For the Gathering in Mariánské Radčice we have selected a number of project proposals, among others:
Sound of Paradise: Petra Kapš (Ljubliana)
What would be sonical representation of paradise — paradise of/for today — be it from personal or collective perspective. At The Library of Paradise we listen to distinctive Eden-like soundscapes and read about walls, fences, remote, distant, high areas, which enable paradise in spaces similar to ours but with different time curves. Apart from usually changeless environmental conditions there is also a permanent paradise, an acoustic condition. Humans, with the help of a digital no-time matrix, constantly assisted by resources from the depths of the earth, currently produce sound fields with no seasons. If some bird is loud in springtime, in high summer it gets quieter. If some tree rustles through summer and autumn, in winter it sounds different. We cannot avoid the constant present of sound produced for humans. A constant present of unchanged sound is what I would propose as a definition of contemporary hell, with permanence as its fundamental feature. The drone of the digitalized world is not measured in time, or seasons, but by profit, and fulfillment of our small habits and needs for a constant present and for all kinds of goods. The result is brutal — the deafness of the world expands violently. The inhabitant of our paradise is deaf. I propose a silent, time based, mortal paradise. Stars swim in silence, / a meadow opens. / Who awaits? (Jure Detela)
Petra Kapš alias OR poiesis (b. 1975, Slovenia) weaves her work between the art of sound, radio, chrono-space poetry, poetic performance, books and reflection. Aside from the ethereal features of sound, she focuses on the physical presence of the body. She extends the word, her core medium, with sonic spheres of sonorous poetry. Kapš is interested in aural memory and the deep time of the body. Incorporating an (a)syntemporal presence through the digital sphere, she researches the possibilities of intimate radio and is concerned with the void ear [sic] of the internet listener. Her sound/radio/book works are located solitudes [sic].
Reports: Guy van Belle / Givan Belá (Ghent/Hranice)
What can we believe today and what is still good for tomorrow? Music, sound art and field recording will probably always be the spoilt child of the new economy and industry, with its project and product thinking, drenched in consumerism and technological fetishism. ‘Art is born out of an ill-designed world,’ Tarkovsky is supposed to have said. Reports from the countryside: The Sound of the Village, and Fanfara Hranice or Music on the Move. Reports from the cities. Making 112 five-minute music miniatures for Every Time A Ear di Soun, the documenta 14 Art Radio. We were just making Weather Reports while others discussed society and politics, and also made music. Reports from Art and Science. The making of a new research lab with an open cultural and public function. Citizen Science and new incubator methods with cognitive, communication, nanotechnology, cultural scientists, musicologists, librarians, and media artists. Reports and reports and reports. Flusser’s worm is a machine, processing while moving on, underground. It looks all innocent enough. But in what are we really being involved (without knowing perhaps), and do we still want it? Welcome to the global culture of ignorance.
Gívan Belá (b. 1959 in Belgium, a.k.a. Guy van Belle), is a media artist living in Vysočina (CZ). On occasion he would introduce himself as a media data author, on another as a wind time inventor and clockmaker, then at another as a slide and cigar box guitar musician in a skiffle/spasm band. After studying literature and linguistics, philosophy and sculpting, made the switch to computer music at the end of the 1980s, to end up today combining uncommon or future media. His most important virtual organisations (all collective) have been Stellingname (1984-1989), Young Farmers Claim Future (1990-2000), dBONANZAh! (1998-2002), okno (2004-2015), mXHz.org (2002-2010) and Society of Algorithm (2004-2022).
The Białowieża Forest: Martyna Poznanska and Peter Cusack (Berlin/Kraków/London)
Bialowieza is the last area of primal forest in Europe, a UNESCO World Heritage site and home to many rare and unique wildlife species. It is currently threatened by increased logging after the Polish government’s recent changes to environmental policy. The ensuing international debate gives the context for this work. The project aims to explore the issues in Bialowieza Forest through sonic journalism and more poetic approaches – those of sensing and experiencing the territory. The main medium will be sound and field recording, but complemented by film, photography, writing, talking to and learning from local people. The intention is to focus primarily, but not exclusively, on the small and intimate relationships hidden within the forest, including listening to the micro sounds of bark beetles inside trees, exploring visual patterns created by insects and small plants and talking to local people about their own relationship to the forest. The project hopes, not only to give exposure to the political/environmental debate, but also to illuminate those relationships within Bialowieza that shed light on the hidden life of trees and on the human decisions that directly impact the forest.
