Introduction
This is the current policy plan for 2020-2021 of the Stichting IHOS Amsterdam, domiciled in Amsterdam. The policy plan was approved during the first board meeting on January 26, 2020. The plan will be adapted if and when necessary. The stichting, a Dutch legal entity comparable, but not equal, to the foundation, emanates from Foundation IHOS, founded in 1990 in Hobart, Tasmania, by Konstantinos Koukias, a Greek-Australian composer, director, producer and programmer of contemporary music, music theatre and opera. IHOS refers to the Greek word for sound: ἦχος. Kon Koukias emigrated to the Netherlands in 2013, and has lived an worked in Amsterdam ever since.

Kon has been making work for thirty years which stands out for its experimental character, and always pushes the envelope of what is deemed possible to achieve on stage. Whether he chooses an intimate setting or a cavernous industrial space, his productions always give their audiences an immersive and visually arresting experience, and address the most urgent issues of their time. Examples are Days and Nights with Christ (1990), To Traverse Water (1992; 1995-1996) and Tesla – Lightning in His Hand (2003). His most recent large-scale work, The Barbarians (2012), was commissioned by Tasmania’s Museum of Old & New Art (MONA) and inspired by Waiting for the barbarians, a poem by the great Greek poet Konstantínos Kaváfis.

Stichting IHOS Amsterdam, from now on to be mentioned the foundation, has been set up for the new works Kon now has in preparation. The closest to performance are:

Hypnos
Chamber opera for voice and electric trombone. With Elise Lorraine and Laurent Muller. Première in May 2020.
ihosamsterdam.com/projects/hypnos

A Deep Black Sleep
An opera for tenor, six instruments and ten masked characters. With Alan Mauritz Swanson and Tyrone Landau, and film sequences by Slavisa Drobnjakovic.
Previews for Dutch and international agents and producers on June 27 and 28, 2020.
ihosamsterdam.com/projects/a-deep-black-sleep

Chair of the foundation is Rukshana Edwards. The secretary is Linda Warner, the treasurer Joost Ramaer. Slavisa Drobnjakovic is a member of the board.

Strategy
The foundation has as its mission the production of music, film, theatre and other artistic productions (see article 2 of the statutes). For their realisation, the foundation will cooperate with private and public organisations, just like Kon has always done. For his productions he has collaborated with dancers, visual artists, sound designers and writers. He has even engaged people from more remote domains, like architecture and digital technology. To support and expand this creative network, the foundation will also publish text, video and audio materials, and organise workshops.

A good example of the kind of production the foundation has in mind for the coming years, is the recent Dutch première of Telegraph, composed by the Finn Erkki Veltheim and commissioned by the Australian pianist Gabriella Smart. In this work, Veltheim and Smart combine the telegraph and the ‘colonial piano’, two icons of the early history of Australia, with contemporary culture. Accompanied by an electronic sound scape, during an hour, the pianist plays exactly the same notes over and over again, according to a pattern of morse code. The code reproduces the text coming with the Twitter group portrait of Ellen DeGeneres with famous film stars during the Oscar awards in 2014, for long the most retweeted tweet in earth, which also gave the selfie a huge and worldwide boost in popularity.

On January 31, Smart performed Telegraph on a broken piano in Vrij Paleis on Paleisstraat 107, one of the last free zones for artists right in the heart of the old city of Amsterdam. The initiative for this production, and its artistic design, came from Kon Koukias and Laurent Muller.

Policy
The foundation helps to launch and supports the artistic projects of Kon Koukias and his many creative partners. To accomplish this goal, the board actively searches for funds, subsidies, sponsors and donors who would like to contribute to the foundation’s mission and to its projects.

The foundation has no capital of its own and has no ambition to build it. All the foundation’s revenues will be re-invested in new projects fitting its mission. Per project she will set up a project budget, of which a small part will be reserved for management costs, like the costs of its bank account and of the building and hosting of its website, www.ihosamsterdam.com. Apart from that the foundation has no additional costs. The board members will not be remunerated for their work, only reimbursed for possible expenses.

The foundation will not be run for a profit. Possible positive balances in any year will be re-invested in new projects. Upon its liquidation, the foundation will transfer any remaining capital to another ‘Algemeen Nut Beogende Instelling’ with a comparable mission.

At this moment, the foundation cannot produce a financial account, because its first financial year ever has yet to end. From now on, the foundation will approve the financial account of each year within the first six months of the following financial year. She will publish these accounts and this policy plan on www.ihosamsterdam.com.