Sascha Rosemarie Höfer

Sascha Rosemarie Höfer

Sascha Rosemarie Höfer came to Hamburg at the turn of the millennium to immerse himself in the subculture there and to sensitively trace what moved him musically. From then on, he was up to no good in various indie and post-rock formations and played on Hamburg’s stages; presented solo appearances under various pseudonyms, recorded albums with some of his companions at the time and in this way travelled through Germany’s cities and backwoods as well as the adjoining estates.
Clichéd events were also part of his life as a musician and, after initially happy encounters in the orbit of manic rockstar airs, soon made him realize that something was rumbling within him that was looking for its meaning elsewhere. So he retired from the urban cellars to the back room of his Hamburg apartment, where he lingered for a few years almost silently, reduced the making of music and instead wrote two books, a play, poetry volumes, sound and video collages and, together with Christian Häusler, made three experimental films for which he composed the music. After many years of abstinence, this collaboration brought him back to presenting his works to the public in 2012. The first approach happened with Bar-Do, a semi-cineastic art and theatre project that he brought to the stage with Häusler. Höfer then staged “28 Tage” (“28 days”), an audio- visual multimedia piece with musicians from the Halma music group who had already been won over for the Bar-Do performance; on this basis, he developed a radio presentation with Marko Pauli and created further collaborations attributable to experimental and new music, such as with the pianist Daria-Karmina Iossifova, the clarinettist Carola Schaal and the classical singers Alina Semenova and Yulia Averina. He also worked for “Zuheimat” with photographers Manuel Zin and Melanie Schoenmakers. Together with the latter, he designed the tetralogy “Zeit” (“time”), the first part of which was displayed in a large-scale exhibition, in which Höfer’s pictures and drawings were also on display for the first time, before he followed up the second part of the tetralogy with his highly acclaimed 50-minute musical work “Mit dem Rücken zur Zeit” (“With the Back to Time”).

Höfer attached great importance in former times to the fact that all the elaborate stagings and musical pieces functioned as ephemeral events and did not repeat themselves nor were recorded. With musical excerpts from the art project “28 Tage” the sound collection “mfvaasi” and “telomer[e]”, however, two further recordings are now available in addition to “Bar-Do” providing an insight into Höfer’s musical oeuvre. Höfer released “mfvaasi” and “telomer[e]” on the experimental music label “Klanggold”. In addition to being a good father, Höfer is currently working on the finance of “Zuheimat” a concluded art and music project which could not have been released yet, his postponed exhibition “pieces of you” and also prepares a live performance as a derivative of telomer[e], which hopefully finds the way to the stages very soon. Sascha Rosemarie Höfer, born in ’76, lives as a free, interdisciplinary artist and musician in the nowhere of a village in Lower Saxony and still coughs out of his throat the muff of the big city over the cleared fields.