Peter Cusack (b, 1948, London) is a field recordist and musician with a special interest in environmental sound and acoustic ecology. His projects have included community arts, research into sound and our sense of place, and documentary recordings in areas of special sonic interest (Lake Bajkal, Aral Sea, the Chernobyl exclusion zone, the Caspian oil fields, or UK nuclear sites). The project Sounds From Dangerous Places explores soundscapes at the sites of major environmental damage. Cusack initiated the Favourite Sounds project in London 1998 with the aim of discovering what people find positive about their everyday sound environment. The project has since been established in Beijing, Berlin, Brussels, Chicago, Prague and Birmingham. He lectures in Sound Arts and Design at the London College of Communication and was recently a DAAD artist in residence in Berlin.
Martyna Poznanska (b. 1984, Bialystok) is a sound artist investigating environmental sounds, noise within urban environments, associations between sounds and objects, and performative aspects of listening. Her work features composed music created with field recordings, installations, situational performances, and live improvisation. She studied at the University of the Arts, London, and is currently studying Sound at UdK, Berlin. She works between Krakow, London and Berlin.
Ariel Guzik: Karolina Karnaczewicz and Piotr Tkacz (Kraków)
Expeditions to a vibrating ecosystem the central point is Ariel Guzik's non-anthropoentric, equally scientific and magical art. This Mexican creator constructs research instruments that are also musical instruments. Thanks to those machines it is possible to hear sounds made by plants, in others the basic material is water flow whose sound is shaped by weather data. In recent years, inspired by both Jules Verne and quantum physics, Guzik builds underwater probe-instruments and vessels conceived to establish contact with cetaceans. The sea, which is up to this day the last great frontier of Earth, has always constituted a quest for human minds and imagination. It's a kingdom so huge and hard to examine that even with all our efforts people managed to get to know only its tiny fraction. Guzik's works encourage to rethink and re-evaluate the meaning of such concepts as harmony, resonance and energy. Thanks to amplification of the world as a kind of continuum, a composition unfolding by itself, where everything is inter-connected and affects on an elemental level, these technologies redefine the role and place of the human. Guzik's activites will be looked at through the hyper-prism of Edgar Varese, put onto blueprints of vibrational (an)architecture of Steve Goodman, filtered through entropic ideas of Robert Smithson and placed as a part of the „Mille Plateaux” picturesque landscape.
Karolina Karnacewicz composes, DJs (as DJ Morgiana) writes, among other things, for Easterndaze, Glissando, and PopUp. She curates the Za duszno series, talks about “Historie muzyki,” and the home concerts “Muzyka mieszkalna,” and she organizes workshops. In the fall of 2016, the first edition of her project “Sound Emancipation — Vocational School of Music” took place (in partnership with Female:pressure). It is motivated by the conviction that only talking about feminism in regard to music is not enough — actions and groundwork bring actual change. Before this, she ran workshops about DJing and creating radio plays at the Malta Festival. For a few years she has been visiting various locations in Poland and abroad, from renowned festivals, art reviews, national galleries to clubs, radio stations and squats. She has also collaborated remotely with Electronic Explorations, Tilos Rádió, Forbidden Planet, Kol hacampus, and CORP (among others).
Piotr Tkacz (b. 1985 Poznań, Poland) is an improviser, organiser, writer, and DJ. His articles have been published in Surround, Czas kultury, Glissando, 2+3D, Dwutygodnik/Biweekly, Fragile, Jazz Forum, and M|I. From 2007 to 2016, he co-hosted the show Audiosfera in Radio Afera. Since October 2016, he has a solo broadcast Zasypywanie kanonu. He is involved in such initiatives as Za duszno, the festival of improvised music FRIV, Warsztat dźwięków. He is a part of such music projects as Kurort, Radioda, Revue svazu českých architektů, Stupor, Tkacze, Lata, Sumpf and has also recorded with Alice Hui-Sheng Chang, Herman Müntzing, Pascal Battus, Eric Wong and Seiji Morimoto. Open scores (text-based and graphical) are of special interest to him both from practical and theoretical perspectives. Tkacz has been invited to such festivals as Ostrava New Music Days, Animator, Musica Electronica Nova and has lectured at the National Museum of Ethnography in Warsaw, FAMU in Prague and Kulturhauz in Toruń.
