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Sound (Dis)obedience

March 31. – April 2. 2022, Ljubljana, Španski borci
31.3. at 19:30
1 – Drago Ivanuša – piano + Vita Kobal – violin
2 – Jonas Kocher – accordeon + Gaudenz Badrutt – electronics
3 – Ute Wassermann – voice + Joke Lanz – turntables
1.4. at 19:30
1 – Samo Šalamon – guitar + Bojan Krhlanko – drums + Cene Resnik – sax + Jošt Drašler – double bass
2 – Līmen II: Tilen Lebar – composition, electronics + Sae Lee – piano + Mauricio Valdés San Emeterio – sound distribution
3 – Ustavite se. / Stop.: Nina Dragičević – composition + Irena Z. Tomažin – voice
4 – GRIFF: Ingrid Schmoliner – piano + Emilio Gordoa – vibraphone + Adam Pultz Melbye – double bass
2.4. at 19:30
1 – workshop concert (Jonas Kocher)
2 – Doug Hammond Griot solo performance – voice, drums, sanza
3 – Step That Resonates: Zlatko Kaučič – drums + Agustí Fernándes – piano + Martin Küchen – sax
31.3.–2.4. from 12:00 to 16:00
workshop Research, Reflect (vodi Jonas Kocher)
31.3. at 17:00
Narobe / Na robu glasbene prakse
Presentation of a book in Slovenian.
1.4. at 17:00
Sodobni tokovi distribucije improvizirane in eksperimentalne glasbe
Debate on digitalising music in Slovenian

Sound (Dis)obedience is co-financed by the Ministry of Culture of the Republic of Slovenia and Municipality of Ljubljana.
Financial support: The Swiss Arts Council Pro Helvetia and Avstrijski kulturni forum Ljubljana.

Sound (Dis)obedience is engaged in staging, development, reflection and dissemination of research practices in music and sound. An assembly of diverse events, meetings, presentations of publishing activities, the implementation of international networks and discussions behind the bar multifacetedly address this diverse creative field. Sound (Dis)obedience brings together guest musicians, interested local artists, audiences and the professional public. As such, it is not only a festival of certain music, but also and above all an realization of openness, cooperation and flexibility.
Sound (Dis)obedience is a space for exchange, where by way of concerts, workshops, lectures, and other forms, different border-line musical practices can interact with each other.
Curator: Tomaž Grom

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