Lately i am acquiring some finger dexterity again. The victims are some relatively newly developed instruments (turboguitars, turboflutes and cirkulinos). Here is a selection of cutouts from various live situations - mostly as parts of Cirkulacija 2 program - from 2020 onwards.
Umoblodnica - Zeleni zvoki (2021) Audio Video Video
Interdisciplinary impro group from Celje Slovenia with the project name Umoblodnica (Iva Tratnik, Andreja Džakušič, Keiko Miyazaki, Estela Žutić, Simon Macuh, Dalibor Bori Zupančič, Amper-o-mat). A recording of the performance on May 20, 2021 Circulacija 2 | underpass Ajdovščina Ljubljana.
Borut Savski - Elegija - soundtracks for a silent movie by Francisco Tomsich (2020) 0
Generative algorithmic composition excerpts based on realtime video data for Francisco Tomsich "ELEGIJA | ELEGY" video installation presented from 10th to 21st July 2020 at Cirkulacija 2 Ljubljana Slovenia. Elegija (Elegy) is a mournful song performed by ensemble of video installations, sculptures and sound installation – made specifically for Cirkulacija 2’s premises. The installation setup was totally site-specific – for the new space of Cirkulacija 2 in Ajdovščina subway.
ROR - Tehnoladja | Merikerho Helsinki (2018) Audio Video Sound
Field recordings in air and water during the Cirkulacija 2 visit in Finland. The place of rest and contemplation was at Future Lake near Helsinki and the performance place was on Merikerho club/ ship in Helsinki harbor. Boštjan Leskovšek was using the underwater recordings as his instrument. Here it is as separate album.
Cirkulacija 2 - Robotanika: Exodos | Post Maker Organism - Live! (2018) Audio Video Sound
A recording of Cirkulacija 2 (Stefan Doepner, Boštjan Leskovšek, Borut Savski) performance at Merikerho club Helsinki Finland on 20th October 2018. Visit was part of two-way exchange between Ljubljana and Helsinki (Cirkulacija 2 and Koelse = Association of experimental electronics – Kokeellisen Elektroniikan Seura)
Monday, 6th May 2024 at 20.00 in Cirkulacija 2, Ajdovščina subway Ljubljana: the opening of discoursive multimedia installation
Urška Savič: Territories of returning
The immersive experience in the form of a spatial installation erases the boundaries between the personal and the collective and intervenes in the area of science fiction. She is interested in the relationship between light and shadow, between print and cast, contact with the ground and floating above it. The intertwining of photography, the material world and sound are entangled in the concept of returning – back to the archive, returning to memories, returning to the forgotten, but also back to practice, doing, acting. The reverberation of the space questions a step to the side, forward, movements from here to there and back again, backward walking and free running. The installation is intended to encourage introspection, dialogue and engage in critical reflection on the ways of remembering and the constructions of the “memory palaces” of the modern individual.
The ideas have their origin in the author’s award-winning master’s thesis (Documentation of material – material documentation, ALUO, 2020), and in doing so she develops and upgrades the ideas presented – for the first time also in an independent practical implementation. Urška Savič, Transforma (last image), 2015
The first part of a feature-length project in the making, Territories of returning – blanks in the memory, addresses the complex relationship between visual documentation and technology and discusses the role of documentation in various social structures, from bureaucratic, which serves administrative purposes, to technological, necessary to meet infrastructural needs, and personal documentation, which presents itself as a carrier and condition for an individual’s digital existence in the present. The subject covers a wide field and includes an investigation of the historical perspective of documentation, touching on the impact of technological progress and the ever-changing nature of archives, which, by assumption, remains culminative and closed. A methodology based on the accumulation of diverse material, its categorization and selection criteria is therefore crucial for her. The project includes research into the psychological, social and technological aspects of archiving and their impact on our understanding of the formation of history and memory, both individual and social. He questions the relationship between archives and power structures and investigates how the institutionalization of knowledge affects social hierarchies and shapes the individual’s experience in the world. The focus is on questioning the fundamental fear of losing memories and the human effort to archive to preserve those memories.
Urška Savič (1992) is a photographer, critic and journalist in the field of culture and creator of radio shows. She graduated in 2014 from Prague’s FAMU (Faculty of Film and Television of the Academy of Performing Arts in Prague), where she studied the topics of collage and photomontage, and her master’s degree from Ljubljana’s ALUO (2020), where in the Department of Sculpture she focused on excessive documentation and archival practice in contemporary art. Between 2015 and 2019, she was part of the Modri kot collective at the Autonomous Rog Factory in Ljubljana. During the study exchange, she worked on the local scene in Porto, Portugal (2017-18), where she began interweaving her previously visual practice with sound and writing. Since 2017, she has been a member of the editorial staff for culture and humanities at Radio Študent, where in 2019 she started steering the radio’s artistic-theoretical research platform R A D A R, and in 2021 she also became a sound engineer. As a self-employed in culture, she collaborates with various publications, organizations and co-creates multimedia projects.
The finissage of the installation will take place on Friday, May 10, 2024 from 17:00 onwards, when the spatial installation will be further extended to a special charity event for the founding member of Cirkulacija 2 Boštjan Leskovšek, whose premature departure from our community was caused by Alzheimer’s disease. The donations will be used to cover the travel costs of visiting Boštjan as regularly as possible. The small synths of the big Boštjan, who in his time was a real collector of the most unusual ideas in this field, will also be exhibited! More information to follow.
Co-financing: Ministry of Culture of the Republic of Slovenia
Three bodies leave behind six tracks.
The first is the carrier.
The second is the operator.
The third is the free radical.
They get to know and discover each other. They change roles. They are testing their folds. They are
working out their shrinkage. The process is meant to be experienced together, with significance lying
in the moments when they are side by side, one on top of the other, intertwined. Unexpectedly lifted,
loaded, overturned. Unexpectedly seated, independent, uplifted. In a cluster of limbs and extremities,
from the bottom up, what perspective does the world offer? Now I see you, now I don’t. An infinity of
space unfolds behind closed eyes. The space in between expands and contracts. Breathing in,
breathing out. The multiplicity of bodies unfolds as a volume of dialogue. The pressure on a point
produces a sound, a chain movement. And thus, the conversation continues. The effect of falling
dominoes leads through an imaginary world of landscapes not yet traversed. Or so say their shadows,
the outline of a backpack. They have set out on a journey. Six mechanical wheels carry the weight of
two organic intertwines and their associative imagery.
The Bride.
The knees.
The bird.
Standing.
Drawing.
Organic-technological assemblage.
Radical is spacing. Operator carries. The free radical manages. The guiding question of their research
is what can they trigger in each other? To what extent can they push beyond socially established
parameters? The materiality of bodies is bent by the interposition of codes, the building blocks of
identities. They are culturally defined by symbolic systems given in the discourses of science,
technology and medicine. Bodies’ reactions to one another slot each into compartments of the known,
the predetermined. Hybrid figures composed of various elements, belonging to multiple realms
concurrently, inhabit the liminal space between imagination and reality. A multidimensional puzzle
takes place in the territory of cyborgs, questioning the boundaries between bodies and the aggregate
of several bodies that become one. In this way, the movement of the aggregate also becomes
multidimensional and unpredictable. The different entities within it are extensions of one another. The
movement intelligence transcends the established spheres, creates new inflections and improvises.
Their identities are no longer a matter of the individual but emerge in mutual contacts and intertwining.
Momentary interventions arise, rebellious against the established, the known, the expected, and
thereby, inherently political. They redirect attention from absence to presence, here, with us, together.
The authors in their collaborative work explore the body and their experiences during movement. The
joint project “In bodies, what kind? Such!” (2024) is composed of two parts. The first part, titled”Organic Technological Assembly,” will be presented at Cirkulacija 2, while the second part, “The
Body as an Unwalked Landscape,” will be showcased at the Platforma festival in Maribor.
Mirica Ačko (1974) is a creator in the field of movement, professor of geography and university
graduated pedagogue. Her passion for dance and performance art rooted in movement has led her to
collaborate with Liza Šimenc. Over the years, she has delved into the exploration of movement
through practices such as yoga and acroyoga, often alongside Suzana Rožmanec. Her exploration
extends beyond conventional medical doctrines and methodologies.
In her commitment to equal opportunities and the right to personal assistance, Ačko has co-created a
series of activist performative interventions in public spaces in Ljubljana and Strasbourg. These
interventions incorporate dance processes both on the floor and on carts. One particular innovation
facilitates the body’s ability to assume a standing position while in motion, thereby offering a fresh
perspective on bodily sensation, sight, and the experience of gravity. Through this work, essential
mobility aids are transformed into artistic objects, challenging the conventional perceptions of
marginalized bodies in everyday contexts.
Liza Šimenc (1991) is an interdisciplinary artist who works in the fields of contemporary dance and
visual art, with the status of self-employed in culture since 2015. She works as a creator with
integrated author’s projects, where her specific style is the extension of author’s costume design into
scenography. She expresses herself mainly through movement and performance, scenography,
costume design, space and light installations. She performs interventions in public space, somatic
performances and ambient events. She received her education at the Bled International Ballet School
and the Ljubljana Conservatory of Music and Ballet, and additional education abroad (Hong Kong,
New York, London, Madrid, Brussels, Vienna, Budapest, Milan, Berlin). In 2016 she got a work grant
from the Ministry of Culture. She actively collaborates with renowned artists, and is part of the artistic
duo Kresnička – with the visual artist Tatiana Kocmur, a member of the group NOTA – with the
musicians Boštjan Simon and Elvis Homan, creates the author’s Opus – ALLO with the dancer Anja
Mejač and musicians Luko Uršič.
