tag:blogger.com,1999:blog-59172481405960119652024-03-19T10:08:07.154+01:00OR poiesis a.k.a. Petra KapšOR poiesishttp://www.blogger.com/profile/17128080284141999384noreply@blogger.comBlogger52125tag:blogger.com,1999:blog-5917248140596011965.post-69187556289214740572023-11-29T11:44:00.003+01:002024-01-30T13:02:46.156+01:00Furīfōru / fluvial<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHR3m1jOL_m2ahIrRg0sk1KKEx-BNBL56n7IjOetvIvFTtaUQINmpRnQisSmz1mGhrSllbBBVfMukSUe6E0yRsXDvSDbfR5OckMfdB3WoU5zpiwMuFphI6aVHoXlt6-7yQkuLl35nL7QEcSFWpMYYfyWbB2RTJYHyMOvfujchd1PKllds7qjvs1XsN3GU/s1490/Screenshot%202023-11-20%20at%2019.55.55%20copy.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1468" data-original-width="1490" height="630" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHR3m1jOL_m2ahIrRg0sk1KKEx-BNBL56n7IjOetvIvFTtaUQINmpRnQisSmz1mGhrSllbBBVfMukSUe6E0yRsXDvSDbfR5OckMfdB3WoU5zpiwMuFphI6aVHoXlt6-7yQkuLl35nL7QEcSFWpMYYfyWbB2RTJYHyMOvfujchd1PKllds7qjvs1XsN3GU/w640-h630/Screenshot%202023-11-20%20at%2019.55.55%20copy.png" width="640" /></a></div> <p></p><p><b><i>Furīfōru / fluvial</i></b>, 2023, fixed media, acousmatic composition, 15’<br /><br />Furīfōru / fluvial tracks the ecstatic feeling of levitation in the spherical music of the waterfalls. As if in the free fall of water, its dispersion, the tremolo impact of water molecules on the stone create an enduring allure, an endless attraction, a climax without decrease, an ecstatic vibrational field that elevates the body.<br />The core inspiration of the composition is the dynamic between gravity and levitation. It delves into the elemental nature of bodies and their diverse rhythms - water, mineral, atmospheric.<br /><br />At its essence, the work carries an affirmation of the sensual intertwining of elements, deepening into water-lithic eros; it proposes whole body listening experience. It emphasizes the perceptual sensitivity necessary for an expanded field of perception and a sense of the subtle levels of existence, the infinite interweaving of elements. We are fleeting guests of an entangled cosmic organism. Resonance deeply defines our being, as does temporal asynchrony. Furīfōru / fluvial explores ways to emphasise the role of ecstatic environments in the topography of the sonic territory and in the territory of bodily experience.<br /><br />The work has been created with variety of performative recordings of waterfalls and stones (captured over the span of 2012 to 2023 in the areas of: the Šumik and Skalce waterfalls in Pohorje, the Veli Vir waterfall in Slovenian Istria, the Nadiža river, and others, recordings of the stone instrument KAMIsTONE).<br /><br />Furīfōru / fluvial was premiered by the artist as part of The Vienna Acousmonium festival at Kino Šiška in Ljubljana March 2023), produced by CONA Ljubljana and Thomas Gorbach & The Vienna Acousmonium.<br /><br /><br />Short BIO<br />OR poiesis (a.k.a. Petra Kapš) (SI) is an artist, composer, performer and researcher in the field of bio-, geo- and hydroacoustics, aural perception, interactive sound performance in a concrete, acoustic space, digitally enhanced reality and radio transmission. Her work focuses primarily on earthly/cosmic elements.Her aesthetic is strongly influenced by her practice of sonorous poetry, her passionate desire for silence, and her exploration of ecstatic, sonically saturated, chthonic, and spherical phenomena. She developed KAMIsTONE and TEKTON stone instruments. With all the digital dimensions, the physical presence of the body is central.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg66OY0mtukQ1_TYmg7g74FHxNZEjTSE0grJ1r2WNamvUagE-nc9Vn_GoYk8wCL8Ws2IE5wzK-bcNFB3ou4SSCYXWIX-0X8O8GCBcxBGa1PRfzTdUviHuy4UhiAysR3ApH6waXOjIfNICL-lLe4-TNfflTldcZtUaBmbv70xhAORyf7F_W2DXl73wkN5Js/s921/furiforu_mfru%202023.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="607" data-original-width="921" height="422" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg66OY0mtukQ1_TYmg7g74FHxNZEjTSE0grJ1r2WNamvUagE-nc9Vn_GoYk8wCL8Ws2IE5wzK-bcNFB3ou4SSCYXWIX-0X8O8GCBcxBGa1PRfzTdUviHuy4UhiAysR3ApH6waXOjIfNICL-lLe4-TNfflTldcZtUaBmbv70xhAORyf7F_W2DXl73wkN5Js/w640-h422/furiforu_mfru%202023.png" width="640" /></a></div><br /><p><br /></p>OR poiesishttp://www.blogger.com/profile/17128080284141999384noreply@blogger.comtag:blogger.com,1999:blog-5917248140596011965.post-3843616585521823942023-11-29T11:41:00.017+01:002024-01-18T13:46:08.040+01:00YAMAMAYU sound walk <p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpqbmeZ_EhFrjrq0CtOFDM9XK4-Jndc0K3hEPkSdwNy32hbJGuXVCCacvk34ZSeVEynyo1LDKFeq4srtl8-FIzItbc288R-rJddpqW4KqEvdxmO1agwNyH9BBuYNqzBWCnDDnfbq-31pnXdjCJ9XozAbLiUYktWDz9GNikqQc8zYKQlsISuqHCloGTwxk/s1578/YAMAMAYU%20sound%20walk%20visual.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1144" data-original-width="1578" height="464" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpqbmeZ_EhFrjrq0CtOFDM9XK4-Jndc0K3hEPkSdwNy32hbJGuXVCCacvk34ZSeVEynyo1LDKFeq4srtl8-FIzItbc288R-rJddpqW4KqEvdxmO1agwNyH9BBuYNqzBWCnDDnfbq-31pnXdjCJ9XozAbLiUYktWDz9GNikqQc8zYKQlsISuqHCloGTwxk/w640-h464/YAMAMAYU%20sound%20walk%20visual.jpeg" width="640" /></a></div><br /><p></p><p>
</p><p style="margin-bottom: 0in;">slo /</p>
<p style="margin-bottom: 0in;">OR poiesis: YAMAMAYU nočna
pohajkovanja
</p>
<p style="margin-bottom: 0in;">zvočni sprehod, globoko poslušanje</p>
<p style="margin-bottom: 0in;">elementi izvedbe: modalitete hoje in
partiture poslušanja, zvočna kompozicija YAMAMAYU preko FM silent
disco prenosa na terenu</p>
<p style="margin-bottom: 0in;">izvedba performansov: festivala TO)pot
2022-2023 in MFRU 2023</p>
<p style="margin-bottom: 0in;">povezave:
<a href="https://www.steklenik.si/or-poiesis-yamamayu/" target="_blank">https://www.steklenik.si/or-poiesis-yamamayu/</a> <a href="https://www.mfru.org/si/dogodki/yamamayu-nocna-pohajkovanja" target="_blank">https://www.mfru.org/si/dogodki/yamamayu-nocna-pohajkovanja</a> <br /></p><p lang="sl-SI" style="margin-bottom: 0in;"><i><b>Kako poslušati nevidno?
Kako zaznati bitja, ki nočejo biti slišana?</b></i></p>
<p lang="sl-SI" style="margin-bottom: 0in;">YAMAMAYU nočna
pohajkovanja so zasnovana na umetničinem trajajočem poetičnem
raziskovanju jamamajev, eholokaciji, modalnosti
premikajočih/mirujočih stanj in sofistikaciji osebnega auralnega
polja z vidika zaznave in povezovanja s teritorijem ter globokega poslušanja. Z odvzemom vidnega polja se človekov slušni spekter eksponentno izostri. Postulati jaza in jasnih robov identitete se v noči gozda pričnejo postopoma mehčati, se razpuščati. YAMAMAYU ustvari okolje za izkušnjo metamorfoze, transformacije. ....<i> izginjam, razpuščam se v eterično polje prostora, v varnem okolju skupnosti, jaz izginja v drevesa, potaplja se v prostor noči, zavest se razširi do robov kozmosa in čez</i> ...<br /></p>
<p lang="sl-SI" style="margin-bottom: 0in;">Skupinski zvočni sprehod
se osredotoča na prisluškovanje (skoraj) neslišnih prisotnosti v
gozdu. Prične se s skupno vajo uglaševanja, nato se skupina v
tišini ter ob sledenju poetičnim napotilom poslušanja v nočnem
času premika po izbranem teritoriju (gozd, travnik, park).</p>
<p style="margin-bottom: 0in;"><span lang="sl-SI">Prisluškovanje
dozdevno neslišnemu ter pohajkovanje po nočnih krajinah (ki so
lahko tudi le redukcija vidnega polja ter prisluškovanje drobnim
impulzom lastnega telesa in anime) naslavlja zvočnost dozdevne
tišine nočnih metuljev. Jamamaji so prebivalci listnatih gozdov in živijo visoko v krošnjah dreves. So nočni metulji, ki za seboj
puščajo velike svetlozelene svilene zapredke. Dislocirani nočni
prišleki so pred dobrim stoletjem ob poskusih lokalnega svilogojstva
uspeli pobegniti v prostost okoliških drevesnih krošenj. Izvirajo z
hribovskega okolja japonskega otoka Honšu, skozi odprto okno pa so
se razširili po celinskem pasu gozdov jugovzhodne Evrope.</span></p>
<p lang="sl-SI" style="margin-bottom: 0in;">Ob motrenju vsakodnevne
zvočnosti kot sredstva za degradacijo človekovih perceptivnih
potencialnosti, predvsem krnitve slušnega polja, je namen zvočnega
sprehoda in niza partitur poslušanja intervenirati v prevladujočo
perceptivno agendo in poudariti potencialnosti auralne zaznave. Sluh
je tesno prepleten s sposobnostjo kompleksnega razumevanja stvarnosti
ter sočutja, ki je osnova za vključujočo resonanco.
</p>
<p lang="sl-SI" style="margin-bottom: 0in;">Zvočni sprehod YAMAMAYU
nočna pohajkovanja je bil premierno izveden v okviru festivala
TO/pot 2022, produkcija CONA, Ljubljana.</p>
<p style="margin-bottom: 0in;"><br />
</p>
<p style="margin-bottom: 0in;">eng /</p>
<p style="margin-bottom: 0in;">OR poiesis: YAMAMAYU night wanderings</p>
<p style="margin-bottom: 0in;">sound walk, deep listening</p>
<p style="margin-bottom: 0in;">executed via walking and listening
postures, written scores of deep listening practices,
YAMAMAYU composition via FM silent disco transmission in the
field</p>
<p style="margin-bottom: 0in;">previous performances: TO)pot 2022-2023
/ MFRU 2023</p>
<p style="margin-bottom: 0in;">links:
<a href="https://www.steklenik.si/en/or-poieseis-yamamayu/" target="_blank">https://www.steklenik.si/en/or-poieseis-yamamayu/</a> </p><p style="margin-bottom: 0in;"> <a href="https://www.mfru.org/events/yamamayu-night-wanderings" target="_blank">https://www.mfru.org/events/yamamayu-night-wanderings</a><br /></p>
<p style="margin-bottom: 0in;"><b><i>How can we listen to the invisible? How
do we perceive beings that do not want to be heard?</i></b></p><p style="margin-bottom: 0in;"><i>YAMAMAYU night wanderings</i> are rooted in the artist's ongoing poetic exploration of
the Japanese silk moths (Antheraea yamamai), echolocation,<span class="HwtZe" lang="en"><span class="jCAhz ChMk0b"><span class="ryNqvb"> modalities of moving/still states and the sophistication of the personal aural field via territorial perception/connection and deep listening</span></span></span>. With the deprivation of the visual field, the human auditory spectrum
exponentially sharpens. The postulates of the self and clear boundaries
of identity begin to gradually soften in the night of the forest,
dissolving. YAMAMAYU creates an environment for the experience of
metamorphosis, transformation. <i>... I vanish, dissolve into the
ethereal field of space, in the safe environment of community, I
disappear into the trees, submerge into the space of the night,
consciousness expands to the edges of the cosmos and beyond... </i><br /></p><p style="margin-bottom: 0in;">The sound walk will focus on listening to (almost) inaudible
presences in the forest. We will start with a collective tuning-in
exercise, and then, in silence and guided by poetic listening scores, we will take an night walk through specific territory (meadows, forest). This auditory journey into the seemingly
inaudible, as we gently move through the nocturnal landscapes delves into the
sonority of the (un)audible silence of nocturnal butterflies. Antheraea yamamai, inhabitants of tall deciduous forests who reside high in the
treetops, become the focus of our exploration. </p><p style="margin-bottom: 0in;">More about the <a href="http://orpoiesis.blogspot.com/2020/09/yamamayu.html" target="_blank">YAMAMAYU night moth here. </a><br /></p><p style="margin-bottom: 0in;">Listening to seemingly inaudible sounds and wandering through
nocturnal landscapes (which can also be a reduction of the visible
field and listening to subtle impulses of one's own body and nature)
addresses the sound of the apparent silence of nocturnal moths.
