Jez riley French (sound / photography)
Pheobe riley Law (texts)
13 Mar–7 Maj 2021
Sound installation exhibition
Steklenik Gallery, Ljubljana, Slovenia

In-situ FM walks (at Park Tivoli) on the 88.8 MHz frequency:
Saturday, 13 Mar 2021 at 12.00 in front of Castle Tivoli – listening of the sound composition
Tuesday, 16 Mar 2021 at 18.00 in front of Castle Tivoli – listening of the prerecorded sound event

radio exhibition opening on the programme Ars:
Wednesday, 24 mar 2021 at 20.00

You can read more about the conceptualization of work in the pdf notebook ísland | fjórar – the crystal detector
http://www.steklenik.si/en/jez-riley-french-island-fjorar-2/

The series of works ìsland | fjorar is based around the material gathered on several trips to Iceland and on an ongoing fascination with the interplay of different elements of sound, image and text. Sounds that are usually filtered out by our hearing response or are above or below our hearing range are a key element in the installation. Using extended techniques and self-built devices, author listen on the sound of minerals dissolving, the infrasound of the earth spinning on its axis and the ultrasonics of geothermal activity. These traces are combined with documentation of momentary interactions of specific locations in Iceland, together with photographic images and text pieces by his daughter Pheobe.

New version of the composition created for Gallery Steklenik – ísland | fjórar – the crystal detector – will include multi-channel sound and printed elements. Many of the individual sounds are intense yet these are not extreme events. Rather they are nearer to the truth behind our false idea of Iceland as a tranquil and sonically calm place. In fact, no where is tranquil, at least not for any other species. It is only we humans that feel a need to define and contain ‘nature’, even to the point of separating our species from that word. In this sense, this piece is about the elemental need to question, and the sheer joy of all that can bring (even the difficult answers).

Jez riley French & Pheobe riley Law: island | fjorar – the crystal detector

The Tree Spirits| Touch sound work reflects on the life of a tree, speculating on its acoustic component, and explores the interaction of an individual part of a plant with the colony of organisms and the forest biotic community. The sound recordings give voice to the existence of a tree in its annual and life cycles which begin and end in silence. The silence anticipating the springtime resurgence of sap flow, and the silence of destruction caused by climate change, drought, and fires.

The artist zeros in on the touch; touch as an expression of genuine concern and awareness of the coexistence with plants, and a destructive touch of environmental devastation. The sounds of touching a tree trunk, branches rubbing against each other, the crushing of loose bark, the foliage, the rustling of trees in the wind, water drenching the roots – an acoustic journey through the physical existence of a tree. All the way to branch breaking, tree falling and a fire, a warning of the upcoming drought which is always a hard blow to a forest habitat........

For more information about composition browse to:
http://www.steklenik.si/en/brane-zorman-the-tree-spirits-touch/

Credits:
Artist: Brane Zorman
Consulting: Valentina Cvetkovič, Boris Semenič
Curated by: Irena Pivka
Vibration sensor design: Gregor Krpič
Fieldwork (Trzin): Morales d.o.o., Rok Rucigaj, Boštjan Divjak
Translation and editing: Melita Silič
Photo: Brane Zorman, Irena Pivka
Organisation: Irena Pivka, Katarina Radaljac
Public relations: Katarina Radaljac
Production: Cona, Institute for Contemporary Arts Processing, 2021
Locations: Steklenik, Gallery for Sound, Bioacoustics and Art, MGLC, Švicarija, Ars programme
Partners: International Centre of Graphic Arts (Švicarija)
Thanks: Zavod Kersnikova 4

Brane Zorman: The Tree Spirits | Touch (Palma Ars Acustica 2022 winning composition)

Anne Cecilie Lie: (dis)solutions II is a commissioned work by CONA institute and was created during a two months online residency for Steklenik gallery.
Published here is a binaural stereo version. Use headphones while listening is preferred.

Exhibition of 8-channel sound composition 
18 Sep-5 Nov 2021
project and exhibition is part of the project Acoustic Commons and festival Sound Walk City · prelude

The 8-channel sound composition (dis)solutions II reflects on proximity between bodies through water. Our bodies are a myriad of things: constituting of equal amounts of human cells as various bacteria, and 70% is water, which is in constant exchange. Our cells change according to our surroundings. Looking at the quantum world, we might even exist at several places at once. We are not stable. As quoted from Astrida Neimanis at the beginning of the sound piece: “Everyone both lives in and is a drain.” She writes: “We are all bodies of water …As bodies of water, we leak and seethe, our borders always vulnerable to rupture and renegotiation. It connects them to other worlds beyond our human selves. Indeed, bodies of water undo the idea that bodies are only human.”

