“Fushë Kosova” is an audio-visual work based on the Albanian translation of the poem “Kosovo Polje” by the famous Serbian poet M. Beckovic. Emotionally charged this poem sings about identity, about its exclusivity and vulnerability. It sings about a mythical land in one color, looking at it with the one eye, playing a tune in a single string… I am not aware that the poem “Kosovo Polje” was previously published in Albanian, so I’m offering this translation as a contribution to establishing communication; the invitation to convey thoughts and ideas to the other party, however conflicting in intention and incongruous in expression they might be.
Darija is a Bosnian born, Calgary based, internationally recognized artist whose work is predominantly conceptual, whether it is a performance, ready-made, sculpture, textual work, minimalist painting, assemblage, or a large scale installation. The common denominator of her artistic practice is her honest confrontation with the issues that trigger her attention and exposing that confrontation to the audience. Since she experienced being a refugee in the 90’s, then being an immigrant two decades later, her art is questioning issues of identity, equality, social conflict, and freedom of expression. http://radakovic.darija.ca/
Work „Where the police are“ is a sound collage criticizing the politics of European Union and dedicated to all the migrant victims. The sound fragments come from many different sources– field recordings, found sounds, news reports and Frontex commercials, as well as music samples and own compositions. The work wants to recreate the war-like atmosphere on the guarded borders of European Union and point out to institutionalized violence and discrimination which contradicts the foundations of EU itself.
Born in Dubrovnik, based in Berlin. Thinking and writing about arts, culture and politics.
Collaboration with Niels Shoe Meulman and Koen Tossijn. (2019)
Dirt and Class
For the occasion of the solo exhibition Unstallation by Niels Shoe Meulman at Ghost Galerie (ghostgalerie.com) Filmed and edited by Zane Meyer, Chop ’em Down Films (chopemdownfilms.com) Sound installation for video and cloak installation by Natalia Domínguez Rangel Cloak design by Koen Tossijn (tossijn.com) Shoe assistance by Qi Webster Moral support by Carlo McCormick Special thanks to Caroline Pozzo di Borgo, Stéphane Miquel, Simon Veres and Patta.
Natalia Domínguez Rangel (NL/CO) composer/sound artist living and working between Vienna and Amsterdam. Domínguez Rangel’s work connects closely to critical listening, anything related to the characteristics of sound and all physical qualities that articulates space. She is interested in how sound affects and resonates with an audience physiologically and psychologically, and how space and specifically acoustic space make one think of time, ecology, technology and architecture. Sound is power, it can be a source of both pain and pleasure.
Throughout the first lockdown due to COVID-19 I started a series: “Études”
This study was inspired by the thought of listening to digital produce big room acoustics intertwined with natural church acoustics. How do we perceive and listen to these two realities?
The piece consists of field recordings of diverse churches done throughout the day when they are empty to visit. Church St James in Brno (CZ), Stevens Kerk in Nijmegen (NL) and Mariazell Basilica (AT) orchestrated with my voice and movement in different digital acoustic rooms.
These digital mimicries display an alternative way of listening and association. A natural digital cacophony in counterpoint with an acoustic cluster.
Natalia Domínguez Rangel (NL/CO) composer/sound artist living and working between Vienna and Amsterdam. Domínguez Rangel’s work connects closely to critical listening, anything related to the characteristics of sound and all physical qualities that articulates space. She is interested in how sound affects and resonates with an audience physiologically and psychologically, and how space and specifically acoustic space make one think of time, ecology, technology and architecture. Sound is power, it can be a source of both pain and pleasure.
Sound Sculpture (2020) “I Feel You” is a sounds sculpture that echoes on the idea of embodying technology.
“I am the center. I exceed boundaries in every direction. I’m inside of what I make, and it’s inside me. I feel uneasy. Why do my body end at the skin? Why I encapsulate technology with skin? I resonate. I feel you. Do you feel me? My machine is disturbingly lively”
Natalia Domínguez Rangel (NL/CO) composer/sound artist living and working between Vienna and Amsterdam. Domínguez Rangel’s work connects closely to critical listening, anything related to the characteristics of sound and all physical qualities that articulates space. She is interested in how sound affects and resonates with an audience physiologically and psychologically, and how space and specifically acoustic space make one think of time, ecology, technology and architecture. Sound is power, it can be a source of both pain and pleasure.
ROGUE SYNTAX: PRIMER is a longform experimental audio project that explores the dynamics of language within the space of contemporary art. Created by Nathan Gray, Makiko Yamamoto & Danni Zuvela, with linguist Rikke Bundegaard-Nielson, supported by Liquid Architecture (Melbourne), 1646 (The Hague) and Australia Council for the Arts.
Episode 1: Between the Ear and the Mouth offers listeners a high-end undercoat of linguistic basics, upon which successive Rogue Syntax layers will be built. Facts are leavened by multilingual examples, speech experiments, vocal antics, and parsing of one very dumb sentence.
