2019

 

PREHAJANJA

Kolektiv je farsa. Vreden vsakega posmeha. Če bi ne pretil.
Zmes zvokov, hrup, kot se mu reče, je kolektiv. Zanimivo, da ta zvočnost neskončno moti.
Kolektivi so oblastniški okvir, zavit v patino idealizma. Nepredušna membrana preživetja. Ali pač. Telesa se poženejo na električno ograjo. Ko se ne poganjajo druga v drugo. Gibanje Civilna gibanja klonejo pred mamljivostjo ideje o ‘globalne povezanosti’, poženejo se v virtualno predstavo stika, dematerializirajo se. Iluzija kolektivne zvočnosti.
Seznami skladateljic in glasbenic. Nato površne kopije seznamov skladateljic in glasbenic. Virtualno, jasno. Umetnost, zreducirana na spolno razliko, nato pahnjena v oblak.
Seksualne razlike v vsem skupaj tako rekoč ni zaznati. Ker se je ne vidi. Ali kdo posluša?
Srečanje ni mogoče, ali pa je dogodek, torej, ni mogoče.
Srečanje je obenem imperativ dolgoročnosti. Na individualni ravni: dvojice. Na vseh drugih ravneh: kolektiv. Potentne samosti posameznice pa nikjer. Tako se zdi.
Tesni skupaj je ostanek tradicije v dobi čiste atomizacije.
Ali se je mogoče s kom povezati? Ali je iskanje domicila v razmerah nomadskosti sploh smotrno?
Zdi se, da nič ni mogoče. Ali pa je mogoče dvoje: a) obstoječe je edino možno – v smislu, da boljše ne obstaja. Ali b) povratek k tradiciji – skupaj s hierarhično simbolizacijo, a z odsotnostjo kompleksnosti procesov simboliziranja. Oboje je nasilni propad.
In vendar: Iluzija kolektivne zvočnosti je lahko prebrana drugače. Kot prostor, v katerem bivajo nestabilne točke reference. Nanašanje na. Morda tudi zanašanje na. Nevidna povezava. Nepričakovana. Bi se ji posvetili?

Bi.

Letošnja, tretja edicija mednarodnega simpozijskega festivala Topografije zvoka postavlja v ospredje prehajanja. S tem mislimo vezi, ki potekajo brez določene smeri, historično, a ne kronološko linearno, nikakor geografsko določeno, brez tehničnih ali tehnoloških bohotenj, temveč skozi zvočnost samo. Te vezi je mogoče razumeti v obliki kolektivov, ki se nikdar niso zbrali, saj za to ni bilo potrebe. S tem, ko niso bili kolektivi, tudi niso bili izključujoči. To so idiomatične povezave, bivanje v antičasovnosti in antiprostorskosti. Prepustna intertekstualnost.

Glasbenice Ana Kravanja, Jasna Kolar, Jelena Rusjan, Nina Farič Kikiriki in Tina Jenko se bodo srečale natanko skozi prehajanja. Filozofinja Salomé Voegelin se bo poglobila v valovanja na robovih z anticipacijo širitve. Tu bo dokumentarni film o življenju na valovih pionirke na področju elektroakustičnih glasb Suzanne Ciani. Potopili se bomo v introspekcijske zvočnosti skladateljice Urške Pompe. In nato še ena pionirka: Christina Kubisch. Njeno delo zadnjih štirideset let, njena hoja zadnjih štirideset let in vse, kar je bilo na poti mogoče slišati. Avtoričina avtoretrospektiva.

Dobrodošli. Želimo vam pozorno poslušanje.

Ljubljana, september 2019

Za Topografije zvoka
Nina Dragičević

TRAVERSIONS

A collective is a farce. Worth every mockery. If it didn’t threaten.
A mixture of sounds, so-called noise, a collective. Interesting, how noise is infinitely disturbing.
Collectives are an authority-frame, wrapped in patina of idealism. Airtight survival membrane. Or are they. Bodies rush on an electric fence. When they don’t rush into each other. Civil movements succumb to the tempting idea of ‘global connectiveness’, they rush into a virtual presentation of juncture, they are dematerialised. Illusion of collective sonority.
Lists of women composers and women musicians. Then: superficial copies of lists of women composers and women musicians. Virtual, of course. Art, reduced to a gender difference, then pushed into the cloud.
No sexual difference in all of this. Because it can’t be seen. Does anyone listen?
Meeting is not possible, or it is an event, therefore, it is not possible.
Meeting is at the same time an imperative of durability. At the individual level: of doubles. At all other levels: the collective. One’s potent aloneness is nowhere to be found. So it seems.
The tight together is a remnant of tradition in the era of pure atomization.
Is it possible to connect with anyone? Is searching for a domicile in a nomadic situation even reasonable?
Nothing seems possible. Except that two options are possible: a) the existing situation is the only possible – in the sense that there is nothing better. Or b) a return to tradition – together with hierarchical symbolization, but with the absence of complexity of the symbolization processes. Both are violent downfalls.
However: The illusion of collective sonority may be read differently. As a place where unstable reference points reside. Referring to. Maybe also relying on. Invisible connection. Unexpected. Would we explore  it?

Yes.

This year’s edition of the Topographies of Sound International Symposium-Festival spotlights the process of traversing. By that we mean ties that run without a certain direction, historically, but not in chronological or geographic orders, without any technical or technological exuberance, but through sonority alone. These ties can be understood in the form of collectives that never came together, as there was no need for that. By not being collectives, they were also not exclusive. These are idiomatic connections, existence in anti-temporality and anti-spatiality. Permeable intertextuality.

Musicians Ana Kravanja, Jasna Kolar, Jelena Rusjan, Nina Farič Kikiriki and Tina Jenko will meet precisely as they traverse through and within sound. Philosopher Salomé Voegelin will delve into undulation at the margins, with anticipation of expansion. Then: a documentary about Suzanne Ciani’s life on the waves. We will dive into introspective sonorities of composer Urška Pompe. And then: Christina Kubisch, her work of the past forty years, her walks of forty years, and all that could be heard along the way. The author’s autoretrospective.

Welcome to Topographies of sound. We wish you attentive listening.

Ljubljana, September 2019

 

For Topographies of Sound
Nina Dragičević


PROGRAMSKI KATALOG 2019 / FESTIVAL CATALOGUE 2019


Edition 2018 – catalogue (Slovenian and English)

Edition 2017 – catalogue (in Slovenian)