Audiobus is an extraordinary journey poised between the real and the surreal. Upon departure, each traveller receives a pair of headphones and a narrating voice accompanies him, unleashes his imagination and guides him on a journey around the city, or inside it.
It is a multidisciplinary performance, a literary journey, an unexpected journey, full of visual and auditory suggestions, acrobatics, stories. A bus full of people passes over an overpass. A tall, blonde girl in a red leather jacket carries a tray of pastries. A lady in a turban beats a carpet at the window.
Everything happens at the same time, inside and outside the bus. The space around the spectator/traveller becomes animated, populated, deformed to the point that he can no longer tell what is fiction and what is reality. In the city, life pulsates.
But what is life in a city?
Raise your head. Look around you. Poetry will kidnap you.
Zeroidee is an artistic collective focusing on social promotion. It is consists of a group of intermedia artists with different creative experiences. The collective works and collaborates with artists located both in Slovenia and in the wider European region.
The collective’s primary focus is on artistic research and multimedia production, which includes setting up art installations and interactive projects with the audience’s active involvement.
Register here: https://mailchi.mp/e2c0c617a6c0/audiobus-2021?e=fdf0ddbc46
The workshop delves into the sound worlds of several animals. Immersed in an interactive, experiential listening space, the participants explore the differences in how sound is used by different animal species to communicate and be creative, and try to find out what are the animals communicating and why and when can their sounds be seen as an expression of music creativity. The workshop encourages active listening, which takes the participants on a journey into a different world to offer a new perspective on the lives of other animal species.
Uršek Slivšek a graduate psychologist (Leiden University, The Netherlands), has experience in the fields of research, creation, cognition, learning, pedagogy and activism. He has been a long-term collaborator with youth organizations (Socially Integrated, Association of Friends of Youth Moste-Polje) and academic organizations (Leiden University Pride, LU Green Office). His work is based on the ethical principles of solidarity and understanding of psychological factors on individual development.
Katarina Radaljac is an activist with a MA musicology. In their research, they are focusing on non-human animal music and on interaction with animals. In this process they connects different scientific and artistic fields such as zoomusicology, applied ethnomusicology, interspecies art, human-animal studies, animal ethics and others.
Milk me with your eyes is a minimalist absurdist comedy about Bull and his Essence, interwoven through the video/painting installation. The exhibit consists of 7 canvases and a short animation. Through the medium of a combination of abstract forms, the story of an existentialist crisis of Bull unfolds as he tries to escape his own self – unsuccessfully, of course. The paintings were initially conceived as a detailed part of the storyboard, i.e. as a tool for the final product - the animation. In the paintings, the artist explores the abstract form as a standalone unit, where the title (of the work) represents an equal element of the painting’s visual composition. Thus, the abstract form and the title complement each other and combine together to form the story of a painting, which is just a painting and represents nothing other than itself. The animation, on the other hand, represents an upgrade of the painted works and pushes them into motion from their static form.
Veronika Hozjan (1994) graduated as a sculptor at the Ljubljana Academy of Fine Arts and Design in 2016 and received her Master’s degree in 2020. Her field of artistic expression lies at the intersection between painting and animation. She mostly touches upon (quirky) mundane subjects, exploring the place in between reality and the virtual space and the narrativity of the artwork itself. She is a member of two activist/artist collectives, Catfarm (France) and Adventures of Valparaiso (the Netherlands). She currently lives and works in Ljubljana.
curator: Špela Lutman
The work Interweaving Soundscapes exists at the crossroads between science and art. On a symbolic level, the spiderwebs represent the web of human interpersonal communication at all levels. This web, however, is not only a sympathetic helper lending a hand, it is also the watcher employed by the centres of power and control. An individual has become prey caught in the sticky web of promises, with the threads of control tightening in much the same way as the spider wraps its web around the victim. The silky thread reveals its bivalent power; interwoven in a fabric, it caresses – wrapped around the prey, it subjugates or suffocates.
The live performance of the art work Interweaving Soundscapes in version 5.6 represents an upgrade of the sound-compositional organism captured on July 2, 2021, which is joined by light performed by the OM production collective.
Boštjan Perovšek: soundscapes, live electroacoustics
OM produkcija: light
Roland Mühlethaler PhD: expert support, original spider sound material
Computer Vision Laboratory, Faculty of Computer and Information Science, Ljubljana: processing and sonification GPS data
Boštjan Perovšek is a musician, composer and soundscape artist who composes experimental, electro acoustic music. He specializes in creating bio-acoustic music based on the sounds of animals, especially insects. He plays on his own or with the bands SAETA, Jata C and Bio Industrial Acvoustica, impro. One of the most important parts of his work is connecting art and science. He also produces music for film, theatre, performances and multimedia installations, as well as soundscapes for museums and galleries.
