Exclusive artistic residency and commission of a new work with premiere at the festival!

Aleksandra Bajde, Isabella Forciniti,
Uršula Berlot

Tactile Immateriality

Friday, 21 April, 21:00
@ Cukrarna

"Tactile Immateriality" seeks to challenge conventional ways of experiencing by exploring ambiguous sensory encounters. It employs immersive spatial experiences that integrate visual, audio, and performative elements to play with spatial orientation, embodied experience, and the effects of subjective disintegration. The kinetic-light spatial installation adopts the aesthetics of scientific modeling/visualizations to create a dynamic phantasmagoric landscape, while synthetic textures and complex vocal sounds undergo irreversible transformations, building and growing throughout dense soundscapes. The performative elements engage in an interactive dialogue with scenic elements, inviting the audience to participate in a multi-sensory experience.

Tactile Immateriality commission is part of SHAPE+ which is co-funded by Creative Europe.

Andreas Trobollowitsch:
Santa Melodica Ensemble

Wed-Fri, 19.4. - 21.4., 13:00, 14:00 & 15:00
@ Ljubljana Old Town

The ‘Santa Melodica Ensemble’ is a sound performance and public intervention for numerous performers, melodicas, cable tubes and balloons. While playing, each performer swings their instrument at a certain speed. Together they create an arpeggio effect, that constantly changes due shifts in speed, turning the performers into a continually transforming kinetic organism.

Do you want to become part of the SANTA MELODICA ENSEMBLE? Send an email to: sonica@motamuseum.com with subject Santa Melodica Ensemble Ljubljana.

Darsha Hewitt:
High Fidelity Wasteland II:
The Proto-Plastic Groove

Wednesday, 19 April, 20.00
@ Alma Karlin Hall, Cankarjev dom

The High Fidelity Wasteland trilogy is a series of sound-centric works that wade through generations of decomposing material waste produced by the global music industry. “High Fidelity Wasteland II: The Proto-Plastic Groove” is an electromechanical sound installation that up-cycles sonic expression by grinding down, liquifying, re-pressing and cutting new traces into obsolete music storage formats. Spinning at 78 revolutions per minute, the shellac record was the first form of disk-shaped recording produced to be widely collected, consumed and as with the way things go within the music industry – ultimately cast off as an abandoned media in favour of the more cheaply produced medium and in this case, the vinyl record. As a material, shellac looks and behaves like any other plastic; however, this dark resin has organic origins. It is bioadhesive matter excreted by the tree dwelling Lac beetle which is used to create a protective shelter for her offspring. Chemically similar to synthetic polymers, shellac is considered a natural form of plastic. And though shellac was rapaciously harvested and commodified throughout the 20th century to make music tangible, the era of the shellac record represents the only (and very short-lived) period where the music recording industry was sustainable.

The production of this artwork was made possible through the European Media Art Platform / EMARE program, co-funded by European Union.

Luna Woelle:
Imaginary Robotics

Thursday, 20 April, 19.00
Leaning on my personal story and creative work, the concept itself represents the inner conflict of a modern human and their own personal struggle with adaptation to evolving technology and getting drawn into this idea of a highly functioning, extremely conventional society, ensuing in loss of touch with nature. It’s how I feel moving to a highly convenient and technologically advanced metropolis, where concrete and machines equal human success and security. This transition on a personal level triggers nostalgia and the feelings of guilt, an inner conflict about shame and acceptance of the fact that the reliance on technology is the only way to thrive and survive. Saying that, the progression also brings on a lot of excitement - everything is rapidly changing and there is always a newer version of new, making it challenging to stay on top of this man-made evolution. Here comes the idea for Imaginary Robotics - driven by a guilty feeling of getting lost in consumerism, I create objects that highly resemble a functional apparatus, but are really just superficial and meaningless. They represent capitalist goods that make us high from dopamine, but leave us feeling empty and insecure, paving our road to addiction.

Simon Whetham:
Successive Actions

Wednesday, 19 April, 20.00
@ Alma Karlin Hall, Cankarjev dom

Successive Actions is part of a larger kinetic sound performance project “Channelling”, in which a collection of motor devices salvaged from obsolete and discarded consumer technology is activated by environmental sound recordings. In turn, this produces new sounds from the devices, which are amplified using various microphones and techniques. The recordings feature seemingly mundane sound phenomena that occur unpredictably and irregularly in everyday life - passing traffic, wind, doors closing - and because of this, the

movement of the devices is random, variable, and autonomous. Through this the relationship between performer and devices is a collaboration rather than a master and servant type situation. The project continues to change and adapt to its environment. The performance and method of presentation evolve and refine with each iteration. Devices are added to the collection or retired, and the sounds change according to the location, causing new triggers and movement of the devices. The current version of the performance gives the audience two intimate views of the performing devices on a split screen allowing them to watch the performance and the detail of the devices actions.