For a complete description click the link below:
http://www.steklenik.si/en/anne-cecilie-lie-dissolutions-ii-2/

Credits:
Artist: Anne Cecilie Lie
Organization: Irena Pivka, Katarina Radaljac
Curator: Brane Zorman
Public relations: Katarina Radaljac
Translation and editing: Melita Silič
Cover photo: Anne Cecilie Lie
Production: Cona, Institute for Contemporary Arts Processing, 2021
Venues: Steklenik, Gallery for Sound, Bioacoustics and Art, Tivoli park
Partner: Studio Notam

Exhibition is part of the project Acoustic Commons, co-funded by the Creative Europe Programme of the EU.

Anne Cecilie Lie: (dis)solutions II

From the sounds of the arctic circle to the desert and many other acoustic ecologies found between these points, with this new work sound art Colin Black explores a type of sonic trigonometry which challenges our concepts relating to the angles and distances between the chosen sites. The aim is to create a new geospatial perspective that investigates a re-contextualisation of place and places as not being fixed but rather in constant flux within themselves and with each other that regularly needs to be retriangulated.

The goal of this sonic trigonometry is to transmute the notion of the insulated local ecology, so as to reconceptualise the local as a dynamic integral element that is intimately and ultimately connected to other global environments. This sonic trigonometry will also be combined with deft musical compositions and other sound effects that subtly and gradually throughout reveals human activity encroaching these spaces. This treatment and collision of sound elements aims to brings focus to and amplifiers the Anthropocene framed from within the changing perspectives of the various acoustic ecologies.

Colin Black: Triangulation composition was comissioned by CONA institute for Steklenik gallery exhibition hosted by MGLC Švicarija, Ljubljana, June 2022.

Credits:
Artist and Composer: Colin Black
Text, collage: Colin Black
Expert advisor: Rok Hribar, Jožef Stefan Institute
Greening the installation: Zavetišče za zavržene rastline / Abandoned Plants Sanctuary
Technical assistance with installation: Irena Pivka
Technical assistance with drawing on disc: Zoran Bajc
Lecture and editing: Melita Silič
Curator: Irena Pivka, Brane Zorman
Photos: Sunčan Stone
Organization: Irena Pivka, Dušan Dovč
Public relation: Katarina Radaljac, Karla Železnik
Production: Cona for Steklenik Gallery, 2022
So-organization: MGLC Švicarija
Venue: MGLC Švicarija hosts Gallery Steklenik and the work Triangulation

Colin Black - Triangulation

Artist Robertina ŠEBJANIČ presents her sound work Line | +1233m –1233m, which now rises above sea level in a vertical line from the depths of the sea that represent her multi-year opus. The sound work and the installation combine a slice of the sea’s influence in a vertical band deep below and above the horizon.

As written by the artist: According to the Renaissance mathematician Evangelista Torricelli, the discoverer of atmospheric pressure, “we live submerged at the bottom of an ocean of air, which is known by irrefutable experiments to have weight.” The atmosphere is an ocean and the ocean is the atmosphere, with its turbulence, presence and microclimate.

Artist: Robertina ŠEBJANIČ
A.I. video and audio programming: Tanja MINARIK
Construction of the object: David DROLC
Expert advice: Alenka MALEJ, PhD, Matjaž LIČER, PhD, Gjino ŠUTIĆ (UR Institute); Marijana HURE, PhD, and Valter KOZUL, PhD, (Institute for Marine and Coastal Research, University of Dubrovnik)
Text: Lena ORTEGA
Translation and proofreading: Melita SILIC
Producer: Irena PIVKA
Technical assistance with installation:
Photos: Robertina ŠEBJANIČ
Public relations: Matej TOMAŽIN
Production: Cona for the Steklenik Gallery, 2022

Line |  +1233m  –1233m

Robertina ŠEBJANIČ: Line |  +1233m  –1233m

Artist Colin BLACK presents his work Triangulation, which is based on the research of the angles, distances, connection and positioning of one’s own body. 

The goal is to expose the idea that our ecologies are not as stable as once thought, as they change and are in constant flux within themselves and with each other. Through the artistic process of sound trigonometry, listeners are offered opportunities for self-reflection and re-evaluation of how we map space and environments and how memory abstracts the charting of a place.