Jamamaji are inhabitants of deciduous forests and live high in the
tree canopies. They are nocturnal moths that leave behind large
bright green silk webs. Displaced nocturnal newcomers managed to
escape into the freedom of the surrounding treetops about a century
ago during attempts at local silk farming. They originate from the
mountainous environment of the Japanese island of Honshu, and through
an open window, they spread across the continental belt of forests in
southeastern Europe.</p>
<p>By observing the everyday sound as a means to degrade human
perceptual potential, especially the narrowing of the auditory field,
the purpose of the sound walk and the series of listening scores is
to intervene in the prevailing perceptual agenda and emphasize the
potential of aural perception. Hearing is closely intertwined with
the ability to complexly understand reality and empathy, which is the
foundation for inclusive resonance.</p>
<style type="text/css">P { margin-bottom: 0.08in }</style><p style="margin-bottom: 0in;"><style type="text/css">P { margin-bottom: 0.08in</style>In 2020, as part of MFRU, the artist created
YAMAMAYU / planetary garden of fluid harmony / sonority of the
Japanese oak silk moth, an 8-channel sound composition at TONSPUR. The
sound walk YAMAMAYU night wanderings premiered as a part of the
<a href="https://www.steklenik.si/en/or-poieseis-yamamayu/" target="_blank">TO/pot 2022 festival</a>, produced by <a href="https://www.steklenik.si/en/home/" target="_blank">CONA</a>, Ljubljana.</p><p style="margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQ0pjiZnr2A_R1qINzocybe_agCgv74WqYX-4WCTGOpTfX-G1FX91zust9crz4WNXYJP6LnHrD89vmEp5B9DS0TpECMVev329Ry5uqOI3i3lptYofAWVstGOiKo5b-NJnVAfn2tJO6-dFbHnM45ym7pCfBFFZytkZ8LlXWf4e3sU5gPQGfOG5KuUOTAOQ/s1346/147A1974%20copy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="897" data-original-width="1346" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQ0pjiZnr2A_R1qINzocybe_agCgv74WqYX-4WCTGOpTfX-G1FX91zust9crz4WNXYJP6LnHrD89vmEp5B9DS0TpECMVev329Ry5uqOI3i3lptYofAWVstGOiKo5b-NJnVAfn2tJO6-dFbHnM45ym7pCfBFFZytkZ8LlXWf4e3sU5gPQGfOG5KuUOTAOQ/w640-h426/147A1974%20copy.jpg" width="640" /></a></div><br /> <p></p>
<p><style type="text/css">P { margin-bottom: 0.08in }</style> <br /></p>OR poiesishttp://www.blogger.com/profile/17128080284141999384noreply@blogger.comtag:blogger.com,1999:blog-5917248140596011965.post-86420351821197448172023-11-29T11:39:00.007+01:002024-01-30T11:16:15.198+01:00Twilight, acoustic minimalism sound walk <p> </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDUmBe1AcLHffjEiY3GocARXZlv-sO2UJDAXQ4tKQR_frDzhTENF2A9a2s8eE1JOsLctq-oROMfL31hGru0mRe5fJ3PwJECjDHbHWaO1fNNPHHiQz1SPfh8p8Z_fA8vUJNi_HtTPQGuLY6MP38VqyVSp13wSpw5csczFX_TI-n_vpFLCxrVW22T7yDCEY/s1814/Twilight%20listening%20score.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1232" data-original-width="1814" height="434" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDUmBe1AcLHffjEiY3GocARXZlv-sO2UJDAXQ4tKQR_frDzhTENF2A9a2s8eE1JOsLctq-oROMfL31hGru0mRe5fJ3PwJECjDHbHWaO1fNNPHHiQz1SPfh8p8Z_fA8vUJNi_HtTPQGuLY6MP38VqyVSp13wSpw5csczFX_TI-n_vpFLCxrVW22T7yDCEY/w640-h434/Twilight%20listening%20score.jpeg" width="640" /></a></div><div class="style-scope ytd-watch-metadata" style="text-align: left;"> </div><div class="style-scope ytd-watch-metadata" style="text-align: left;"><b>Twilight, acoustic minimalism</b></div><div class="style-scope ytd-watch-metadata" style="text-align: left;">sound walk + deep listening practice<br /></div><div class="style-scope ytd-watch-metadata" style="text-align: left;"> </div><div class="style-scope ytd-watch-metadata" style="text-align: left;">time frame: <br />June 2 starting at 20:30<br />June 4 staring at 04:43</div><div class="style-scope ytd-watch-metadata" style="text-align: left;"> </div><div class="style-scope ytd-watch-metadata" style="text-align: left;">starting point: <a href="https://goo.gl/maps/Eg85o22ZQcy6VnDm7" target="_blank" title="https://goo.gl/maps/Eg85o22ZQcy6VnDm7">https://goo.gl/maps/Eg85o22ZQcy6VnDm7</a></div><div class="style-scope ytd-watch-metadata" style="text-align: left;">duration: 2 hours <br /></div><div class="style-scope ytd-watch-metadata" style="text-align: left;"><h1 class="_ap3a _aaco _aacu _aacx _aad7 _aade" dir="auto"><span style="font-size: small;"><span style="font-weight: normal;">listening/walking/performative score </span></span></h1>This is an invitation to a group sound walk where we will focus on listening to an (almost) inaudible presence in the city - the river Oker. We will start with a joint tuning exercise, and then as a group we will go for a listening walk along the river in silence, drawing a walking meander of freely accessible paths along the river, crossing bridges and streets where access to the river is not possible. What do we hear when we listen to the river?<br /><br />Twilight, acoustic minimum will be in two parts - evening and morning edition, we will eavesdrop to the field of sonic minimum of the evening and dive into dawn acoustic territories. Evening will call for slightly tired bodies, but with alert perception, as the approaching night takes away the sense of sight and dawn will awaken still sleepy bodies and dreamy perception - both states are highly imaginative and can encourage expanded perception.</div><div class="style-scope ytd-watch-metadata" style="text-align: left;"><br /></div><div class="style-scope ytd-watch-metadata" style="text-align: left;">Kindly invited by katrinem (a.k.a. Katrin Emler), commissioned by klangstaetten | stadtklaenge - 𝘽𝙧𝙖𝙪𝙣𝙨𝙘𝙝𝙬𝙚𝙞𝙜 𝙝𝙤̈𝙧𝙩 𝙨𝙞𝙘𝙝 𝙯𝙪! Allgemeiner Konsumverein</div><div class="style-scope ytd-watch-metadata" style="text-align: left;"> </div><div class="style-scope ytd-watch-metadata" style="text-align: left;">Links: <a href="https://www.klangstaetten.de/das-programm/twilight/ " target="_blank">https://www.klangstaetten.de/das-programm/twilight/ </a></div><div class="style-scope ytd-watch-metadata" style="text-align: left;"><a href="https://www.klangstaetten.de/" target="_blank">https://www.klangstaetten.de/</a><br /></div>OR poiesishttp://www.blogger.com/profile/17128080284141999384noreply@blogger.comtag:blogger.com,1999:blog-5917248140596011965.post-74014405382549777272022-12-19T12:56:00.004+01:002023-05-15T10:46:41.059+02:00TEKTON<p style="text-align: center;"><b></b></p><p></p><p style="text-align: center;"><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghOTb1L6HTI0CivchpBrw5NffzXUPtkdLXUEs8eMJXCuxGrjPK0bhjSoHxMWggwFG3IqyfrpX2ToWwfrZvC36I2VSMrknqmyloUSj6KQUF1Vk89tJHAKhc8TVVAacDgwxZUozU0VJGaYTgHmCJCD4jYGD26aUU5q626PgmplVdIkkR8oVDZ-dm4Cv6/s1422/DSC01466.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1067" data-original-width="1422" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghOTb1L6HTI0CivchpBrw5NffzXUPtkdLXUEs8eMJXCuxGrjPK0bhjSoHxMWggwFG3IqyfrpX2ToWwfrZvC36I2VSMrknqmyloUSj6KQUF1Vk89tJHAKhc8TVVAacDgwxZUozU0VJGaYTgHmCJCD4jYGD26aUU5q626PgmplVdIkkR8oVDZ-dm4Cv6/w640-h480/DSC01466.jpg" width="640" /></a></b></div><b><br /></b><p></p><p style="text-align: center;"><b>TEKTON</b><br />mineral - soma - sonic body <br />dry garden of sound-carrying stones <br />stone instrument<br /></p><p><br />5-channel sound composition + installation + video</p><p>premier at the gallery K18, Kulturni inkubator, Maribor</p><p>November 21 - December 4 2022<br /><br />TEKTON is a stone instrument, a mineral-soma-sonic body, a dry garden of sound-carrying stones. At the core of the poetic research process is the hybridity of human and stone with the elemental, subhuman sonority and the appearance of stones as solid substance. In view of the disintegration of the anthropocentric understanding and occupation of the world, which is changing drastically before our present ears, and the ever louder intimate intuition that beneath the unimaginable variety of life forms necessarily hides the lush life of minerals, we need to ask ourselves: »Do we understand what kind of dysregulation human is producing while massively extracting minerals from the planet? When our bodies lack minerals, there are instant serious consequences, echoing in all layers of health.«<br /><br />Minerals invent themselves again and again over the aeons, they build themselves in constellations, create and disintegrate into shapes, textures and dimensions, they vibrate and resonate and through existence materialize, metabolise, (re)create, build long-lasting, seemingly immobile and unchanging forms, as well as more short-lived, even fleeting forms of life.<br /><br />Minerals are consistent in predicting the future > transformation, change is a cosmic constant. Human-stone hybridity is an auto-poetic principle, it is an ancient, mutual attraction, a philia that builds human and stone bodies. We build our world with stones (even nowadays with digital virtuality there is again mineral at the core of electronics). Stone and minerals build the human body. Human is (only) a fleeting constellation of minerals. The stony, mineral materiality of existence is the ubiquitous subterranean domain. It is the subject of the metabolism of the planetary-cosmic organism. Minerals and stones are active agents in the co-shaping of the human physical appearance, and likewise the stone is a co-participator in the shaping of the subtler realities of human: mental, psychic, sensual, emotional … And vice versa. Stone is not a solitary substance, it is a networked, mycelial substance - a field full of movement and galactic connections. <br /><br />TEKTON is structure, it is texture, it is text and textuality; it is a too slow fluidity to be observed with the naked eye, except when it enters “our" time.<br /><br />The individual sources of the multi-channel sound composition I created from sound material recorded in the territories from where the stones were taken - the Lobnica river in Pohorje, the cave in Studenice, the Nadiža river, Strunjan Bay and the Adriatic Sea, recordings of tectonics in different parts of the world. Individual sound sources includes performative field recording, voice and poetry, recording of substances (hydrophone, geophone, contact microphone: rivers, sea, rocks, earth, tectonics, atmosphere and others), sonification of scanned images of stones, sound processing, composing and deep cosmic eavesdropping as a central creative process. The individual sonority is played back into the same stone. In the sonic process, a resonant feedback loop is created, the amplification of sound to the level of matter (and human audibility), and back. In the foreground is the resonance and vibration of sound and solid matter. Stones as resonators.<br /><br />The TEKTON project is situated in the author's poetic exploration of the elements and the "cosmic garden": earth, water, air, fire, ether > this time mainly in the relationship between stones and the human body, in the exploration of the body in relation to the strange other, to stones, to specific geo-choreographies of the body in elementary environments. The author is actively flirting with the search for cosmic impulses and ways of loosening the anthropocentric orientation of modern civilization.