Crossover Sound Methodologies: Max Haberl (Berlin)
Over the years, many different approaches have been utilized an attempt to describe and work with the sounds of a given place. By decoding what is heard, tools and methods were derived in relation to the sound material. Since the current state of the subject requires a deeper comprehension of sound and design as well as the potential of combining different methodologies, this paper is an attempt to explore the intersection of sound and design as well as the potential of combining different methodologies: from soundscape to auditive architecture, moving further to urban design and into making this knowledge more accessible. Therefore, the concept is based on a multifaceted process in which it will be possible to get a deeper understanding of the acoustic constellations — since the more points that can be derived from a situation, the better the prediction and evaluation becomes. Concepts such as the analysis of space depending on its function as well as the sonic belonging in rhythm, dynamic range and timbre will be studied. Furthermore, this concept will explore how the meaning of audible focus and de-focus can enable people to understand the complex relation of the sonic environment and the inherent differing “sources.”
Max Haberl (b. 1988, Vienna) is a student and musician, studied Media Production in Amberg and Audiovisual Communication, and graduated with the thesis: Soundscapes as a form of sound design in the environment and media. He is currently finishing the Master’s program in Audiocommunication and Technics at the Technical University of Berlin. During his Bachelor’s program he became interested in soundscapes and field recordings via the course Soundscape Composition of Barry Truax. His main interests are soundscapes and psychoacoustics.
Georadio: Udo Noll (Berlin)
Over the years, and thanks to a broad community of artists, phonographers and individuals working with sound and field recording, Radio aporee has collected a comprehensive corpus of sounds from all around the world, and has provided many collaborative tools for artistic practices and research in the field. During the Soundworms Ecology Gathering, Udo Noll will give a short presentation of the platform as an example for collaborative working with acoustic environments, sounds and mapping technologies. Further he will explain the idea of a georadio. In addition to aspects of collecting, archiving and sound-mapping, the Radio aporee platform also invokes experiments at the boundaries of different media, and public space. Within this notion, radio is both a technology in transition and a narrative. It constitutes a field whose qualities are connectivity, contiguity and exchange. Concepts of transmitter / receiver and performer / listener may become transparent and reversible. Georadio is a most recent idea of a project that brings together concepts of Radio aporee with aspects of acoustic ecology, environmental analysis and preservation, and advanced Internet technologies. The idea is to successively create a collaborative radio that reflects the condition of the environment, from a local to the global scale. In addition to more traditional radio formats (sound art, features, documentary, interviews, etc.), it utilizes sensors, data and live streams, and includes different media interfaces for playful experiments. Its aim is to establish a geo-radio that listens to he heartbeat of the planet. The conditions and possibilities of such a sensory radio would be the subject of discussions at the Soundworms Ecology Gathering.
Udo Noll is a media artist and graduated as a qualified engineer for photography and media technology from the Cologne University of Applied Sciences. He lives and works in Berlin and Cologne and is the founder and developer of Radio aporee, a platform for projects and practice in the areas of field recording / phonography, sound art and experimental radio.
Open Form Improvisation Piece: Marcus Mehr (Germany)
My efforts as a sound artist are to unveil the unheard and to make it audible for the listeners. I did this with my album Re-Directed (server, hard disc, cel phone sounds, etc.) and I’m currently working with underwater recordings which could be also very noisy. But my point is not only to document what I find and record. I am using different technics to work microscopically, surgically to find tiny fragments which contain harmonic events. The goal is to enhance them and to bring them up front. To show something beautiful within the ugly should be the entry to get peoples attraction, to look behind and to find out more about the core statement.
Markus Mehr (b. 1965, Augsburg) is a German composer and sound artist.