The work consists of the artist’s personal sound recordings collected on travels from the Arctic Circle to the Australian desert and many other acoustic ecologies in between. The collected album of sound places aims to reveal the ever-increasing presence of imprints of human activity. Additionally, the artist’s process subtly encourages the audience to triangulate their own personal position in the world with issues of global sustainability and our shared survival on planet Earth.

Artist and composerj: Colin Black
Text, collage: Colin Black
Expert advisor: Rok Hribar, Jožef Štefan Institute
Translation and proofreading: Melita Silič
Organisation: Irena Pivka
Public relations: Matej TOMAŽIN
Production: Cona for the Steklenik Gallery, 2022
Co-organisation: Kino Šiška
Venue: Kino Šiška

Triangulation

Colin BLACK: Triangulation

Marko BATISTA performs his sound work Vitreous Sky, which is a continuation of the author’s artistic reflection and exploration of modern, post-factual society in relation to technological progress or simply relations in the society–nature–technology triangle in the context of ecocritical discourse, environmental policies and current humanistic concepts. The sound work will be established through the electrolysis of toxic compounds, which produce a sound image within an extended electronic system in the process of self-oscillation and extraction.

This is an idiosyncratic continuation of the positions established by the author with the project Fluid Particles of Volcanic Ash (Gallery 001, 2017), an apocalyptic sound-spatial installation in which, despite the absence of the Anthropocene, its indirect presence is clearly presented to the viewer: a devastated landscape in which remain only traces of a handful of surviving (post)humanoids.

Artist: Marko BATISTA
Text: Jasmina ZALOŽNIK
Organisation: Irena PIVKA
Public relations: Matej TOMAŽIN
Cover photo: Jaka BABNIK, Marko BATISTA
Production: Cona for the Steklenik Gallery, 2022
Co-organisation: Kino Šiška
Venue: Kino Šiška

Vitreous Sky

Marko BATISTA: Vitreous Sky

In the work Chronolith, consisting of a complex multi-channel sound composition and stone slab installation, the bioacoustic group Jata C investigates the acoustics and temporal dimensions of stone structures, as well as their sustainability and interdependence with humans. Jata C (beepblip, OR poiesis, Boštjan PEROVŠEK, Bojana ŠALJIĆ PODEŠVA, Brane ZORMAN) poses the questions: How to listen to stone and think in geological time? Is it possible to understand the wider social context of man’s unsustainable exploitation of the environment through the sonority of stones? And if so, can this help with creating a juster and more reciprocal relationship with nature?

The artists obtained the sound material for the composition via field recordings of various locations and quarries. The installation serves as stone instrument, a sensorial extension to the human body, with which the composition and the vibrations of the stones are fed back into the materiality of the slabs with the help of transducers, forming a feedback loop. During the production of the work, the artists collaborated with scientists from the fields of micropaleontology, geology and physics, as well as the supporter of the project, the company Marmor Hotavlje. The work Chronolith is produced by the CONA institute for the program of the Steklenik gallery.

Chronolith

Jata C: Chronolith

Eva Vozárová: Screaming Air
performative lecture 
Wednesday, 24 Sept, 2025 at 9.30
Cukrarna, conference room


Eva Vozárová: Screaming Air

Juan José López Díez, Rok Šturm: Beyond the Audible 
performative lecture
Wednesday, 24 Sept, 2025 at 9.30
Cukrarna, conference room


Juan José López Díez, Rok Šturm: Beyond the Audible

Bálint János Kiss Onomatopoeia and the Post-Industrial Soundscape
paper
Wednesday, 24 Sept, 2025 at 12.00
Cukrarna, conference room


Bálint János Kiss: Onomatopoeia and the Post-Industrial Soundscape

Carina Pesch (La Pesch): Vltava 
paper
Wednesday, 24 Sept,2025 14.00
Cukrarna, conference room


Carina Pesch (La Pesch): Vltava

Kevin Logan, Mike Thompson: A Little Bird Told Me 
performative lecture
Wednesday, 24 Sept, 2025 at 14.00
Cukrarna, conference room


Kevin Logan, Mike Thompson: A Little Bird Told Me

Madina Tlostanova: (De)coloniality of Sensing
Keynote Speech
Wednesday, 24 Sept, 2025 at 20.00
Cukrarna, conference room