</p><p style="text-align: center;"><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6UvlN5omTNDwIUZtJ6zBbG7phkP91sKRk5ZzpwHggVQOmkE_6zQVu_1jQb5CPnYG2npvHx2F5598HA-uAyMisWoDPt1jutjggd2PyKM-2B_NbZduVL8LRN1CAkFkTpspj6SeXNSZElUAR8z54le3YnU1gXOEj9n0aBeTOEIbAf0ezXZ3WK5NOyQp0/s1422/DSC01466.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1067" data-original-width="1422" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6UvlN5omTNDwIUZtJ6zBbG7phkP91sKRk5ZzpwHggVQOmkE_6zQVu_1jQb5CPnYG2npvHx2F5598HA-uAyMisWoDPt1jutjggd2PyKM-2B_NbZduVL8LRN1CAkFkTpspj6SeXNSZElUAR8z54le3YnU1gXOEj9n0aBeTOEIbAf0ezXZ3WK5NOyQp0/w400-h300/DSC01466.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRyB1QmL0MEqXFlLOaWPzjWBPNsCNMv26vdq-BDLj01FntNCAAzrNfoy0VOqsNS-4s7iskCFFBP2_5GjFr53Ka9OlI171bd_cjpZ54ZlYhPnN4LxXxayPh5Bbpnt7XnlbfU_s_RYfrKe69TJUuhUhke7pEGLft69GiZ7L_LxLe3VIQfrWo1ocdO4vu/s1307/1671442393329.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1307" data-original-width="1307" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRyB1QmL0MEqXFlLOaWPzjWBPNsCNMv26vdq-BDLj01FntNCAAzrNfoy0VOqsNS-4s7iskCFFBP2_5GjFr53Ka9OlI171bd_cjpZ54ZlYhPnN4LxXxayPh5Bbpnt7XnlbfU_s_RYfrKe69TJUuhUhke7pEGLft69GiZ7L_LxLe3VIQfrWo1ocdO4vu/s320/1671442393329.jpg" width="320" /></a></div><br />OR poiesishttp://www.blogger.com/profile/17128080284141999384noreply@blogger.comtag:blogger.com,1999:blog-5917248140596011965.post-64162050100515854382022-12-02T13:35:00.004+01:002024-01-30T13:52:36.652+01:00Jata C: Chronolith / Kronolit<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYLTjEx81lW2cwe8WXoD7L5Mc8u5IrEM1i8R0fIMrB2MSJRqpHtSf_EG-O2eTuuudh-Jj4uRZN3fch262klwzcQSToTDDNziYYvv0y9P-8dcleEUrICat-xfQZ7EAetfvWtIL-YlCCK6yNForty45llfWp_IHBrQX_2-JeDWep5tkOIf3lCAzYoqlc8Js/s2307/Chronolith%20Pentagonal%20Tower%202023.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2307" data-original-width="1730" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYLTjEx81lW2cwe8WXoD7L5Mc8u5IrEM1i8R0fIMrB2MSJRqpHtSf_EG-O2eTuuudh-Jj4uRZN3fch262klwzcQSToTDDNziYYvv0y9P-8dcleEUrICat-xfQZ7EAetfvWtIL-YlCCK6yNForty45llfWp_IHBrQX_2-JeDWep5tkOIf3lCAzYoqlc8Js/w480-h640/Chronolith%20Pentagonal%20Tower%202023.jpeg" width="480" /></a></div><br /> <br /><p></p><p> In the work <i>Chronolith</i>, consisting of a complex multi-channel
sound composition and stone slab installation, the bioacoustic group
Jata C investigates the acoustics and temporal dimensions of stone
structures, as well as their sustainability and interdependence with
humans. <b>Jata C </b>(beepblip, OR poiesis, Boštjan PEROVŠEK, Bojana ŠALJIĆ PODEŠVA, Brane ZORMAN) poses the questions: <i>How to listen to stone and think in geological time?</i> <i>Is
it possible to understand the wider social context of man’s
unsustainable exploitation of the environment through the sonority of
stones? And if so, can this help with creating a juster and more
reciprocal relationship with nature?</i></p><p>The artists obtained the sound material for the composition via field
recordings of various locations and quarries. The installation serves
as stone instrument, a sensorial extension to the human body, with which
the composition and the vibrations of the stones are fed back into the
materiality of the slabs with the help of transducers, forming a
feedback loop. During the production of the work, the artists
collaborated with scientists from the fields of micropaleontology,
geology and physics, as well as the supporter of the project, the
company Marmor Hotavlje. The work <i>Chronolith</i> is produced by the CONA institute for the program of the Steklenik gallery.</p>
<p>Ida HIRŠENFELDER (beepblip), a member of Jata C, wrote about the work:<br />
To think of geological time, the time of the sailing rocks, the time of
the lithosphere, and the time of the continents is to think of our
insignificance in the big picture, our mortality (dust to dust), and
fleeting transience. It is a realization that might motivate us to stop
the insane depletion of the Earth and instead marvel at its mighty
delicacy and appreciate the innumerable entities that shaped it in the
volatile space and eons of time. The rocks from the mountains used to be
the seabed. The first organic matter in soil was produced by bacteria.
Much limestone on the Earth originates from the activity of
coccolithophores, unicellular algae covered in calcium carbonate scales.
Same as us, they are both alive and dead, organic and inorganic. We
know too well such distinction is needless; however, it matters <i>what worlds</i><i> world worlds.</i><a href="http://www.steklenik.si/en/jata-c-chronolith-sound-event/#_ftn1" name="_ftnref1">[1]</a><i> </i>It
is almost impossible to find a place on the planet not dictated by
humans or at least transfigured as the consequences of human
interventions. To world a different world, ruled by reciprocity and not
authority, requires the internalization of different questions. Jata C
asks, “How can we hear a stone and its eons?”</p>
<p><a href="http://www.steklenik.si/en/jata-c-chronolith-sound-event/#_ftnref1" name="_ftn1">[1]</a> Donna J. Haraway. <i>Staying with Trouble. </i><i>Making Kin in the Chthulucene. </i>Durham and London: Duke University Press, 2016, p. 35. <i>“It matters what worlds world worlds. It matters what stories tell stories.“</i></p><p><b>http://www.steklenik.si/en/jata-c-chronolith-sound-event/ <br /></b></p><p><b>Jata C</b> is an artistic group whose members share a
passion for field recordings, bioacoustics and sound ecology. Their
research combines auditory perception with ecological and social issues,
expanding them with scientific discourse and original performances of
sonic environments. In their compositions, they transform field
recordings of their immediate surroundings into speculative projections
of the future and delicate perceptions of the present. To capture the
various environmental acoustic phenomena, they employ a vast array of
field recording devices central to the so-called <i>deep listening</i> and
non-anthropocentric relation with biotic and non-biotic entities. In
their performances they follow a general score, leaving enough space for
improvisation and live interpretation. Currently,<span class="Apple-converted-space"> </span>the group has presented to public two other compositions, namely <i>ICEmeltings</i> (2019) and <i>Bibaret JC210120 </i>(2020)<i>. </i>The
members of Jata C are primarily active as independent artists, but the
connectedness in the context of the group enriches and reflects their
own styles and views and offers a completely new context for
understanding their joint creative practive.</p>
<p><br /></p>
<p><b>EVENTS AND PERFORMANCES</b></p><p><b>live sound event</b> / Friday, 18 Nov 2022, at 20:30<br />
<b>installation</b> / 17 – 18 Nov 2022<br />
part of <a href="https://www.kinosiska.si/dogodek/steklenik/"><i>Parallel soundscapes</i></a><br />
Kino Šiška, Ljubljana<b> <br /></b></p>
<p><b>live sound event /</b> Thursday, 10 november 2022, at 21:00<br />
<b>installation</b> / 10 – 13 Nov 2022<br />
part of <i><a href="http://www.kontejner.org/en/">Gibanja: eksperimentalno zvučno događanje</a></i><br />
Museum of contemporary art, Zagreb</p>
<p><b>live sound event</b> / Friday, 14 Oct 2022, at 20:00<br />
part of the <i><a href="https://www.mfru.org" rel="noopener" target="_blank">International Festival of Computer Arts</a></i><br />
Vetrinjski dvor, Maribor</p>
<p><b>premiere of live sound event</b> / Friday, 30 Aug 2022, at 20:00<br />
MGLC Švicarija, Ljubljana</p><p> </p>
<p><b>Colophon:</b><br />
Sound artists: Jata C (beepblip, OR poiesis, Boštjan PEROVŠEK, Bojana ŠALJIĆ PODEŠVA, Brane ZORMAN)<br />
Production: Cona Institute for Steklenik Gallery, 2022<br />
Premiere sound event partner: MGLC Švicarija<br />
Produced by: Irena PIVKA<br />
Public relations: Matej TOMAŽIN<br />
Translation and proofreading: Melita SILIČ<br />
Video: Miha GODEC</p>
<p>The exhibition is part of the project is supported by the Ministry of
Culture of the Republic of Slovenia; City of Ljubljana, Department for
Culture.<br />
The project is a<b> part of konS</b> – Platform for Contemporary Investigative Art.<br />
We would like to thank the company <b>Marmor Hotavlje d.o.o.</b> for access to their quarry and the offered sponsorship for the marble slabs comprising the installation.</p><p><i> </i></p><p> </p>OR poiesishttp://www.blogger.com/profile/17128080284141999384noreply@blogger.comtag:blogger.com,1999:blog-5917248140596011965.post-267021545785455932022-09-27T13:45:00.005+02:002022-09-30T11:09:09.683+02:00Attraction. Petrification / Privlačnost. Petrifikacija<p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib6WekEzct4i08C14yxqSeS9zapmHX0UhLwc5yvHg8RYnUcHMptUlEpKiXNch4pSJ14DyXFGQGsUUyrjG1CkiyrjTAkoIJxtnHVfqxcYUOC-CABDAG4WQG5q3V1RswzdI6JBad-rkC-vlCK67szogaG9pHqlTHZPyd4kvNUYwjb8m_U4wwiMB3pRoX/s3103/Privlac%CC%8Cnost.%20Petrifikacija%20vizualija%20%232%20copy.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2069" data-original-width="3103" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib6WekEzct4i08C14yxqSeS9zapmHX0UhLwc5yvHg8RYnUcHMptUlEpKiXNch4pSJ14DyXFGQGsUUyrjG1CkiyrjTAkoIJxtnHVfqxcYUOC-CABDAG4WQG5q3V1RswzdI6JBad-rkC-vlCK67szogaG9pHqlTHZPyd4kvNUYwjb8m_U4wwiMB3pRoX/w640-h426/Privlac%CC%8Cnost.%20Petrifikacija%20vizualija%20%232%20copy.jpg" width="640" /> </a></div><div class="separator" style="clear: both; text-align: left;"> <br /></div><div class="separator" style="clear: both; text-align: left;"><b>Attraction. Petrification</b><i> </i></div><div class="separator" style="clear: both; text-align: left;"><i>Intimate – cosmic dialogue of elements</i></div><div class="separator" style="clear: both; text-align: left;">opening on Friday, 29 April 2022, at 6 p.m. at the artKIT gallery, Maribor<br /></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: left;"> </div><div class="separator" style="clear: both; text-align: left;">solo exhibition with performative video, immersive sound composition, series of prints of
processual-performative images</div><div class="separator" style="clear: both; text-align: left;"> </div><div class="separator" style="clear: both; text-align: left;"> </div><div class="separator" style="clear: both; text-align: center;"><i>How do the primordial, the eonian concrete reality, and the moving moment, the stone and the woman, meet?</i><br /><br /></div><div class="separator" style="clear: both; text-align: left;"><i>Attraction. Petrification</i>
develops the theme of human-stone hybridity. It realizes its
manifestation through several variations and media: performative video,
abstract sound composition, and a series of prints of
processual-performative images.<br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;">The artist explores human-stone
hybridity – that strange otherness of radically intimate proximity –
through performative collaboration with entities radically different
from herself (or so it seems at first glance). The immobile stone
entities, with their eonian persistence in a seemingly unchanging pose,
emanate a field, a kind of tidal wave, which gently but persistently
attracts much more malleable life forms. She uses the camera (sound,
video, photography) to record what is happening: how her body reacts and
behaves in a specific geological formation, how the subtle
oscillations of the latter affect performative coexistence. The second