Democratising Education through Acoustic Ecology Learning: Dionysis Anemogiannis/NACUSSO (Greece)
For the past three years, NACUSSO (Natural Cultural Storytelling and Soundscape Organisation) has been implementing acoustic ecology workshops for children, adults and vulnerable individuals. The education and capacity-building programs implemented in this context, involve a mix of acoustic ecology education, influenced by R. M. Schafer’s paedagogies, infused with the principles of active learning, participatory design and hands-on learning. The main purpose of these programs has been to use acoustic ecology as a tool for youth empowerment, as well as social and cultural change. During the Soundworm Ecology Gathering, NACUSSO will present the results of three programs implemented in Germany and Greece (Zugvögel, Sound of Kythera, Malakasa Dreaming I), with local and refugee populations (ages 6-18). The presentation is expected to spark a pluri-disciplinary discussion over the affordances of learning programs that make use of new media sound technologies to promote the values of acoustic ecology, solidarity, equal participation and representation of genders in culture, self-expression, experimentation, empowerment of language and the validation of heritage and locality.
Dionysis Anemogiannis is a non-formal [sic] education professional and acoustic ecology researcher with endless curiosity. He has designed and implemented education programs in collaboration with various cultural institutions in Greece, Germany and the UK. His work includes inclusive learning and capacity-building programs for vulnerable individuals (people with dementia, the blind, people with mental health issues), children and adults. For the past year he has also been working in collaboration with NGOs dealing with the refugee crisis in the Mediterranean.
Stridulation of Ants: Kuai Shen (Cologne)
There will be a presentation in the field, and a hybrid presentation/sound walk in the forest coupled with a workshop on how to build your own analog vibration microphone to listen to insects.
Kuai Shen (b. 1978, Guayaquil, Ecuador) lives and work in Cologne, Germany. Shen is fascinated by insect behaviour and has conducted his own experiments with ant colonies. In his own project Oh!m1gas (2011) at Manifesta 9, he created an audio-visual installation with an ant colony to explore the relationship between human technology and the sociality of ants. In this particular installation, two turntables responded to movements within the ant colony, affecting the movement of a needle on a vinyl record. In February 2011, Kuai Shen took part in the Laboratory Life workshop & exhibition which was held at both The Lighthouse in Brighton and at The Arts Catalyst building in London. Kuai Shen collaborated with Andy Gracie on his project “The Quest for Drosophila Titanus,” an experimental breeding programme for fruit flies. This project explores how, through genetic modification, fruit flies could be bred to survive on Saturn’s moon, Titan. In August 2011, a description of Shen’s work was published in Vol. 44 of Leonardo Magazine from the Massachusetts Institute of Technology Press. The publication states, “Oh!m1gas: biomimetic stridulation environment is an installation-based exploration of a socially responsible art form, drawing on sustainable organic materials (in this case, a live ant colony) and stimulating interspecific interactions. As artist Kuai Shen Auson first observed at home in Ecuador, ants represent a natural superorganism which stands out due to its emergent social structure and self-organization. They generate bottom-up structures in order to solve problems by means of a complex network of local interactions. Kuai Shen explores the social similarities and differences between humans and ants through four key areas: cybernetics, autopoiesis, self-organization, and emergence. Kuai Shen believes we can learn from the way the ants construct their miniature ecosystems.”
Crisis and the Everyday: Re-constructing Shared Space Through Creative Participation: Daniel Alexander Hignell (Brighton, UK)
Anthropologist Victor Turner’s description of crisis as the median stage of a communities becoming seems acutely prescient in a time defined — socially, politically, and ecologically — by a near perpetual state of unrest. Since such crisis is not an end point, but a liminal stage, we might consider our current crisis to point to a renewed urgency within the community, in which the arts serve to elucidate the beyond sense that pre-empts new potential ways of being. The event of art, as the philosopher Brian Massumi suggests, is to foreground semblance, the potential for another perspective. As such, art cannot be seen as a form of communication in any traditional sense, since its remit is not to transfer understanding between its interlocuters, but to promote an engagement with externality that extends beyond what is readily available to the community. This might be seen as particularly true of the sonic arts — as Jean-Luc Nancy states, “to listen is to be straining towards a possible meaning, and consequently one that is not immediatey accessible.” In this paper I will be exploring how such forms as sound art, site-specific work, and the dialogic arts in general can directly engage with existing ecological structures, and use the magnitude of current crisis to illicit meaningful and long-lasting change within the agora. In doing so, I will seek to draw parallels between (sound) art’s ability to co-opt the self/other divide as a means of posing tangible moral questions, and their wider ecological function — that of forging a universal and participatory rethinking of site and the mechanics of shared space. Drawing on my recently completed Ph.D., in which I developed a 130-page text-score designed to challenge and reconfigure the existing social dynamics of the everyday, I will discuss the changing role of art in light of the social and ecological challenges of the current era.
