Dutch?

It is our language, we never rapped English. When I talk, I talk in Dutch.

Any other influences?

In the neighbourhood we have the so-called Bijlmer Style. Robbert Coblijn made it possible.
When we were with VLT we met him, he had the Bijlmer Style cds, merchandising… 
This guy doesn’t make music; he only invests money in projects from Bijlmer.
He said, “I want to work with you guys”. 
Now we are Samen Sterk with Marvin Fonseca. Those two guys made things possible; they first brought music to Bijlmer to make people aware of it and then invested on it.
If you were from Bijlmer you wanted for sure to be in the cd. District 7 we were in!
Now we are still working with the same people.

What do you listen to?

Hip-hop, reggae, dubstep, drum and bass UK grime.

How is your album going to sound?

For our album we don’t try to sound like anything else. There are no rules; only it has to sound good!
It doesn’t have to be like something, it has to sound like us. Of course there are influences, mainly dubstep and drum’n bass, but also hip-hop.

Anybody featuring you?

We try to keep it “us”.
The featuring’s are for vocals, something we cannot do ourselves, like reggae rapping…
We have collective projects but those are different than albums, maybe more for Internet.

How is your neighbourhood?

We love it!
If you meet somebody from Bijlmer and you ask him where does he come from, he is not going to 
tell you, I am from Amsterdam, he is going to say, ”I am from Bijlmer”. It is a Stadsdeel promotion.
When I am abroad I never mention Amsterdam, I say I am from Bijlmer.

Is Bijlmer different from Amsterdam?

Yes it is.

First of all it is a different mix of black ethnic groups. I was born in Suriname and my parents came to Holland when I was 3 years old, directly to Kraaiennest. At that time there weren’t too many people living there, there were Surinamese, Antillean later, then Dominican and the last one to arrive are African.
That is Bijlmer. 
In the early years you couldn’t see white people and if you saw them they weren’t the typical white people. All the white people we met we were like” Wow man, what happened to you?’
Now many different people live there, many flats were torn down. 
People left for places like Almere.

Is Bijlmer different from Amsterdam?

A little bit. When I was young it was.
Now it turned into a lovely area, not dangerous at all. 20 years ago, that was a different story.
Netherlands was nice, Bijlmer was … no words!
Even Amsterdam was looking at us a bit scared.
If you were in Bijlmer people started looking at you, Hey nice shoes man, nice hat… I even like your shirt and suddenly you were naked. Take it off… and you were not going to say no.
I was very young and I got robbed once. I was maybe 8 years and they guy looked so big, he was probably 20. I just got a new bike, Kraaiennest was very big. The Arena didn’t even exist. I was biking when this guy came “Stop. Give me the bike”. And I was “ Are you fuckin serious?”
Give me the bike… and he was serious… he took it and he went away.
Then I was alone and I thought “Fuck, now I have even a bigger problem, I have to say it to my mother”.
I thought I would have preferred to be arrested by police, so I could stay out for a reason, instead of going home and say to her my bike was stolen.
But that was the only time.
If you grow up in an environment that is tougher than the rest, it will also make you a tougher person.

How are people from Bijlmer?

People in Bijlmer don’t go out of there.
If I go out, I go to a coffeeshop and go back.

Aren’t there coffeeshops in Bijlmer?

No. It is not possible.

If you are from Bijlmer you don’t want to go out of Bijlmer, and if you are not from Bijlmer you don’t want to go to Bijlmer.
We maybe don’t have very high-level education, diplomas, and stuff like that, but we are very talented in music, in art, theatre, sport, and bikes.
People here don’t have much and they try to get the best out of it.
We are also very passionate, no matter what we do. When somebody is happy we share it with everybody.
When we went to Paradiso for the Final performance, all Bijlmer was there, full of emotions.
Things like discrimination don’t really exist. We just look for honesty. 
You can be white, a nerdy dude but a cool guy, then you are for us a nerdy dude and cool guy. 
We see it. 
If you come to Bijlmer and you try to be someone you are not. Then it doesn’t matter if you are big or not, we are going to fuck you up!

Heroic Failure. A day with Artist Jozeph Van der Heijden

| HEROIC FAILURE |

Not everybody can say, “I have spent a day with Napoleon.”

I can.

Last week I met the Dutch Artist Jozef Van Der Heijden and spoke with him about his project “Heroic Failure.”

The concept behind was conceived a long time ago in his mother’s library, when he read about historical characters in biographies available on the bookshelf.

He found one about Napoleon and immediately felt attracted to his character and his myth.

From there, years later came the idea of choosing Napoleon’s story as a theme.

Reading more and more about him, he learned there were even more books written about Napoleon’s life than about Jesus. - What is impressive about Napoleon is the propaganda he made for his image! - says Jozef.

