ISPOD BINE, sound art festival #4

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ISPOD BINE, sound art festival
04 — 11 / 11 / 2019
PROGRAM / PROGRAMME

04 — 07 / 11 / 2019 / BETON KINO
Radionica / Workshop ZUMOFONIJA / ZUMOPHONIA
Voditelji / Leaders DAMIR BARTOL INDOŠ, TANJA VRVILO

08 / 11 / 2019 / 20h / ISPOD BINE
ZUMOFONIJA / ZUMOPHONIA, wor­k­shop presentation

08 / 11 / 2019 / 22 h / AMFITEATAR
URUK
MASSIMO PUPILLO (Zu, Triple sun) & THIGHPAULSANDRA (Coil)

09 / 11 / 2019 / 21h / AMFITEATAR
DB Indoš Kuća eks­trem­nog muzič­kog kazališta
F : I : L : M : S : K : A : T : E : K : A
DB INDOŠ, TANJA VRVILO, IVANA PEDLJO, LIDIJA ŠOLA, ex SexA / IVAN BILOSNIĆ BIC, NINO PRIŠUTA, RATKO DANILOVIĆ, Cul-de-Sac / DAMIR PRICA KAFKA, IVAN MARUŠIĆ KLIF

10 / 11 / 2019 / 21h / ISPOD BINE
FEEDBACK ESSAYS
IGOR ČUBRILOVIĆ, IVAN ČKONJEVIĆ, IGOR STANGLICZKY

11 / 11 / 2019 / 21h / AMFITEATAR
COLONELLO FUTURISTA: Sonvoyce On Source
VLADISLAV KNEŽEVIĆ, ALEN SINKAUZ, NENAD SINKAUZ, MIRKO SOLDANO, TANJA VRVILO, DB INDOŠ, HRVOJE PELICARIĆ, MARIO KALOGJERA

// English bellow //

Dragi surad­ni­ci, pri­ja­te­lji, lju­bi­te­lji i mrzitelji,

pred nama je čet­vr­to izda­nje ISPOD BINE, sound art fes­ti­va­la, koji će se odr­ža­ti od 4. do 11. stu­de­nog u raz­nim pros­to­ri­ma Doma mla­dih u Splitu. Program otva­ra­mo radi­oni­com ZUMOFONIJE koju će vodi­ti Damir Bartol Indoš i Tanja Vrvilo. Radionica je nami­je­nje­na mla­dim umjet­ni­ci­ma, prvens­tve­no glaz­be­ni­ci­ma, te na njoj može sudje­lo­va­ti samo 4 oso­be, a odr­ža­va se od pone­djelj­ka, 4.11. do čet­vrt­ka, 7.11. sa jav­nom pre­zen­ta­ci­jom na otva­ra­nju izved­be­nog dije­la čet­vr­tog ISPOD BINE fes­ti­va­la u petak, 8.11. Prijave za sudje­lo­va­nje na radi­oni­ci uz krat­ki umjet­nič­ki živo­to­pis poša­lji­te na e‑mail mavena@​mavena.​hr zaključ­no do pet­ka, 01.11. u 23:59h.

Izvedbeni dio ovo­go­diš­njeg fes­ti­va­la poči­nje u petak, 8.11. pre­zen­ta­ci­jom radi­oni­ce i izved­bom ZUMOFONIJE te se nas­tav­lja naj­i­sče­ki­va­ni­jom izved­bom ovo­go­diš­njeg fes­ti­va­la: duom URUK koji sači­nja­va­ju MASSIMO PUPILLO, basist ben­da Zu, koji smo ima­li pri­li­ke vidje­ti na prvom izda­nju našeg fes­ti­va­la, i THIGHPAULSANDRA iz legen­dar­nog ben­da Coil!