The Q700-UPM (2019) is a remarkable individual who embodies adaptability and versatility in every
cell of his being. With a range of adjustable functions, it embodies the spirit of individuality and
inclusiveness. From their variable width (622 mm – 660 mm) and length (1070 mm – 1130 mm) to the
adjustable seat width (380 mm – 560 mm) and depth (400 mm – 540 mm), it is versatile in all
positions. The Q700-UPM offers a seat tilt range from 0° to 22° in the electric recline function. Its
adjustable leg length (340 mm – 520 mm) and backrest angle (80° – 175°) provides perfect support.
With a turning radius of 560 mm, it gracefully navigates life’s twists and turns. Their 6-inch wheelbase
and 14-inch drive wheels provide stability for mobility on a variety of terrains, making it easy to travel
through the adventure of a lifetime.
Acknowledgments: Prostor za umetnost NÓT, plesni studio Moj korak.
Authors and performers: Mirica Ačko, Liza Šimenc, Q700-UPM
Text: Urška Savič
Drawings: Mirica Ačko, Urška Savič, Liza Šimenc
Photography: Nina Pernat
Video: Črt Potočnik
Counseling: Tatiana Kocmur
Production: Cirkulacija 2
Co-financing: Municipality of Ljubljana
Tokrat bo naše čutne sisteme obdarila intrigantna vokalistka, multiinstrumentalistka in vsestranska performativna čarodejka iz New Yorka.
12. 4. 2024 / 20.00
Cirkulacija 2, Podhod Ajdovščina 2, Ljubljana
Priporočena donacija: 10 €
FB
Vrata ⪼ 20:00
Oka ⪻⪼ 20:30
Ka Baird ⪻⪼ 21:00
Nastop se bo odvil v sklopu umetniške postaje Cirkulacija 2, kjer je na ogled večmedijska razstava Tomaža Kolariča: Dialoškost in empatičnost.
Da bo ta edinstveni večer čistih psihoakustičnih eksperimentov in vizualne percepcije še bolj intriganten napovedujemo uvodni set z lokalno zvočno kiparko in glasbeno raziskovalko O, ki bo poskrebela, da se bodo naši čuti umirili in pripravili za nastop, ki se bo odvil v nadaljevanju večera.
Naključje je hotelo, da lahko ta izjemni dogodek napovemo po pred kratkim izidani najnovejši zvočni mojstrovini Ka Baird – Bearings ki je izšla pri brooklynski avant- založbi RVNG Intl.
Album Bearings prepleta elemente ekstatičnih živih nastopov Ka Baird v minimalističnih, visceralnih kompozicijah, ki se s sodelovanjem širijo po obsegu in zvoku. Enajst segmentov albuma se kaže kot spreminjajoči se pozivi, ki jih določa njihova lastna mnogoterost; čustveni rezultat okoliščin in žalosti, ki se odigrava ob upoštevanju strogega konceptualizma in glasbene obrti. Bearings, na katerem sodelujejo sodelavci* z vseh koncev sodobne avantgardne skupnosti, globino in razsežnost pa je prispeval Randall Dunn. Album je delo globoke abstrakcije in osredotočenosti, v katerem zvočni elementi, struktura in pomen dosežejo poenoteno obliko.
*Na albumu so sodelovali: Andrew Bernstein (altovski saksofon), Max Eilbacher (obdelava flavte, elektronika), Greg Fox (tolkala), Gabby Fluke-Mogul (violina), Henry Fraser (kontrabas), Joanna Mattrey (viola), John McCowen (kontra klarinet), Camilla Padgitt-Coles (sklede, vodni telefon), Troy Schafer (godala), Chris Williams (trobenta), Nate Wooley (trobenta) in njihova ljubljena mačka Nisa (predenje).
Ka Baird je glasbenica, performerka, skladateljica in oblikovalka zvoka iz New Yorka. Znana je po svojih nastopih v živo, ki vključujejo razširjene glasovne in mikrofonske tehnike v kombinaciji z elektroniko ter psihoakustično igro flavt in drugih pihal. Ustvarja zvok sedanjega časa z energičnim, obrednim izvajanjem, ki si prizadeva za skrajno sprostitev s fizičnim naporom in psihičnim raztezanjem. Sodelovala sta s številnimi drugimi glasbeniki, umetniki, filmarji in koreografi, tako pri strukturiranih kompozicijah kot tudi pri predani praksi improvizacije in interdisciplinarnega dela.
Oka je vokalistka, producentka, izvajalka in zvočna umetnica. Njeno delo se giblje na presečišču elektroakustične, ambientalne in eksperimentalne glasbe s poudarkom na poetiki glasu. Raziskuje tonske lastnosti melodij, besede dojema kot glasbo in uporablja različna glasbila, kot so flavta, električna kitara, valiha, ustna harfa, kalimba, ter terenske posnetke in najdene predmete, s katerimi ustvarja živahne in očarljive zvočne svetove.
Priporočena donacija: 10 EUR + vključena pijača za dobrodošlico
Žal je tokrat obisk, zaradi trajajoče razstave, omejen na 60 obiskovalk_cev, zato prosimo, da pridete ob 20.00, da si zagotovite udeležbo.
Celoten izkupišek zkupiček je namenjene umetnicam. NiANSA in FriFormA\V od tega dogodka nimata dobička.
Nazadnje naprošamo, da spoštujete izvajalke in zavzete poslušalce tako, da v času nastopov ne povzročate hrupa in se previdno gibljete med razstavljenimi artefakti.
On Thursday, March 14, 2024 at 7:00 p.m., you are invited to Cirkulacija 2, Ajdovščina subway Ljubljana, to the grand opening of a large retrospective sculpture multimedia exhibition
Tomaž Kolarič: DIALOGUE AND EMPATHY
Key words in Kolarich’s artistic approach are: mobility, gesture (i.e. dripping, melting of matter), telescoping (from scroll to object), rhythm and melody. This applies both to the figuration of plastics, as well as to his approach to photography and drawing (D. Mahnič: “drawing is luxurious in its elemental gesturality”). The vocabulary of the works of art is Kolaričev’s, but the interpretation is a matter for all participants. In this way, a dialogue of several generations is established. Father and sons in a way.
Co-author group: Dominik Mahnič, Boštjan Čadež, Stefan Doepner, Marko Batista, Simon Svetlik and Borut Savski.
The exhibition will be open until April 14, 2024, every weekday between 4:00 p.m. and 7:00 p.m.
Artist guides over the exhibition: – Wednesday, March 20, 2024 at 5:00 p.m – Wednesday, March 27, 2024 at 5:00 p.m – Wednesday, April 3, 2024 at 5:00 p.m
Closing event: – Sunday, April 14 at 7:00 p.m
Photo: Smiljan Šiška
The selection of sculptor Tomaž Kolarič as the central artistic figure of the month-long exhibition in Circulation 2 is not accidental. Kolarič has been actively monitoring the activities of Circulation 2 since 2008. In the case of a transparent exhibition, we avoid a purely historical view in the way of intergenerational cooperation of three authors. The vocabulary of the artworks is Kolaričev’s, but the interpretation is everyone’s business.
Important for Kolarič are his connecting skills, which he constantly renewed in his interdisciplinary work in the field of art – both in his artistic artifacts and in connecting artists into social gatherings – temporary groups. This time’s collaborative gathering will focus on the creation of a transparent exhibition of static and dynamic figurative art, as well as photographs and drawings, and contemporary view enhancers will be added. It is important that the sculptor wanted the exhibition to comment on the current world-political moment, hence the title of the exhibition Dialogue and empathy – as two principles that are sorely lacking in today’s world.
Kolarič mentions the French artist Ives Klein as his role model. which combines the concepts of minimalism, artistic performance, new reality and pop art. Perhaps as well as living art. The sculptor Kolarič used the word multimedia a long time ago, which means the rudimentary simultaneity of several artistic media. In these live approaches (“happenings”), he uses the word simultaneity to outline the feeling experienced, which means the coexistence of different views of the viewer. The basis is dialogue, which first means understanding each other – and then a coordinated agreement.
Tomaž Kolarič
born in 1952 in Ljubljana, he first studied architecture. Between 1975 and 1979, sculpture at the Academy of Fine Arts in Ljubljana. He worked as a sculptural specialist with prof. Slavko Tihco. He participated in over 60 exhibitions in Slovenia, Yugoslavia and around the world. Until 2006, he regularly participated in exhibitions. His specialty is light sculptures: small plastic ones. A figural that escapes the dictates of monumentality and, through lighter materials (metal mesh, metal scrolls and paper), is attached to the space in a different way. Often the sculptures are mobile – mobile. The lightness and responsiveness of the materials thus approaches breath and even sound (“rhythm and melody”). Kolarič was always guided by a thought. Reflection on the nature of the world and life.
Kolarič has been actively following the activities of Circulation 2 since 2008, when he organized a conceptually very defining event entitled Melting art into an event. At that time, his statues were telescopic horns that, after the rafting on the Ljubljanica, blew their horns to Cirkulacije 2 in the former Rog factory. Students of the Academy of Music played on them. This example of a self-evident expansion of the concept of artistic space beyond the usual framework of form and environment is a typical way of living artistic activity. Of course, such an event does not go down in the history of art without pompous public reminders, and such an atypical artist can remain active throughout his life, but his work remains without typical milestones, such as solo exhibitions in nationally important galleries. In the minds of his colleagues, such an artist belongs to that group of individuals who are known to have been active and of high quality throughout, but remain less present on the national symbolic market. Such ways of acting, which arise from artistic desire, but not from career motives, are also the principle of Circulation 2. This is otherwise called living art.