Madina Tlostanova: (De)coloniality of Sensing

George Edmondson: Sonic Solastalgia 
Performative lecture
Thursday, 25 Sept, 2025 at 16.30
Sečovlje Salina Nature Park, Lera


George Edmondson: Sonic Solastalgia

Maria Balabas: Home Is Where Listening Happens 
Performative lecture
Friday, 26 Sept, 2025 at 11.30
City Museum of Ljubljana, projection hall


Maria Balabas: Home Is Where Listening Happens

Darko Fritz: H2O Interface 
paper
Friday, 26 Sept, 2025 11.30
City Museum of Ljubljana, Projection hall


Darko Fritz: H2O Interface

Saška Rakef, Pia Brezavšček: Dramaturgy of Time as an Agent of Creating Spaces of Relation, Wonder, and Tuning 
peripatetic lecture
Friday, 26 Sept, 2025 at 14.00
Gosposka 15, Ljubljana

Composers: Ingrid Mačus and Dana Papachristou.
The lecture was created as part of the project Glasen neslišen svet, produced by NAGIB and co-produced by LGM.

Saška Rakef, Pia Brezavšček:  Dramaturgy of Time as an Agent of Creating Spaces of Relation, ...

Green Atrium of the City is a sonic exploration of an abandoned space in the middle of the city, where a green landscape is growing. A soundwalk combining art and architecture draws inspiration from a historic building designed by Jože Plečnik, begun in 1925, weaving memories of the past into the present. The Central Stadium in Bežigrad has been closed to the public since 2008. Once a public space, it is now falling into disrepair, its significance increasingly waning. Through sonority and historicization, we want to bring the inhabitants and visitors of Ljubljana closer to the degraded space of the stadium, which has been distorted from different angles by the decay of time. In its silent decay, the stadium is suspended in a timeless void, inviting ideas for its revival. Echoes of falling debris, sticks, branches, and glass scratch the texture of the air, reminding us of a once vibrant place.

Conceptual design, field recording and composition: Nika van Berkel, Karmen Ponikvar
Theoretical text: Miloš Kosec
Accompanying words in the soundwalk: Zala Velkavrh, Karmen Stariha
Voice interpretation: Nataša Živkovič
Special thanks: Irena Pivka, Brane Zorman
Production: Cona, 2024
Coproduction of premiere event: Museum of Architecture and Design

The production was co-financed by the Ministry of Culture of the Republic of Slovenia and the City Municipality of Ljubljana, Department of Culture.

https://www.steklenik.si/en/nika-van-berkel-karmen-ponikvar-green-atrium-of-the-city/

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Zeleni atrij mesta je zvočna raziskava zapuščenega prostora sredi mesta, kjer se razrašča zelena krajina. Združuje umetnost in arhitekturo in črpa navdih iz zgodovinske zgradbe, ki so jo po zasnovi Jožeta Plečnika začeli graditi leta 1925. Poigrava se s spomini na preteklost in jih vpleta v sedanji čas. Centralni stadion za Bežigradom je za javnost zaprt že od leta 2008. Namesto da bi prostor namenili javnosti, stadion propada, njegov pomen pa se vse bolj izgublja. Preko zvočnosti in zgodovinjenja želiva tako prebivalcem kot obiskovalcem Ljubljane približati degradirani prostor stadiona, ki ga je razpadajoči čas izkrivil pod različnimi koti. Stadion v svojem tihem propadanju visi v brezčasni praznini in vzbuja ideje o njegovem oživljanju. Odmevi drobcev ruševin, palic, vej in stekla praskajo po teksturi zraka in opominjajo na nekoč aktiven prostor.

Idejna zasnova, terensko snemanje in kompozicija: Nika van Berkel, Karmen Ponikvar
Teoretično besedilo: Miloš Kosec
Spremljajoča beseda v zvočnem sprehodu: Zala Velkavrh, Karmen Stariha
Glasovna interpretacija: Nataša Živkovič
Posebne zahvale: Irena Pivka, Brane Zorman
Produkcja: Cona, 2024
Koprodukcija premiere: Muzej za arhitekturo in oblikovanje

Produkcijo sta sofinanricala Ministrstvo za kulturo Republike Slovenije in Mestna občina Ljubljana, Oddelek za kulturo.