URUK je novi glaz­be­ni pot­hvat Massima Pupilla (Zu, Triple Sun) i Thighpaulsandre (Coil). Njihov kon­cert odvest će vas na mrač­na i smi­ona mjes­ta – baš kao što bis­te i oče­ki­va­li od ovih udru­že­nih sna­ga. No pored toga, URUK pru­ža iza­zov­no i imer­ziv­no slu­šač­ko iskus­tvo iznim­ne dubi­ne. Možete oče­ki­va­ti ambi­ent mra­čan kao katran i dubo­ki dro­ne koji kao da vas hva­ta za grlo. Bogatstvo tek­s­tu­ra i atmo­sfe­ra u koju je ovo umjet­nič­ko dje­lo uro­nje­no tak­vog je inten­zi­te­ta da ćete ga zasi­gur­no nakon kon­cer­ta pres­lu­ša­va­ti mno­go puta ne žele­ći napus­ti­ti svi­jet kojeg je doča­rao ovaj dvo­jac izvan­red­nih umjet­ni­ka i koji ima­te jedins­tve­nu pri­li­ku čuti u živo uz video pro­jek­ci­ju u mra­ku Amfiteatra Doma mladih.

U subo­tu, 9.11. oče­ku­je nas izved­ba novog pro­jek­ta Kuće eks­trem­nog muzič­kog kaza­li­šta DB Indoša F : I : L : M : S : K : A : T : E : K : A, glaz­be­no-scen­ski spek­takl kak­vi­ma nas Indoš uvi­jek izno­va odu­šev­lja­va i u kojem ovaj put sudje­lu­ju: DB Indoš, Tanja Vrvilo, Ivana Pedljo, Lidija Šola, uz gla­bu ex SexA / Ivan Bilosnić Bic, Nino Prišuta, Ratko Danilović, i Cul-de-sac / Damir Prica Kafka te video map­ping Ivana Marušića Klifa. Pojam FILMSKA TE(KA) Ivana Martinca odgo­va­ra zbro­ju od 11(9) slo­va koja zada­ju gla­sov­no-opruž­no izvo­đe­nje svih fil­mo­va nave­de­nih u ori­gi­nal­nom radu koji poči­nju prvim slo­vom ovog Filmskotekarijuma. Ova tiha mobil­na mega(reflekto)fonska kuli­sa povre­me­no je nad­gla­sa­va­na živim gla­so­vi­ma i nji­ma pri­pa­da­ju­ćim opru­ga­ma, post-noise kaotič­nom bukom gita­re, basa, bub­nja i saxa. Veselimo se ponov­nom ura­nja­nju u spe­ci­fič­ni umjet­nič­ki ima­gi­na­ri­um dok­to­ra Indoša i nje­go­vih vjer­nih suradnika!

U nedje­lju, 10.11. uži­vat ćemo u nas­tu­pu tri vrs­na eks­pe­ri­men­tal­na glaz­be­ni­ka iz Beograda, Igor Čubrilović, Ivan Čkonjević i Igor Stangliczky, koji su se ovom pri­li­kom oku­pi­li da bi nam pre­zen­ti­ra­li nji­hov novi pro­jekt Feedback Essays. Feedback ima svo­je mjes­to u povi­jes­ti glaz­be kao pri­mjer “buke” ili kao near­ti­ku­li­ra­ni zvuč­ni izvor, kao “teh­nič­ka gre­ška”, no tako­đer je vje­što upo­treb­lja­van kao jed­na­ko­vri­je­dan i legi­ti­man mate­ri­jal za skla­da­nje. Od Stockhausena do Eliane Radigue, od Jimija Hendrixa do Toshimarua Nakamure, feed­back zauzi­ma svo­je mjes­to kao jedins­tven izvor zvu­ka. Svoje viđe­nje feedback‑a pred­sta­vit će nam Igor Čubrilović na rezo­na­to­ru, Ivan Čkonjević na semi-akus­tič­noj elek­trič­noj gita­ri i Igor Stangliczky sa No-Input Mixerom.

Četvrto sound art puto­va­nje u Domu mla­dih zatva­ra­mo vrlo eks­pli­cit­nom hibrid­nom izved­bom poz­na­tih hrvat­skih i među­na­rod­nih glaz­be­ni­ka i medij­skih umjet­ni­ka pod nazi­vom COLONELLO FUTURISTA: Sonvoyce On Source. Umjetnički kolek­tiv Sonvoyce on Source dje­lu­je od 2017. godi­ne i kre­ira suvre­me­ne audi­ovi­zi­je na sje­ci­štu zna­nos­ti, umjet­nos­ti, teh­no­lo­gi­je i glaz­be. Koncept i reži­ju izved­be pot­pi­su­je Vladislav Knežević, zvuk Alen Sinkauz i Nenad Sinkauz, a ton Hrvoje Pelicarić. Performeri u izved­bi su Tanja Vrvilo i Damir Bartol Indoš i glu­mac Mirko Soldano. Za dodat­nu ani­ma­ci­ju i video pro­jek­ci­ju zadu­žen je Mario Kalogjera.

