The International Sound Arts Festival Topographies of Sound – a cycle of sound performances, concerts, listening-rooms, lectures and discussions – presents contemporary, so-called electro-acoustic forms of sound arts. It emphasises the creativity of women artists, generationally, stylistically, culturally and politically diverse, who deal with new forms of sound arts. At the same time, the festival also reveals women pioneers of sound arts and electro-acoustic music of the 20th century. As Luka Zagoričnik wrote in the Odzven magazine, artistic director Nina Dragičević “introduces a new way of thinking about the landscape of art, music and sound with the choice of women artists and the issues that the festival opens”.

Background
The International Sound Arts Festival Topographies of Sound was created in 2017 to improve the representation of women artists in contemporary sound arts. The emphasis of the festival on gender difference reveals the specific historical, political, cultural and biographical contexts of sound artworks, points to the social positions of women authors and the conditions of their work, and at the same time, unveils the gender-unbalanced social realities. The festival seeks to avoid the classical concert form, mainly through the contextualisation of artworks through topical discussions, including the philosophy and sociology of sound and music. Artistic director Nina Dragičević launched the festival as a logical continuation of her monograph The Famous Unknown: Sound Artists in the Construction of Society, published in 2016. The festival is produced by ŠKUC Association.

Programme concept
One of main emphases of the festival is on the contextualisation of sound artworks. Sonority is a central and all-encompassing form of sociality, also subjectivation, therefore it is crucial how we listen, interpret and speak about sound arts.

The first edition of the Topographies of Sound Festival in 2017 was named Contexts and presented sound artists Bogdana Herman, Ida Hiršenfelder, Saša Spačal (Agapea), Katarina Radaljac and Sorrel Hays.

via Culture.si

Edition 2017 (in Slovenian)