axis cyclically unfolds in an intimate space. The creation of
processual images with a scanner, mirror, stones and her own body
follows the light of the lunation and the cycles of cosmic sequences in
time (full/new moon), responding to each period's emotional states and
creative moods as encouraged by the moonlight or its absence. The
sound field – the connective tissue between the elements – invites you
to the intermediate (sub)sound substrate of minerals and liquids, to a
deep listening of the elements. Sound has direct access to the human
interior and seeks resonant harmonies. In the process of creative
encounter, the elements create new fields of synchronization,
intermediate bodies blossom, and eavesdropping/appearances of subtle
manifestations of ambient spirits, atmospheres with light and shadow
emerge.<br /><br />The inspiration for the exhibition <i>Attraction. Petrification </i>is
the creative attraction between rocks and human. The artist draws
attention to the intuition that human is not only close to animals and
plants, but the closeness descends much deeper, into the inorganic, the
mineral, and extends timelessly into the cosmic. <i>The friendship between my hand and this stone enacts an ancient and undeniable eros, the affinity of matter with itself </i>(David
Abram, Becoming Animal; An Earthly Cosmology). The performative
practice with the elements is based on processuality, on deepening and
expanding the perceptual field. <i>Attraction. Petrification</i> offers a process of attunement with the elements, this time with rocks.</div><div class="separator" style="clear: both; text-align: left;"> </div><div class="separator" style="clear: both; text-align: left;">http://www.kibla.org/en/sections/artkit/2022/or-poiesis-aka-petra-kaps-attraction-petrification/ <br /></div><div class="separator" style="clear: both; text-align: left;"> </div><div class="separator" style="clear: both; text-align: left;">Production: Petra Kapš in collaboration with ACE KIBLA<br />The project is supported by the Municipality of Maribor and the Ministry of Culture of the Republic of Slovenia.</div><div class="separator" style="clear: both; text-align: left;"> </div><div class="separator" style="clear: both; text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmz-iG8za41L_FSwqAjoOqfDhj2TqpjXIOW3rEjC9j_jclMyVbxB0BpYPxTSpAMYfW9S8_JIQkDmV5mB035wN7BxXhvdzEuBZqRB_iW3p45ecd9tbAWc2MyGs2b7mSc6hxRir-YMeZ8dDH4rlLGUydOcGxe2OMrYXKdmA4GEHYmU9xAfXj0Oz4sdGL/s1653/OR%20poiesis,%20Privlac%CC%8Cnost.%20Petrifikacija.%20Foto%20Janez%20Klenovs%CC%8Cek%20%C2%A9%20KID%20KIBLA%20(1)%20small.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1102" data-original-width="1653" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmz-iG8za41L_FSwqAjoOqfDhj2TqpjXIOW3rEjC9j_jclMyVbxB0BpYPxTSpAMYfW9S8_JIQkDmV5mB035wN7BxXhvdzEuBZqRB_iW3p45ecd9tbAWc2MyGs2b7mSc6hxRir-YMeZ8dDH4rlLGUydOcGxe2OMrYXKdmA4GEHYmU9xAfXj0Oz4sdGL/w400-h266/OR%20poiesis,%20Privlac%CC%8Cnost.%20Petrifikacija.%20Foto%20Janez%20Klenovs%CC%8Cek%20%C2%A9%20KID%20KIBLA%20(1)%20small.jpg" width="400" /></a></div> <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTc_2lCcENuHWdWj2gIFBImNaH0tBTbOIOvnAFMp1IaFZZXWnDyzXY7xCo_W-O2MgJdz0oKNx7tHAvnJahdnj-KQ-HKDegEdmKW7rikAzrT8_k5CwXX8PB6j5_yI1FKCN3dkP0RqZ7iTq7S_XHXa3Vke_HNKkHVArsUOEJYq25FypG5xake5ZkVGqN/s1653/OR%20poiesis,%20Privlac%CC%8Cnost.%20Petrifikacija.%20Foto%20Janez%20Klenovs%CC%8Cek%20%C2%A9%20KID%20KIBLA%20(7)%20small.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1102" data-original-width="1653" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTc_2lCcENuHWdWj2gIFBImNaH0tBTbOIOvnAFMp1IaFZZXWnDyzXY7xCo_W-O2MgJdz0oKNx7tHAvnJahdnj-KQ-HKDegEdmKW7rikAzrT8_k5CwXX8PB6j5_yI1FKCN3dkP0RqZ7iTq7S_XHXa3Vke_HNKkHVArsUOEJYq25FypG5xake5ZkVGqN/w400-h266/OR%20poiesis,%20Privlac%CC%8Cnost.%20Petrifikacija.%20Foto%20Janez%20Klenovs%CC%8Cek%20%C2%A9%20KID%20KIBLA%20(7)%20small.jpg" width="400" /></a></div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDk5_-YhIuN_nMc5sCW4x_mKjx9seqIKXvFnThOxnAe2Xrp5rmXNL9Tgcfcs3u32G-6Uh-7Jemk_caxHcuyKveEHnYvN9Tj2KauqDPasxWPpDlvgvotRGr_JGTW2qD3h0rjDEFdjFCSgzO_wjKYGgVlrisSDbJ3R6lvDtSbZM_Z16YXhFEWiq9s7RA/s1653/OR%20poiesis,%20Privlac%CC%8Cnost.%20Petrifikacija.%20Foto%20Janez%20Klenovs%CC%8Cek%20%C2%A9%20KID%20KIBLA%20(2)%20small.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1102" data-original-width="1653" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDk5_-YhIuN_nMc5sCW4x_mKjx9seqIKXvFnThOxnAe2Xrp5rmXNL9Tgcfcs3u32G-6Uh-7Jemk_caxHcuyKveEHnYvN9Tj2KauqDPasxWPpDlvgvotRGr_JGTW2qD3h0rjDEFdjFCSgzO_wjKYGgVlrisSDbJ3R6lvDtSbZM_Z16YXhFEWiq9s7RA/w400-h266/OR%20poiesis,%20Privlac%CC%8Cnost.%20Petrifikacija.%20Foto%20Janez%20Klenovs%CC%8Cek%20%C2%A9%20KID%20KIBLA%20(2)%20small.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhktVKHs74cbCFNg99BT1Wwrzsq6NXmmKSawpMOP_GU4-qaawRqVD9h1R5EJ_3JZGcyX-PD9vIOq-7LZBceTF2Eig1YiVSx2PmonLQBbuma2UAEBo8Z8JLWYtIM7fZI2Po3t5aCHKYq27C5HghCmucUwjxzEuWTLa7v0iPkkrIQksgToCtYch4jfV60/s1653/OR%20poiesis,%20Privlac%CC%8Cnost.%20Petrifikacija.%20Foto%20Janez%20Klenovs%CC%8Cek%20%C2%A9%20KID%20KIBLA%20(4)%20small.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1102" data-original-width="1653" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhktVKHs74cbCFNg99BT1Wwrzsq6NXmmKSawpMOP_GU4-qaawRqVD9h1R5EJ_3JZGcyX-PD9vIOq-7LZBceTF2Eig1YiVSx2PmonLQBbuma2UAEBo8Z8JLWYtIM7fZI2Po3t5aCHKYq27C5HghCmucUwjxzEuWTLa7v0iPkkrIQksgToCtYch4jfV60/w400-h266/OR%20poiesis,%20Privlac%CC%8Cnost.%20Petrifikacija.%20Foto%20Janez%20Klenovs%CC%8Cek%20%C2%A9%20KID%20KIBLA%20(4)%20small.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;">***********</div><div class="separator" style="clear: both; text-align: left;"><b> </b></div><div class="separator" style="clear: both; text-align: left;"><i><b>Privlačnost. Petrifikacija</b><br />Intimno – kozmični dialog elementov</i><br />29. 4.–28. 5. 2022<br />artKIT, Maribor<br /></div><div class="separator" style="clear: both; text-align: left;">enokanalni performativni video (3x), potopitvena zvočna kompozicija, procesualni tiski <br /></div><div class="separator" style="clear: both; text-align: center;"><br /><i>Kako se srečata prastaro, eonska konkretna stvarnost, in gibljiv hip: kamen in ženska?<br /><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Privlačnost. Petrifikacija
razvija temo človeško-kameninske hibridnosti. Svojo pojavnost
uresničuje skozi več variacij in medijev: performativni video,
abstraktno zvočno kompozicijo, serijo tiskov procesualno –
performativnih podob.<br /></i></div><div class="separator" style="clear: both; text-align: center;"><br /><div style="text-align: left;">Človeško-kameninsko hibridnost – to čudno
drugost radikalno intimne bližine – umetnica raziskuje skozi
performativno sodelovanje s skrajno drugačnimi entitetami od nje same
(tako se vsaj zdi na prvi pogled). Nepremične kamnite entitete s svojim
eonskim vztrajanjem v navidezno nespremenljivi pozi izžarevajo polje,
nekakšno plimovanje, ki nežno, a vztrajno privlači veliko bolj gibke
življenjske oblike. Kamero (zvok, video, fotografijo) uporabi za
beleženje dogajanja: kako se njeno telo odziva in obnaša v specifični
geološki formaciji, kako slednje s subtilnimi nihaji učinkuje na
performativno sobivanje. Druga os se ciklično odvija v intimnem
prostoru. Ustvarjanje procesualnih podob s skenerjem, zrcalom, kamni in
lastnim telesom sledi svetlobi lunacije in ciklom kozmičnih sekvenc v
času (polna/prazna luna) ter se odziva na vsakokratna čustvena stanja in
kreativna razpoloženja, kot jih vzpodbuja mesečina oziroma njena
odsotnost. Zvočno polje – vezivo med elementi – vabi v vmesni
(pod)zvočni substrat mineralov in tekočin, v globoko poslušanje
elementov. Zvok ima neposreden dostop do notranjosti človeka in išče
resonančna usklajevanja. Elementi v procesu kreativnega srečevanja
ustvarjajo nova polja sinhronizacije, razcvetajo se vmesna telesa,
vznikajo prisluhi/prividi subtilnih pojavnosti duhov ambienta, atmosfere
s svetlobo in senco.<br /><br />Inspiracija razstave <i>Privlačnost. Petrifikacija</i>
je ustvarjalna privlačnost med kameninami in človekom. Umetnica
pozornost usmerja v slutnjo, da človek ni le bližnji živalim in
rastlinam, ampak se bližina spušča še veliko globlje, v anorgansko, v
mineralno, in se brezčasno razteza v kozmično. <i>Prijateljstvo med mojo roko in tem kamnom uprizarja starodavni in neizpodbitni eros, sorodnost materije s seboj </i>(David
Abram, Becoming Animal; An Earthly Cosmology). Performativna praksa z
elementi temelji na procesualnosti, na poglabljanju in širjenju
zaznavnega polja. <i>Privlačnost. Petrifikacija</i> ponuja proces uglaševanja z elementi, tokrat s kameninami.<br /></div> </div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><p></p>OR poiesishttp://www.blogger.com/profile/17128080284141999384noreply@blogger.comtag:blogger.com,1999:blog-5917248140596011965.post-3763421876380324112022-08-02T10:49:00.006+02:002022-08-02T13:03:37.415+02:00Corpi sonori, echi d’amore<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMPGQlZlDIOUrraTub2TC0HdAcmUrcXpTg6ELGJWcO1y6pn7_mbv8mmERGBH7o8_-3GHjCpkdV4GmFrseIlUFOberIvIupnygjB1UlfcSudgvA_NwPW8qnNnqShbEaovEhWuyEZ_YzSzqedvowObU5PtPFD1ysirhTV1bngmuX-yFqlR8UrFAdKyiR/s1600/PHOTO-2022-04-06-11-21-05.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1600" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMPGQlZlDIOUrraTub2TC0HdAcmUrcXpTg6ELGJWcO1y6pn7_mbv8mmERGBH7o8_-3GHjCpkdV4GmFrseIlUFOberIvIupnygjB1UlfcSudgvA_NwPW8qnNnqShbEaovEhWuyEZ_YzSzqedvowObU5PtPFD1ysirhTV1bngmuX-yFqlR8UrFAdKyiR/w400-h400/PHOTO-2022-04-06-11-21-05.jpg" width="400" /></a></div><br /><p><br /></p><p></p><p><span class="_aacl _aaco _aacu _aacx _aad7 _aade"><i>Corpi sonori, echi d’amore</i> //<i> Bodies of sound, echoes of love</i><br /><br />by </span><span class="_aacl _aaco _aacu _aacx _aad7 _aade"><span class="_aacl _aaco _aacu _aacx _aad7 _aade"><a href="http://sherberth.net/" target="_blank">Francesco Rosso</a></span> and Petra Kapš (alias OR poiesis) <br /></span></p><p><span class="_aacl _aaco _aacu _aacx _aad7 _aade">at <a href="https://ethereaartgallery.it/corpi-sonori-echi-damore-francesco-rosso-e-petra-kaps-alias-or-poiesis/" target="_blank">Etherea Art Gallery</a>, Palazzo Ducale, Genova, April - May 2022<br />curators Viviana Milan and Virginia Monteverde</span><span class="_aacl _aaco _aacu _aacx _aad7 _aade"></span></p><p><i><span class="_aacl _aaco _aacu _aacx _aad7 _aade">... Parole, lettere,
corpi e le loro realtà quotidiane… Il passato si scontra con il
presente… Incontrandosi… Come suona la città, nel profondo della sua
stessa materialità, dove il silenzio è solo sull’orlo del primo
mattino? L’orecchio coglie frammenti di varie lingue, si tuffa nelle
onde di voci, nelle infrastrutture e nelle mura della città antica, si
incastra nelle viscere della realtà. Lo sguardo incontra la sua
intimità e proietta i suoi pensieri nel labirinto dell’esistenza… nella
poetica dei secoli sbriciolata in polvere antica, nel metabolismo delle
persone e del loro luogo… Le realtà si intrecciano con sogni,
illusioni e fantasie… Il passato si ripiega nel presente … presenza,
sospensione, sensazioni … Spazi come l’esterno di corpi. Da qualche
parte tra gli assurdi tagli nella coesistenza dei tessuti vulnerabili.
