The festival programme of Sonica 2013 pursues the established lines of MoTa – the Museum of Transitory Art – in seeking transitional, transitory “lines of flight” in the area of modern art, in a distinctly heterogeneous and non-standardised field of creative and intellectual imperatives, through which sound traverses via the concept of the transitory. Sound, the medium of transition, that passes through walls, bodies, rooms, that is omnipresent in the urban setting, embodied in objects, concepts, thoughts, in art forms such as music, in images and speech, which at the same time it traverses and weaves together in its elusive and transient, ever-changing nature. Sound escapes any framework, so it seems that the framework is insufficient to enclose it. This is precisely the challenge of Sonica, which once again traverses various artistic principles and approaches, is embodied and reflected in them, shakes them up, sets a rhythm and pulse, disembodies them and changes their meaning. It is embodied in the audio installations, objects such as the visualisations of sound in the sculpture by Yuri Suzuki (6 Rubens Tubes Visualizer) or through rhythmic mechanically subverted everyday technology, the doctored portable CD players of Stephen Cornford (Archipelago), it pulses, lights up and throbs through the minimalist experience of the electronic music of the SND duo, it inhabits the intervening space of the visual and audio in the new original project of Random Logic and in the field of the bass frequencies and militant techno rhythm of Anstam, it alters the space, is emblazoned on it through the gestures and movements in the installation of this year’s festival resident Karina Smigla-Bobinski (ADA), in the spatial installation of Hrvoje Hiršl (Spheres (Euclidian Space)) or in the kinetic mosaic of Andrej Koruza (Signals From The Border) and in the playful spatial interventions of Jan Vormann (Dispatchwork), and it settles between the visual and the audio in minimalist images, colours, structures, spaces and sounds. It is practically impossible to capture sound in a monument, document it and encapsulate its meaning, lock it into some form, be it a musical genre or an object, a visual image, a digital file, to contain it in space. This has been attempted by Lee Patterson through the capture of tiny and barely audible sounds through amplified objects and processes that will encounter the fragile transience and power of the physical voice of Irena Tomažin. The work of Uršula Bertol (Privlačnosti/Attractions) sits on the margin of a subtle sensing of invisible, intangible systems in our perception. Sound transience, captured between noise and silence, is what through interaction with various objects, media and bodies changes vibration, meaningfulness and intensity. At the same time sound is an embodiment and a withdrawing of memory, a different system of time from the purely linear. This year, Sonica is again pursuing its fundamental mission of the transitions between different forms of expression, between art and popular culture, which art today simply cannot avoid. Its mission lies in the transition between expressions and spaces, which for the first time this year Sonica is attempting to capture in its own physical space, in the MoTA Point, through which we enter rapturously into the future …

Luka Zagoričnik, 2013

Sonica – Previous editions


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