Daniel Alexander Hignell is a musician and sound-artist working with themes of participation and communality. He received a Ph.D. in composition at the Dartington College of the Arts and primarily works with texture over melody. Hignell focuses on the augmentation of all manner of sonic objects, whether instrumental or found sound, synthetic or organic, in order to induce both an academic and emotional response from the listener, encompassing drone, field recording, contemporary classical, improvisation, synthesis, text, and video. He will be situated in the Forever Bunker, spearheading real-time audio processing of the acoustic improvisations of the Forever Tent.
From the Water — An Audio-Visual Exploration of Social Polarization through Water as a More-than-human Agent in Jordan: Vladimír Borecký and Stanislav Abrahám (Prague/Bern)
A progressive extremification of climatic patterns significantly contributes to shortage of water in the Middle East. In Jordan, the society goes through the intersectional transformation that entails the adoption of neoliberal policies and the recognition of climate change impacts, which might, eventually, be both distributed unequally. In this light, the research intends to empirically explore how water in terms of technology and social practices shapes inequalities of adaptation to climate change in everyday life of people in Jordan. It is a multimedia Ph.D. project of Pavel Borecký consisting of ethnographic film, written thesis, sound installation and interactive website.
Stanislav Abrahám (b. 1977, Prague) is a sound artist and musician. He graduated from the Audiovisual studies departement at Film and TV School of Academy of Performing Arts in Prague, Czech Republic with the thesis Human voice phenomena in contemporary audiovisual art. As a sound designer and musician, he usually works on collaborative projects such as theatre and dance performances. As an audiovisual artist he has created sound installations in galleries and radioart compositions for Czech Radio.
Pavel Borecký (b. 1986, Prague) is a visual anthropologist holding an MSc degree in Sustainable Development and co-founder of the anthropological research organization Anthropictures. He has carried out field work in Serbia, Peru and the Czech Republic, focusing on visual ethnobotany, community building and urban placemaking. Currently, he studies Audiovisual Ethnography at EHI+Baltic Film and Media School in Tallinn and collaborates with the Estonian Urban Laboratory and Vita Pictura Productions, and is curently a PhD candidate at The University of Bern, Department of Social Anthropology.
From William Turner to Vladimír Turner: Visual Arts in the Framework of Environmental Issues. PhDr. Milan Kreuzzieger, PhD, Department of Global Studies Prague
Dr. Milan Kreuzzieger is researcher and curator, focuses on issues of intercultural relations and the interpretation of cultures in a global context. He concentrates also on cosmopolitan theories and the transformation of identities withinin a global context, framed within the context of visual studies.
Rosická: Skupina (Filip Johánek / Jan Solčáni / Zdeněk Tomášek) (Brno, Prague)
In their presentation, Skupina will present and premier their work inspired by Lucier's process of documenting a room by playing the recorded track and then recording it again. The proposed work captures the last days of Rosická, the former railway building of Czech Railways in Brno, which has for years served as an autonomous space, frequented by artists working with various media. The building is finished and the artist's rental contracts have not been prolonged. The classical story is set on repeat. The artists (who raise the prestige of a place) are pushed out into the perifery. Spaces which create a specific genius loci are transformed by investors. Developer projects have slowly come to define the current face of the city and the landscape, and the city's collective memory fades, ousted by one individual's social imaginary.
Clear content slowly becomes transformed into a resonant, uneasy drone, and the aura of a space slowly dissipates. The original content gets lost in its own resonance, and all that remains are echoes of the past. What remains after they pass?
Skupina is an artist collective focused on the dissemination of field recordings, their aestheticization and legitimization, who work within the context of acoustic ecology. It is an open collective of authors whose members include: Filip Drábek, Jana Kočišová, Tomáš Šenkyřík, Zdenek Tomášek, Martin Flašar, Filip Johánek and Ján Solčáni.