L’occhio e l’orecchio degli apparecchi di registrazione convivono per un
momento nel tempo e nello spazio.</span></i></p><p><span class="_aacl _aaco _aacu _aacx _aad7 _aade"> </span><span class="_aacl _aaco _aacu _aacx _aad7 _aade">****.....*****</span></p><p><span class="_aacl _aaco _aacu _aacx _aad7 _aade">Words, letters, bodies and their everyday realities… The past collides with the present… Meeting… How does the city sound - deep in its own materiality, where silence is only on the thin edge of early morning? The ear captures fragments of various rumors, plunges into the waves of voices, into the infrastructure and walls of the ancient city, gets stuck in the guts. The gaze meets its intimacy and projects its thoughts into the labyrinth of existence… into the poetics of centuries crumbled into centuries of dust, into the metabolism of people and their place… Realities are intertwined with dreams, illusions and fantasies, the fold of the past into the present. Presence, suspension, sensations … Spaces as the exteriors of bodies. Somewhere in between he cuts the absurd. Sound and light as the central protagonist, when the eye and the ear of the recording devices coexist for a moment in common time and space. <br /><br />The artistic collaboration between Francesco Rosso and Petra Kapš stems from mutual inspiration in observing and listening to contemporary society and ancient ways of life and the world, as manifested in its diverse phenomena, and the poetic changes of the cosmos that intertwined their paths years ago. They opened up to each other their intimate, ever-changing dialogue of the interior with concrete reality. After researching as part of a one-month art residency in Genoa, they focused on developing an experimental documentary film format and subtle work on paper. Poetic metaphors of film and visual-sound poetry are created in the composition and animation of sequences of intimate spheres, places and architectural details. They emphasize the deep interconnectedness of people and space and the abstract aspects of the landscape. The latter is not only visual, as is present in the dominant culture and art, which almost completely prefers the visual appearance, but also emphasizes the sound - sonorous dimensions. They have co-authored a series of new works of art that will be premiered at the Etherea Art Gallery in Genoa.</span></p><p><span class="_aacl _aaco _aacu _aacx _aad7 _aade">****.....*****</span></p><p><span class="_aacl _aaco _aacu _aacx _aad7 _aade">exhibition view (photo by </span><span class="_aacl _aaco _aacu _aacx _aad7 _aade"><span class="_aacl _aaco _aacu _aacx _aad7 _aade">Mihail Ivanov, </span></span><span class="_aacl _aaco _aacu _aacx _aad7 _aade"><span class="_aacl _aaco _aacu _aacx _aad7 _aade"><span class="_aacl _aaco _aacu _aacx _aad7 _aade">Etherea Art Gallery </span></span></span><span class="_aacl _aaco _aacu _aacx _aad7 _aade"><span class="_aacl _aaco _aacu _aacx _aad7 _aade"><span class="_aacl _aaco _aacu _aacx _aad7 _aade"><span class="_aacl _aaco _aacu _aacx _aad7 _aade"><span class="_aacl _aaco _aacu _aacx _aad7 _aade">archive</span></span></span></span>) </span></p><p><span class="_aacl _aaco _aacu _aacx _aad7 _aade"></span></p><div class="separator" style="clear: both; text-align: center;"><span class="_aacl _aaco _aacu _aacx _aad7 _aade"></span></div><div class="separator" style="clear: both; text-align: center;"><span class="_aacl _aaco _aacu _aacx _aad7 _aade"></span></div><div class="separator" style="clear: both; text-align: center;"><span class="_aacl _aaco _aacu _aacx _aad7 _aade"></span></div><div class="separator" style="clear: both; text-align: center;"><span class="_aacl _aaco _aacu _aacx _aad7 _aade"></span></div><div class="separator" style="clear: both; text-align: center;"><span class="_aacl _aaco _aacu _aacx _aad7 _aade"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV3Uob88I_RaKCXUiKbspeS2qkGM7RPt6fH-NWHI189ov-CIRLd8iA_PdtTbWjgopPIoQk_KKQ8W-XvdE8pl3Eac-UVavjzwYbB0K-PAUioP2CJKg8wWVjqDGEImFzV6hLNDRLyqG_0JnSCeJGGfy53xPf0ZEMiTTzKiXMcP_E5AQ8ujAAyNn4Si55/s2048/IMG_7349.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1328" data-original-width="2048" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV3Uob88I_RaKCXUiKbspeS2qkGM7RPt6fH-NWHI189ov-CIRLd8iA_PdtTbWjgopPIoQk_KKQ8W-XvdE8pl3Eac-UVavjzwYbB0K-PAUioP2CJKg8wWVjqDGEImFzV6hLNDRLyqG_0JnSCeJGGfy53xPf0ZEMiTTzKiXMcP_E5AQ8ujAAyNn4Si55/w320-h208/IMG_7349.jpg" width="320" /></a><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrmk_nXM3zM0B8dP7ZhV2dR0oA3Uh_XQ1Et87IPYG7hllPHz9HF2aPnRQbxRGfQSLkRuT32Tl7f5fil6ovJ9tY0NyEQefH726MlW3w5jUqKSmYDlWMHektybvFGTTlg5CqIwILxj5jwPbzdkcteOe6x387--V-GosONUaYW3FENx-NpwkYJe1X0uS2/s2048/IMG_7350.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1244" data-original-width="2048" height="194" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrmk_nXM3zM0B8dP7ZhV2dR0oA3Uh_XQ1Et87IPYG7hllPHz9HF2aPnRQbxRGfQSLkRuT32Tl7f5fil6ovJ9tY0NyEQefH726MlW3w5jUqKSmYDlWMHektybvFGTTlg5CqIwILxj5jwPbzdkcteOe6x387--V-GosONUaYW3FENx-NpwkYJe1X0uS2/w320-h194/IMG_7350.jpg" width="320" /></a></div></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyoksralnU2DHzcpyajpG4kzkY9tIcguDp4PkSmdpAFpIIg5Poa-IEGyVOHfrkSp41TiWPDASuQ421msUItpEcatFLfuFVpIFpodun14JNHqXw3LmKV-YSrGml8bqG9gfm3SUwTqAhR8gkYj-xrV5c7a3IvugG7-d-fOD8h8olTfN7XX5MtZb8Zg_g/s2048/IMG_7357.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1366" data-original-width="2048" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyoksralnU2DHzcpyajpG4kzkY9tIcguDp4PkSmdpAFpIIg5Poa-IEGyVOHfrkSp41TiWPDASuQ421msUItpEcatFLfuFVpIFpodun14JNHqXw3LmKV-YSrGml8bqG9gfm3SUwTqAhR8gkYj-xrV5c7a3IvugG7-d-fOD8h8olTfN7XX5MtZb8Zg_g/s320/IMG_7357.jpg" width="320" /></a><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuKf5xO53m13to6bIkNhjRs8EgXE6SzlPDilB2-VBAwJgp57FVzvMaExzPGtxXJ2ZpoHXWOenMbMaG_faNf4nz14vW7uJhL6Ra4fh3hQ-a5Tx4emIJjMsVoEhNvWNAtW8-_d5Vu398cbDbYFQnGvpiyZuoIHA1qE9g6ysg1CK5TRHdZZ9JWGvnoHuC/s2048/IMG_7360.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1382" data-original-width="2048" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuKf5xO53m13to6bIkNhjRs8EgXE6SzlPDilB2-VBAwJgp57FVzvMaExzPGtxXJ2ZpoHXWOenMbMaG_faNf4nz14vW7uJhL6Ra4fh3hQ-a5Tx4emIJjMsVoEhNvWNAtW8-_d5Vu398cbDbYFQnGvpiyZuoIHA1qE9g6ysg1CK5TRHdZZ9JWGvnoHuC/s320/IMG_7360.jpg" width="320" /></a></div></div><div class="separator" style="clear: both; text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrbjsQD0oXwE7cIkJjgigVbd-NiLvVhw5T-A-0zQM51wa1-rf7RyHSCkXh_6LmPamVcPDCJWYg9SHsFrSr-lJLb2rVLdFT_xxuC9drsQXaKjaJrlVqToOOAPSVA8H4dfBANJX_6HaxKJZcgqkC0J2syXM-4NZH8PX-Tb0qFN4PrNMAvVZdNOLgkrNR/s2048/IMG_7348.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1296" data-original-width="2048" height="203" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrbjsQD0oXwE7cIkJjgigVbd-NiLvVhw5T-A-0zQM51wa1-rf7RyHSCkXh_6LmPamVcPDCJWYg9SHsFrSr-lJLb2rVLdFT_xxuC9drsQXaKjaJrlVqToOOAPSVA8H4dfBANJX_6HaxKJZcgqkC0J2syXM-4NZH8PX-Tb0qFN4PrNMAvVZdNOLgkrNR/s320/IMG_7348.jpg" width="320" /></a></div><br /></div><div class="separator" style="clear: both; text-align: left;">works:</div><div class="separator" style="clear: both; text-align: left;"><span class="VIiyi" lang="en"><span class="JLqJ4b ChMk0b" data-language-for-alternatives="en" data-language-to-translate-into="sl" data-number-of-phrases="1" data-phrase-index="0"><span class="Q4iAWc">experimental documentary film (24'03'')</span></span></span></div><div class="separator" style="clear: both; text-align: left;"><span class="VIiyi" lang="en"><span class="JLqJ4b ChMk0b" data-language-for-alternatives="en" data-language-to-translate-into="sl" data-number-of-phrases="1" data-phrase-index="0"><span class="Q4iAWc">visual poetry, works on paper <br /></span></span></span></div><br /><p></p>OR poiesishttp://www.blogger.com/profile/17128080284141999384noreply@blogger.comtag:blogger.com,1999:blog-5917248140596011965.post-23634898643721967342022-06-14T12:58:00.009+02:002022-10-12T13:28:10.966+02:00B PETRIFIED, tidal love<p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhF06sLfXHbg8AZV7Dnr-dyHN8BElJ73TjvWYgW84wSG-kkLw0yffotGP8IH5MBAL43sb30WpPH4u33UKIDQLT0YUEHcL7fJj4WqdqybfFKm5GN2fG0LUsxqtUnqccpXZvX6-A8ga7VnCNBvVf5HVaXguAuaJhL7aMMzYKlpcRJUaIuquV0lqi7w5ON/s1753/IGLOO%20petra%20kaps%20rgb%20(1).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1753" data-original-width="1240" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhF06sLfXHbg8AZV7Dnr-dyHN8BElJ73TjvWYgW84wSG-kkLw0yffotGP8IH5MBAL43sb30WpPH4u33UKIDQLT0YUEHcL7fJj4WqdqybfFKm5GN2fG0LUsxqtUnqccpXZvX6-A8ga7VnCNBvVf5HVaXguAuaJhL7aMMzYKlpcRJUaIuquV0lqi7w5ON/w283-h400/IGLOO%20petra%20kaps%20rgb%20(1).jpg" width="283" /></a></div><p></p><h1 class="title_left_column"><span style="font-size: small;">B PETRIFIED, tidal love</span></h1>
<div class="date_range">22. 7. — 19. 9. 2021</div><div class="date_range"> </div>
<div class="teaser_text_1"><div style="text-align: left;">sound gallery IGLOO<br />
Komensky Street No. 10<br />
Jihlava<br />
Curator: Miloš Vojtěchovský</div><div style="text-align: left;"> </div><div style="text-align: left;"><a href="https://ogv.cz/en/b-petrified-tidal-love" target="_blank">https://ogv.cz/en/b-petrified-tidal-love </a></div><div style="text-align: left;"> </div><div style="text-align: left;">B PETRIFIED, tidal love - interview with Miloš Vojtěchovský <br /></div>
</div>
<iframe frameborder="0" height="60" src="https://www.mixcloud.com/widget/iframe/?hide_cover=1&mini=1&feed=%2Fmilosvojtechovsky%2Finterview-with-petra-kap%C5%A1-about-her-installation-in-the-igloo-sound-gallery-ogv-jihlava%2F" width="100%"></iframe>
<p>The prophecy for the future is hidden in the substance - we
need to listen, dwell deep inside in order to understand, to
predict.Seemingly deaf darkness of the substance is potent with knowing.</p>
<p>The inspiration for the work is an enigmatic, radically poetic place —
a fascinating modular stone configuration in the Pohorje primeval
forest in Slovenia. Intimate cosmic dialogue evolves through several
visits and blossomed in-between bodies ∞ spirits: space, atmosphere,
river, stones, trees, ants, shadows, light, and a woman.</p>
<p>Strange other(s) connects through performative engagement. Motionless
stone beings with their eternal insistence on a single pose emanate a
tidal field, gently and persistently attracting moving life forms.