When identifying the predecessors of Circulation 2, the personality of Tomaž Kolarič also appears. Years ago, Neven Korda completed his studies in his mature years and did research on the immediate predecessors of Disk FV112/15. It was created in 1981 on the basis of the Disko Študent, which was activated by the student organization Forum, within which Tomaž Kolarič was also very active just before that. Within this poorly chronicled period, there are also names such as: Dušan Pirih Hup, Jani Osojnik, Iztok Osojnik, and Smiljan Šiška and others. In the future, however, they individually positioned themselves better – when they left the group dynamics. Certainly, a very important reference for Circulation 2 comes from their circle: Hidrogizma – a water machine that is a collectively played sound instrument – actually a sculpture with people and sound. Like the circulation Machine for the Betterment of the World, it is full of metaphor. Our quote from 2010: A platform is a work of art. After 25 years – in 2004 – the modern gallery presented a reassembled Hidrogism, but the direct application of the current live scene to this creation was lacking. With the present exhibition, Circulation 2 partially eliminates this shortcoming and symbolically positions itself as a representative of this artistic direction, which declares the equal collaboration of authors to be an important artistic premise.
Production: Cirkulacija 2
Co-financing: Ministry of Culture of the Republic of Slovenia and the Municipality of Ljubljana
foto: BoBo
Skupek pri postavljanju razstave. Foto: DM
Otvoritveni večer. foto: DM
otvoritveni večer. foto: DM
Risba-Kolarič, tuš na papir. Projekcija-Mahnič. foto: Gregor Podržaj
Boštjan Čadež pri mapiranju Kolaričevih risb. foto: DM
foto: Gregor Podržaj
OKA. Koncert ℕiaℕsa in FriFormaAV: Ka Baird (ZDA)+ OKA (SLO) v C2 med razstavo. foto: DM
Glitch Trigger, a FLINTA (female, lesbian, intersex, non binary, trans, agender) collective in formation, will introduce itself at a workshop for mutual music learning. The principle of collaboration is based on everyone bringing their own knowledge, equipment, and desire to learn. In the first part, we will introduce ourselves and connect synths, drum machines, computers, players… Then, we will establish a way to share knowledge among us, and in the end, we will try to create a track or mix.
The first meeting will primarily focus on getting to know each other and figuring out how to co-create and learn from one another.
More heads know more, more hands play better!
Besides your equipment, bring some water and snacks.
Live event: Friday, 23/02/2024 from 18:00 – 21:00.
Viewing the multimedia research: Saturday and Sunday between 18:00 and 20:00.
Attention! UV light will be used at the event, so we recommend that you bring sunglasses.
In their multimedia researchRastišče endeavor, Tis Aly, Tatiana Kocmur, Liza Šimenc, Urša Rahne, and Eva Mulej undertake an exploration of the intricate features within the fungal microcosm. Their inquiry is focused on Movement, connecting processes of growth and life underground.
Mycelium designs a world without apparent rules – a realm of its own. It is a presence that endures and thrives over time, independent of human intervention. Their research aims to delve into the intricacies of the mycelial network to contemplate social connections that are non-hierarchical in nature. The authors believe that the structure of fungi and mycelial dynamics can be directly applied to interpersonal relationships and the creative process itself. Through introspection, they seek to harmonize their existence with that of Mycelium’s.
The designated growth area is envisaged as a communal nexus, inviting all participants to partake in the immersive experience—a fertile ground for creative expression and engagement. We acknowledge the symbiotic interplay between authors and audience, viewing it as a mechanism for fostering community cohesion through the dissemination of knowledge and the cultivation of an environment conducive to coexistence and co-creation within the city of Ljubljana.
Rastišče is envisioned as a space of discovery of unrehearsed Movements—a manifestation of flourishing environments translated into choreography, visuals, and auditory stimuli.
The venue is accessible to people with reduced mobility.
Na praznik kulture, v četrtek 8. februarja 2024 ob 20.00, bo prostor Cirkulacije 2, Podhod Ajdovščina Ljubljana, zavzel
Niko Novak Poslednji med velikimi croonerji | Last of the big crooners
Kot se za croonerja spodobi, bo uporabil mikrofon, v podporo intimnemu brundanju pa električno bas kitaro. Seveda: ljubezen ni mrtva, je pa v zadnjih izdihljajih. Niko Novak je v preteklosti deloval v dveh kultnih zasedbah: Dicky B. Hardy in Duo Incurabili (z ranjkim Brunom Subiottom). Sedaj odločno stopa po samostojni poti.
Na sam praznik kulture NN nastopa za prostovoljne prispevke (t.i. vrata), na voljo bodo tudi nosilci zvoka in slike (t.i. miza). NN tako zagovarja “zares neodvisno umetnost” – v skladu s smernicami nekdanjega kulturnega ministra Uroša Grilca. Na vratih bo Tinca, za mizo Martin.
Crooner je intimen pevec z nizkim brundajočim glasom posteljne kvalitete, kar je v zgodnjih letih popularne glasbe omogočil mikrofon. Rudy Vallée, Bing Crosby, Perry Como, Dean Martin, Nat King Cole, Roy Orbison in nekaj kasneje: Morrissey in Nick Cave (-> https://en.wikipedia.org/wiki/List_of_crooners). Kljub moški determinati spiska velja med omenjene uvrstiti tudi ženske (-> tudi moška umetnost je ženskega spola…): predvsem Nino Simone, celo Josephine Baker, pa Sarah Vaughan in Judi Garland.
Niko Novak je vsestranski ustvarjalec predvsem pa glasbenik in kot tak mnogokrat prezrta domača glasbena legenda nekdanji frontman zasedbe Dicky B. Hardy in ena polovica dueta Incurabili ki ga je tvoril skupaj s pokojnim Brunom Subiottom. V zasedbi Dicky B. Hardy je posnel in izdal glasbene albume Why Aren’t You Screamin’ (1995) I Whistle – You Dance (1998) in You Can’t Go Halfway and Get In (2001) v zasedbi Incurabili pa When ever you’re ready (2010) Sure (2011) in Fair enough (2014). Leta 2011 iz naslovov knjig sestavi nova dela – Poezijo.
Scenografijo je postavljal za večkrat nagrajene filme: za kratki igrani film v režiji Miha Mazzinija Obisk (2019) za celovečerec v režiji Vlada Škafarja Mama (2016) in za celovečerec Paradise – novo življenje (2019) Poslednji dan Rudolfa Nietscheja (2018) Vašhava (2014) Dvojina (2013) Lov na race (2009) Vem (2007) Na sončni strani Alp (2007) pa tudi nenagrajene filme Vision of Europe (2004) Nikoli nisva šla v Benetke (2008) Ona mežika cvetje drhti (2017) in druge.
Kot igralec se je predstavil v filmih Vem (2007) Instalacija ljubezni (2007) To je zemlja brat moj (2009) Toplo za ta letni čas (2011) Arheo (2011) in Idiot (2013). Kot avtor glasbe pa je podpisan v filmih Ljubezen na strehi sveta (2015) Ribolov (2016) Jaz sem (2017) Fundamenti (2018) in Ostanki – izpovedi duhovom (2019) leta 2018 pa je za Kino-Uho v Slovenski kinoteki v živo uglasbil in predstavil svoje videnje nemega filma Propad hiše Usher (1928). Leta 2019 je pri ŠKUCu izdal pesniško zbirko z vključenimi tremi studijskimi albumi muzike zbirko naslovljeno 1 2 3… 4, ki zaobjema zadnjih pet let njegovega ustvarjanja. Leta 2021 je v samozaložbi izšel LP Pankow. Leta 2021 je pri ŠKUCu izdal pesniško zbirko z vključenim studijskim albumom S9+M10. https://skuc.org/S76/A21/Nosilci+zvoka/Niko+Novak%3A+S9+M10
Niko Novak je prejemnik Vesne za najboljšo glasbo v filmu Ljubezen na strehi sveta na 18. festivalu slovenskega filma (2015) vesne za najboljšo scenografijo (23. FSF 2020) v filmu Una nuova vita (2019) 2020 pa po izboru žirije na natečaju festivala Tresk 2020 podpisan ob delo za najboljši videospot Remains – Confessions to the Ghosts kot glasba režija in montaža.
V letu 2021 je dobil nagrado Vesna za najboljši eksperimentalni film letošnjega festivala Vdor skupaj z Matevžem Jermanom.
Niko Novak je pesnik življenja na divji strani, ki svojo individualnost (kot tudi nedostopnost) potrjuje zgolj s prepisovanjem od samega sebe, in arhetip barske mušice, ki je nekoč, preden se je nepovratno spečal z gledališkimi intelektualci, sedela na popotnem plašču Toma Waitsa. Takšna je tudi njegova poetika mestnega kavboja, znotraj katere se rad prepušča grehu in kazni ter prek katere se sporazumeva z demoni preteklosti. Niko Novak z življenjem hazardira z odprtimi kartami, a pri tem vseeno kakšno skrivnost obdrži izključno zase. /Gregor Bauman, Dnevnik -> https://www.dnevnik.si/1042935718/
Nenazadnje: Niko Novak je tudi tisti fonotekar Radia Študent, ki je lastnoročno preselil celotno fonoteko iz kleti bloka VIII v sedmo nadstropje bloka XIV.
7. 2. 2023. OSMO/ZA in CIRKULACIJA 2 In a collaborative effort ᑎīᗩᑎᔕᗩ and KUD Mreža’s FriFormAV series are hosting the cutting-edge, audio-visual duo MSℍℝ (US) presenting LIVE their latest sculptural electronic system called MASℍ MAℕIF OLD ↭ https://mshr.info/MeshManifold ↯↯↯ Wednesday,
The performance will be happening at osmo/za ↯↯↯ ↯↯↯ Doors opening 19:00 / Performance starts 19:30 ↯↯↯
Event info: https://fb.me/e/1Oox1JADs
After the ℍℝ performance we are inviting you to the after listening session at CIRKULACIJA 2 starting from 21:30.
