Sea Organ in Zadar recorded on June 25th, from different sides of the dock and from within the organ holes. 

JrF hydrophone.

Archive building for SEA Silba Environment Art Residencies.

Meet Me In Zadar

Lockdown Blackbird

Christoph Grund - piano
Mauricio Valdes San Emeterio - electronics
Tilen Lebar - composition & electronics

Līmen II (for  piano, tape & live electronics)

Fanny Vicens, accordion
Ircam, Espace de projection

La possibilité de transformer le son naturel et d'avoir son résultat dans une écoute immédiate m'a permis de travailler d'un façon nouvelle, une façon plus empirique et que j'ai senti très proche des peintres informalistes. Ainsi, la forme de la pièce est venue directement des matériaux issues de l'électronique à partir de la modification  du son de l'accordéon. À partir de ces matériaux j'ai cherché le chevauchement maximale entre le son de l'instrument et le son numérique, comme ça la structure de la pièce a été en constante interrogation et soumise à une continuelle intervention sans planifications préalables. 
D'ailleurs, l'écriture instrumentale est 
caractérisée pour le non développement de ses éléments qui contraste avec le caractère  plus vivante de l'électronique, ces éléments inertes issues de la transformation de son naturels m'a fait penser aux natures mortes avec la représentation d'objets inertes extraits de la vie quotidienne.


Natura Morta [2014] for accordion and live electronics.    Fanny Vicens, accordion

Composed for and performed by Cappella Amsterdam & Calefax. Ritual music based on a Mesopotamian inscription of 1400 BC. Goddess Nikkal is invoked to guarantee fertility. But first the natural evil spirits must be fenced away!

Raaf Hekkema - Rite For Nikkal

Piano tuned in an irregular system and sound synthesis (IRCAM)
Jean-Pierre Collot, piano

THYMES (1988)

Double for two guitars tuned in 1/12th of a tone.
Estelle Lallement and Filipe Marques, guitars

Recording live see:
https://www.youtube.com/watch?v=Ca5pGlpHKX0

I Double (2015)

Curious Chamber Players
Dries Tack - Bass clarinet

Cabinet de curiosités IV Bas-Reliefs

Toull-Karr

Piece for loudspeakers, 
Work derived from the Agüero + Arenero cultural residence
by Miguel Mesa and Mauricio Valdés in Casa Vecina (Sep-Nov 2015) with the
The recordings of the residence were given in the context of the Historical Center of Mexico City. The base of the pieces are extracts of a ceremony of a recently founded branch of Catholicism, called Santa Muerte.
The documented Rosary Ceremony was made by Miguel Mesa. Where all the invocations and prayers led by the priest, create the plot of the work.
Being this the 4th version of Santa Muerte, the first was commissioned by Radio Cona of Slovenia, to be presented as part of the "Sleep concert" program presented as a Radio show over the RadioCona portal, if February 2, 2016.

Santa - Muerte - (binaural headphone version)

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)

Composer, Saxophonist & Improviser

www.tilenlebar.com

Līmen II (for piano, tape & live electronics)

Tilen Lebar

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