Later on, he discovered movies about him, and from these he could dig for more knowledge. One was a particularly inspiring, black and white images, from Abel Gance, a 1927, epic silent story about the rise of Napoleon and France.

It was a very interesting movie, he thought, but it was about the rise and magnificence of Napoleon. In life what I like the most are the mistakes, and the process related to making mistakes.

I decided then to title my work “Heroic Failure” and what I focused on, was the failure of the hero.

After you reach the top, and you fall, there is a sort of drama, and this is what I find interesting to analyse. In the end winning is not interesting, because you can learn more from when you fail”. I thought I could have been Napoleon myself, first because as an artist I could have worked with myself, which is really convenient, because I am always available, second because we have things in common: small, thin, like fashion, make mistakes!

In 2006 Jozef was exactly the same age as Napoleon was when he lost the Battle of Waterloo (1815) and was exiled to Saint Helena island. This is when Jozef started his project.

The work is about me being Napoleon. It is a continuous comparison in between me and him… curriculum vitae, zodiac signs…  It is a composite work, where I mix short videos with photography, fashion, and performance, depending on what is needed.

I will stop recording the work in 2012, when I reach the same amount of year, 6, from the exile to Napoleon’s death.

Reading about his life Jozef got many hints for a comparison, for instance he could study small facts that became historically important, so important to be in books.

When he was in a battle in Egypt, he cut his hair shorter because he was warm.”

I thought,  “I could have also done the same thing and make an heroic act.”

I cut my hair; I took a picture of it and turned it into an act.

I even got a page in a newspaper. I found it very interesting, I am nothing, the fact that I cut my hair means nothing, but because I did it as Napoleon, I got a page in a newspaper. Isn’t it fun?’ The imitation/emulation becomes a fun project… the goal is not to be accurate, but playful!

My “being Napoleon” is not made with the intent of being accurate, it is more based on improvisation.”

When I was in Art school, I was used to perform with this friend of mine. We never rehearsed before performing, because we wanted people to see us improvising, and making mistakes. People laugh about mistakes! You can feel it is mean, but I see it more as hilarious.

In Dutch, there is a particular way of saying “Geen beter vermaak dan leedvermaak” that literally means “there is no entertainment if no amuse .” It is a really Dutch concept applicable to the situations where by making mistakes you make people laugh. The important thing is that you laugh about it, you laugh about making mistakes!

Things don’t have to be accurate all the time; I have a kind of rejection for accuracy.

The fashion part where I build up costumes is also based on a fun approach. I sew them with the help of friends or on my own,

I also create merchandise, always imitating Napoleon style…

I have an espresso cup with my Napoleon face and mini sculptures. I like all kinds of publicity; I like people to talk about me, because this contributes to build up the image… exactly as Napoleon liked to do…!

And even in the failure, people will always remember you.

Interview with Manuela Talana

About Manuela
› 34 years old Italian
› Holland Director of Studiolingua,
Italian Language and Culture School 



Hi Manuela, tell me a bit about your first time in the Netherlands
I came in 1996 to visit my grandparents. 
My mother is Dutch and lives in Italy since 1971. 
During that trip I decided to stay in Holland in order to learn Dutch.

Did you speak Dutch when you arrived?
Not at that moment cause my mother has been always speaking to me in Italian. 
I immediately followed a Dutch course, and once I was speaking fluently, I found a job in Alkmaar as a secretary for a cosmetic company.

After that very first job, I passed the selection procedure for an administrative job position at the Italian Cultural Institute.

That was in 1999. 

I worked there for 11 years. I started as an administrative employee and I ended up being a "factotum." 
But I learned everything I know. Everything, really!

And then?
I started realising I could have stayed there forever. It was funny and at the same time scary to think about it, cause people do not always imagine themselves doing the same job for the rest of their life! At least I do not.

I was sometimes bumping into some documents to add my signature, official papers where it was stated I was entitled to cover that position until 2041, when I would have turned 65 and entitled to retirement…

So, you left and established your own business in the Netherlands?
It was not that easy. In the beginning, when I first quit the job, I had to recover from a long hard working period, therefore, I decided to take some sort of "sabbatical period." A break with a number: 44, like my vacation days.

And a world full of ideas in front of me. After a while I came back, to be myself again. I visited my parents in Sardinia, went back to my hometown, "the nest,” and rested. During my break number 44, many teachers and collaborators in Amsterdam did not know I quit the job and started calling me on my private number, asking for the usual feedback about the coming year at the Institute.

Many of them were upset hearing I left the job and started brainstorming on how it would have been nice to have a school.

And then it happened: I got my energy and my bravery back, fold it in my suitcase, and flew back to Amsterdam. I went to the KVK and asked about the possibilities and discussed my idea.

