CATALOG ART STAYS 2020 - NO MORE SILENCE
18th edition of the festival was titled NO MORE SILENCE and was a continuation of previous editions, entitled Future, Fragile, and NaturAL(L). NO MORE SILENCE is was not only the motto of the Festival ART STAYS, but also a warning, as it offers a critical, albeit occasionally dramatically ironic approach to the times we live in. A research that began some time ago from the premise that fragility of the world needs to be addressed with utmost urgency in order to rethink our future, has now made an unexpected turn into a phase consisting mostly of “silence”, redefining itself in the time of COVID-19; it maintains a vision to sound, music, words, emptiness, internal and external conflicts, as well as to man’s continuous desire to give voice to space, time, communication, and relationships.
18th edition of the festival was titled NO MORE SILENCE and was a continuation of previous editions, entitled Future, Fragile, and NaturAL(L).
NO MORE SILENCE is was not only the motto of the Festival ART STAYS, but also a warning, as it offers a critical, albeit occasionally dramatically ironic approach to the times we live in. A research that began some time ago from the premise that fragility of the world needs to be addressed with utmost urgency in order to rethink our future, has now made an unexpected turn into a phase consisting mostly of “silence”, redefining itself in the time of COVID-19; it maintains a vision to sound, music, words, emptiness, internal and external conflicts, as well as to man’s continuous desire to give voice to space, time, communication, and relationships.
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MIHELIČEVA GALERIJA / MIHELIČ GALLERY
RAZSTAVA
EXHIBITION
ZVOČNA GEOMETRIJA PROSTORA / SONIC GEOMETRY OF SPACE
Marko Bastista (SI)
Marko Batista v svojih delih analitično
tematizira DIY-elektroakustične procese na
preseku med elektronskim zvokom, tehnologijo
in sodobno umetnostjo. Razstava je
oblikovana je kot prototip hiperakustične
kapsule. Ambientalna postavitev, ki jo
oblikuje Batista, izhaja iz dolgoletnih zvočnih
eksperimentov, saj njegovo delo temelji na
raziskovanju dinamičnih samogenerativnih
sistemov ter fenomenologije zvočnih
resonanc v prostoru. Pojavnost zvoka črpa iz
časovno determiniranih procesov znotraj
intermedijskih performativnih praks ter skuša
oblikovati nove načine distribucije akustičnih
resonanc v prostoru. Zgodovina elektroakustične
umetnosti nam razkriva kompleksno
pojavnost zvoka in relacije v odnosu
do časa in arhitekture, v kateri je. Zvočno
valovanje lahko dojemamo kot niz fizikalnih
pojavov ali kot nematerialno gestualnost
objektivnosti, ki ga obdaja. Vprašanje, ki se
vedno znova zastavlja, je, ali elektroakustična
umetnost v svojem bistvu lahko ubeži svoji
metapoziciji poslušanja?
Svoj značilni prostorski zvok tokrat oblikuje s
pomočjo estetsko oblikovanih modularnih
vmesnikov in posebej za razstavo narejenih
prototipnih akustičnih resonatorjev. Snov za
postavitev črpa iz izumov prejšnjega tisočletja
in problematizira procese produkcije elektroakustičnega
artefakta in procesualnosti. S
pomočjo v ateljeju narejenih zvočnih objektov
napeljuje gledalca k vprašanjem o zvočni
realnosti in pojavnosti fenomenologije zvoka
znotraj sodobnih umetniških praks.
In his works Marko Batista analytically
thematizes DIY electro-acoustic processes at the
intersection of electronic sound, technology,
and contemporary art. The exhibition is
conceived as a prototype of a hyper-acoustic
capsule. The ambient set-up designed by
Batista stems from long-standing sound
experiments, for his work is based on the
exploration of dynamic self-generating systems
and the phenomenology of sound resonances in
space. He draws the phenomenality of sound
from temporally determined processes within
intermedia performing practices, and he
attempts to design new modes of the
distribution of acoustic resonances in space.
The history of electro-acoustic art reveals the
complex phenomenality of sound and the
relations concerning the time and architecture
in which it is located. Sound undulation can be
perceived as a series of physical phenomena or
as the non-material gestuality of the surrounding
objectivity. The question that continues to
arise is thus: is electro-acoustic art, in its
essence, able to elude its meta-position of
listening?
Spatial sound, which is characteristic of
Marko’s work, is created by means of aesthetically
designed modular interfaces and
prototypical acoustic resonators, which were
designed especially for the exhibition. The
material for the exhibition derives from the
inventions of the previous millennium; the show
problematizes the processes of the production
of electro-acoustic artefacts and processuality.
By means of sound objects created in the studio,
the viewer is led to the questions of sound reality
and phenomenality of the phenomenology of
sound within contemporary art practices.
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