ADVISORY BOARD

 

In 2019, in order to broaden the Trust’s reach, to deepen its relationship with great artists and thinkers, and to thank some of the remarkable individuals with whom it has had  the honour to work, Phenomen Trust will establish an Advisory Board. This group is being composed of world class composers, musicians, performers, visual artists, filmmakers, writers, scientists, academics and professionals.

Significantly, the Trust is only inviting individuals who have been personally involved in projects it has supported. There is no wish to create an honorary board of totemic names, but a close community of talented friends and collaborators with whom the Trust hopes to continue to work in the future.

By January 2019, The Trust aims for an advisory board of over a dozen members. A few of its initial appointments include:

Photo by Will Oliver, Getty Images, borrowed from Time Magazine as reference only.

Photo by Will Oliver, Getty Images, borrowed from Time Magazine as reference only.

Marina Abramović

Abramović is amongst the world’s most widely recognised artists, having brought the medium of long-durational performance from the margins of 1970s body art to the centre stage of today’s highly mediatised contemporary art world. Major exhibitions of her work have taken place in institutions and museums around the world over the last thirty years, including the Stedelijk Van Abbemuseum, Eindhoven, 1985; Centre Georges Pompidou, Paris, 1990; Neue Nationalgalerie, Berlin, 1993, and the Museum of Modern Art, Oxford, 1995. Her work is represented in public and private collections internationally.  Abramović has also participated in numerous biennales including the Venice Biennale, 1976 and 1997, and Documenta VI, VII and IX, in Kassel, Germany, 1977, 1982 and 1992.  In 2010, the Museum of Modern Art in New York held the major performance, The Artist is Present: a  736-hour and 30-minute static, silent piece, in which she sat immobile in the museum’s atrium whilst spectators were invited to take turns sitting opposite her. This, more than any other event in her career, propelled her to international fame. In 2011, The Life and Death of Marina Abramović, conceived and directed by the renowned American theatre director, Robert Wilson, premiered at the Manchester International Festival and then played to sold-out audiences and rave reviews in Madrid, Basel, Antwerp, Amsterdam, Toronto and finally at Park Avenue Armory, New York. In 2020, Abramović will be the first woman to ever be the subject of a solo exhibition at the Royal Academy of Art, London, in its 300-year history. 


Photo by Anton Zavjyalov, borrowed from Teodor-Currentzis.com as reference only

Photo by Anton Zavjyalov, borrowed from Teodor-Currentzis.com as reference only

Teodor Currentzis

Currentzis is revealing himself to be the visionary conductor of his generation. As Chief Conductor of the SWR Orchestra, Artistic Director of the Perm State Opera and Ballet Theatre, and Artistic Director of the ensemble musicAeterna – which uses only historical instruments – and of its chamber choir, he has commissioned revolutionary new works,  made recordings on the Sony, Alpha, and Harmonia Mundi labels, which are changing the canons of classical music, and toured extensively to sell-out concert halls throughout Europe. Past highlights of Currentzis’ career include: Resident Artist at the Vienna Konzerthaus beginning in 2016, including concerts with Vienna Symphony Orchestra, Camerata Salzburg and musicAeterna; a new production of Mozart’s Clemenza di Tito with Peter Sellars at the Salzburg Festival with musicAeterna which then travelled to the Dutch Opera, where Currentzis made his debut in 2018; the BBC Proms with musicAeterna in July 2018; a return visit to the Salzburg Festival 2018 with musicAeterna for Beethoven’s Symphonies in five sell-out concerts; a tour with Mahler Chamber Orchestra of Berio’s Coro, Mozart’s La Clemenza di Tito and Requiem and Verdi’s Macbeth at Zurich Opera with Barrie Kosky in 2016;  Wagner’s Das Rheingold with musicAeterna orchestra, 2015, Ruhrtriennale in Bochum. Currentzis was awarded the Order of Friendship of the Russian Federation in 2008, and was the recipient of the Toepfer Foundation’s prestigious Kairos Award in 2016. The same year, Opernwelt named Currentzis Best Conductor of the Year for his Macbeth at the Zurich Opera. Currentzis has so far been awarded seven Golden Masks – Russia’s prestigious theatre award – most recently in 2017 as Best Opera Conductor for La Traviata, a Perm Opera production directed by Robert Wilson. 

 
Photo by Michel Porro borrowed from TheStage.co.uk as reference only.

Photo by Michel Porro borrowed from TheStage.co.uk as reference only.

Ruth Mackenzie

Ruth Mackenzie is artistic director of the Theatre du Chatelet in Paris, and is considered one of the most distinguished figures in the world of art and performance. She has recently stepped down as artistic director of the Holland Festival in Amsterdam, where she ran a 5-year programme of classical music, dance, art, opera, etc., celebrated for its innovation. She has recently been appointed as new chair of the Arts Council England’s London area council. Formerly Chichester Festival Theatre artistic director, Ruth Mackenzie has previously held positions with Scottish Opera and was director of the London 2012 Festival, which ran alongside the London Olympics.

 
Photo by Mike Abrahams, courtesy Paul Stolper, 2017

Photo by Mike Abrahams, courtesy Paul Stolper, 2017

Brian Eno

Musician, producer, visual artist, thinker, and activist Brian Eno (b. 1948, Suffolk) first came to international prominence in the early 1970s as a founding member of Roxy Music, immediately followed by a series of critically-praised and influential solo albums. His visionary production includes albums with David Bowie, Talking Heads, Devo, Laurie Anderson and Coldplay, whilst his long list of collaborations includes recordings with John Cale, David Byrne, Grace Jones, James Blake, and hundreds of others.

Equally notable and arguably even more prolific are his visual experiments with light and video. These are the fertile ground from which so much of his other work has grown. They cover an even longer span of time than his recordings, and have in recent decades paralleled his musical output. These highly-acclaimed works have been exhibited all over the globe – from the Venice Biennale and the Marble Palace in Saint Petersburg to Beijing’s Ritan Park and the sails of the Sydney Opera House.