Formacija glaz­be­ni­ka i medij­skih umjet­ni­ka pod nazi­vom Sonvoyce On Source poče­la je u ožuj­ku 2017. godi­ne s radom na kon­cep­ti­ma i umjet­nič­kim rado­vi­ma koji kroz raz­li­či­te inter­dis­ci­pli­nar­ne aktiv­nos­ti, surad­nje i kre­ativ­ne pro­ce­se stva­ra­ju plat­for­mu za pro­miš­lja­nje slo­že­nih odno­sa izme­đu teh­no­lo­gi­je, zna­nos­ti i umjet­nos­ti. Naziv pred­stav­lja kodi­ra­nu poru­ku Convoys On Course, kori­šte­nu za vri­je­me Drugog svjet­skog rata pri­li­kom isplov­lja­va­nja ame­rič­kih konvo­ja pomo­ći savez­ni­ci­ma u Europi.
Koristeći zvuk i sli­ku, per­for­ma­tiv­ni i inter­me­dij­ski diskurs Sonvoyce On Source arti­ku­li­ra osje­ća­je, ener­gi­je i sta­nja koja detek­ti­ra­ju radi­kal­nu pro­mje­nu druš­tve­ne para­dig­me. Pukotine u tur­bu­lent­nom i nepre­dvid­lji­vom vre­me­nu inte­rak­ci­je lju­di i stro­je­va, nove vrste emo­ci­onal­nos­ti, osta­ci huma­ni­te­ta, pita­nja tra­di­ci­je i nepri­prem­lje­nos­ti za radi­kal­no “dru­ge” kate­go­ri­je i druš­tve­ne odno­se, fan­tas­tič­no i uti­li­tar­no, rub­ni aspek­ti znans­tve­no-teh­no­lo­škog panop­ti­ku­ma kao i uspos­tav­lja­nja novih stvar­nos­nih kate­go­ri­ja koje se kons­tru­ira­ju u kon­tek­s­tu tran­shu­ma­niz­ma osno­ve su i temelj­ne kon­cep­tu­al­ne odred­ni­ce za kre­ativ­no i istra­ži­vač­ko djelovanje.

Nadamo se da vam je pro­gram koji smo oda­bra­li dovo­ljan poziv da pro­ve­de­te s nama 4 dana uro­nje­ni u suvre­me­ni sound art i hibrid­ne for­me suvre­me­ne umjet­nos­ti, vidi­mo se ISPOD BINE!

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Dear part­ners, fri­en­ds, sup­por­ters, cri­tics and haters,

We are apro­ac­hing the four­th ins­tal­l­ment of the ISPOD BINE sound art fes­ti­val which will take pla­ce from the 4th to the 11th of November in a vari­ety of spa­ces wit­hin the Youth Home in Split. We’re kic­king thin­gs off with a ZOOMOPHONIA wor­k­shop by Damir Bartol Indoš and Tanja Vrvilo. The wor­k­shop is aimed at young artis­ts, pri­ma­rily musi­ci­ans, with the num­ber of par­ti­ci­pants limi­ted to just four. It will take pla­ce betwe­en Monday 04/11 and Thursday 07/11, with a public pre­sen­ta­ti­on sche­du­led for Friday 08/11 at the ope­ning of the live per­for­man­ce sec­ti­on of the 4th ISPOD BINE fes­ti­val. Send your appli­ca­ti­ons along with a bri­ef artist resu­me to mavena@​mavena.​hr, the dead­li­ne is 11:59pm on November 1st.

