Jobina Tinnemans is a contemporary composer working in crossover disciplines of electronics, classical music and contemporary art.
From 1993 onwards Jobina has been working in electronic music, initially with tape-based recordings of crumby synths and Hammond organs.
She was selected out of more than 600 submissions to compose a contemporary classical composition with electronics for the 2013 edition of the MATA festival in New York. The resulting piece ‘Killing Time’ is an innovative work for an ensemble of piano, cello, clarinet, guzheng, 5 knitting soloists on prepared knitting needles and a concrète knitting orchestra of 22 members. The knitting ensemble operates with a custom-build interface and functions as an organic sequencer, with scored cues throughout the concert.
Jobina’s highly acclaimed piece ‘Shakespeare and Hedgeshear’, involving two table tennis teams and three people pruning hedges was selected to represent the British section of the ISCM World Music Days 2014 in Poland.
Her newest triptych of pieces ‘Turner Piece/ Apartment House/ Metro’ created for Apartment House as part of the Sound and Music Embedded programme, ingeniously feature the sound of the paper scores being turned as an integral part of the music, adding to and enriching the sounds of classical instruments and electronics.
BLATNOVA, Jobina’s electronic indie music alter ego, has taken her on tours of disused municipal buildings and abandoned office blocks across Europe – the post-modern cavernous spaces of her chosen locations perfectly mirroring the haunting qualities of her voice and music.
She was invited to join former employees from The BBC Radiophonic Workshop together with a group of contemporary musicians and producers to curate a new exhibition at the Science Museum: ‘Oramics to Electronica: Revealing Histories of Electronic Music’ that celebrates the work of electronic music pioneer Daphne Oram.
Her product designs have been awarded exhibitions at the Architectural Biannual of Venice in 2000, and Salone Del Mobile in Milan in 2001 and 2007.
Jobina Tinnemans integrates analogue and digital, lo-fi and high end processes, as well as musique concrète and performers from non-contextual communities. Microtonal textures by rustling grasses, the dramatic sounds of the elements, page turning, knitters, hedge trimmers, kung fu and Shakespeare all have featured in her compositions.
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