https://www.steklenik.si/nika-van-berkel-karmen-ponikvar-zeleni-atrij-mesta/

Nika van Berkel, Karmen Ponikvar: Zeleni atrij mesta / Green Atrium of the City

Agapea (Saša Spačal): Cycles
Cycles seem natural and eternal, however their constant metamorphosis is never the same. Cycles follow their own trajectory of evolutions and emergences as strings of moments. Moments are sliced, lived and experienced, almost materialized in experience. Experience that can perceive a cycle, however only thought can follow a trajectory from the past through the present moment into the future. http://www.agapea.si

A premiere work created and produced for radioCona:0.2425 FM Exhibition on broadcasted on FM 88.8MHz and stream.
Sunday, 28.2. to Thursday, 3. 3. 2016

Selected by Irena Pivka, Jasmina Založnik, Brane Zorman
Work coached by Anna Friz and Brane Zorman
radioCona is a project produced by CONA, 2016

http://www.radiocona.si
http://www.cona.si


Agapea - Cycles

As certain spaces and times have become oversaturated due to urbanisation and the population explosion, certain (animal) species have began withdrawing to unpopulated landscapes and unoccupied times – into the night. We understand these withdrawals as a search for solutions that could lead to a ‘better quality of life’, an existence that would be better than the one offered to us by the oversaturated space-time.

Premiere sound art work curated and commissioned by CONA Institute for radioCona:wolFMoon FM exhibition, January 2017.

Mentored and coached by: Elena Biserna and Brane Zorman

More about radioCona:wolFMoon: https://goo.gl/UvJpy7
Produced by CONA, 2017
http://www.cona.si/

Brane Zorman: It’s in my Nature

The AM waves of amplitude modulation broadcasting are highly susceptible to static disruptions. The recordings for the track consist of oscillations, which are especially present at night, when changes in the ionosphere cause specific sine-wave noises. They are taken at 4:05 a.m. when my mind is sharp and saturated.

Premiere sound art work curated and commissioned by CONA Institute for radioCona:wolFMoon FM exhibition, January 2017.

Mentored and coached by: Elena Biserna and Brane Zorman

More about radioCona:wolFMoon: https://goo.gl/UvJpy7
Produced by CONA, 2017
http://www.cona.si/

beepblip: AM_on_FM / sine_wave

DMT1510 is a sound reflection made during a night walk across the removed areas of the Savinja River, which has culminated in the present audio work on the following day at exactly 3:10 pm. DMT stands for the substance called dimethyltryptamine, which is being released while sleeping or being awake during the night as well as in deep meditation. Each of these states is captured in this audio work, while the work itself can also induce them. Apart from the field recording of the Savinja River, which is in itself completely direct and rough, the work intertwines subtler energies found in the space between midnight and 2 am, combined with subsequent feedback on the nocturnal experience by the river.

Premiere sound art work curated and commissioned by CONA Institute for radioCona:wolFMoon FM exhibition, January 2017.

Mentored and coached by: Elena Biserna and Brane Zorman

More about radioCona:wolFMoon: https://goo.gl/UvJpy7
Produced by CONA, 2017
http://www.cona.si/

Borut Peternelj (Amper-o-mat): DMT1510

Live performance in the frame of sound event:

Pre:gon zime [Winter Exor:cism]
Tuesday, 13th February at 8.00–10.00PM
at Kino Šiška, Komuna hall, Ljubljana
Live FM broadcast and stream on radioCona 88.8 MHz and Radio Študent 89.3 MHz

Order of performances:
Bojana Šaljič Podešva Sense of Ice
Brane Zorman LU-na MO-on reflect
OR poiesis PARADISCO
beepblip AMonFM & SDR
Amper-o-mat Kriptoplazma
Ice Breakers, A Group improvisation under the leading Boštjan Perovšek
Photo credit: Urška Boljkovac

radioCona:ICEbreakerFM - Produced by CONA, 2018
www.radiocona.si
www.cona.si

Brane Zorman: LU - Na MO - ON Reflekt

OR Poiesis: PARADISCO

Amper - O-mat:  Kriptoplazma

Sound Disposition / Crystal Gardens is a meditation on coincidence and precision, two unresolvable questions that are posed to us when observing crystal shapes in time. It speaks of the tension between the mathematical constant and unexpected inventiveness that might lead to singularity or might also remain eternally quasi-random.

The growth of crystals is expressed as a tendency of individual atoms in chemical substances to select certain points in space at given physical conditions and form crystal lattices in layers that together compose the crystal shape. In spite of this, it is not possible to predict the final shape of the crystal as every substance also contains its own will and is exposed to a spectrum of coincidence. Science researches the stability of crystals for over a century. It was one of the decisive factors at the beginning of the information revolution when the ability of crystals to transform radio waves into sound waves was discovered, or the property to emit a constant frequency which is in the case of quartz used for precision time measurement.

