Echoes of Sound Art in the East
Our multi-layered location in the former Yugoslav, Eastern and Central European spaces, allows us a unique position from which we participate in the development, research, critical reflection and monitoring of regional creativity in this field. Echoes of Sound Art in The East is the firstst attempt to gather various actors from the region and the first attemptto try and build amore comprehensive view, a sound picture and insight into the crossroads between music and contemporary art in Eastern Europe, which seeks to map, reflect and present the field of sound art as a developing field in contemporary art that is constantly rehistorized and re-inscribed, a field that intervenes in many artistic practices and aesthetic fields. These practices in Eastern Europe and the Balkans are not yet embedded in the cohesive and transparent field of historical and artistic research, reflection and joint presentation, which is necessary if we want to establish a single field defined by a common cultural space, related social and political conditions. Through the transitory medium of sound we can also trace the transitional forces of the past 30 years in the Balkans. Through sound thus we can reveal hidden and unexplored narratives.
We can establish an intermediate field of interrogation of many artistic practices, from performance art, happenings, electroacoustic music, radiophonic works and radio art, experimental music, conceptual art, sound and visual poetry, video art, audiovisual performances, installations, interventions in public space, digital media and intermedia practices through and contemporary sound studies through which sound passes. At the same time, sound art can also be the study of spaces, exhibition areas (museums and galleries), public spaces, media and technologies, different ways of listening, recording and representations of sound. This set of activities also includes research into various production conditions, methods of archiving, different cultural policies and various curatorial and theoretical practices in the field, and their confrontation with contemporary theoretical and curatorial practices in the international arena.
Sound art can be captured in these regions through various formats: in the form of an exhibition or series of exhibitions, research and studies, mapping, documentation and archiving, networking of artists, organisations and institutions working in this field, through public discussions and talks and and multidisciplinary approach of various disciplines (art history and theory, musicology, sound studies, media studies). The conference and its participants will try to capture these hidden echoes.
Echoes of Sound Art in the East
Nina Dragičević / Lucia Udvardyova / Davor Sanvincenti / Davorka Begović / Jaša Bužinel
︎︎︎Cukrarna ︎︎︎ 20 SEP ︎︎︎ 1 PM
ExhibitionGil Delindro - Rhone / Davor Sanvincenti - This Forest Doesn’t Exists Anymore
︎︎︎Cukrarna ︎︎︎ 20 SEP ︎︎︎ 6 PM
ConcertPassepartout Duo / Gil Delindro
︎︎︎Cukrarna ︎︎︎ 20 SEP ︎︎︎ 8 PM
Gil Delindro - RhoneRHONE is a site specific research project, result of a 3 month recording expedition to the Rhone Glacier, the birthplace of one of Europe's biggest rivers. This giant bodie of Ice was the biggest Glacier of the Alps in the last Ice Age, and the main responsible for the geologic formation of the Swiss Lac Leman and the valley that precedes it. By using high sensibility hydrophones, and microphones, several recordings were conducted on different locations of the Glacier, these include: Ice tunnels, the mountain range and a Gravel Factory that operates on the Glacier´s end.
The recordings were made with special attention to low frequencies and infra-sound. Infrasound corresponds to a range of frequency below human hearing capacity; these can be produced both in the movement of the Glacier and in big mechanical industrial complexes. Several Artworks were created using these infrasound frequencies as Sculptural tools that cannot be heard, but interact and physically affect the materials around us.
These Sound Sculptures use gravel collected directly at the bottom end of the Glacier, and self designed sound systems created to reproduce extreme low frequency acoustic pressure. Although infrasounds cannot be acoustically perceived by humans, the transducer speakers generate movement, constantly oscillating the gravel around them. They physically interact with the Glacier gravel, re-arranging the soil in a kinetic installation, and generating new acoustic sounds on their own.
This project was shown under a recent Solo Show, part of the WRO Biennal of Media Art, in Poland. And awarded by the European EMAP production grant.
Davor Sanvincenti - This Forest Doesn’t Exists AnymoreThe multi-channel composition This Forest Doesn’t Exist Anymore comes into being as the final chapter in the sound collage of field recordings initiated some 15 years ago. It is a sort of sound testimonial of the primeval nature and the human presence in it. It builds on the earlier multi-channel composition, Resilient Nature, performed at 4D Spatial Sound Institute in Budapest in 2016. From a bird’s perspective, there are only two species: its own and the dangerous ones. There are no others. The rest is comprised by innocuous objects such as rocks or trees, or people when they are dead. Multi-channel composition This Forest Doesn’t Exist Anymore is the result of participation in KONTEJNER’s educational programmes – the workshop and guided work in a multi-channel studio under the mentorship of electroacoustics engineer and artist Miodrag Gladović.
The work was commissioned and produced by KONTEJNER as part of the project Re-ImagineEurope, co-financed by the Creative Europe programme of the European Union.