The live per­for­man­ce sche­du­le for this year’s fes­ti­val begins on Friday 08/11, with a ZOOMOPHONIA pre­sen­ta­ti­on and per­for­man­ce, fol­lowed by the most anti­ci­pa­ted show of this year’s mani­fes­ta­ti­on: the URUK duo, con­sis­ting of MASSIMO PUPILLO, bass player for Zu, a band we alre­ady had the ple­asu­re of seeing per­form at our very first fes­ti­val, and THIGHPAULSANDRA of the legen­dary Coil.

URUK is a remar­ka­ble new musi­cal ende­avo­ur by Massimo Pupillo (Zu, Triple Sun) and Thighpaulsandra (Coil). Their con­cert will take you to dark and daring pla­ces — just as you’d expect of the­se joint for­ces. But even more, URUK is a chal­len­ging yet immer­si­ve lis­ten of excep­ti­onal dep­th. You can expect some pit­ch dark ambi­ent and deep dro­nes that grab you by the thro­at. The ric­h­ness of textu­res, and the atmosp­he­re in which this piece of art bat­hes is of such an excep­ti­onal inten­sity, after this expe­ri­en­ce, you will surely hit repe­at time after time — not wil­ling to leave the wor­ld the­se two extra­or­di­nary musi­ci­ans and artis­ts have conjured.

Saturday 09/11 will see a per­for­man­ce of the latest pro­ject by DB Indoš’s House of Extreme Musical Theatre titled F : I : L : M : S : K : A : T : E : K : A — a music and sta­ge spec­ta­cle of the type with which Indoš always mana­ges to ama­ze us, this time invol­ving: DB Indoš, Tanja Vrvilo, Ivana Pedljo, Lidija Šola, with music by ex SexA / Ivan Bilosnić Bic, Nino Prišuta, Ratko Danilović, and Cul-de-sac / Damir Prica Kafka, and video map­ping by Ivan Marušić Klif.

Transliterated ins­tal­la­ti­on con­sis­ts of 5 situ­ati­ons FA:IST:L:M:KE for cut-up memory of film titles found and tran­s­la­ted by Ivan Martinac. His con­cept FILMSKA TEKA (FILM NOTEBOOK) cor­res­pon­ds to the sum of 11 (9) let­ters that spe­cify the voice-spring per­for­man­ce of all the film titles sto­red in the ori­gi­nal work of con­cre­te poetry that begin with the first let­ter of our F:I:L:M:N:O:T:E:B:O:O:K mobi­li­ari­um. This quiet mobi­le mega(reflecto)phonic bac­k­drop beco­mes occa­si­onal­ly drowned out by live voices and the­ir asso­ci­ated sprin­gs and the cha­otic post-noise of guitar, bass, drums and sax. We are looking forward to anot­her dive into the unique artis­tic ima­gi­na­ri­um of Dr Indoš and his loyal associates.

On Sunday 10/11 we will enjoy per­for­man­ces by three excep­ti­onal expe­ri­men­tal musi­ci­ans from Belgrade: Igor Čubrilović, Ivan Čkonjević, and Igor Stangliczky, who came toget­her on this occa­si­on to pre­sent us with the­ir latest pro­ject enti­tled Feedback Essays.

Feedback Essays is an audio pro­ject abo­ut the sta­te and degree of the use of feed­back as a sound sour­ce for cre­ating new music. Feedback had its pla­ce in music his­tory as an exam­ple of “noise” or inar­ti­cu­la­te sound sour­ce, a “tec­h­ni­cal error”, but it has been used skil­l­ful­ly as an equ­al and legi­ti­ma­te mate­ri­al for com­po­si­ti­ons as well. From Stockhausen, to Eliane Radigue, from Jimi Hendrix to Toshimaru Nakamura, feed­back has its pla­ce as a unique sound source.
Igor Cubrilovic on the reso­na­tor, Ivan Ckonjevic on semi-aco­us­tic elec­tric guitar and Igor Stangliczky with No-Input Mixer will pre­sent the­ir view of feedback.