In the sound composition of the installation, the precise structure is entwined with randomness. It follows the changeability of crystals that form a voronoi mosaic. The sound is broken, compressed, it crackles and builds up into unpredictable growths. At the same time, it projects the resonance spectrum of the crystals that form a constant soundscape beyond time variables.

With quantum computers, crystals are once again the harbingers of technological revolution, they are used by a scientist with the aim to solve the most elaborate enigma of qubits: to decipher the instability in time. One of the most puzzling properties of qubits is the possibility to influence the information with the human mind, which is a fascinating fact with extremely unusable consequences. In the physical conditions near absolute zero, crystals with inner oscillation cause quantum entanglement of electrons without using any inner energy and behave synchronously not only when selecting certain points in space but also in selecting different points in time and could be the constant that will be able to support the stability of quantum information in the future.

“An artist attunes to what things are, which means sort of listening to the future, which is just how things are – I think time is a sort of liquid that pours out of hatpins, underground trains, salt crystals. So, a work of art is also listening to itself, because what it is never quite coincides with how it appears, too.” — Timothy Morton

Credits:
Artists: Robertina Šebjanič, Aleš Hieng – Zergon, Ida Hiršenfelder
Organisation: Jasmina Založnik
Curators: Irena Pivka, Brane Zorman
Translation and Proofreading: Urban Belina
Production: Cona, Institute for Contemporary Arts Processing, 2019
Venue: Steklenik, Gallery for Sound, Bioacoustics and Art
http://www.steklenik.si/en
http://www.cona.si/

Robertina Šebjanič, Aleš Hieng – Zergon, Ida Hiršenfelder: Sound Disposition / Crystal Gardens

Recorded live on Sunday, 5. May, 2019, at 5.11am, 
radioCona live stream from lake Cerknica, Notranjska regional park by Irena Pivka and Brane Zorman.

An audio documentation of radioCona: soundcamp 2019 stream participation in 24 hour-long online live broadcast at platform REVEIL.
From Saturday, 4 May at 5:00 a.m., to Sunday, 5 May at 6:00 a.m. (UTC+1) 2019. 
radioCona contributed to the live broadcast among the last, on Sunday, 5 May starting at 5:00 a.m.

Cona is partnering up for the sixth consecutive year with international project soundcamp/Reveil, dedicated to International Dawn Chorus Day with a network of radio stations, audio streamers and artists from around the globe.

Soundcamp is an arts collective based in London that coordinate coordinate Soundcamp / Reveil (2014 – ) and contribute to the Acoustic Commons – a collection of sites, streams, activities and resources for paying attention to ecologies of the everyday.

Project radioCona: soundCamp is produced by CONA, 2019
International partner network: SoundCamp, Locus Sonus, Wave Farm/WGXC-FM, Resonance, NAISA, Radius, CONA, CRiSAP.

links:
http://www.steklenik.si/en/radiocona-soundcamp-2019-2/
http://soundtent.org/
http://www.cona.si

radioCona Soundcamp 2019 Lake Cerknica

OR poiesis: KISETSU Quarry 

14 Sep–15 Nov 2019
Exhibition of 8-channel sound installation
currently presented in Steklenik gallery, Ljubljana, Slovenia

http://www.steklenik.si/en/home/

OR poiesis is an artist and researcher in the field of sound, sound perception and poetic performance. She expands the word into the sonorous spheres of time-space poetry. Besides all of the digital dimensions, her central interest is the physical presence of the body.

A person might live with the belief that advanced technology induces life without meaning and out of sync with the cosmos, but our bodies demonstrate that this is certainly not the case. The sensual, material and discernible link with the world shifts us to the deep border of cognition. For several years, the artist OR poiesis has been engaged in an acoustic and poetic study of an abandoned quarry. At the core of the sound composition, we find stone, silence, the poetics of space and the acoustics of a certain place in an expanded, cyclical time, spanning several years. The echo of the stone garden is unburdened with the pace of change that could be forced by the need for monetisation. Precisely stone connects the human with the ancient, authentic, cosmic elements of the world. The intent is to amplify the vibrational qualities of the stone, transfer them into the human hearing range and integrate them as an interactive sound-frequency field that resonates with a listener’s body and consciousness. The artist is interested in the behaviour of different material and biomorphic fields as well as their interference.

