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Zvokotok

A cycle of contemporary composed music

Zvokotok focuses on contemporary composed music. It is defined by the research of compositional procedures and often linked to music technology. It encourages and merges unique sound languages and performative innovativeness and moves contemporary compositions into new spatial and concert forms.
Zvokotok connects established institutional spaces of artistic activity with premises of the dynamic action of NGOs. It implements and maintains unburdened space of dialogue and overcome the artificial distinction between areas and venues of artistic activity.

In 2019 Primož Trdan focuses on the young generation of Slovene interpreters of contemporary music and their integration into foreign ensembles. The program is trying to enrich the established contemporary improvisation procedures by adding certain sound solutions created by young European composers, who originate in the modernistic heritage of the composer's use of varied sound means, noises, environmental and concrete sounds, but create in tight dialogue with the contemporary digital age.

The series that was planned for 2020 by Mauricio Valdés San Emeterio will be dedicated to the ambience sound interpretations of electro-acoustic music from the past and the present.

In 2021 Luka Zagoričnik will create a series dedicated to the heritage of so-called experimental music, which will - within the heritage of contemporary classical music and broader - research the concepts of indeterminacy, minimalism, jazz avant-gardes, improvisational and aleatoric compositions, new notations (prose and graphic notations,...), performances, happenings, political activism and new social relations outside as well as within the musical discourse.

27.8.2020

Zvokotok - Tilen Lebar: Emancipacije

27. 8. Zvokotok – Stara vojašnica Vrhnika ob 20h

Tilen Lebar: Emancipacije

Z vsakim plastificiranjem omogočamo hermetično zapiranje prostora, ki ohranja in preprečuje
zunanjim dejavnikom okolja, da bi kakorkoli vplivali na določeno snov, materijo ali subjekt. Med
izvzemanjem konteksta ohranitve lastnega sestava ali zgradbe le to podkrepimo in privedemo do
nedefinirane strukture. Ali lahko plastificiramo papir do te mere, da prevzame polne lastnosti
plastike? Ali lahko plastificiramo sébstvo do te mere, da se identificiramo s subjektom plastike,
ki nam omogoča vodoodpornost in zračno neprepustnost? Ali lahko plastificiramo lastno
subjektivno do te mere, da spremljamo okolje na omejen način in ga ne poskušamo zavestno
dojemati kot svojega ter pri tem ne opazimo miljé, ki smo ga pustili? Potemtakem proces, ki smo
ga povzročili že sam doprinese k notranjemu izkustvu in s tem človeka z vsakim iztrgom iz le tega
pripravi k zaznavanju okolja.
Tokratna zvočna instalacija premleva prav to možnost soničnega plastificiranja, ki z alienacijo
oddaljuje zvok od lastnega primarnega izvora in z dopuščanjem tovrstne abstraktnosti gradi na
ignoranci subjektivnega, ki je primarni posneti zvok privedlo do granulacije materiala in s tem
omogočilo vpogled v zrnca same provenience. Nedefinirane strukture tovrstnega plastificiranja
prinašajo enovitost posameznih primarnih izvorov v lastno kompleksno zgradbo, ki v
celoti preprečuje transparentnost same forme. Kar lahko prepoznavamo, so izolirana zrnca
razširjenega jaza, ki se širi v nezavedno in nas zapira v sam prostor inštalacije. Prisluhni. Ne
analiziraj, sugeriraj, ne identificiraj se. Zaplavaj. Ne vzpostavljaj ločnice med zavednim in
nezavednim, postavi enovit indiferenten Drugi svet.

Zvokotok kurira Mauricio Valdés San Emeterio

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