© David Visnjic
was performed for the first time at Café Korb in Vienna during Wien Modern 2018. Focussing on the aesthetics of insecurity, I used field recordings I made in the “art lounge” basement, where the premiere took place, as the basis for an acoustic dialogue between.My combination of found and instrumental sound draws attention to a fundamental democracy and egalitarianism in my approach to acoustic material. The treatment of sound is political, and no sound is ever isolated or individual. Every acoustic moment is a complex conglomeration of sound waves, and every new noise changes the entire soundscape, and is changed by the other components of the soundscape.
Using the bass guitar together with field recordings, LIMINAL created reflexions; the “heard” sounds of the space (in the field recordings and in the extended moment of the performance) was reflected in the sound of my bass guitar, creating a dialogue between the passively heard and the actively, intentionally created acoustic moment.
Sound is memory and association; noises are ethically neutral and always subject to individual perception and interpretation. In the aesthetics of insecurity, the notions of sound-as-music or noise-as-disturbance meet in the liminal space of the piece.
A four-channel piece composed for floating objects designed and constructed by Hubert and Damara Marko of Blumen Moser in Villach.
Presented at the opening of the Cyber Dinner at Monte Mulini Hotel, Rovinj, conclusion of the two-year EU network project Phonart - The Lost Languages of Europe.
PLACES, TRACES ODER ORTLOSE ORTE, SPURLOSE SPUREN
Places, Traces is a stereo radio art piece for orf kunstradio.
The piece is a personal journey through Pakistan, the UK, Austria and Croatia, using instruments and field recordings to explore identity and foreignness, alienation and transitional arrival in the unique intimacy of radio space.
is about shadows and resonances of sound and image, phantoms that need a concrete counterpart to exist - the echoes and shades of sonic and visual objects in an intermedial continuum.
2.3.12 in Gijon @ Trendelenburg_Intermedial duo with Mia Makela
30.10.11 in Vienna Phonofemme @ Brunnenpassage_Intermedial trio with Mia Makela and Rie Nakajima
Various solo performances
TUULESSA (IN THE WIND)
the sounds of the tundra, of an ancient landscape further north
the echoes of the sami who never arrived but follow the reindeer in the wind
the wind that blows the fog across the lake and up the mountain
in tiny pores of wet
the wind that booms and hisses and dances
teases and flirts and goes too far
and never quite stops
the wind that hijacks microphones and takes them forever captive
that challenges the lows and the highs
and permeates where not ears but membranes go
the reindeer wind that leads the herd and their followers and their followers
the tourists, the artists, the scientists, the wanderers
in their trail
the listeners who borrow the wind or steal it
translate and carry across into another sound another scape another field
INVISIBLE VALLEY (Echoes from invisible landscapes)
The lack of article in the title points in a roundabout way to the specificity of the region and the ubiquitous phenomena of loss, change and layers of history. It is not “a” or “the” valley - it is a landscape, which carries in it traces of history, of industry, of populations ranging through time from the Noric swordmakers of the Roman empire to the pit workers and the Tibetan monks.
The field recordings that form the basis of the piece include the wind that blows through the abandoned Heft, the rippling flow of the Görtschitz at various points along its journey, sounds released through interaction with forgotten iron objects scattered throughout the landscape and the growling hum of the Wietersdorfer cement factory.
The noises are transformed by means of looping and electronic effects into musical sounds that are circumscribed by melodic and rhytmic patterns on the bass guitar, forming further sonic layers that reflect the historical layers.
The river Görtschitz flows without pause in its unregulated form through the rhythms and the resounding silence that define the landscape.
Zahra Mani hat im Rahmen des diesjhrigen Phonofemme Festivals im Wiener Konzerthaus ihr neues intermediales Solowerk “Phonophantom” zum ersten Mal präsentiert. Das Stück besteht aus Feldaufnahmen, Instrumental- und Naturklngen sowie Bassgitarre und live Elektronik. Es handelt von entkörperten Geräuschen und Stimmen und transformiert den Aufführungsraum mit subtilen, explodierenden Klanglandschaften, die von Elise Passavants speziell für das Stück entwickelten Visuals unterstrichen werden. Aus gegebenen Umstnden thematisiert das Werk Exil und “ausgesetzt sein” in einer künstlerischen Auseinandersetzung mit Migrantentum, Flucht, Angst und Entwurzelung. Verfremdete Exzerpte von Pasolini, Bachmann und Rilke flackern immer wieder auf, Sprache, Bild und Klang werden zu einem hypnotischen, treibenden Fluss von sensorischen Ausdrucksweisen.
With thanks to la voce g-p!