Střepy Severních Čech - Ibra Ibrahimovič (Most)
Ibra Ibrahimovič was born, works and lives in Most. He photographs landscapes of areas destroyed by industry and makes portraits of the people whose lives are simultaneously being ruined. The subject of his photography could be called environmental justice. His portrait of the town of Libkovice can be considered as one of the most striking examples of engagement by artists in the issues of the environment and human rights. Libkovice’s history is a sad story, and more than 200,000 people hade lost their homes before the bulldozers of Hlubina reached the city gates in 1992. Libkovice is merely one out of 100 villages that shared the same fate around Most.
The nula.cc project: Lloyd Dunn (Prague)
The nula.cc project combines many elements, including field recordings, sound works and compositions, essays, travelogues, as well as photographic and video works. The project takes the form of a quasi-diaristic series of online releases, arranged chronologically. The visitor may browse the site as a chronological series, or geographically by means of a cartographic interface. In addition, filtered search is available, so that the visitor may browse by medium, topic, or arbitrary phrase.
Lloyd Dunn is a multimedia artist and publisher currently lives in Prague. His work began in 1983 with the project PhotoStatic Magazine, for which he served as editor, publisher and frequent contributor. PhotoStatic was intended to focus primarily on art created specifically for the xerox machine, but quickly found itself in the burgeoning zine community that was so active during the 1980s and 90s. The last issue appeared in 1989. In 1987 he co-founded the multimedia group The Tape-beatles with John Heck and Ralph Johnson, and began the creation of a series of works that included sound and film collage, as well as live performance. Dunn has remained closely involved in a variety of arts-related projects up to the present time. Dunn’s curent work is embodied in the filecast project http://nula.cc, which he began in 2009. New filecasts appear at the project’s “online presence” at frequent, though irregular intervals, and may be freely downloaded and shared.
PET(m)use: Martin Klusák (Prague)
The PET(m)use project is a collaboration of the PETmat studio with the scenography of the musico-performative work of composers Martin Klusák, Jan Rybář and the Coccinelle vocal ensemble. The group PET(m)use is a newly formed artistic and research body which connects musicians and composers with architects and designers. The members mostly consist of graduates from the Music and Dance Faculty of the Prague Academy of Performing Arts, Architecture faculty of the Czech Technical University in Prague and the independent PETmat studio. The founders of PETmat have been studying the possibilities of reusing spent plastic bottles in architecture and design, and have recently patented the PETbrick - a prototype of a bottle which simultaneously functions as a resistant building unit. The form of the performance is based on a modular scene built from plastic bottles and transparent plastic materials which change their color, shape, and placement during the course of the performance. The musicians directly interact with the constellation of the stage during their performance as the scenography reacts to their music. The light intensity and colors can however also be remotely controlled. The musicians will also be able to manually interact with the building blocks of the stage decor, use them as acoustic instruments, or rearrange them into different structures. The units can also be disassembled into their individual bottle components.The performance intends to play with the interaction of the audience which will be able to modify the stage decor and influence the sound of the entire performance.
Martin Klusák (b. 1987) is Czech composer and sound artist based in Prague. He graduated with an MA in composition from the Academy of Performing Arts in Prague. Having started as a film score composer and sound designer, he gradually focused on concert and experimental works. Symbolism and inspiration in film speech are often the common aspects of his compositions. So far he has cooperated with major Czech musical formations and productions (BERG new music orchestra, Prague Philharmonic Choir, Czech Radio, etc.) and his pieces have been performed in the UK, France, Germany, and other European countries, as well as in the United States. Currently he researches the audiovisual counterpoint and possible links and crossovers between musical composition and film. He is also a co-founder of Topos Kolektiv - a project that researches site-specific approaches to music.
TBA: Kate Donovan (Berlin)
Kate Donovan is an artist, academic, and radio practitioner. She is interested in looking at radio from a larger (space-time) perspective, considering its immaterial nature and connectivity to elemental materialities. In this way, she aims to bring together theories of new materialities and sound studies. Her latest sound work "chorus duet for radio" contemplates the mineral magnetite, its use in (interspecies) movement/migration, memory, and early sound recording.
She makes regular shows, organises radio events and is a programme editor for colaboradio in Berlin.