Camera (sound, video, photo) records subtle oscillations between
different entities through their performative cohabitation. Artistic
practice is based on durational performance with an emphasis on the
descending ∞ expanding perception field. <i>Through extreme sensual receptiveness developing an awareness of presence.</i></p>
<p><i>B PETRIFIED, tidal love</i> offers an immersion into the process
of attunment. Sonically it invites into the intermediate (sub)sonic
substrate of minerals and fluids. Performative location: Pohorje
primeval forest, river Lobnica, Šumik waterfall.</p><p>*****.......*****</p><p><b>About stones, boulders and forest creatures</b></p>
<p>Near the border of Slovenia with Austria, the mountain river Lobnica
flows into the valley of the river Dráva through the Pohorje forest. A
wild and steep gorge at an altitude of about 1000 m above sea level with
rocks covered with moss and two waterfalls is not easily accessible.
The poet OR Poiesis returns to one of the local rock formations for
several years and studies its infinitely slow metabolism. In Slovenian,
she calls the almost immobile forest being "kamen" and with poetic
association she connects it with the term “kami” - which in Siberian
regions refers to a shaman. In Shinto, "kami" means shrine, the abode of
spirits. In our landscapes, we would perhaps describe such a rock
formation as a boulder - which is probably a Proto-Slavic word, the
origin of which etymologists look somewhere far to the East, or in the
times of the Celtic settlement of Central Europe. The term <i>boulder</i> often has an ambivalent meaning, which is perhaps due to its immobility, permanence, eternity: <i>balwan</i> is a boulder in Polish, but also a fool, a log, a sea wave, a cloud of smoke and a pagan god. In Russia <i>bolván</i> is a stump, in Bulgaria <i>balván</i> is
a large stone, but also a heavy beam. In Polish, Ukrainian, Serbian,
Croatian, Slovenian and Russian the root of the Proto-Slavic <i>blvan</i> reveals
the links to pagan spirituality: in Ukrainian, Russian, Serbian and
Croatian they called statuettes or other forms of a pagan god <i>balvan</i>.</p>
<p> </p>
<p>In short, stones and boulders have long been associated with
something spiritual, sacred, or heavy, motionless, not only in the
ancient communities of the Slavs, but in fact wherever people and stones
on the planet coexisted. Figuratively, we can complain that with the
emergence of urban culture and civilization, we forgot about such
archaic "magic of stones": the stones turned into dead inert matter in
the hands of the architect and bricklayer in the construction of cities,
walls, fortresses and paving. In 2017, the New Zealand government
granted legal personality to the Whanganui River, giving it the
opportunity to defend itself if anyone could prove that the River’s
rights are at stake. The animistic paradigm of attributing subjectivity
and sacredness to natural beings seems to be slowly but surely returning
in various regions and cultures. Especially in places where the
original, "primitive" communities and structures were not completely
wiped out.</p>
<p> </p>
<p>The activities of OR poiesis at the interface of music, sound art,
poetry and performance have a deep and essential connection with nature,
landscape and the sacred topology of places. She usually turns to
rivers, valleys, trees, stones, rocks, because she knows that they speak
to us with their liquid, watery, stony, airy tongues. We can learn
those languages again and meet the non-human world, discover the
understanding that we have almost lost due to our predatory intoxication
by technology and noise. The theme of installation B PETRIFIED - a
poetic, geological mode of a dialogue between human and place, which has
its premiere in the Jihlava Gallery, follows on from her previous
realizations <i>The Golden Walls</i>, <i>Doors to Paradise</i> and <i>KISETSU quarry</i>, which the artist will introduce during the opening of the exhibition.</p>
<p>Miloš Vojtěchovský</p><p>****....****</p><p>exhibition view at sound gallery IGLOO, 2021<br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhITO01Dw7TRNmyMkBGIpr_l1FtmwLmV2jgovy-X7QNwavzdcwk5RsxgJLumj02rDKcy0ZA7P0qIh0tb-m2MqNcdsOCdm7zIsofNpEblzl9QVUn8xiq-AndA0SC-L_3g_H5W233PhbwMIIKPqaBd7gPuXMi0zJXasmitkrmIp8L49iDb8TlYZAdNGzG/s1500/Igloo%20B%20petrified%20video.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="998" data-original-width="1500" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhITO01Dw7TRNmyMkBGIpr_l1FtmwLmV2jgovy-X7QNwavzdcwk5RsxgJLumj02rDKcy0ZA7P0qIh0tb-m2MqNcdsOCdm7zIsofNpEblzl9QVUn8xiq-AndA0SC-L_3g_H5W233PhbwMIIKPqaBd7gPuXMi0zJXasmitkrmIp8L49iDb8TlYZAdNGzG/w640-h426/Igloo%20B%20petrified%20video.JPG" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgth0oFWf9UX2CYLIX-WW2ny4B62YyceE2n-XbabWVDmPFL4DIHetRLc9dVlejIlXF_4OK8fB5GLxEUjHfvi-YlcD1RGXUmIAEH3HaiG4OJ-px3CQeUerY-CEB1eVStVdm9LKmXsocAzZIORxwMi6gJg1lkd0Yb8wuNClsaSouTQdhT40li0zJGDFkl/s1733/B%20petrified%20IGLOO%202021.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1153" data-original-width="1733" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgth0oFWf9UX2CYLIX-WW2ny4B62YyceE2n-XbabWVDmPFL4DIHetRLc9dVlejIlXF_4OK8fB5GLxEUjHfvi-YlcD1RGXUmIAEH3HaiG4OJ-px3CQeUerY-CEB1eVStVdm9LKmXsocAzZIORxwMi6gJg1lkd0Yb8wuNClsaSouTQdhT40li0zJGDFkl/w640-h426/B%20petrified%20IGLOO%202021.JPG" width="640" /></a></div><p></p><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjocNgO7t203FfyDncEfBtbqOZeTMDfypJM9qqAEhQM0dxOIqCVmIdCL0KH0GPl7qWGpDgk0JGYPXEnRdYM0lG6DZhjkQ13EH986DrIyeVEv1H3A6cIHUIu0cSSKg1cC2ZKOkG8wbSdm1sXUrElk8jd6niVjWIJq3NgU1HL0emRqUAVbcrBA020cO-c/s1768/B%20petrified%20IGLOO_2021.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1326" data-original-width="1768" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjocNgO7t203FfyDncEfBtbqOZeTMDfypJM9qqAEhQM0dxOIqCVmIdCL0KH0GPl7qWGpDgk0JGYPXEnRdYM0lG6DZhjkQ13EH986DrIyeVEv1H3A6cIHUIu0cSSKg1cC2ZKOkG8wbSdm1sXUrElk8jd6niVjWIJq3NgU1HL0emRqUAVbcrBA020cO-c/w640-h480/B%20petrified%20IGLOO_2021.jpg" width="640" /></a></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib_fuwngz1rrcSNgsbR5-1JeJaDLoTA2pqqlJK-OMXh51kkWIe0FzehPbzXILpo_CHTNByBR_6zHB2mEEoexf41yam5nCFsOh3TiBbv4iIA1iFJAl8M-vMhWEiHLyJALHfGhfPA1abWPEE3aH5z7p8qerhOrPdqwQlutkKjagAbwnhZI-fR8uWmqST/s1733/B%20petrified%20IGLOO_1%202021.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1300" data-original-width="1733" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib_fuwngz1rrcSNgsbR5-1JeJaDLoTA2pqqlJK-OMXh51kkWIe0FzehPbzXILpo_CHTNByBR_6zHB2mEEoexf41yam5nCFsOh3TiBbv4iIA1iFJAl8M-vMhWEiHLyJALHfGhfPA1abWPEE3aH5z7p8qerhOrPdqwQlutkKjagAbwnhZI-fR8uWmqST/w640-h480/B%20petrified%20IGLOO_1%202021.jpg" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh0gAwdYlswR1t-WauTZrlkuyjUsGptMex2KmhIFxGi4jr3RutL1PHmMU-OQPo6XJRKLMOWGuFN7kS1mE1oevMP21UYG6nzTiSEQDq_ejvYutNvivxm7BCNd0Dj91VqGkjmR3ozrlVZfjLhTlviMF32xInLqxuZ4zU5XmK_wUftlF9hwt068ebogzV/s2343/B%20petrified%20IGLOO_2%202021.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1757" data-original-width="2343" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh0gAwdYlswR1t-WauTZrlkuyjUsGptMex2KmhIFxGi4jr3RutL1PHmMU-OQPo6XJRKLMOWGuFN7kS1mE1oevMP21UYG6nzTiSEQDq_ejvYutNvivxm7BCNd0Dj91VqGkjmR3ozrlVZfjLhTlviMF32xInLqxuZ4zU5XmK_wUftlF9hwt068ebogzV/w640-h480/B%20petrified%20IGLOO_2%202021.jpg" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjGPeP6MPAutL8GHjmQCofTfHSkOuHLnW2AYkxbdDAgcTQ7oZJVovXl2IXktt0kqzEVrS2cyq7xZQEW4STRcjgn9LkD4IgioyEDtdJ_1Gx7_QwQdhOcdmJvHYLBveJtd2I7hImWtwui-x_jtDMERyTcPTmXVJj-8aNRB9J2TKK_9DZrK1ssqkg9dfS/s1345/B%20petrified%20IGLPP%20photo%20Milos%CC%8C%20Vojtehovsky.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="897" data-original-width="1345" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjGPeP6MPAutL8GHjmQCofTfHSkOuHLnW2AYkxbdDAgcTQ7oZJVovXl2IXktt0kqzEVrS2cyq7xZQEW4STRcjgn9LkD4IgioyEDtdJ_1Gx7_QwQdhOcdmJvHYLBveJtd2I7hImWtwui-x_jtDMERyTcPTmXVJj-8aNRB9J2TKK_9DZrK1ssqkg9dfS/w640-h426/B%20petrified%20IGLPP%20photo%20Milos%CC%8C%20Vojtehovsky.jpg" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDzf4oMpkfLpQySU4wataMzR5D9uSHIN31J-vd9helG8EFKvUfJFzUEhG6M96D2QF4t1dyE6qD1OIPZxeTDn4Fxv0AzqWm9ydSYRdOQo0Vf0tJhbCGKeipVAxZbuMisL8jSxjhlLWoi3TeF00FJo3mHV-JbBnKVGBeZ93YzKbx7zZf9vBVH6zBMIn7/s1252/B%20petrified%20IGLOO_4%202021.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="833" data-original-width="1252" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDzf4oMpkfLpQySU4wataMzR5D9uSHIN31J-vd9helG8EFKvUfJFzUEhG6M96D2QF4t1dyE6qD1OIPZxeTDn4Fxv0AzqWm9ydSYRdOQo0Vf0tJhbCGKeipVAxZbuMisL8jSxjhlLWoi3TeF00FJo3mHV-JbBnKVGBeZ93YzKbx7zZf9vBVH6zBMIn7/w640-h426/B%20petrified%20IGLOO_4%202021.JPG" width="640" /></a></div><br />OR poiesishttp://www.blogger.com/profile/17128080284141999384noreply@blogger.comtag:blogger.com,1999:blog-5917248140596011965.post-6078361524030238412021-11-04T10:22:00.006+01:002021-11-08T12:24:32.066+01:00OBSESD<p> </p><p>OBSESIJA ∞ TERITORIJ ∞ ZAROTITEV<br /><i>Navidezno ponavljanje istega.