Yoav Pasovsky was born in 1980 in Israel. He studied composition at the University of Arts Berlin. Among his instructors were Daniel Ott; Walter Zimmermann; Stephan Winkler (composition); and Wolfgang Heiniger (electronic music). In his works Pasovsky deals with topics such as perception and cognitive processes, intermediality, East Asian aesthetics, and the tension between creativity, technology, and science. Pasovsky´s works have been performed at various festivals for new music in Europe (including the Donaueschingen Musiktagen (in 2012 and 2015); Ultraschall (2012); Munich Biennale (2012); ISCM World New Music Days (2006); and in Asia and the U.S. In addition, his works have been broadcast on the radio in many countries. He has collaborated with the SWR Orchestra under the baton of Peter Eötvös, and with ensembles such as ensemble adapter; Zafraan Ensemble; Nadar; U3; United Berlin; Red Light New Music; Asian Art Ensemble; Quartet New Generation; and Ensemble Modern Academy. In 2008 Pasovsky was composer-in-residence with the Spanish ensemble Taller Sonoro. Pasovsky was awarded the Elsa Naumann Scholarship (2011) and the Cité des Artes Residence Grant from the Berlin Senate (2012).
Some “NEW Return” results faster and more unexpected than expected. Due to the ubiquitous effects of the Corona Pandemic, the Munich Biennale 2020 will for the first time become a dynamic festival. Premieres that cannot be released in Munich in May 2020 due to the pandemic will be premiered elsewhere, or in Munich at a different time.
The Munich Biennale will not stream performance-replacement pieces. It will not go online as a whole. The Internet is used primarily to provide impulses for later, physically real performance situations. We assume that many of the productions planned for the 2020 Biennial will see the light of day over the next eighteen months. The theme and spirit are to take place in the “Salon of Wonder and Views” as a unifying element over a longer period of time in various locations in a pointed manner.
In all existential crises, the arts have been a (co)decisive moment of renewal, of rethinking, of reflection, of departure, of conversion, of NEW Return, for each individual as well as for the community. Thus the dynamic Munich Biennale 2020/2021 is, with its motto “Point of NEW Return”, a metaphor for the necessary flexible handling of our present and a model for mobility, topicality and relevance of the arts.