OM Production was initially based in Ljubljana and for the past 30 years in Koper, this mysterious group with an enigmatic name OM Production has been active since 1975. Before joining their forces within this original hybrid between a renegade freemason lodge, a guerilla production establishment and an audiovisual lab, its members worked in the area of avantgarde theatres, art practices, radiophony, photography, film, writing and multimedia installations. In its first decade, this organization numbered dozens of film and performance artists, who in the 21st century are followed by the next generation of phoenixes and zombies.
In a flood of communications systems, which are breaching our privacy more and more each day, artists are searching for alternative communication methods. The concept involves a secret micro-communication using technology and birdsong, evading unwanted control by waking up our primary senses in an innovative way. All existing communication networks, such as the internet, telephony, and GPS, are centralized, which allows a central actor to control and surveil its users. Besides offering a critical perspective on modern technology, the project also helps us rediscover forgotten sensory inputs.
BridA is a collective made up of Venice Academy of Fine Arts graduates Tom Kerševan, Sendi Mango, and Jurij Pavlica which was formed in 1996 during their university years. The group, which produces artwork across a wide spectrum of contemporary artistic practices, exhibits both locally and internationally, and has participated in numerous international residency programs, workshops, and seminars. It has been invited several times to curate the Pixxelpoint Festival in Nova Gorica and the R.o.R. Festival of contemporary artistic practices in Šempas. BridA’s works have been purchased for multiple international contemporary art collections. In 2015 it received the highest award of the Municipality of Nova Gorica, i.e. the France Bevk Prize, in honour of 20 years of successful activity, and in 2018 it was the recipient of the international Tesla Award, conferred by the Museum of Transitory Art in Ljubljana. It received of the Iaspis scholarship awarded by the Swedish Ministry of Culture, and a Culture Bridges grant, awarded by the British Council with the support of EU funds.
BridA’s artistic production spans a broad field of interdisciplinary art practices. The artists leverage innovative technological and scientific approaches that create revolutionary new ways of understanding contemporary art. Their interactive projects actively involve the public in the artistic process, and through the years the public has become the main protagonist of their artistic projects.
The PLANT-MACHINE is a series in which the artist Špela Petrič examines the possibilities of post-anthropocentric cognition, focusing on machine learning as a tool to form alternative relationships with plants. Developed in collaboration with a team of programmers and engineers, the artworks are rooted in the realisation that digital representation, which we often unwittingly partake in through big data analyses and predictions, requires new modes of social and political engagement. In the series, the artist insists on intensifying the relationship between information technology and plants, identifying in it two critical features of the current situation: the urgency to reconstruct our relationship to plants, and the ontological flattening in which plants and the statistical human essentially become equal.
Špela Petrič is a new media artist who has been trained in the natural sciences and holds a PhD in biology, currently working as a researcher at the Vrije Universiteit, Amsterdam. Her artistic practice combines the natural sciences, wet biomedia practices, and performance art, critically examining the limits of anthropocentrism via multi-species endeavours. She envisions artistic experiments that enact strange relations to reveal the ontological and epistemological underpinnings of our (bio)technological societies. Petrič has received several awards, such as the White Aphroid for outstanding artistic achievement (Slovenia), the Bioart and Design Award (Netherlands), and an Award of Distinction at Prix Ars Electronica (Austria).
In the song and performance Bibaret JC210120, Jata C surpasses the received social and economic perception of insects. It seeks to highlight and raise awareness of the importance of insects in individual ecosystems while at the same time peering beyond the scientific frame. It also topicalises the world of a class of small animals – invertebrates (insects, spiders, bugs, etc.) – and through these revelations highlights the social, scientific, and artistic attitude to this important and vulnerable group of animals.
The artists want to humorously combine scientific findings and environmental facts with social dogmas. In the performance, they listen to creatures that have the ability to perform a complete body metamorphosis and co-habit with other species in co-dependency. They employ auditory cognition to introduce their own, artistic insight in the form of speculative thought and creativity around the theme of our close co-existence with bugs and arthropods.
The group invited Dr Tomi Trilar, an established expert on invertebrates and bioacoustics and the Head of the Department of Invertebrate Zoology, which manages the National Collection of Animal Sounds at the Slovenian Museum of Natural History, to join this collaboration. The biologist provided the sounds of selected insects from the extensive collection and collaborated with the artists during the conceptual phase of the process. Bibaret JC210120 is thus based on bioacoustic sounds that were contributed by the artists themselves and the Slovenian National Collection of Animal Sounds, and several samples from George Vlad’s sound library Mindful Audio.
The composition Bibaret JC210120 premiered live on Radio Slovenija’s ARS station and the international network of radio stations EBU. It was also featured at the Steklenik gallery as an eight-channel sound installation.