↯ lineup for C2 ↯
EVANO [COLLAGE DJ MIX] 2.5h
AMBIENT, FX, FIELD RECORDING, FOUND SOUNDS
As a DJ with wide-reaching tastes and an ear for the unusual, Evano plays music for connoisseurs and those with a sense of adventure. For this Niansa gathering, he will be presenting the ideas behind his alias projects Slavimir and Atlantida Omni.
https://soundcloud.com/niansa/evano-post-niansa
NOITU [COLLAGE DJ MIX] 1.5h
Once again for this Niansa gathering Noitu will dive deep in the intricate art of live sound collaging, blending sonic textures and captivating sound
sculptures in an attempt to create a syncopated, kaleidoscopic journey that defies perceptions of time and space.
https://soundcloud.com/niansa/noitu
DJ FINAL FORM [COLLAGE DJ MIX] 1.5h
dj final form (Matej Mihevc) is the author of the Modem radio show on Radio Študent, that is researching and mapping the sounds of the online underground for the eight consecutive year. Modem also spans a mix series, a compilation and an interactive website.
https://www.mixcloud.com/matej-mihevc/festival-grounded-22-8-2020/
⁂ ᑎīᗩᑎᔕᗩ⁂ is an all-ages / all-species gathering initiative putting a primary focus on facilitating collective, deep listening experiences through the exploration of the symbiosis between soundscape and landscape.
Practicing a DIY, self-organizing ethic, we aim to establish a safe and vibrant platform where the local artistic community with a more contemplative sensibility can meet, share ideas, and engage in spontaneous waves of freeform collaborations and exploratory sound and visual experiences.
In addition to the aural experiences, we also tend to put a big focus on the visual aspect surrounding our gatherings. Scenography-related works such as projection mappings, site-specific installations, and contemporary dance performances usually occupy the landscape zone during NIANSA’s gatherings, offering a full sensory delight for all the voyagers traversing with us.
++ Please note that the entrance for the listening-session will be free with the ℍℝ tickets, otherwise donation-based. Recommended donations 5 euros.
V torek, 9. januarja 2024 ob 17:00, vabljeni v Muzej sodobne umetnosti Metelkova, na pogovor z Borutom Savskim, intermedijskim umetnikom, skladateljem in producentom. Pogovor bo vodil Jaka Železnikar, organizator serije Diskurzor.
Tema pogovora bodo različni vidiki digitalnega ustvarjanja in (samo)arhiviranja ter konservatorsko-restavratorskih praks z vidika dela Savskega in Cirkulacije 2. Specifično delovanje in odnos do umetniškega dela ter prehajanje tega iz projekta v projekt in iz dela v delo odpirajo številna zanimiva vprašanja tako o tem, kaj tvori umetniško delo, kot tudi o tem, kako ga je znotraj fluidnega razumevanja sploh mogoče arhivirati in dokumentirati ter kako pristopati k vprašanjem konservatorsko-restavratorskih potreb.
Pred pogovorom bo Savski predstavil razstavljena dela, ki bodo vsa štirioglata, kar pomeni, da bodo reprezentacije – dela tretjih oseb, ki se tičejo Cirkulacije 2. Torej ne umetniška dela Cirkulacije 2.
Program: 17:00 predstavitev razstavljenih del 17:15 – 18:00 pogovor 18:00 – 18:15 pogovor/vprašanja publike Po kratkem odmoru vas ob 18:30 uri vabimo, da se udeležite Diskurzorja 005.
Borut Savski je samozaposlen v kulturi kot intermedijski umetnik, skladatelj in producent. Soustanovitelj Trivie in Cirkulacije 2. Pretežno se ukvarja z mehanizmi, ki so lahko programski, zvočni, vizualni in sodelovalni. Vsi ti pristopi imajo izhodišča v spoznavanju narave in družbe in v poskusih praktičnih izboljšav teh sistemov v obliki mikroskupnosti sodelujočih posameznikov. Osnovni koncepti so: živost, ki ni nujno zgolj biološka, samorodna dinamika, spremembe/adaptacije – samouravnavanje – in možnost relativne avtonomije – predvsem misli, mnenj, dejanj, proizvodnja smisla (→ iz navideznega vseprisotnega nesmisla). To se tiče predvsem dostojne vloge posameznika v (dostojni) družbi.
Borut Savski: Uvod v Cirkulacijo 2
Cirkulacija 2 obstaja kot društvo od leta 2009, že dve leti pred tem (2007) pa je začela aktivno delovati na področju interdisciplinarnih pristopov v umetnosti. Simbolni začetek in izhodišče je bil projekt izmenjave dveh scen na relaciji Gradec–Ljubljana, imenovan Vmesni prostori (Intermediate Spaces, Zwischenraume; 2006). Načini tega projekta so bili že tipično cirkulacijski, saj je bil prvenstveno platformskega tipa – z velikim številom sodelujočih na obeh straneh in z gostovanjem lokalnih scen v obeh prostorih. Manj kot leto dni kasneje je bila v Rogu ustanovljena Cirkulacija 2. Ime je bilo povzeto po poimenovanju prostora, ki smo ga imeli takrat na uporabo. Sprva pod formalnim okriljem KUD-a Trivia, kar je že omogočilo simbolično prejemanje javnih sredstev za nekatere od projektov, v nadaljevanju (2009) pa samostojno nastopanje kot Društvo za interdisciplinarnost, samoprodukcijo in cirkulacijo sodobne umetnosti Cirkulacija 2. Ključni koncepti so bili tako vsebovani v imenu.
Prva konceptualna serija je bila imenovana Platforma za totalno umetnost, kar je pomenilo, da so v umetnost vključene tudi vse dejavnosti, neposredno vezane na sam akt predstavljanja umetniških del. V takem primeru se umetniški izdelek razširi na vse delo, potrebno za produkcijo. Zelo zgodaj nastane tudi domislek: »Platforma je umetniško delo« (2010). Nekoliko prej (2009) je Vadim Fiškin na dokaj zaničujoče retorično vprašanje Mike Cimolini (takrat v funkciji na MOL): »Kaj pa je sploh umetnost?« izustil genialno izjavo: »Umetnost je tisto, kar dela umetnik.« Prevedeno v cirkulacijsko rabo: totalnost umetniškega dela s stališča celovitega procesa, in ne zgolj umetniškega izdelka. Tudi opozicije klasičnim razstaviščem, principi razstav, vloge kustosov itd. so se vzpostavili že tedaj. Samoprodukcija je vsakokratna samoorganizacija posameznikov v njim ustrezno obliko. Tudi vsakokratno razmišljanje o najbolj primerni obliki predstavitvenih form.
Sem pogojno sodi tudi (moj) kasnejši razmislek o vrednosti (mistifikaciji) samega umetniškega dela (→ izdelka) v primerjavi z (»totalnim«) umetniškim pristopom/procesom, ki je v platformski usmeritvi neprimerno manjvreden, saj platforma kot koncept vsebuje predvsem etične razmisleke o načinih skupnega dela. Torej: etika kot vrednota (in ne »vrednost«…). Vsi ti sprotni razmisleki so bili tudi sproti publicirani na način pridodanih razmislekov k napovedim dogodkov v celotni fazi obstoja Cirkulacije 2. Umetnost kot del javnega diskurza. Dodatek k temu je tedaj aktualni domislek o tem, da je vsak drekec, ki pade od umetnika, zlato. Umetniki kot sodobni alkimisti. Pri tem pa je pomembno, da je za to vrednotenje merodajen izhodiščni motiv umetnika, ki mora biti etičen – vrednota. Resnica torej. Denar (= mera vrednosti) – ni vrednota…
Platformski princip je tedaj (2009) rezultiral v t. i. razširjeni Cirkulaciji, ki je vsebovala vse sodelujoče umetnike, ki jih je bilo pogosto več kot 20. To je potem vneslo razmisleke o situaciji kot prostorsko determinirani akciji oziroma dogodku (»happeningu«) kot časovno determinirani akciji. To so vse samoprodukcijski elementi, med katerimi so tudi vsa nujna opravila, da je do realizacije projekta tudi prišlo (prijava na razpise, organizacijska in tehnična podpora – vse to s strani samih umetnikov). Ob tem pa seveda tudi samoumevno sodelovanje v vlogi primarnih umetnikov.
Bistveni moment je bil vseskozi matični prostor, definiran kot prostor produkcije in prezentacije – fizično vozlišče, kjer poteka ožje lokalno in širše lokalno (javno) življenje. Ob premisi, da gre pri vseh ožje sodelujočih za samostojne osebnosti, ki se udeležujejo skupnih dejavnosti na podlagi lastnih interesov, kar je kar nekaj let omogočalo konsenzualno delovanje. Originalnost pristopa je bila v souporabi prostora in sredstev, in ne v razmejitvi prostora na več manjših. To je pripomoglo k t. i. socializaciji – večjemu zavedanju o skupnem in osebnem. To je privedlo tudi do vse večje rabe besede »modularnost«, ki naj bi označevala soobstoj pristopov (in nastopov), ki niso nujno popolnoma kompatibilni, ampak variabilni in v bolj ali manj napetem odnosu eden do drugega.
