Response Sound Maps/Walks: works/artists

Daniel Premec, It Is Time For Alert [Vrijeme za uzbunu], 2011

The sound installation It Is Time For Alert has been created as a response to the overall situation in our country that negatively reflects on our culture and high-ranking cultural institutions, thereby initiating a loss of our cultural identity. By sounding sirens placed on the facade of the Art Gallery for 30 minutes, I want to warn the citizens that the current situation in our country is alarming.

Simona Hamer, Simona Semenič, Zalka Grabnar Kogoj
Word is a Weapon, Take It Out of Your Mouth [Beseda je orožje, vzemi jo iz ust], 2012

In April 2012, poetry emerged among the public forum commentaries on the web portals of the Slovenian media. As a weird interference in a well-oiled system, it appeared face to face with the anonymous commentators, web administrators and the populist articles.
The sound version of the project Word is a Weapon, Take It Out of Your Mouth is an artistic upgrade of the initiative of a number of individuals who persistently publish poetry on several Slovenian media websites.

Maja Pelević & Milan Marković
They Live (in search of the text zero) [Oni žive (u potrazi za nultim tekstom)], 2012

Between February 13th and 21st 2012, the dramaturges Milan Marković and Maja Pelević enrolled in the seven largest Serbian parties: the Democratic Party of Serbia, the United Regions of Serbia, the Social Democratic Party, the Democratic Party, the Liberal Democratic Party, the Serbian Progressive Party and the Socialist Party of Serbia. Soon afterwards, they were made members of various cultural councils in most of the parties, and in some parties they even made it onto the personnel list. Milan Marković and Maja Pelević presented to their party colleagues a text entitled Idea – Strategy – Movement, in which they outlined their views on the subject of each of the respective party’s marketing strategy. This text – which was, with negligible changes, actually Goebbels’ speech Knowledge and Propaganda from 1928 – was much commended by all the parties. The performance has already taken place.

Ronald Panza & Mili Sefić
Fountains, Phantoms [Fontane, fantomi], 2012

The work entitled Fountains, Phantoms reflects upon the fountains in the city of Mostar as places for collecting the sound memory as well as the symptoms of the city’s division. Today, Mostar is manifested as a doubled province, and places like fountains, set up to avoid such a designation, are of huge importance. For this particular reason, various sound sources need to be conceptualised in Mostar so that the authentic sounds of the city that have faded away are reconnected in a particular “sound house”. The work with fountains reflects upon only one of the zones that may be used in this sound story of the city and its sound codes.
By field recording, the sound will be taken at several city locations featuring artistically designed fountains that either no longer operate, are no longer supplied with water or whose water flow has not been restored. The sound of the fountains is the first step in an attempt – by collecting the sounds in the city, the sounds that have identity, and designing a sound architecture – to reconnect the city to the way it used to be and the way it should be.
The sound of the fountain is the sound by which the fountain observes the city.

Zli bubnjari, HIGH NOON (2012)
Edited by: Bernarda Cesar, Marija Juza, Filip Pintarić/IA ORGANIZAM, Kornel Šeper
Before the fall, the sound of drums will be heard. “Zli bubnjari” have been at the forefront of the many different ceremonies and struggles in support for man’s “right to the city”. Their performances have determined the rhythm of the most populated protests in Zagreb over the last ten years. Twice they struck high noon at Manduševac Fountain in Ban Jelačić Square, the first time in Tomislav Gotovac’s performance in 2002 and then again in 2011 in Delimar and Božić ‘s tribute performance that was part of the project “Absolute Artist (memories and feelings) Antonio Gotovac Lauer”.

Irena Pivka, Brane Zorman, Transmit Walk
(with the help of Slavko Glamočanin, Vasja Progar, Marko Trstenjak) Cona, 2012-

The sound map of specifically selected state-forming locations in Slovenia’s capital features sections from the Transmit Walk project sound stories: CAPITAL, POWER, AUTHORITY, SAFETY.
Transmit Walk brings into focus the use of radio-frequency ID (RFID) and highlights the wider social characteristics of the usage of this technology. In the name of greater safety, new technologies ensure an even wider control over individuals. Security systems are becoming extensions of our bodies, our never-ending companions and followers. By using RFID technology, IDs transform a human being into an object of traceable value. Transmit Walk allows traceability and broadcasting of sound stories that function in this work as IDs related to the unique RFID tag.

Saša Marković Mikrob, mikro)B(eograd
Concept: Manja Ristić, Remixes: Vladimir Radinović, 2012

Following the traces of the legendary Belgrade artist Saša Marković Mikrob, we excavate the ruins of the urban heritage of the time, squeezed, vacuumed, prepared /// by social collapse, social and political debauchery, crime and anarchy. Mikrob’s legacy has been interwoven in the walls, spaces, sidewalks /// brains of the people who were lucky to share their lives with him, and this silent timbre continues to tremble secretly, hoarsely /// in the places that he visited.
Like a monster changing its skin in order to suck fresh prey, the city transforms, constantly disappears and exists and occasionally devours entire generations with such an ardour that those who come next never discover what happened before them /// the time, the energy of the ‘culture crime’ city forever persist like a thin layer of memory, neatly piled up where we the least expect it. Mikrob imperceptibly patrols the shabby streets.

Boris Bakal, Shadow Casters
Man Is Space: Vitić_dances, Dynamic Human-Urban Network [Čovjek je prostor: Vitić_pleše, Dinamična humano-urbana mreža], 2005-2012
Produced by: Shadow Casters [Bacači sjenki], Multimedia Art Organisation  Other authors and collaborators: Stanko Juzbašić, Primož Vitez, Krešimir Bedek, Tamara Petir, Niko Gamulin, Vladimir Mattioni, Srđan Kovačević, Sonja Leboš, Katarina Pejović, Mirko Bogosavac, Ivana Keser, Aleksandar Battista Ilić, Plakor Kovačević, Vesna Prichard Scholz, Milan Žerjav, Katja Šimunić, Jakša Zlatar, Petra Zanki, and many tenants

Vitić_dances, a community art project since 2005, changed the lives and destinies of 10-story building in the centre of Zagreb and its 256 inhabitants. Misunderstandings, funny events, unexpected encounters, performances, live concerts and oblique strategies move inhabitants from hate and mistrust, from despair and dysfunctionality to a common vision and restoration of the community and the building itself.
On the other hand, with its motley crew of different classes, generations, professions, interests and aspirations, the building tells the story of the decline of the notion and practice of solidarity from the time of Socialism up to today’s life on the dreary lane of Transition – a story that is crucial for understanding the dynamics of transformation of the Croatian society.

Ervin Hatibi, Especially in August (1992–2012)

Five selected poems by the Albanian poet Ervin Hatibi are placed in the mental space of their origin, at five locations on the Shetitoria promenade which is situated in Albania’s largest port in the city of Durres. The duration of the sound walk is approximately 30 minutes; the poems, translated by Robert Elsie, were read by Katja Kosi.
The poems: “Especially in August”, “They’ll Invent a Substance or a Machine”, “On the Revolution”, “Once Again on the Price of Bananas” and “Dedicated”

  • radioCona:StoryscapesSE

    FM sound art exhibition, live from Ljubljana, Slovenia

    Sat 18 - Thur 23 Jan 2020, each day 6.33PM - 11.30PM (CET / UTC+1)
    direct stream link:

    Live StreamLIVE STREAM

  • radioCona, produced by CONA, launched in 2008, is a platform that uses the radio frequency space in art contexts. FM frequency is understood as public space, explored from different perspectives and mediated through artworks audiobooks, programming and exhibitions. radioCona is intervention into public space.