Gertrude Moser Wagner is an artist and researcher, born in Styria, Austria, who lives and works in Vienna. She studied sculpture at the Academy of Fine Arts in Vienna (MA, 1981) where she taught for a number of years. Works with video, sculpture, and conceptual text as well as interventions in public space and communication projects realized in collaboration with other artists and scientists.
Ken Ganfield (USA) is musician and programmer, working and living since the early 90s in Prague. At the beggining he was mostly active in the English-language theatre and literature scenes. Today, under the moniker Traktor, he releases his recordings of homemade modular synthesis on Soundcloud. Ken’s patches develop slowly, with some of them remaining connected for more then a week, giving birth to several different recordings. Often he leaves his synthetizer to play in the background while he works on other things. In this fashion, he has gathered hundreds of recordings.
Michal Kindernay (Prague) is an intermedia artist working with interactive connections of sound, image, and other inputs, in an environment of (not only) computer applications. His works include video performances, installations, sound and interactive projects often with ecological aspects. He is one of the founders or yo-yo non profit organization, member of Kravin "KRA" collective, Školská 28 gallery in Prague and Agosto Foundation.
Miroslav Tóth TBA
Miroslav Tóth (Bratislava, Praha) is a composer, performer, and saxophonist. He creates film music, sound footage for video art, and music compositions, and is involved with research of music history from 20th century to contemporary music, including jazz, experimental music, metal, hardcore, punk, and noise music. He produces and organizes concerts and music workshops in Slovakia and abroad. He is a founder and artistic leader of improvisational symphony orchestra Musica falsa et ficta. Recently he realized his first CD record with a group Dunkel Therapy, and authored compositions in cooperation with a composer Martin Burlas. Miro performs in experimental music projects with many musicians in Central Europe. In 2010 he cooperated with directors: Eva Krížková, Ivan Ostrochovský (Masahiko), and Róbert Kirchhoff. He also works like an editor and manager in Hudobné centrum in Bratislava and is in postgradual studies at HAMU in Prague.
TBA Hannes Hoelzl (Berlin)
Hannes Hoelzl (b. Italy, 1974) is a composer, sound installation artist and teacher. His studies at Utrecht's Art Academy HKU (NL) were accompanied by an internship at the Studio for Electro-Instrumental Music (STEIM), Amsterdam. After his graduation as an MA, he held a fellowship in sound arts at Cologne's Media Arts Academy KHM. A red line connecting his diverse artistic practice, most often manifested as installations with a sonic component, is his deep interest in languages and the translation processes between them. Such translations can re-occour at the boundaries between perceptual modalities as in visualisation, audification and sonification, in conceptual transferrals of site specific work, or by employing archives of text as artistic raw material, as manifested in his current piece 'AudioVisual Anarchivism', jointly developed with composer Alberto de Campo and computer linguist Daniel Hromada.
Martin Zet (Libušín) TBA
Martin Zet (b. 1959) is a Czech visual and performance artist. He lives and works in Libušín near Kladno. In his work, Zet enlists the aid of replicas of specific visible features to reference their meaning. He makes use of the possibilities of the mutual interchange between the nearby and faraway, the known and unknown, the spoken and unspoken, and the concrete and abstract. For example the project Sea Drawings / Kresby mořem takes the form of a series of sketches which appear to be natural images (physei eikones), in other words, images not created by human hands (acheiropoieta). Zet’s performance Czech Collection of the 20th Century / Česká sbírka 20. století seems to have a political subtext (in that it took place during the Czech presidential elections of 1998). A group of people costumed as Czech lions held a demonstration in which they carryed picket signs with images of Czech rulers and presidents from the last century. From these portraits a universal version of the Czech head of state emerged: a computer montage combining the features of all represented rulers and presidents. This work reflects mainly on the durability and continuity of certain stereotypes in the practice of memory (whose constant foe is forgetting). Here, memory is represented by the metaphors of montage and defocusing, in which exact features are lost, and facts are replaced with fantasy or hallucination.
Organization/concept: Miloš Vojtěchovský, Vít Bohal (Agosto Foundation)
Support: Michal Kindernay
Local information: Pastor Michael Philipp Irmer
Address: Mostecká 22 / 43532 Mariánské Radčice / CZ