</i></p><p>Zarotitev, ritual kot matrica, obsesivnost v ponavljanju naj prikliče silnice poetičnega.</p><p>Umetniški proces na ogled skozi izložbeno okno na Koroški cesti 18 v Mariboru; med 15. in 29. novembrom 2021</p><p style="text-align: right;"><i><br />kot neka tišina je v meni<br />obdaja me konstanten hrup prometa<br />zdaj na večer se oglašajo vrane<br />sivi oblaki so se spustili nižje po strženu strumno stoječega soseda<br />pretekle besede, izrečene, zapisane <br />se mi vrivajo na jezik<br />silijo v ponavljanje istega ...<br />v prostorih, rečeh<br /> dež je spremenil zvočnost betona<br /> kovina tirnic se z mrakom ojačuje<br /> voda na cestah in pločnikih potaplja rezek hrup <i> </i></i></p><p style="text-align: right;"><i><i>(fragment iz berlinskega okenskega romana, 1. september 2015)</i> <br /></i></p><p>Izkušnja s pandemijo je v meni izzvala globlja prevpraševanja obsedenosti, teritorija in zarotitve. Zdi se, kakor da je ves svet v neskončnem ponavljanju, brez konca. Sama “<i>ponavljanje istega</i>” uporabljam kot ritual, ki mi preko omejitev razpira globlji uvid v strukturo življenja, ter osvetljuje vlogo, ki jo ima (ne)kontrolirano “<i>ponavljanje istega</i>” v organumu sodobne družbe. Obsesija je inspirativna, sveža, inovativna ravno na zelo tankem robu - z budnim ušesom ostreno senzualno pozornostjo. Izven tega proizvaja anemičnost, izpraznjenost, ustvarja destruktivno manipulativno okolje (samo)zlorabe. </p><p>Teritorij - zdi se mi fascinantno, kako teritorij prenaša večdimenzionalni pomen. Teritorij - ozemlje - ima skupaj z označevanjem konceptov zemljišča in lastništva (pravnih pristojnosti in/ali poudarjanje fizične prisotnosti na zemljišču) v etimološkem korenu tudi pomen, ki se navezuje na – terrere (lat.) - “prostor, od koder so ljudje pregnani”. </p><p style="text-align: right;"><span style="font-size: x-small;"> For <i class="Latn mention" lang="la"><a class="new" href="https://en.wiktionary.org/w/index.php?title=Reconstruction:Latin/torreo&action=edit&redlink=1" title="Reconstruction:Latin/torreo (page does not exist)">*torreō</a></i>, from <span class="etyl"><a class="extiw" href="https://en.wikipedia.org/wiki/Proto-Italic_language" title="w:Proto-Italic language">Proto-Italic</a></span> <i class="Latinx mention" lang="itc-pro"><a class="new" href="https://en.wiktionary.org/w/index.php?title=Reconstruction:Proto-Italic/troze%C5%8D&action=edit&redlink=1" title="Reconstruction:Proto-Italic/trozeō (page does not exist)">*trozeō</a></i>, from <span class="etyl"><a class="extiw" href="https://en.wikipedia.org/wiki/Proto-Indo-European_language" title="w:Proto-Indo-European language">Proto-Indo-European</a></span> <i class="Latinx mention" lang="ine-pro"><a class="new" href="https://en.wiktionary.org/w/index.php?title=Reconstruction:Proto-Indo-European/tros%C3%A9yeti&action=edit&redlink=1" title="Reconstruction:Proto-Indo-European/troséyeti (page does not exist)">*troséyeti</a></i>, causative from <i class="Latinx mention" lang="ine-pro"><a href="https://en.wiktionary.org/wiki/Reconstruction:Proto-Indo-European/tres-" title="Reconstruction:Proto-Indo-European/tres-">*tres-</a></i> <span class="mention-gloss-paren annotation-paren">(</span><span class="mention-gloss-double-quote">“</span><span class="mention-gloss">to tremble</span><span class="mention-gloss-double-quote">”</span><span class="mention-gloss-paren annotation-paren">)</span>, extended form of <span class="etyl"><a class="extiw" href="https://en.wikipedia.org/wiki/Proto-Indo-European_language" title="w:Proto-Indo-European language">Proto-Indo-European</a></span> <i class="Latinx mention" lang="ine-pro"><a href="https://en.wiktionary.org/wiki/Reconstruction:Proto-Indo-European/ter-" title="Reconstruction:Proto-Indo-European/ter-">*ter-</a></i>. Cognate with <span class="etyl"><a class="extiw" href="https://en.wikipedia.org/wiki/Avestan" title="w:Avestan">Avestan</a></span> <i class="Avst mention" lang="ae"><a class="new" href="https://en.wiktionary.org/w/index.php?title=%F0%90%AC%99%F0%90%AC%AD%F0%90%AC%86%F0%90%AC%AD%F0%90%AC%86%F0%90%AC%AF%F0%90%AC%80%F0%90%AC%8C%F0%90%AC%99%F0%90%AC%8C&action=edit&redlink=1" title="𐬙𐬭𐬆𐬭𐬆𐬯𐬀𐬌𐬙𐬌 (page does not exist)">𐬙𐬭𐬆𐬭𐬆𐬯𐬀𐬌𐬙𐬌</a></i> <span class="mention-gloss-paren annotation-paren">(</span><span class="mention-tr tr Latn" lang="ae-Latn">trər<sup>ə</sup>sa<sup>i</sup>ti</span><span class="mention-gloss-paren annotation-paren">)</span>, <span class="etyl"><a class="extiw" href="https://en.wikipedia.org/wiki/Ancient_Greek" title="w:Ancient Greek">Ancient Greek</a></span> <i class="polytonic mention" lang="grc"><a href="https://en.wiktionary.org/wiki/%CF%84%CF%81%CE%AD%CF%89#Ancient_Greek" title="τρέω">τρέω</a></i> <span class="mention-gloss-paren annotation-paren">(</span><span class="mention-tr tr Latn" lang="grc-Latn">tréō</span><span class="mention-gloss-paren annotation-paren">)</span>, <span class="etyl"><a class="extiw" href="https://en.wikipedia.org/wiki/Old_Irish" title="w:Old Irish">Old Irish</a></span> <i class="Latn mention" lang="sga"><a class="new" href="https://en.wiktionary.org/w/index.php?title=tarrach&action=edit&redlink=1" title="tarrach (page does not exist)">tarrach</a></i>, <span class="etyl"><a class="extiw" href="https://en.wikipedia.org/wiki/Lithuanian_language" title="w:Lithuanian language">Lithuanian</a></span> <i class="Latn mention" lang="lt"><a class="new" href="https://en.wiktionary.org/w/index.php?title=tri%C5%A1u&action=edit&redlink=1" title="trišu (page does not exist)">trišu</a></i>, <span class="etyl"><a class="extiw" href="https://en.wikipedia.org/wiki/Latvian_language" title="w:Latvian language">Latvian</a></span> <i class="Latn mention" lang="lv"><a class="new" href="https://en.wiktionary.org/w/index.php?title=tris%C4%93t&action=edit&redlink=1" title="trisēt (page does not exist)">trisēt</a></i>, <span class="etyl"><a class="extiw" href="https://en.wikipedia.org/wiki/Old_Church_Slavonic" title="w:Old Church Slavonic">Old Church Slavonic</a></span> <i class="Cyrs mention" lang="cu"><a href="https://en.wiktionary.org/wiki/%D1%82%D1%80%D1%A7%D1%81%D1%82%D0%B8#Old_Church_Slavonic" title="трѧсти">трѧсти</a></i> <span class="mention-gloss-paren annotation-paren">(</span><span class="mention-tr tr Latn" lang="cu-Latn">tręsti</span><span class="mention-gloss-paren annotation-paren">)</span>, <span class="etyl"><a class="extiw" href="https://en.wikipedia.org/wiki/Sanskrit" title="w:Sanskrit">Sanskrit</a></span> <i class="Deva mention" lang="sa"><a href="https://en.wiktionary.org/wiki/%E0%A4%A4%E0%A5%8D%E0%A4%B0%E0%A4%B8%E0%A4%A4%E0%A4%BF#Sanskrit" title="त्रसति">त्रसति</a></i> <span class="mention-gloss-paren annotation-paren">(</span><span class="mention-tr tr Latn" lang="sa-Latn">trasati</span><span class="mention-gloss-paren annotation-paren">)</span>. See also <i class="Latn mention" lang="la"><a href="https://en.wiktionary.org/wiki/tremo#Latin" title="tremo">tremō</a></i>, <i class="Latn mention" lang="la"><a href="https://en.wiktionary.org/wiki/trepidus#Latin" title="trepidus">trepidus</a></i>. (vir: Wiktionary)</span><br /></p><p>Substrat teritorija je teror. Zanima me dinamika med teritorijem in terorjem. V času aktualne pandemije v urbanih krajinah slutimo neobičajno tišino - tresočo, zastrašujočo tišino. Zdi se zloglasna in sovražna in sproža številna neprijetna čustva. Postopek vključuje narivanje vizualnih in zvočnih vzorcev - s poglabljanjem in prisluškovanjem zvočnih / vizualnih vzorcev obsesivnega “<i>ponavljanja istega</i>”. Oblikuje se preplet vizualne in zvočne materije: OBSESIJA ∞ TERITORIJ ∞ ZAROTITEV. Zarotitev, ritual kot matrica, osnova za priklic poetičnih silnic preko obsesivnega ponavljanja.<br /><br /></p>OR poiesishttp://www.blogger.com/profile/17128080284141999384noreply@blogger.comtag:blogger.com,1999:blog-5917248140596011965.post-62976503868499198432021-10-26T12:49:00.002+02:002021-10-26T12:49:23.087+02:00Coresonances / Sonihanja<p> </p><p> </p><p>Project by OR poiesis and Anja Bornšek <br /></p><p>A journey into the resonant spaces of matter from the auditory and the seen into the felt.</p>
<p>To be in the rhythm of transiting, to seep into form and at the same
time dissolve this form, while the sound and the bodies persist in
experience and proximity.</p>
<p>Like water, stones are carriers of memory, substance memory. Deep
sensing is free diving rather than diving with an oxygen tank; it evokes
hyper condensed memory impressed into the hardness of particles. </p>
<p>Impressive interiors of cathedrals, monasteries, parliaments etc.