The members of Jata C: beeplip, OR poiesis, Boštjan Perovšek, Bojana Šaljić Podešva, and Brane Zorman.
Production: Cona, Institute for Contemporary Art Processing, 2019
Partner: Slovenian Museum of Natural History – Slovenian Wildlife Sound Archive, represented by Dr Tomi Trilar
The composition includes several samples licensed from George Vlad, Mindful Audio.
beepblip is a sound artist and archivist. She composes immersive psychogeographic soundscapes using analogue electronics, DIY modular sound synthesisers, field recordings, and computer manipulation. Her interests include bioacoustics, experimental music, and microtonality. Her album Noise for Strings, Vol. 1, was published in 2019 by the netlabel Kamizdat.
OR poiesis is an artist and researcher of sound, sound perception, and poetic performance. She propagates words in the sonorous spheres of timespace poetry. While she is interested in all digital dimensions, her core interest is the physical presence of the body.
Boštjan Perovšek is a musician, composer, and sound designer who composes experimental electro-acoustic music. His speciality is creating bioacoustic music using the sounds of animals, especially insects. He also performs with the SAETA group and creates music for film, theatre, performances, multimedia installations, and soundscapes for museums and galleries.
Bojana Šaljić Podešva spends most of her time as a composer researching sound as an entity that affects the listener both physically and through content. Her music thus ranges from complete abstraction to complex semantic languages. She has received several awards for her concert works and theatre and film music.
Brane Zorman is a composer, sound and intermedia artist, sound manipulator, producer, and curator. He composes sound works for theatre, intermedia, and dance performances and performs electro-acoustic solo music and improvisations with local and foreign artists in surround sound. Using sound and space, he develops various strategies, techniques, and dynamic and interactive modules, records and re-interprets soundscapes, and uses sophisticated tools to create electronic and acoustic sound sculptures.
The Dunking Devils performed acrobatics on the Trbovlje smokestack as part of Vertigo Bird 2020, a DDTLab project featured at the world’s largest international festival of intermedia art, Ars Electronica. “For a long time, I had been toying with the idea of documenting the grandeur of our 360-metre smokestack in 360° technology. When the opportunity arose to participate in Ars Electronica, we thought it was an ideal moment to carry out this project,” says Maša Jazbec. “The inspiration for Vertigo Bird 2020 was a performance by Iztok Kovač, who did the Falcon Dance at the top of the smokestack in 1996. His performance was featured in the film Vertigo Bird, and that is where we borrowed the name from, with Iztok’s permission,” she adds. The title is a perfect description of a unique project that takes viewers to a dizzying 360 metres above ground. With 360° video, everyone can enjoy the unforgettable view from the top of the Trbovlje smokestack. The project is a result of collaboration between DDTLab, Iztok Kovač, Dunking Devils, HSE – Energetska Družba Trbovlje, and Branko Povše. They joined forces to successfully create the first Slovenian visual document of this dizzying ascent and show the magnificence of the tallest smokestack in Europe.
Delavski dom Trbovlje, one of the largest cultural centres in Slovenia, has organised for the 12th year running the new media festival Speculum Artium, which is becoming a junction of ideas and a forge of new solutions for the future. This festival speaks to all those who see their future in the better integration of science, technology, and art. At the outset of the 21st century, this effectual combination represents the principal direction in the development of human society. Other important topics explored by the festival include the humanisation of technology, empathy, individual empowerment, and the dissemination of content.
Tea for Five: Opium Clippers is a visual essay that combines painted ceramics, a tea ceremony and storytelling. Depicting overlooked and forgotten merchants, pirates, missionaries and their ships, the five tea sets guide us through the history of the opium and tea trade in China. But the tales of the opium ships do not only tell stories of conflict, colonisation and the development of capitalism, they also reflect the profound implications of the tea and opium trade for our present times.
Neja Tomšič has been performing Tea for five. Opium Clippers since 2017. The project has toured in 11 countries and reached more than 50 repetitions. In 2018, the project evolved into an artist book entitled Opium Clippers, published by Rostfrei Publishing, which won the Best Artist's Book Award 2017/2018 and the Slovenian Book Fair Award for the Most Beautifully Designed Book in the Book as Object category.
Neja Tomšič is a visual artist whose interdisciplinary practice combines drawing, poetry, performance and research. She is interested in overlooked and often hidden stories from history. Through them, she reflects on grand historical narratives, exposes less visible details and creates situations that open up new understandings of the present. She has won several awards for her work and was one of the nominees for this year's OHO Group Award. She is a member of the Nonument Group, an art collective that addresses overlooked, forgotten and abandoned monuments, buildings and public spaces whose meaning has changed due to social or political changes.
The festival was made possible by