In the broad oeuvre of her own artistic practice, OR poiesis explores the modalities of silences and the potentialities that are offered by silent, frequently exploited environments to listen to subtle acoustic qualities of substances and the voice. In the past years, she has significantly contributed to the development of interactive, sound and performative art practices. Her sound works document solitudes.

Photo: Petra Kapš

Credits:
Artist: OR poiesis
Technical consulting: Andrej Hrvatin
Introduction: Petra Kapš
Organisation: Jasmina Založnik
Curation: Irena Pivka, Brane Zorman
Translation and Proofreading: Urban Belina
Production: Cona, 2019
Supported by: Ministry of Culture RS, Municipality of Ljubljana – Cultural Department, Municipality of Maribor

sept. 2019

OR poiesis: KISETSU Quarry (excerpt)

radioCona: Storyscapes SE 
FM exhibition
18. - 23. Jan. 2020
daily from on exactly the time of the night
88.8 MHz and www.radiocona.si
curator Manja Ristić

Listening to the wounded nature, listening to oneself, archiving social realities & creating new ones – with the senses awaken by sound.  

radioCona:Storyscape SE  as a radio open for new sound related practices (with the focus on bioacoustics & artistic interventions in field recordings) will try to answer some of the questions about mnemopoetics of the Balkans and South Eastern Europe through the selection of artists from Slovenia, Croatia, Serbia, Bosnia, Macedonia, Greece, Bulgaria and Romania. radioCona program is again exploring unknown terrain, which has been intensely research by the curator of FM exhibition Manja Ristić.

More about the radioCona exhibition: http://www.radiocona.si/radiocona-krajine-pripovedijv/

radioCona podcast No. 1 – World nesting in her footsteps:

01) beeplip, Noise for Strings / 00:00:53
02) Marija Balubdžić Umbra, Posle / 00:22:24
03) Anamaria Pravicencu / Regina Ionescu, Mara’s Neck / 00:26:19
04) Manja Ristić, Dance of the Psychopomp / 00:36:09
05) Marija Šumarac, Walking / 00:48:52
06) Bojana Šaljić Podešva, vIDEN / 00:53:50
07) Teodora Stepančić, guitars streets resonances / 01:33:22
08) Jasna Jovićević, Gayatri mantra / 01:56:20
09) Robertina Šebjanič / beepblip / Manja Ristić, Sounds of the EarthSea / 02:00:47

http://www.radiocona.si/

radioCona podcast No. 1 – World nesting in her footsteps

Interview by Katarina Radaljac,
Kino Šiška, Ljubljana, Slovenia

Right after the concert at Kino Šiška on the 25th of February, we talked with two great musicians and performers Petra Strahovnik and Ji Youn Kang. That night they performed at the improvisational cycle ZVO.ČI.TI so.und.ing DUO by Zavod Cona - the series of electroacoustic performative sound events premiering works created in collaboration between a Slovenian and an international artist. Katarina Radaljac talked with the artists about their first meeting and how they first started to learn about each other musical style through the music and social events in the Netherlands and then later, when their collaboration started, about each other personality. They explain how working on the composition Resonance started and why are these kinds of collaborations so important for your development as an artist.

Project announcement: http://www.cona.si/blog/2020/02/17/zvo-ci-ti-so-und-ing-duo-petra-strahovnik-ji-joun-kang/

Production: CONA, Co-production: Kino Šiška
2020

An interview after performance: Petra Strahovnik and Ji Youn Kang

Bojana Kunst: Rastline in umetniške institucije: domneva o skupnem
predavanje
Galerija Steklenik, Ljubljana, 5. september 2019, ob 19:00

Kako je mogoče misliti rastlinsko življenje v navezavi na institucionalno življenje? Zdi se namreč, da ti dve obliki bivanja ne bi mogli biti bolj različni, ena rastlinska, druga družbena, pa vendar imata več skupnega, kot se zdi na prvi pogled. V predavanju bi rada pokazala, kako se mnoga umetniška dela in to kako so narejena, navezujejo na življenje rastlin in s tem odprejo institucionalno imaginacijo za nove načine sobivanja. Prisotnost rastlinskega življenja lahko spremeni celoten institucionalni značaj umetniških del in vpliva na to, da naša prisotnost ob umetniških delih dobi nekaj skupnega tudi s svetom okrog njih. Predstavila bom umetniške eksperimente, raziskave, še posebej pa gledališka dela, ki ne ločujejo med različnimi oblikami življenja in tako spreminjajo tudi načine naše udeleženosti v njih.