We will be wrap­ping up our four­th sound art jour­ney at the Youth Home with a hig­hly expli­cit hybrid per­for­man­ce by well known Croatian musi­ci­ans and media artis­ts that go by the name of COLONELLO FUTURISTA: Sonvoyce on Source. Project par­ti­ci­pants inclu­de: Mirko Soldano, Mario Kalogjera, Vladislav Knežević, Alen Sinkauz, Nenad Sinkauz, Hrvoje Pelicarić, DB Indoš, Tanja Vrvilo, Elena Krivoshey, and Richard Edgeler.

The Sonvoyce on Source gro­up of musi­ci­ans and media artis­ts for­med in March 2017 and began wor­king on vari­ous con­cep­ts and artwor­ks that, thro­ugh dif­fe­rent inter­dis­ci­pli­nary acti­vi­ti­es, col­la­bo­ra­ti­ons and cre­ati­ve pro­ce­sses, form a plat­form for the explo­ra­ti­on of the com­plex rela­ti­on­ships betwe­en tec­h­no­logy, sci­en­ce and art. Their name is a code for ‘Convoys on Course’, a messa­ge used during World War Two to sig­nal that American convoys were on the­ir way to aid the Allied Forces in Europe.
Employing sound and ima­ge, the per­for­ma­ti­ve and inter-media dis­co­ur­se of Sonvoyce on Source arti­cu­la­tes emo­ti­ons, ener­gi­es and sta­tes which track a radi­cal shift in soci­al para­digm. The fissu­res ope­ning up in this tur­bu­lent and unpre­dic­ta­ble age of inte­rac­ti­on betwe­en people and mac­hi­nes, a new type of emo­ti­ona­lism, the rema­ins of huma­nity, ques­ti­ons of tra­di­ti­on and unpre­pa­red­ness in the face of radi­cal­ly “other” cate­go­ri­es and soci­al rela­ti­ons, the fan­tas­ti­cal and the uti­li­ta­ri­an, the frin­ge aspec­ts of the sci­en­ti­fic and tec­h­no­lo­gi­cal panop­ti­con, and the esta­bli­sh­ment of new cate­go­ri­es of reality cons­ti­tu­ted wit­hin the con­text of tran­shu­ma­nism — all of the­se form the bases and fun­da­men­tal con­cep­tu­al guide­li­nes for cre­ati­ve and inves­ti­ga­ti­ve work.

We hope the pro­gram­me we have tailo­red for you will pro­ve to be a suc­ce­s­sful invi­ta­ti­on to spend four days with us ste­eped in con­tem­po­rary sound art and hybrid for­ms of con­tem­po­rary art. See you at ISPOD BINE!

Osnivači i vodi­te­lji fes­ti­va­la / Festival foun­ders & leaders: NATASHA KADIN, HRVOJE PELICARIĆ
Tehnički direk­tor / Technical direc­tor: HRVOJE PELICARIĆ
Tehnička podr­ška / Technical sup­port: MKC Split, Platforma Doma mla­dih, StarSystem Production
Vizualni iden­ti­tet i tipo­gra­fi­ja / Visual iden­tity and typo­grap­hy: IRIS KLARIĆ
Tisak / Print: This Town Needs Posters (SVEN SORIĆ, HRVOJE SPUDIĆ)
Prijevod / Translation: IVAN BERECKA, TANJA VRVILO
Odnosi s jav­noš­ću / Public rela­ti­ons: NATASHA KADIN, mavena@​mavena.​hr, +385(0)992885558
Dokumentacija / Documentation: TIHANA MANDUŠIĆ, TANJA MINARIK
Donatori / Donors: Ministarstvo kul­tu­re RH, Grad Split, Turistička zajed­ni­ca Grada Splita, Županija Splitsko-dalmatinska
Partneri / Partners: MKC Split, PDM, KUM, HRAM, GALUM
Mavenu podr­ža­va / Mavena sup­por­ted by: Zaklada Kultura nova, Nacionalna zak­la­da za razvoj civil­nog društva

Karte / Tickets: 50 HRK each day at the entrance

Aktivnost je dio pro­jek­ta “Gradimo Dom zajed­no”, kojeg je sufi­nan­ci­ra­la Europska uni­ja iz Europskog soci­jal­nog fonda.

The acti­vity is part of the pro­ject “Gradimo Dom zajed­no”, co-finan­ced by the European Union from the European Social Fund.