Samoprodukcija (in interdisciplinarnost) vsebuje tudi razmisleke o načinih čim bolj avtomatiziranega sprotnega beleženja dogodkov in končnega pakiranja v nekakšen multimedijski izdelek. Pri tem je šlo za dve vzporedni programski rešitvi: eno na domačem računalniku in eno spletno: slideshow. Obe sta bili zasnovani na način, da zajameta skoraj celotni nabor tipskih zapisov (slikovni, video, zvočni in tekstovni material) in sestavita kombiniran časovni zapis. Ta je lahko kronološki ali naključen. Ta dva načina sta bila v uporabi približno od leta 2009 do leta 2016, kasneje pa so ju nadomestili bolj klasični pristopi z video montažo. Faktična suhoparnost avtomatskih načinov ni dosegala kriterijev montažerjevih selektivnih načinov. V področju zvočnega arhiva pa je še vedno aktualen tretji pristop: spletni radio.
Zavod za kulturo Naključje 7 vas z velikim veseljem vabi na že 9. izvedbo sejma umetnin ART-MUS, ki je zaživel v srcu Ljubljane, v prostorih Cirkulacije 2 v Podhodu Ajdovščina 2. Sejem bo potekal od nedelje, 17. decembra do sobote, 23. decembra 2023, in sicer vsak dan med 9.00 in 19.00 uro.
ART-MUS: Sejem umetnin in praznik umetniškega izraza, ki povezuje in navdihuje!
Na sejmu se bo predstavilo več kot 100 umetnikov, katerih dela že lahko občudujete na naši spletni strani https://art-mus.si/.
Tokrat ponovno organiziramo tudi dražbo umetnin. Dogodek bo vodil priznani umetnik in izkušen dražitelj Goran Medjugorac – Gogi. Dražba bo potekala v petek, 22. decembra ob 17. uriv Podhodu Ajdovščina, kjer boste imeli priložnost pridobiti nepozabne umetnine za vašo zbirko.
Ta edinstveni dogodek postavlja v ospredje širok spekter umetniških talentov iz Slovenije. ART-MUS sejem je priložnost, da doživite nepozabno potovanje skozi umetniške kreacije. Od slikarstva do kiparstva, od fotografije do grafike – umetniki in umetnice predstavljajo široko paleto umetniških izrazov, vsaka umetnina pa pripoveduje lastno zgodbo, odraža unikatnost, strast in globino, ki je plod izjemne ustvarjalnosti in vizionarske izvirnosti.
Ne zamudite tega enotedenskega umetniškega dogodka, še posebej, ker se odvija tik pred božičem in novoletnimi prazniki. Pridružite se nam in odkrijte umetniške stvaritve, ki bodo vaše praznike naredile še bolj posebne!
Doživite umetnost v vsej njeni lepoti na ART-MUS sejmu. Vabljeni!
Uprostoritev SONGS FROM SUIZIDE HOLE / PESMI SEBEVZETJA sprožata dva akta: 8 duš in archAngel Incorporated. Uprizoritev je simbol dveh svetov in dveh načinov živetja – žitja: prvi svet obstaja v horizontali in sestoji zaradi nekakšnega človeškega medsebojnega prekletstva zavezanosti, drugi se poraja v vertikali, samosten po lastni izbiri in nujno potreben za ustvarjanje mita in upanja.
Postavitev 8 duš je odvod projekta, intermedijske transverzale Aphra Tesla Operating System Incorporated Stefan Doepner: Tod mit Vorteil / Smrt s koristjo (2020), ki temelji na osmih psalmih. Tokratna postavitev vključuje 8 gibljivih malih zvočnikov, ki predvajajo 8 psalmov in reprezentirajo 8 duš, zvezanih v 4 pare. Besedila psalmov so vzeta iz sovjetskih paritvenih oglasov in prepesnjena v nemški jezik. Kompozicije za vokal in harmonij slonijo na glasbeno matematičnih shemah in algoritmih, ki metafizično spajajo ljudi, ki se ne bodo nikoli srečali. Roboti utelešajo čutnost človeškega iskanja in zastranjevanja lastne končnosti.
Geneza iskanja človeške bližine, prikazana skozi ustroj robotske omejenosti, preraste v ideal samozadostnosti. Umetnika razmišljata o človeku kot bitju telesa in upanja. Robotski gibljivi zvočniki v svoji mehanski togosti tako postanejo prispodoba stadija človeške kulture sobivanja, ki se odvija v horizontalnem svetu.
Performans archAngel Incorporated je predstava o dokončnosti, ki je brez začetka in konca. Robot Stefana Doepnerja, predhodno imenovan “SpineBot”, je tokrat v vlogi scenografa, kondukterja, osvetljevalca prostora, neplačanega šerpe – Archangela nepodkupljive smrti. Ta inkorporira zvok v tišino, vizijo v usodonosje, mehaniko v mistiko. Archangel si je odrezal peruti, da bi v vertikali votline 5017 m višine nahranil dva alpinista. Ali hočeta zmrzniti? Narava izbrane tragičnosti zunaj običajnega je lahko osupljivo smešna in v neizbežnosti konca erotična, saj zahteva intimni stik z občo resničnostjo. Ni nujno, da jo doseže. SONGS FROM SUIZIDE HOLE / / PESMI SEBEVZETJA so zato spremljevalke samoohranitve in norosti spremenjenih perspektiv. Aphra Tesla in Stefan Doepner v vlogi alpinistov razgrinjata zemljevid lastnih prehojenih poti, hrumečnosti in zamolčanin.
Kar naprej slišim mehanski zvok nadangela.Sliši se kot pljuča in dihanje pri hoji 5000 metrov navkreber. Kaj je nadangel, če smo alpinisti? Je to gledališki element, duh samega utelešenja? Je naš šerpa? Je upanje in užitek dihanja samomoru naproti? Je mehanizem, ki zagotavlja dihotomijo namena? Dejstvo je, da zveni in izgleda kot velik duh gore, v kateri smo našli luknjo, da mislimo neizrečeno. Diha. Pomaga ti pri plezanju. To je vizija.
Aphra Tesla je intermedijska umetnica, ki deluje tudi na področju glasbe in gledališča.
Stefan Doepner je umetnik, ki deluje na področju tehnološko podprte umetnosti, robotike in zvoka.
Produkcija: Cirkulacija 2 in KUD Obrat
Podpora: Mestna občina Ljubljana, Javni sklad RS za kulturne dejavnosti
Saturday, 9th December 2023 at 15.00 in Cirkulacija², Ajdovščina underpass, Ljubljana – finissage of a week long video-spatial installation
VIDEOLETTERS / Henrike von Dewitz and Simon Svetlik
This video installation is the second edition of an exchange of video files between Henrike von Dewitz and Simon Svetlik. Some years ago, they discovered that their videos speak a similar language and started a video dialogue. The only rule is to manipulate the video file that each artist receives from the other and send it back after transforming it into something new. Until the final result arises, those videos are handled by both artists a certain number of times. Both the creators themselves and the viewers will find it hard to detect who produced the video material composing the finished works.
Opening: Friday, 1st december 2023 at 20.00
Closing: Saturday, 9th december 2023 at 15.00
After the opening the exhibition is open every day, except sunday – from 2nd to 8th december 2023: from 15.00 to 19.00. On Saturday the matinee starts at 11.00.
The videos made by von Dewitz and Svetlik are based upon the manipulation of original footage of almost casual, documentary character. Promenades in natural environments and cities, documentation of ephemeral installations, objects and animals, landscapes and textures materialize, vanish, fade in and out and superimpose. This composition method leads to video art works with a strong sense of movement and suspense, multiple possible narratives and a specific mixture of abstract and documentary aspects.
Henrike von Dewitz was born in Cologne, Germany in 1981, where she studied anthropology, geography and African studies, German as a foreign language (Goethe-Institut) and later translation of German-Spanish literature in Seville at the University of Cologne. She lived in Cologne (Germany), Montevideo (Uruguay), Nancy (France) and Ljubljana (Slovenia); she works as a German teacher, translator and as a photo and video artist. From 2013 to 2019, she participated in the selection team for documentary films at the Nancy-Lorraine International Film Festival. In December 2019, as artist in residence at Laboratorio CINE Fac en elCCE in Montevideo (Uruguay), she also started working with Super 8 and 16 formats. Her artistic journey began during the three-year workshop of the Cologne Theater with black and white photography and work in the photo laboratory at Studiobühne Köln (Germany).
Her most important works and solo exhibitions:
We’ll see us tomorrow, documentary, Museo de la Memoria, Montevideo (Uruguay) December 2019
Depart – Høld & Nova, video, January 2019
L’Éternité – Høld & Nova, video, October 2018
4 Éléments 4.0, open-air video installation, in the frame of the Festival International du Film de Nancy, Cours de la manufacture Nancy (France), August 2018
4 Elements, pop-up video installation, Kino Otok Izola Cinema (Slovenia) June 2018
Midva – Dva Jasa, photography, Atelje 10, Tovarna Rog Ljubljana (Slovenia), November 2017
Referendum, video intervention in public space in the frame of Meta City Symptoms, train station Ljubljana (Slovenia), October 2017
Die 4 Elemente, at.tension #7, video projection Kino-Hanger, Kulturkosmos Gelände, Lärz, Mecklenburg Vorpommern (Germany), September 2017
Les 4 Elements (The 4 Elements), video exhibition, Galerie 9, Nancy (France), August / September 2017
Freier Fall (Free fall), Video Installation, in the frame of Meta City Symptoms, Sodarska Steza, Ljubljana (Slovenia), April 2016
Simon Svetlik was born in 1973 in Ljubljana, where he also graduated in painting. He also lives and works in Ljubljana. He creates with all accessible media and does not limit himself stylistically; his exploration of the connection between the visual and other media and the free choice of subject matter can hardly be described with a common denominator, an ism. He has created various works of art (paintings, sculptures, photographs, videos, ambient installations, installations, performances…), platforms and participated in many group projects. Co-founded the group “Art group rgb” (collective artistic research “laboratory” – 2001), and the platform Symptoms of a Meta City (non-institutional art platform – 2015); works as an associate member of the Cirkulacija2 platform in Ljubljana; co-created the scenography for Francia Slaka’s latest film “As in Heaven, So on Earth”; as a designer and producer, he creates a series of performative events with the single title O, dedicated to multi-institutional/independent and non-profit production.