povezava: 
http://www.steklenik.si/bojana-kunst-rastline-in-umetniske-institucije-domneva-o-skupnem/2

Bojana Kunst: Rastline in umetniške institucije: domneva o skupnem (predavanje)

Luka Prinčič: Rhizosphere

6 Jun -18 Sept 2020
exhibition of 8-channel sound installation

The rhizosphere is a “part of the phytosphere that surrounds the plant root system. Roots and micro-organisms that surround them live in symbiosis.” How to think about this complex, subterranean modular system, which is crucial for the entry into the idea of the intelligence of plants, via the medium of sound? The process of creation of 8-channel sound composition and live act deals with questions on the rise of distributed thinking in the plant world that is being reveal by certain research for quite some time. Instead of using mapping and field recordings, this work was created with the methods of subjective interpretation and plotting of emotional responses to the information and assumptions on the activity in the immediate surrounding of roots in the form of digital sound synthesis.

More info: http://www.steklenik.si/en/luka-princic-rhizosphere/

Luka Prinčič: Rhizosphere (4 min Stereo Preview)

Manja Ristić: Sonic Ontology of Negligence
7 Nov 2021–8 Jan 2021
FM exhibition, exhibition of 8-channel sound installation

7 Nov 2020 at 12.00 (noon) on FM 88.8 MHz – in-situ FM walk (at Park Tivoli)
10 Nov 2020 at 18.00 p.m. on FM 88.8 MHz – in-situ FM walk (at Park Tivoli)
18 Nov 2020 at 20.00 p.m. on programme Ars – radio exhibition opening

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For more please point your cursor to:
http://www.steklenik.si/en/manja-ristic-sonic-ontology-of-negligence/
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Sonic Ontology of negligence is a continuous research evolving from listening to abandoned places and landscapes reshaped by extensive intervention of human presence and exploitation, and eventually “given over“ to Nature to reclaim the space. In the process of conceptualizing Sonic Ontology of negligence, Manja Ristić resided in places that were heavily exploited and forever changed by the human urge to build, comprising thousand years-old quarries as well as present-day mega-structures, abandoned as a result of corruption and consumerist socio-political turmoil. The nucleus of the compositional structure is devoted to abandoned construction building site of the Stožice mega-structure, while layers of mnemopoetic sonic imprints are derived from an old lime-stone quarries from the island of Korčula in South Dalmatia, such are Glogovac, Lenga, Defora and Vrnik, but also abandoned mineral mines and lime pits from Fruška gora in Vojvodina, North Serbia, and other sites such is the military compound placed in the middle of the Avala forest in the suburbs of Belgrade. The poetical accent is given to the dynamics and textures of waters and aquatic micro spaces, which are building the formative/reproductive environments in the process of re-establishing bio diversities.

Manja Ristić graduated from the Belgrade Academy of Music and later also completed her post-graduate diploma in Solo-Ensemble Recital at the Royal College of Music, London. Besides performing in the field of instrumental electroacoustic music, her sound-related research is focused on an interdisciplinary approach to sound art, field recordings and experimental radio art.

Credits:
Artist: Manja Ristić
Curated by: Irena Pivka, Brane Zorman
Organisation: Irena Pivka, Katarina Radaljac
Translation and editing: Katja Kosi, Melita Silič
Public relations: Katarina Radaljac
Production: Cona, Institute for Contemporary Arts Processing, 2020
Venue: Steklenik gallery for sound bioacoustics and art, FM 88.8MHz, 3rd programme of Radio Slovenia – programme Ars

Exhibition is being part of the Acoustic Commons project support from the European Union’s Creative Europe program.

Manja Ristić: Sonic Ontology of Negligence (stereo version of an 8 channel sound exhibition)

AnimotMUZIK II cross-species musical cycle presents a composition by Tilen Lebar: Emancipated Fauna

With live recorded improvisation by Eduardo Raon/harp and electronics
curator: Katarina Radaljac

11 Jan–5 Mar 2021
exhibition of 8-channel installation and the cycle of concerts/improvisations

Complete list of announcements and events regarding exhibition and project are available here;
http://www.steklenik.si/en/animotmuzik-cross-species-musical-cycle/

CONA zavod / institute

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