I figured out the easiest way was to build anEenmanszaak; I could be the director and president, while teachers are "direct" employees.

Then, it was time for a name and we decided for Studiolingua. Later, we found a perfect location, an old school in De Pijp! We thought maybe it was destiny! From that moment, the adventure began!

Why a school project?
We started focusing on what we wanted to offer and to whom. We realised we wanted to reach a Dutch "Italofilo" audience, the Dutch who loves Italy, and that we wanted to provide a full immersion on Italian culture and language.

Apart from language courses, we wanted to have fun and give an overview of our peculiar bizarre country: Italy, with all its contradictions, beauty, poetry and art. We started designing and structuring courses, alternative kind of lessons like: Dutch to Italian translation course, The divine comedy: Dante Alighieri’s readings lessons, The Reading Club: discussion about Italian books, Mystery in Italy with movie and documentaries and a see & discuss session about the dark side of Italian history, Italian Pop music, a lesson DJ set about music in the 20th century..

And the language courses?
The courses are tailored made for a small group of people (max. 10) depending on their level.

We focus on improving the learning process in a direct, fun and immediate way, like we do for the Italian class for children where they learn to speak through games and theatre acts… always according to the EU learning guidelines.

Of course, we give enough attention to the grammar basis, but we also want it fast and fun so students can say something already in the beginning.

Furthermore, we have also created flexible packages, adaptable to our audience needs: you can choose to attend only one lesson, or buy the whole course. Studiolingua combines Dutch efficiency with a warm Italian heart!

Any survival tips for the expats? 
No one will help you if you do not try to make it yourself first. You always have to find out things by yourself.

Here you can keep your values, but at the same time adapt to a more structured and focused country, where people learn to make it by themselves. In the beginning they can look like closed people but that is misleading. They are open to (almost) everything international; they like to share this passion for what is different and allow you to be different in their country. But you have to show you can make it for yourself.

Interview with Stephane Serra

About Stephane Serra (aka Hank Disaster)
› Co-creator & Art director of Bon Esprit
› Entertainer, writer, event designer, DJ & producer
› South of France and around, French West Indies - Amsterdam, the Netherlands

Where does the name Bon Esprit come from?
The name "Bon Esprit" is taken from the French journalist and radio speaker Alain Maneval, who was sharing great music options / suggestions. Bon Esprit was his way of expressing something cool and relaxing; something that gives a good feeling… We thought the expression reflects our idea of a great evening.

How did it start?
Back in June 2009, I and my friend Cecile started hanging around with other French and at some point we decided to go deeper: Jean Baptiste "Blusher" found a bar in Reguliersdwarstraat, we posted a Facebook event for a party and 300 people showed up!

We started throwing parties on a monthly basis and after the "first experiments," we were charging a couple of euros so we could afford to built and establish better line up every time.

Code 21 and Minibar were big hits and thus, we decided to find a stage, Winston Kingdom.

We established a company and started live acts, underground artists, mixing... Rock & Roll with electro noise… such as: The Anomalys, We love Machines, Children su madre, Fata “El moustache” morgana…

Soon, with Winston's collaboration, we met our trustful sponsors: Absolut Vodka and Zarb Champagne.



What about the Bon Esprit team?
I am in charge of the programme and artists, venues and partners, while the following have been - and some still are - involved even though most of them work on their projects:
› Bertrand "LePop" was responsible of our visuals for more than a year before creating his own fashion brand.
› Romain "Shishibey" is DJing, creating the werdest dress codes and doing all the things that he is the only one to do (No comments).
› Nassim "Nashroom" takes care of the finance (project and pre-parties).
› Jean Baptiste "Blusher," Ulysse "Mr U" and Cecile "Minou" make sure that everybody is enjoying every second (by using our famous Absolut Vodka Guns for example)!
› Gregory Duris and Dylan Glyn Jones are in charge of our visuals and Monyart is our official photographer.

Tell me more about your parties
The inspiration is French Punk Chic; we throw parties for people who like surprises! We had, for example, Le Cat Fight (8 women DJing)...

Photos by Monyart

...fancy dress picnicks in Sarphati Park, iPod Battle in Mini Bar, Southern Redneck party with crazy electro and much more.

We believe in quality and diversity; we want to offer our crowd as many happenings as possible at the same time.

For example, thanks to Linda and Jeff, we brought a Zarb Champagne and Absolut vodka bar at Jeffery West's shop - a designer shoe shop with an incredible identity - and mixed it with Fiiixfrom Ficha and temporary expo of artists including Monyart, Amstersam and Monark, three very talanted Amsterdam-based artists.

Your daily life inspiration?
Art and especially, poetry. Poetry is my Thai boxing!