A selection of documented artistic presences:
Future trip interactive light installation (RGB) – (Lido, Venice 2005)
Eyecandy abstract animation – 1st price (Video tapestry concourse, Velenje 2005)
Sketch box 0.6 interactive light installation (RGB) – (Rog, Ljubljana 2007)
Transcentrala social artistic experiment (RGB) – (Rog, Ljubljana 2006 – 2007)
Feel the sun short video – (Signes de nuit, Paris 2006), (Cine pobre, Rio de Janeiro 2007)
Blodnjak video ambient installation – (Alkatraz Gallery, Metelkova mesto, Ljubljana 2008)
Buddha box light ambient installation (RGB) – Space for new dialogue – (Museum of Contemporary Art MUSUM, Vojvodina, Novi Sad 2008)
Parallel worlds group video installation – (Metelkova mesto 2006 – 2011)
RGB embassy – open studio/ performative space/ gallery – questioning the simulacrum of contemporary art production – (Rog, Ljubljana 2013 – 2021)
Meta City Symptoms – (various locations from 2015 onwards)
O – ambient music video of movement performances (various locations from 2011 onwards)
Fifteenth International Festival of Experimental Sound
Prepared Surroundings 2023
Edges / Borders
Wednesday, 29.11.2023
Cirkulacija 2, 20:00
«Until I die there will be sounds. And they will continue following my death. One need not fear about the future of music». John Cage «Experimental Music» (1957)
Prepared Surroundings (PS) is one of the weirdest festivals of sound – running for 15 years. As ever our topic is to experiment with sound and technology.
Festival statement: globaLocal proxyFest
Live stream:
This year, PS will take place simultaneously in different cities and countries, as always on Wednesdays. Two Wednesdays – four cities. Thanks to the initiative of an international group of curators and collaboration with local communities of artists and musicians, we are pleased to present events in Almaty (Kazakhstan) and Ljubljana (Slovenia) on November 29; and then in Yerevan (Armenia) and Tijuana (Mexico) on December 20.
The overall theme of PS this year is simultaneously a new speculative format: globaLocal proxyFest. The unusual distribution of the event across the globe while focusing on work in specific locations naturally prompts us to reflect on the connections between the global and the local, the singular and the multiple. In the context of art, copying always sparks discussions, but what is its vice if a copy is a way to preserve data from loss? PS launches its own proxies in different cities and countries. Will this be the same festival as the previous 14 years?
Each location’s curator will propose their own theme for artistic interpretation. The themes are as follows:
We plan to conduct live events with audio-video broadcasts.
The world is changing, and the Festival changes with it, only our slogan remains unchanged for 15 years: “Participants will demonstrate work with prepared objects, surroundings, constructs.”
Stagnat
Stagnat is an electronic A/V project of two Slovenian artists, based in Vienna. Their outburst is a result of a thrive for a joined musical expression and a branching of the past visually-centered artistic endeavors. The result is of an experimental nature, techno with a darker shade, with a ruckus of a passing train, chaotic bird singing, a path into a gray morning with resentful teenage angst. Their first gig was as an improvised live act at Festival Izvir (Formaviva) in the Summer of 2019. Since then their sets have evolved into more homogeneous autoschediasm as they developed their own distinctive sound. In 2020 they self-released their first EP Synchrony of Falling and were featured on the compilation of the local record label Sigma5. Their debut album together with an experimental film was released in March of 2021 on the London-based label Singularity Recordings. In December 2021 they co-founded their own label DE/FRAGMENT. Since then they released 2 EPs, Subterranean Occurrence (DE/FRAGMENT), and Twilight World (Scarlet Carson Black), a full album Vague Radius (DE/FRAGMENT), and appeared on a few compilations and radio shows. Now they are finishing their newest release “Charisma”, a 6-track EP of weird and driving bangers, based around the concept and bewilderment of cults. https://linktr.ee/stagnat
Lisokot
Lisokot (Varya Pavlova) is a singer, artist, composer and poet responsible for a wide range of musical performances around the globe from Riga Biennial of Contemporary Art and Manifesta 10 to Berlin’s clubs Berghain, Funkhouse and the Department of Slavic Studies at Stanford University. Working between experimental electronics, improvisation and performance she mostly uses her voice as only instrument. Often refers to soviet music heritage, it’s deconstruction, reinterpretation and own animalistic poetry about politics and society. Her shows often turn into site-specific performances with own costumes and decorations creating it’s own mythology. In 2017 she releases an EP “Walzerzyklus” in collaboration with Uwe Schmidt (AtomTM, Señor Coconut) on german-based label Raster. https://nazlorecords.bandcamp.com/album/i-want-i-have-to-share-my-life-with-you https://linktr.ee/lisokot
Boris Shershenkov
Boris Shershenkov – independent artist and researcher, Ph.D. (candidate of technical sciences), educator and musical instrument designer. Focusing on projects that develop new methodologies in technological and sound art, he investigates the relationship between humans and technology combining modern techniques with media archaeological research. Boris is engaged in various activities in the field of experimental music and sound art as the author of numerous media installations and sound performances and curator of concert programs, exhibitions and educational projects. As a musician, he is actively working in the areas of live electronics and electroacoustic improvisation, both solo and in collaboration with other musicians and artists.
web – https://www.shershenkov.com/
Ksenia Bakhtina
Ksenia Bakhtina, interdisciplinary artist. Main directions of sound art, creation of works for multi-channel audio systems.
::vtol::
Dmitry Morozov aka ::vtol:: is a transdisciplinary artist and researcher. He focuses on contemporary media arts including sound, robotics and installation, placing special emphasis on the link between emergent systems and new kinds of technological synthesis.
web – http://vtol.cc
V okviru mednarodnega festivala sodobnega plesa CoFestival 2023, ki se odvija med 23. in 30. novembrom v Ljubljani:
Kolektiv NDA Hrvaška: Predstava, ki nastaja | Predstava koja nastaje
Torek, 28. november 2023, ob 20.00
Cirkulacija 2, Podhod Ajdovščina 2
Prost vstop, trajanje: 50 min
Hrvaške koreografinje Aleksandre Janeve Imfeld, ki živi in dela v Bruslju in Zagrebu, ne predstavljamo prvič. V Predstavi, ki nastaja je sestavila kolektiv, sindikat, plesni vprašaj, ki predstavlja različne vidike plesnega dela. Odprto plesno delo kot tovarna sanj, ki se proizvajajo na trdih tleh.
Ker kuratorji CoFestivala občasno tudi poučujemo, smo za potrebe pedagoškega orodja – z vsemi zadržki, ki temu pritičejo – pred nekaj leti sodobno koreografijo tudi definirali. Bolj zaradi orientacije, kot orodje razjasnitve, ne zaradi kakršne koli teritorializacije področja. Takole gre: koreografija (kot razširjena praksa) je lahko (umetniška) funkcija, metodologija ali praksa, ki se ukvarja s pogoji, ustvarjanjem ali produkcijo komponiranja, konstruiranja, izvajanja (performans) ali zaznavanja različnih prisotnosti, odsotnosti ali predstavljanj človeških teles ter s sledmi ali indikacijami, ki to telo vsebujejo.
Pogoji, funkcije, prakse in konstrukcije so tisti elementi definicije, ki jih uteleša in naslavlja Predstava, ki nastaja, saj v njej nastopajo umetnice, organizatorke, producentke, kuratorke, aktivistike ali – kot jih imenuje koreografinja Aleksandra Janeva Imfeld – pobudnice sodobnoplesnega dela na Hrvaškem.
Predstava, ki nastaja je tudi predstava o sodobnem plesu v regijskem in Hrvaškem plesnem kontekstu. Odrska dela niso edini primerki plesnih del, ki nastajajo v naših sodobnoplesnih kontekstih, so le del celotnega ustroja plesnega sistema, ki mora v vseh svojih segmentih funkcionalno delovati, da se lahko v njem proizvaja umetnost.
Ženski kolektiv Predstave, ki nastaja je razstavljen v delovanju (praxis), je referenčna mreža elementov, ki pogojujejo tisto, kar ustvarja predstavo o sodobnem plesu danes. Proizvodni obrat umetnosti. Pri Predstavi, ki nastaja je v spoju proizvodnje, življenja in umetnosti nekaj konstruktivističnega in zdi se, da se sodobni ples na Hrvaškem bolj kot kje drugje ukvarja s temi problemi.