Featuring (among others) Graham Lambkin; Felicia Atkins; Gabi Losconcy; DeForrest Brown; Current 93; MP Hopkins; Luci Lippard; Yan Xing; Lothar von Falkenhausen; Venla Helenius; Ewa Polska; Mauricio Kagel; John Cage; Robert Wilson; Spalding Gray; Chris Marker; Adam Curtis; Hito Steyerl; Fred Moten; Lawrence Abu Hamdan; Rana Hamadeh; Norah Turato; Erik Bünger; Nina Simone, Henri Chopin; MR James; lecture performances; sound poetry, ghost stories; 1960s West German experimental radio; language games; Ferdinand de Saussure; Noam Chomsky; Gilles Deleuze; Karen Emory; Diana Deutsch; Guy Deutscher; Lev Vygotsky; Russel Hurlburt; Ray Jackendoff; Brion Gysin; Stewart Lee and Dan Brown. Project DNA extracted from Robert Ashley and Laurie Anderson.
A project by Nathan Gray, Makiko Yamamoto & Danni Zuvela, with linguist Rikke Bundegaard-Nielson, supported by Liquid Architecture (Melbourne), 1646 (The Hague) and Australia Council for the Arts.
Unsafe interventions in public space. Reality as a field of action beyond control. The City as a process. Hangl’s works take place in real and fictional settings, they mark a consistent confrontation between man and environment. He pushes at the boundaries between physical and psychological spaces. With the public space as his stage he playfully embeds a site and context-responsive set of experiences and interactions for both planned and incidental audiences.
Part 1 out of 6 unfiltered field recordings broadcasted live on radio (23.4.2015)
Listen to the City raises questions of designing acoustic spaces of action. The unfiltered transmission of the urban sound space at Karlsplatz opens up an acoustic space of possibilities. How does the public show itself at the city’s most central square? Six live broadcasts convey a listening image of the city that is free of intention and left to chance, but does not exclude acoustic events.
Oliver Hangl is a performance/media artist, curator, urban activist.
Until recently silence was an unusual sound in the hurried world we lived in. In the spring 2020 Belgrade came under strict quarantine measures, the city commotion fell silent, and the silence became ubiquitous, especially at night. How is silence listened to and interpreted by artists Dejan Atanasković, Manja Ristić, Sanja Latinović and a curator Marko Jenko?
Mirjana Boba Stojadinović (1977, Serbia/Bulgaria), an academically educated visual artist. She exhibited solo and in group exhibitions since 1998 in Serbia and abroad and also organized and curated group exhibitions and projects. At the centre of her enquiries are space and narration, performatively using photography, text, sound, light and objects. She is also into production of the field of contemporary culture. As of 2018 she is collaborating with Radio Belgrade 2, department of culture. http://bobaart.wordpress.com
LONGING FOR BELONGING. How and when to build, find or recognize a home
Audio artwork, ambiental sounds and narration, 2011, 8’28” Language English, produced on the spot in Vienna.
Mirjana Boba Stojadinović (1977, Serbia/Bulgaria), an academically educated visual artist. She exhibited solo and in group exhibitions since 1998 in Serbia and abroad and also organized and curated group exhibitions and projects. At the centre of her enquiries are space and narration, performatively using photography, text, sound, light and objects. She is also into production of the field of contemporary culture. As of 2018 she is collaborating with Radio Belgrade 2, department of culture.
Solo concert from Stockholm at FRIM på Fylkingen, live improvisation December 2018. Recorded by: John Chantler
This piece is focusing on the intersection between improvised and real-time composed forms of experimental music in live (concert) situation, using extended techniques, inside piano, prepared and un-prepared piano.
Marina Džukljev (1983) is a pianist, educator and active performer in the fields of free improvisation, classical, contemporary and applied music. Marina is colaborating with wide range of multimedia artists such as: Noid, dieb13, Tomaž Grom, Joel Grip, Vasco Trilla, John Dikeman, Isabelle Duthoit, Tristan Honsinger, Bertrand Denzler, Šalter Ensemble, Hans Koch, Jonas Kocher, Korhan Erel, Luis Vicente, Christof Kurzmann, Aleksandar Skoric, Vid and Jost Drasler, Mia Dyberg, Rieko Okuda, Isak Hedtjärn, Pedro Melo Almes. She is a member of the quartet, septet, tentet and the large ensemble of the composer and violist Szilard Mezei, with whom she has recorded and published music over the many years of collaboration.
Marina performs solo and with a variety of ensembles at venues, festivals and events such as: Konfrontationen (Nickelsdorf), Hagenfesten (Dala Floda), Ring Ring (Belgrade), Izlog suvremenog zvuka (Zagreb), Sound Disobedience (Ljubljana), Sine Linea (Zagreb), Kanjiza jazz festival (SRB), V:NM (Graz), but also in Berlin, Stockholm, Wels, Vienna, Budapest, Lisbon, Coimbra, Ljubljana, Biel, Basel, Bratislava, Malmö. Her music was broadcasted on National Radios and TV Stations in Serbia, Croatia, Slovenia, Austria and Sweden. She has been released many albums as a sideman and an author for labels: Leo records (UK), FMR records (UK), Klopotec (SI), Interstellar records (AT), WMAS (SRB). Over the years she was working as a promoter, organizer and producer by organizing large number of music workshops, concerts, lectures, festivals for improvised and experimental music. Currently, she is a curator and organizer of Improstor – improvised music concert series and co-curator at Festival in opposition (Novi Sad).