Upcoming events & projects?
Once per month at House of Rising (Saturday) as well as Winston Kingdom until September; we have already booked several bands (Fusee Doree, Fata "El moustache" Morgana, The Brimstone Days, Bomber Leo, King Kong Kobra) and DJs (NoaBoner, Bloody Disco,S.A.D.P, Pascal Montfort and his parisian friends, Alex Kaseta).

The Itinerant Zarb Champagne bar will keep on moving all around town with a stop at Jeffery West's shop in the beginning of June and we will organise a number of private parties for companies.

Finally, we work with Audiopleasures and also discussing about teaming up with some talented expat crews to organise a festival in September but sssshhhhhhhh!!!! It's a secret!

I enjoy interviewing people with a story to tell, a project to unfold, a dream to share… always with an amazing bottle of wine selected for the occasion.

For Stephane's unique style, Purato, Feudo di Santa Tresa, 2009, Nero D'Avola di Sicilia (still red, 13,5%) was chosen.

Produced by organically grown grapes, one of the "main expressions of Sicily" took the third place at the Internationaler Bioweinpreis (2010).

Plus recycled glass (85%) and packaging with vegetable-based ink!

Interwiew with Anett Kulcsar

How did you fall in love with music?
I saw Kraftwerk - my first big concert - when I was 10 and wanted to know more.. to learn everything! 


Your music background in Hungary?
There was a club called Black Hole, where they were playing Primus, Bad Religion.. I was too young to enter but I was hanging around with older guys, part of the local underground community.

Then, I attended a couple of acid parties - the first house parties in Hungary, organised by some friends in unexpected locations - and I wanted to play. However, I soon realised that I had to have my own equipment and in order to buy technics, mixer and records.

 Salaries (just like the political system) in Hungary were crap so I decided to move abroad.


First years in the Netherlands?
I moved to Holland in 1996 to replace an au pair for a few months. I thought it was a good opportunity to save some money and see a new country.



I took a bus full of girls, some of who were going to end up in the red light district, according to the travesty in the next seat who was responsible for bringing them over. Btw I am not sure if they were aware of that..


I spent three months with a crazy, wealthy family and then, an astronomer I met at a meeting organised by an Hungarian association offered me another job!


How did you end up with turntables?
I bought an Akai turnable for 1 gulden on Queen’s Day; really old-school so I had to practice a lot.



Georgio Schultz, who had sold me some vinyls when I was in Hungary, was playing in Zandvoort and I decided to attend. During the performance, I met one of his crew members, who told me a lot about their work and asked a friend if I could sleep over since the next train was hours away. Btw this friend became my boyfriend later and taught me a lot about the Dutch culture.



Anyway, I started playing in Haarlem and organising my own parties, the Womenwaves, at Stalker and later on at Patronaat. Then, I was invited to play at a party with an old schoolmate from Budapest, with whom we started a new concept, the Budapest Delight.

After working as a medical secretary for almost three years, I decided to study media technology. Georgio’s introduction to production and the Human Computer Interaction class (final semester) gave birth to my project: a live act where you could interact without standing behind a laptop.


My alter ego, DANSOR (dance + sensor) was born!

I graduated with this cum laude and started performing in clubs (Sugar Factory, Paradiso and many more), but not everyone "was getting it." The Wii was not launched yet :) 


My aim is to combine and apply techniques used in experimental music / art scene in clubs with danceable music.

What are you working on lately?
I work as a Freelance Designer and just started a label called Comport Records together with local artists (Soundbalance, Von Smir and Mr. Minimalistic). 


My music was also released on many different labels including Sensei (UK), We Are Live (UK), Whose Haus (Canada), Little Mountain / This Is (NL), Comport (NL) and Nervous (US).

I also switched to Wiimotes for shorter acts (15 minutes) and started discovering Kinect together with oneseconds. In fact, we recently had our first Kinect installation, "Avoid The Void" (Comport Records Showcase, Patronal).

For hourly performances I use the Akai APC-40 - Akai still rules ;) - and prefer to play live with other musicians like I did with Saskia Laroo (trumpet) the last time. I really loved that!

Agnese enjoys interviewing people with a story to tell, a project to unfold, a dream to share… always with an amazing bottle of wine selected for the occasion.

For Anett Kulcsar, Pignoletto Prima Edizione, Cuvee 09, Vallona’s farm, Castello Serravalle (BO), Italy was chosen.

A sweet and strong aromatic wine from Pignoletto grapes and age-old vines; white and gently fizzy.

London, Beijng, Shangai. The music of lights.

In the last months I traveled.

Biting the lights of the night.

Feeling it light.

Wanting one more bite.

A bit more.

London isn’t grey at all.

Beijng is a composition for mac and darkness.

Shangai arrives in the end, like a symphonic orchestra.