Koreografija in nastop: Koraljka Begović, Aleksandra Janeva Imfeld, Mia Kevo, Larisa Lipovac Navojec, Nives Soldičić, Melita Spahić Bezjak, Irma Unušić
Dramaturgija: Jasmina Založnik
Glasba: Marin Živković i Hrvoje Jelinčić
Oblikovanje svetlobe: Saša Fistrić
Kostumografija: NDA CRO pod vplivom / Under the Influence of Irma Unušić
Zunanja sodelavka: Tamara Curić
Scenografija in grafično oblikovanje: Hrvoje Jelinčić
Fotografije: Fanni Tutek – Hajnal
Produkcija: Nomadska plesna akademija Hrvatska
Umetniško vodstvo: Aleksandra Janeva Imfeld
Friday, 24th of November at 19:00in Cirkulacija 2, Ajdovščina underpass Ljubljana: the authors of the platform Translacia | Traslación will present their model of research Red Threads, the workflow and the results of the current edition of Red Threads #Cirkulacija 2
Tatiana Kocmur + Francisco Tomsich Translacija | Traslación
Red threads #Cirkulacija 2
Opening: 17 November 2023, 20:00
Installation open until 24.11.2023
For this edition of Red Threads, Translacija | Traslación will focus on histories of performance art and the performative at and around Circulacija 2, and their meaning in the historical context of the activities of that multidisciplinary association of artists. The red threads in question are exemplified by the quest for a possible (or imaginary) “first performance” at Cirkulacija 2 and how the group’s founders build stories about it – in dialogue with a video work by Ksenija Čerče as part of the installation phase of the expanded Cirkulacija 2 project at Alkatraz gallery (Ljubljana) in 2010. Video documented some of the collective actions of participating artists in the first (performative) phase of the project. More about that: http://www.cirkulacija2.org/?p=339
Red Threads #Cirkulacija 2 is the third edition of the Red Threads project, developed since 2018 by Translación | Traslación, a platform for production, exhibition and research on performance art created by artists Tatiana Kocmur and Francisco Tomsich. Red Threads is a model of artistic research on performative art focused on the reception of performative artworks by the persons who were present in the place and time in which a particular work was made. More about Red Threads at www.translacija.wordpress.com
Production: Cirkulacija 2
Co-financing: City of Ljubljana and JSKD
Friday, 10. november 2023, at 19.00 to 22.00; Cirkulacija², Ajdovščina underpass, Ljubljana
WERCKMEISTER (CH-D-A-NL)
The foundation stone for the WERCKMEISTER quartet was laid by Markus Eichenberger and Carl Ludwig Hübsch, who met for the first time at the Human Noise Congress in Wiesbaden in 1994. Since then, they have collaborated in several projects, such as Eichenberger’s Domino Orchestra or Hübsch’s Ensemble X. In March 2016, together with Philip Zoubek – a versatile young pianist with a sharp musical ear – and the promising percussionist Etienne Nillesen on an electronic synthesizer –, they founded the Werckmeister quartet. The types of instruments in the quartet could hardly be more varied but when played in harmony the differences fade into a distinctly tonal, sensitive and sensual music. It opens the listener’s ears to an unusual variety of tuning systems and, familiar in improvised music, temperaments. The name Werckmeister refers to the German Baroque musician and music theorist Andreas Werckmeister, who published his book Musicalische Temperatur (Musical Temperament) in 1691, paving the way for a new system of instrument tuning. This unique and unusual quartet will be presented in Slovenia for the first time.
· Markus Eichenberger – clarinets
· Carl Ludwig Hübsch – tuba
· Philip Zoubek – synthesizer
· Etienne Nillesen – extended snare drum
MARKUS EICHENBERGER (1956) has been working since 1977 as a clarinettist and partly as a saxophonist in various groups and projects almost exclusively in the field of free improvised music. His musical work has been supported by the City and Canton of Zurich, the Aargau Administrative Board, Pro Helvetia and numerous foundations. He has received several awards: the WDR “Forum Junger Composers” Award (1992), the Cultural Award of the Kiwanis Foundation (1998), a composition commissioned by the Pro Helvetia Foundation for DOMINO (2000), the Cultural Award of the Association for Economy and Culture, Willisau (2004) and the Covid-19 Working Grant from the City of Zurich (2021). / https://eichenberger.li
CARL LUDWIG HÜBSCH (1966) started his musical career in his native Freiburg as a clarinettist in a local pleh band. After a punk-rocker period playing drums, he discovered jazz and free improvisation, which led him to study improvisation with M. A. Fataah. He completed his studies in singing, theory and drumming at the Freiburg Pedagogical University. He also studied electronic music with Prof. Klaus Weinhold. In Cologne he studied as a visiting student with composer Johannes Fritsch. When he moved to Cologne in 1990 he received a lifetime university scholarship. Hübsch’s playing focuses on improvised and contemporary composed music. He composes and performs music himself in concert halls, studios and theatres, and plays with ensembles and orchestras. The acclaimed tuba player has been awarded residencies in the USA, Austria and Switzerland, won the Jazzpott Award Essen (2003), SWR Newjazz Meeting (2012), and was a composer at the Welttheater Einsiedeln (2013). He has collaborated on more than 65 soundtracks. / https://www.huebsch.me
PHILIP ZOUBEK (1978), born in Tulln, Austria, lives and works as a pianist and composer in Cologne. Since 1996 he has studied jazz piano with Reinhard Mick in Vienna. In 2002 he moved to Cologne, where he studied jazz piano with Hans Lüdemann. In 2008 he was awarded the Horst and Gretl Will Scholarship of the City of Cologne. Zoubek has collaborated with Frank Gratkowski, Wilbert de Joode, Thomas Lehne, Clayton Thomas and Paul Lytton, to mention just a few notable names. He has performed at the Konzerthaus Wien, the Luxembourg Philharmonic, the Moersfestival, the Ullrichsberger Kaleidophon and the GetItLouder Festival in Shanghai and Beijing. Zoubek is a founding member of the Kölner Kollektiv for Improvisation and Musical Art. In 2020, he was awarded the prestigious WDR Jazz Prize for his composition. / https://philipzoubek.com
ETIENNE NILLESEN is a percussionist and composer from the Netherlands, currently based in Cologne. The drum is a central part of Nillesen’s artistic practice. Using an instrumental and physical approach, he explores and breaks the boundaries of the natural acoustics of the snare drum with conventional and extended playing techniques. His work incorporates elements of conceptual and spontaneous composition, structured improvisation, performance and sound art. He has appeared as composer and performer on over thirty albums of new music, improvised music and jazz. His interest in different forms of exploratory music has allowed him to work regularly with some of the most renowned artists in music and with Ensemble Modern.He is currently a professor at ArtEZ University of the Arts in the Netherlands, where he teaches drums and improvised music. / https://etiennenillesen.com
before:
Young Researchers VI.: DOMEN KUŽNAR – +Disposition (SLO)
The Young Researchers series of residencies, concerts and performances is designed to guide the integration of a selected artist of a younger generation into professional infrastructural and research environments. In 2023, one of the artists in residence is violist Domen Kužnar, who will present his project entitled +Disposition. In 2023, the ensemble presents an opus of new works, created and developed in the context of multi-day residencies and performances. The artist-in-residence has asked questions such as: “What is structure in composition and what are its realisations in music? How do various specificities such as subject matter, message, creativity or meaning inform, compose, modify, build upon the structure itself and contribute to the development of composition and, consequently, music? How does this affect the understanding and perception of music?” Young Researchers is a programme of the Institution .abeceda. The upcoming concert will be the fourth of the season for the ensemble.
· Miha Sever – upright piano
· Anja Kralj – violin
· Manica Slapšak – viola
· Domen Kužnar – viola
DOMEN KUŽNAR (1998) is a violist and composer. He is currently studying viola at the Academy of Music at the University of Ljubljana with Prof. Maja Rome. As part of the Erasmus+ exchange, he studied at the Icelandic University of the Arts with Professors Þórunn Ósk Marínósdóttir and Svavi Bernharðsdóttir. During his studies he focuses on technical improvement and expressiveness on the instrument, and is particularly interested in the repertoire of contemporary and new music. He is a member of Transposition String Quartet+ and the ensemble .abeceda [ensemble for new music]. His mentors include Nabuko Imao, Emile Cantor, Peter Barszony, Garth Knox, Atar Arad, Vincent Royer, Helfried Fister and Dré A. Hočevar.
ANJA KRALJ started violin lessons at the age of5. After finishing junior music school, she enrolled at the Conservatory of Music and Ballet in Ljubljana, where she graduated under the tutelage of Prof. Žiga Branko. She is now studying at the Academy of Music in Ljubljana with Prof. Gorjan Košuta. She regularly participates in competitions at national and international level and performs as a soloist and member of the Perpetuum String Quartet in solo recitals. She is also interested in contemporary and folk music. She explores the former through joint music-making with saxophonist Vida Piko Vatovec, in Duo Bob, and the primordiality and simplicity of music with the Academic Folklore Group France Marolt.
MANICA SLAPŠAK (2000) began her musical career at the age of 12 playing the violin, and after three years she met the viola for the first time. After graduating from the Secondary Music School in viola at the art direction of the I. High School in Celje, she enrolled at the Academy of Music in Ljubljana, where she studies in the class of doc Maja Rome. She is a member of the Perpetuum String Quartet and the Krklec String Quartet. She regularly participates in various orchestras – Ensemble Dissonance, Amadeo Orchestra and SMO, and as a substitute also with the RTV Slovenian Symphony Orchestra and various occasional ensembles. During her studies she attended masterclasses with teachers such as Nobuko Imai, Emile Samama Cantor, Maja Rome, Halfried Fister and Volodja Balzalorsky.
MIHA SEVER (1998) is currently a second year student of Geography and Slovenian Studies. He is active in the fields of proofreading, editing, censorship, teaching, language technology, etc. He started his musical career o piano in Monika Höfler’s class at the Franca Šturm High School. After completing eight grade, he continued on keyboards in various high school and student rock/jazz bands. As a choir singer, he is active in the St. Stanislaus Student Choir and the vocal group Laulu.
