Cirkulacija 2 (Borut Savski, Boštjan Leskovšek, Stefan Doepner), Konrad Gęca (P), Marcus Beuter (D), Paula Pin (E), Seppo Gruendler (A), Chrs Galarreta (Peru).
Mini Festival of Sound will take place as part of the grand finale of Platform for Total Art by Cirkulacija 2, which will take place at Aksioma | Project Space and other locations from 29 May until 12 June 2013.
All the participants share a more profound approach to the object of sound – a rather philosophic observation of sound as a phenomenon with its own origins and its own representations, and the latter can also be artistic material. The duality of the title, Organism of Sound and Sound of Organism, points to two sides of the same thing – the artificial/created and the natural/biological/existing/found. Another coordinate (or maybe the same) could then describe the difference between sound/noise/non-music/nature and music/drama/dramaturgy/order/culture. In art, recently, there has been quite a lot of interest in the observation of bio-dynamics, and in electronic music, there have existed programmes/algorithms for quite some time, which are also dynamics-generating entities. Both are interesting for us as elements that introduce “liveliness” – some measure of indeterminacy. We are no longer dealing with the playing/conducting of music, but rather with the observation of dynamic changes and the possibility of introducing ourselves into these processes of change.
We might understand the functionality of things and their sounds for us as a third coordinate. We might be able to say: all things have sounds and all sounds have things. Following this line of thought, we might say that sounds that structure themselves into music are representations of abstract entities (“things”), like ideologies, institutions, culture. I expect we might quickly agree on that. The concept of “pure sound” might be interesting: What is pure sound, pure music? Is it something that exists without ties to material or firmer reality? A thing with no ties to anything probably does not exist. In human eyes/ears, everything is representation, everything is metaphor, and everything has meaning. Sound becomes building material like any other artistic medium – metaphoric material for describing human relations to the world, our preoccupations.
The mini festival/series of concert performances was conceptualised by the members of the Cirkulacija 2 initiative, who have been involved – together and separately – in sound as material and not as music for some decades. With their suggestions, the invited participants contributed a lot to the widening of approaches. In the past, most of them had already taken some part in the activities of Cirkulacija 2, or they appeared with their artistic output in the evening events in the space of Cirkulacija 2 at Rog.
All the principles of Cirkulacija 2 apply. Participants will be in Ljubljana for some days and they will take part in a collective platform that develops the mini festival from a series of concerts into a conceptual totality of a “platform as art work”.
Borut Savski (Ljubljana, Slovenia): Life of Patterns (from the series Music is Dead, Vol. 2)
“An audio-visual performance based on visual effect called moire. Patterns emerge out of a dynamic superimposition of two or three layers of parallel or relatively regular lines. I like to think about it as the emergence of complexity – even as the notion of new life. And also as the space (3D) emerging from the basic planar (2D) ‘primitives’. The visual effect is the starting point, and the sound dynamics will be derived from the visual one. Sensors will be used to drive the visuals, probably also sound, into a kind of non-linearity. In short, a kind of cybernetic ‘organism of sound’.”
"I've always had a collector's nature - for years I've been collecting sounds, images, videos and objects, I can't even throw away trash without double-thinking if for sure it won't be of any use for me in the future. I record the environment around me with sounds and images, I collect them all for no good reason. (...) Some of them are related to certain emotions or thoughts, others can be just useful in some other way in the future." - excerpt from http://www.soundsofeurope.eu/eblog/artist-in-focus-konrad-geca/
Kompostownik is flux. Being called kompostownik, art of choices, music for intermission, etc. It changes either the name or content frequently. From untouched field recordings to sound collages and concrete music, no-input mixing board experiments, use of found objects and video projections builds different atmposphere each time - from deep listening expierience to the living sound scuplture built togheter with sounds created by audience. Always depending on space meant to provoke discussion, exchange of thoughts and emotions, putting accent on the function of creative activities nowadays. Recent actions very much influenced by artist Andrzej Pawlowski and sociologist Zygmunt Bauman.
Paula Pin (Barcelona, Spain): “Autopoetic Metaorganism”
“I would like to create a live and autopoetic metaorganism that can generate energy for human and plant sound prostheses. The organism is in us and also made of us, as well as of machines, plants and the surroundings. We cannot separate. I am interested in how all this sounds, how we make audible or visible the intricate workings of our sex, our web of life, our ecologies. The performance is a work in progress that permits me to go into the vibrant pulse of life and come out again with more doubts and new visions.”
Boštjan Leskovšek (Ljubljana, Slovenia): Never the Same – Always in a Different Way
My sound set is based on the looping of sound sources through digitally analogical circuits. Their composition makes possible interpretations of logical confrontations of identical signals moving along different pathways. Paradoxically, the ability of the other is to become different when, entering as well as exiting, it is devoid of information but full of potentiality. This potential comprises different pathways which begin to oscillate in their difference only through the autonomy of self-sufficiency. Hence, sound as such is the condition of searching, which can only happen and it can never happen again.
Marcus Beuter (Bielefeld, Deutchland): Sonus Plexus Fragmentarii
Sonus Plexus Fragmentarii is a solo performance. It is based on field recordings which I recorded myself on several travels and in my surrounding. I work with samples, effects, repetitions. The performance is totally improvised. My main interest lies in crossing the borders between sounds that are known to everyone and new musicalised sounds. The audience is guided from analytic listening into listening to music. Well-known sounds disintegrate and are brought into new contexts.