Production: KUD Mreža / FriForma, Ljubljana; programme curated by Nataša Serec & László Juhász
Co-production: Institution ON Rizom, Ljubljana & Institution .abeceda, Ljubljana
Graphic design: Urša Rahne
FriForma concert series is supported by the Ministry of Culture of the Republic of Slovenia & MOL – Department of Culture
Special thanks to ProHelvetia Swiss Arts Council & Aargauer Kuratorium
Be informed and invited to the IZIS 11 festival in Koper, with the participation of elementary particles of Cirkulacija 2 (Marko Batista, Tatiana Kocmur, Borut Savski, Stefan Doepner, Simon Svetlik, Vlado Repnik, Sanja Simić and name:). Together with other particles, the festival will open on Friday, October 6, 2023 at 20:00 at the Libertas Warehouse. Lasts until 22nd October 2023.
“The kingdom’s limits are fragile.” after Michel Houellebecq, Atomised
“Between 1900 and 1920, Einstein, Bohr and their contemporaries developed a number of ingenious models which attempted to reconcile this idea with previous theories. It was not until the 1920s that it became apparent that such attempts were futile. Niels Bohr’s claim to be the founder of quantum mechanics rests less on his own discoveries than on the extraordinary atmosphere of creativity and intellectual openness he fostered around him. The Institute of Physics, which Bohr founded in Copenhagen in 1919, welcomed the cream of young European physicists. Heisenberg, Pauli and Born served their apprenticeships there. Though some years their senior, Bohr would spend hours talking through their hypotheses in detail. He was perceptive and good humoured, but extremely rigorous. However, if Bohr tolerated no laxity in his students’ experiments, he did not think any new idea foolish a priori; no concept was so established that it could not be challenged. He liked to invite his students to his country house in Tisvilde, where he also welcomed politicians, artists and scientists from other fields. Their conversations ranged easily from philosophy to physics, history to art, from religion to everyday life. Nothing comparable had happened since the days of the Greek philosophers.” (Michel Houellebecq, Atomised, p. 15–16, trans. Frank Wynne.)
11th IZIS, with the title Elementary Particles, soon had us discussing quantum mechanics. The theory which dismantled the classic image of the atom and pushed the Italian physicist Carlo Rovelli to declare in his book Helgoland (2020) that: “The classical vision of the world is no longer a confirmed hallucination.” Even though the development of the theory was a group effort, we can perhaps establish the exact date, 7. 6. 1925, when its fundamental insight was brought to light. Werner Heisenberg reports on it from the island Helgoland: “It was almost three o’clock in the morning before the final result of my computations lay before me, […] and I could no longer doubt the mathematical consistency and coherence of the kind of quantum mechanics to which my calculations pointed. At first, I was deeply alarmed. I had the feeling that, through the surface of atomic phenomena, I was looking at a strangely beautiful interior, and felt almost giddy at the thought that I now had to probe this wealth of mathematical structures nature had so generously spread out before me.” (Heisenberg, Physics and Beyond)
The Copenhagen interpretation assumes the validity of both Newtonian and quantum mechanics, while the border between them is not clearly defined, and especially on the quantum level strange happenings abound: sometimes there are waves and sometimes particles, all depending on whether there is an observer. Even today physicists cannot unambiguously explain this with words. Sean Connell, the proponent of the Many worlds interpretation – as opposed to the Copenhagen one – tells us, that: “With equations it’s crystal clear, with words is hard.”
“Heisenberg imagined that electrons do not always exist. They only exist when someone or something watches them, or better, when they are interacting with something else. […] Einstein did not want to relent on what was for him the key issue: that there was an objective reality independent of whoever interacts with whatever, and remained convinced that things could not be as strange as it proposed – that ‘behind’ it there must be a further, more reasonable explanation. A century later we are at the same point. The equations of quantum mechanics and their consequences are used daily in widely varying fields: by physicists, engineers, chemists and biologists. They are extremely useful in all contemporary technology. Yet they remain mysterious. For they do not describe what happens to a physical system, but only how a physical system affects another physical system. What does this mean? That the essential reality of a system is indescribable? Does it mean that we only lack a piece of the puzzle? Or does it mean, as it seems to me, that we must accept the idea that reality is only interaction?” (Rovelli, Seven Brief Lessons on Physics)
At this year’s IZIS we tried to acknowledge and accept – as much as we could – Rovelli’s relational interpretation. To make the Libertas exhibition space display the highest possible degree of interconnection with what is exhibited. The curatorial work with the authors. The limits of personhood with authorship. And above all else: the creative process of each of us with the inner core of necessity that drives us. And after all these years that have passed since the youthful aspirations of the first IZIS – if it is true that the elementary particle is the relationship – “which was a tangle of intellectual tumult, free spirit and friendship,” to verify if this statement still holds true.
“‘If it passes, it means it was not true love.’ In this case, why not? Is our experience such that only this feeling is permanent, while the other is not? Or we use an image: we experience love through its inner structure, which is not revealed by direct feeling. And yet this image matters to us. Love, that which matters, is not a feeling but something deeper, which is only expressed in the feeling. We have the word ‘love’ and we use this title for that which is most important.” (Wittgenstein in: Simoniti, On Declarations of Love)
We dedicate IZIS to Brane Grgurovič, whose Fuck Off Illusion brought us to Libertas for the first time. He was fond of saying that the photons have told him and he died on August 1st, 2023. You are invited: we hope that “by using these words, we can learn their limitations” (Heisenberg) together.
BLOK je spletni časopis o sodobni umetnosti v angleškem jeziku, ki se osredotoča na regijo, znano kot Srednja in Vzhodna Evropa. Ko lebdimo med poljubno definiranim »Zahodom« in »Vzhodom«, nas zanima sledenje umetniškim in kulturnim praksam, kartografija različnih lokalnih identitet in iskanje skupnih izkušenj – v preteklosti in prihodnosti. BLOK želi biti vir za regionalno in mednarodno občinstvo ter predstavlja umetniško pisanje, razstave in projekte zgodovinsko premalo zastopanih skupnosti in ljudstev.
Kot priznanje patriarhalne in kolonialne zgodovine, ki oblikuje našo uporabo angleškega jezika, BLOK uporablja tudi politiko minimalnega posega pri urejanju naših objavljenih besedil. To počnemo, da bi spoštovali raznolike jezikovne izkušnje naših piscev in podpirali elastičnost angleškega jezika.
About Blok
BLOK is an online, English-language contemporary art journal that focuses on the region that is known as Central and Eastern Europe. Floating between the arbitrarily defined “West” and “East”, we are interested in tracing artistic and cultural practices, mapping different local identities, and searching for common experiences – in the past and future. BLOK aims to be a resource for a regional and international audience and presents art writing, exhibitions, and projects from historically underrepresented communities and peoples.
In recognition of the patriarchal and colonialist history that shapes our use of the English language, BLOK also employs a policy of minimal intervention when editing our published texts. We do this to honor the diverse language experiences of our contributing writers, and to support the flexibility that exists within the English language.
Petek, 15th september 2023 at 18.00; Cirkulacija 2, Ajdovščina underpass, Ljubljana:
Agustina De Vera An affective audio-visual map: vestiges of a trip to Slovenia
Exhibition, presentation and talk with Agustina De Vera
This activity will consist of a mediated exhibition of the creative evolution of Agustina De Vera, Uruguayan artist and researcher participating in the artist-in-residency programme “Branislava Susnik” 2023 (Medvode, Slovenia). This exhibition is offered as an open and reflexive cartography of the topics that Agustina explores in her audiovisual works, driven by the possibilities of non-linear and non-directly representational intersections between the visuals, the sound and the word. Her aesthetics are influenced by experimental cinema and video art.
By mediating the exhibition through her voice and narratives, Agustina will also share the reasons why she is in Slovenia and the creative process triggered by her stay in the country. Thanks to the project developed for the AIR Branislava Susnik 2023, Agustina activated her work on collective film letters, and at the same time she is developing a written and audiovisual diary in which she carries out an experimental auto-ethnography that recovers her experience as a foreigner, researcher, artist and cultural correspondent.
At the event, Agustina will open and share her creative process, the core of her experience in Uruguay and of her brief stay in Slovenia, as putting in front of us and herself a series of mirrors in order to know what are the reflections that cross the field of art and culture in Ljubljana and its surroundings. In this way, we may find resonances, shared or dissonant reflections and new questions among the people attending the activity.
Agustina De Vera If the creative process begins with a question related to desire, in Agustina’s case, it is a question about the conditions of images within the cinematographic language, and the possible lines of escape that can be traced. Her work explores this tension: the law and the exception within the cinematographic language; its possible vanishing lines. From the inter- and trans-disciplinary perspectives, she works in the fields of education, academia, and artistic creation in audiovisual media, reflecting about the normativity imposed by cinematographic models, the Eurocentric gaze, the violence that crosses its forms of production, and some possible alternatives to these models.
She has a Master’s Degree in Audiovisual Education from the Latin American Faculty of Social Sciences of Uruguay and a Bachelor’s Degree in Audiovisual Languages and Media from the Faculty of Arts of the University of the Republic of Uruguay. She carries out actions related to research, teaching and the development of film and audiovisuals.
About the Branislava Sušnik residency program
The Humanistic Residence of Branislava Sušnik is a project that was created within the framework of the international collective research portal of the Branislava Sušnik Residence, and is intended for the study, translation and dissemination of the knowledge and work of the Slovenian-Paraguayan anthropologist Branislava Sušnik, born in Medvode. As part of the program, once a year we announce a residency for Spanish-speaking female researchers and/or artists who want to carry out a research project related to Branislava Sušnik and/or her birthplace. The project is supported by the municipality of Medvode.
→http://branislavasusnik.wordpress.com
→ @branislavasusnik
→ branislavasusnik@gmail.com
foto; Adriana Pereyra
foto; Tatiana Kocmur
foto; Gregor Podržaj
foto; Tatiana Kocmur
foto; Gregor Podržaj
foto; Gregor Podržaj
“The kingdom’s limits are fragile.” after Michel Houellebecq, Atomised