have been made in the measure of heaven, not human beings. The emptiness
in them is inhabited by different contents, ideological constructs,
while its silence is almost completely muted by social paradigms, laws,
the voices of the privileged, the elevated, the individualised, all
frozen in time and space. Vertical illuminance exposes man for all to
see, and places him in a relationship of vast, infinite versus small,
confined.</p>
<p>Space is most strongly felt when it is given or taken away, or when
there is a sense of being condensed in something we want to break away
from.</p>
<p>Often, it is understood as an emptiness arising after a removal or a lack of something.</p>
<p>But at the other end, is space really emptiness, an antipode to
matter, or can it be perceived as an always emerging form of presence
between the particles occupying our awareness?</p>
<p>To feel the space – not only as something stable and self-evident,
but as the originating as well as a liberating principle of that which
is emerging.</p>
<p>Space as a para-thing, as a prototype of things, as prima materia, as potential for incessant emerging, bringing to life.</p>
<p>How to move the emptiness, how to comprehend – that which already is –
pure potentiality, oscillating in the polarising point of contact,
which was the space of our own embodiment? The space is breathing me and
I am breathing space. In the first few hours of becoming-self, the
being belongs entirely to the cosmos, it is an auto-poetic process,
which takes place before the structure. First, we are a fluid space,
which is not a mere absence of matter, but is always one step ahead of
it. The pulsation and the lively proliferation in this miniature sea
creates a caring gaze upon matter, allowing it to oscillate with other
matter.</p>
<p>The clarity of the insight that space creates life is an invitation to listen to the messages coming from there.</p>
<p>After its initial emergence, the body remains to be an intricate
interplay of matter and space. Life is a perpetual emerging and
dissolving of matter, either corporeal, mental or emotional. Our inner
space, which is never absolutely silent or hollow, can be turned
entirely on the outside or on the inside. Fanning out, it can be precise
to the point or even become a sensing membrane, lingering on the
threshold of our interior space and the space surrounding us. Silence
resonates differently in each individual; to separate the layers of our
innermost space is perhaps even more difficult, because the sense of
self keeps us together like glue. But still, by listening, we bring in
the air, we layer substances, we nurture the space in search of another
space to resonate with in space.</p>
<h2><strong>Collaborators</strong></h2>
Authors and performers: <strong>Anja Bornšek, OR poiesis</strong><br />
Light and graphical design: <strong>sonda 3</strong><br />
Photography: <strong>Boštjan Lah</strong><br />
Translations: <strong>Katja Kosi</strong><br />
Tecnical editor of the flyer: <strong>Blaž Krump</strong><br />
Executive production: <strong>Sabrina Železnik</strong><p> </p>OR poiesishttp://www.blogger.com/profile/17128080284141999384noreply@blogger.comtag:blogger.com,1999:blog-5917248140596011965.post-62779633440458904282020-11-10T13:27:00.012+01:002023-01-26T13:02:48.565+01:00KAMIsTONE<p></p><p></p><p></p><p></p><p></p><p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq5J5OukW4XMigdtVqi824S881fYZFrKh9QUgUBHHbCc87IZrgO5fS8JqU_06aax7f1cgAlq9L14t8kFQ5U9MRVVIA5XLw3WMZCUp043od32JzO9ZcYCcOM_UfDHOXCCwjGn_a62HM-HGNiSoJNG-hCAzctkN2nbPzNk2YeYSFftOIbHgySkhsHRi1/s1569/210907%20Sound%20Explicit_2_mfras_001%20copy.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1046" data-original-width="1569" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq5J5OukW4XMigdtVqi824S881fYZFrKh9QUgUBHHbCc87IZrgO5fS8JqU_06aax7f1cgAlq9L14t8kFQ5U9MRVVIA5XLw3WMZCUp043od32JzO9ZcYCcOM_UfDHOXCCwjGn_a62HM-HGNiSoJNG-hCAzctkN2nbPzNk2YeYSFftOIbHgySkhsHRi1/w640-h426/210907%20Sound%20Explicit_2_mfras_001%20copy.JPG" width="640" /></a></div><p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPQEMMsZFQr6ACMqSsruhK01BSEepLaeLH5Lp7Mz0d2nqgCy6qMajQrChnPxawAt6vS4B3HNaVYjNKw2JSMsw1iWfd4F023Rrnvtf-zyCwxEA2feCvw65qhxUjNDSp7fjVYF53p-xMsEibdIoyO9uUDB3eSjXB41mkZMpSQG89UboOQE2eWtLRyL0d/s1952/210907%20Sound%20Explicit_2_mfras_036.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1301" data-original-width="1952" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPQEMMsZFQr6ACMqSsruhK01BSEepLaeLH5Lp7Mz0d2nqgCy6qMajQrChnPxawAt6vS4B3HNaVYjNKw2JSMsw1iWfd4F023Rrnvtf-zyCwxEA2feCvw65qhxUjNDSp7fjVYF53p-xMsEibdIoyO9uUDB3eSjXB41mkZMpSQG89UboOQE2eWtLRyL0d/w640-h426/210907%20Sound%20Explicit_2_mfras_036.jpg" width="640" /></a><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVQZc8j5okLlR-DMRsZ9dmDT0jMMTL_WBB684KfPl-6YHwMDs1nRQfsV1Bir5yoTuhjKCFRQ-O5qoVjkAAgCiTFEsoDAlpojBnMCGS_UHza_bcg6rBfps4oJUaigy9WhgnBCFheulD_Qmwk92t2M54jvrVi5OHYwlAxZDgksMlSJVaYHUDO4TtRBRh/s1200/KAMIsTONE%20instrument%20Minorite%20monastery%202020_photo%20Bos%CC%8Ctjan%20Lah.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1200" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVQZc8j5okLlR-DMRsZ9dmDT0jMMTL_WBB684KfPl-6YHwMDs1nRQfsV1Bir5yoTuhjKCFRQ-O5qoVjkAAgCiTFEsoDAlpojBnMCGS_UHza_bcg6rBfps4oJUaigy9WhgnBCFheulD_Qmwk92t2M54jvrVi5OHYwlAxZDgksMlSJVaYHUDO4TtRBRh/w640-h426/KAMIsTONE%20instrument%20Minorite%20monastery%202020_photo%20Bos%CC%8Ctjan%20Lah.jpg" width="640" /></a></div></div><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgarsri-qv9BDDAMiw5Nr9Epz4rl1Eau8iMhYpBnQ057XN5k5sUWLwZEySPtOrygyJKNWdMi3lV1rodthFLq1hRTgtMHwqx_s6xeL8UZILu3NuhC7nmz4Exat-YDFJRsrUkEGJIqnZdKMX423I5sXl1CkW0cfwdd0_tJ-hOsNHIZATKv9fgr0iGMNa-/s1200/1N1A6132.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1200" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgarsri-qv9BDDAMiw5Nr9Epz4rl1Eau8iMhYpBnQ057XN5k5sUWLwZEySPtOrygyJKNWdMi3lV1rodthFLq1hRTgtMHwqx_s6xeL8UZILu3NuhC7nmz4Exat-YDFJRsrUkEGJIqnZdKMX423I5sXl1CkW0cfwdd0_tJ-hOsNHIZATKv9fgr0iGMNa-/w640-h426/1N1A6132.jpg" width="640" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMfgJvONR4w_W5Q9kggVJmGbLsXrzC0KMmNUxnMHa019D3eJwKItTWlVg1F_h6eviXRttZxXu4Z-D3EMze2ekcmwdV_9P3OcOUjC31qE1YnZdGvY9blg89Si-99NtKeQmhckMCa0fw723QCIvgKq9xriYlllPvPjpBrqtfPS8QyrOyE4KL41ov4RlA/s1200/1N1A5857%20copy.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1200" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMfgJvONR4w_W5Q9kggVJmGbLsXrzC0KMmNUxnMHa019D3eJwKItTWlVg1F_h6eviXRttZxXu4Z-D3EMze2ekcmwdV_9P3OcOUjC31qE1YnZdGvY9blg89Si-99NtKeQmhckMCa0fw723QCIvgKq9xriYlllPvPjpBrqtfPS8QyrOyE4KL41ov4RlA/w640-h426/1N1A5857%20copy.jpg" width="640" /></a></div><br /><p> </p><p><a href="https://vimeo.com/482967795">KAMIsTONE</a> from <a href="https://vimeo.com/orpoiesis">OR poiesis</a> on <a href="https://vimeo.com">Vimeo</a>.</p><p><iframe allow="autoplay; fullscreen" allowfullscreen="" frameborder="0" height="360" src="https://player.vimeo.com/video/482967795" width="640"></iframe>
</p><p></p>
<br /><p></p>OR poiesishttp://www.blogger.com/profile/17128080284141999384noreply@blogger.comtag:blogger.com,1999:blog-5917248140596011965.post-26538302787736352632020-11-09T12:30:00.004+01:002021-04-01T11:20:37.247+02:00T OKAMENELO / B PETRIFIED<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYCb5oQneSpPDVzDB78Mb6SZpF6D2vGE7QfFcR4Xz6pytEVDC_OmTBIZgsxQpNvcWOsKBm8ZBpxQS8w085xYjyjQXcQFtqUxboBNpqsqnTp115WneP9xUmChvlhyphenhyphenw_NotIltD1YwxiGBI/s1920/T+OKAMENELO+frame.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYCb5oQneSpPDVzDB78Mb6SZpF6D2vGE7QfFcR4Xz6pytEVDC_OmTBIZgsxQpNvcWOsKBm8ZBpxQS8w085xYjyjQXcQFtqUxboBNpqsqnTp115WneP9xUmChvlhyphenhyphenw_NotIltD1YwxiGBI/w640-h360/T+OKAMENELO+frame.jpg" width="640" /></a></div><p></p><p>
</p><p align="LEFT" style="font-style: normal; margin-bottom: 0in; text-decoration: none;">
<span style="font-family: courier;"><span style="color: black;"><span style="font-size: small;"><b>T
OKAMENELO / B PETRIFIED</b></span></span></span></p><span style="font-family: courier;">
</span><p style="font-weight: normal; line-height: 0.19in; margin-bottom: 0in; text-decoration: none;">
<span style="font-family: courier;"><span style="color: black;"><span style="font-size: x-small;">in process ... <br /></span></span></span></p><p style="font-weight: normal; line-height: 0.19in; margin-bottom: 0in; text-decoration: none;"><span style="font-family: courier;"><span style="color: black;"><span style="font-size: x-small;">video
performance, photography, at the location of the Pohorje primeval
forest, by the river Lobnica, near the Šumik waterfall</span></span></span></p><span style="font-family: courier;">
</span><p style="line-height: 0.19in; margin-bottom: 0in; text-decoration: none;">
<span style="font-family: courier;"><span style="color: black; font-size: small;"><span style="font-weight: normal;">The
inspiration for the work is a specific,
extremely poetic and enigmatic space - a fascinating stone
configuration of modular stone masses in the Pohorje primeval forest,
by the river Lobnica, near the Šumik waterfall. </span></span><span style="font-size: small;">
</span></span></p><span style="font-family: courier;"><span style="font-size: small;">
</span></span><p style="line-height: 0.19in; margin-bottom: 0in; text-decoration: none;"><span style="font-family: courier;"><span style="color: black; font-size: small;">OR poiesis develops intimate dialogue with space and stone formations
through several performative scores. The
camera (photography, video, sound) records subtle
performative practice, durational performance with an emphasis on the
development of multimodal perception; immersion in
the environment and rock masses (steep natural environment with
slight brutality and uncompromising nature adds to the intensity of
the development of performative events). </span></span></p><p style="line-height: 0.19in; margin-bottom: 0in; margin-left: 40px; text-align: left; text-decoration: none;"><span style="font-family: courier;"><span style="color: black; font-size: small;"> <i>Through extreme sensual receptiveness developing an awareness of presence.</i> </span></span>
</p><span style="font-family: courier;"><span style="font-size: small;">
</span></span><p style="margin-bottom: 0in;"><span style="font-family: courier;"><span style="color: black; font-size: small;"><span style="text-decoration: none;">The
work focuses on establishing a relevant relationship with the planet.
The design of the performance follows the idea of a performative
dialogue between the artist's body and the body of
stone formations, motionless stone beings who, with their ancient
insistence on a single pose, arouse the excitement and magnetic
appeal of space. </span></span></span>
</p><span style="font-family: courier;">
</span><p style="line-height: 0.19in; margin-bottom: 0in;"><span style="font-family: courier;"><span style="font-size: x-small;"><span style="color: black;"><span style="text-decoration: none;"><span style="font-weight: normal;">Supported
by the Ministry of Culture, Municipality of Maribor.<br /></span></span></span></span></span></p>
<p><style type="text/css">P { margin-bottom: 0.08in }</style></p><p></p>OR poiesishttp://www.blogger.com/profile/17128080284141999384noreply@blogger.comtag:blogger.com,1999:blog-5917248140596011965.post-78173540355724182072020-09-28T10:28:00.048+02:002022-05-30T09:57:49.722+02:00YAMAMAYU<p> </p><br /><p></p><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwzQV5alV_7Ecdda81_RpmSmUzOMav_EC5ZEYBRdSi1HhQ8l_CA91qcxiczqgHVR7gY-2ZVTvZvelts7i1e_4QY8KTfS5UYCmSNUKzKyu46fajpr8H4wlsL7Nwg2YOdSkIEJb9u3xvOBu1ktrj51rappdJe8BOEMNvzCntK2zK0hgDPGDjTZNaived/s1354/YAMAMAYU_Z%20small%20copy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="967" data-original-width="1354" height="458" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwzQV5alV_7Ecdda81_RpmSmUzOMav_EC5ZEYBRdSi1HhQ8l_CA91qcxiczqgHVR7gY-2ZVTvZvelts7i1e_4QY8KTfS5UYCmSNUKzKyu46fajpr8H4wlsL7Nwg2YOdSkIEJb9u3xvOBu1ktrj51rappdJe8BOEMNvzCntK2zK0hgDPGDjTZNaived/w640-h458/YAMAMAYU_Z%20small%20copy.jpg" width="640" /></a></div><br /></div><p style="text-align: center;"><span style="font-size: large;"><span style="background-color: #fcff01;"><span style="color: #ff00fe;"><b>YAMAMAYU</b></span></span></span><br /><i><b><span style="color: #6aa84f;">planetarni vrt fluidne harmonije</span><br /><span style="color: #6aa84f;">zvočnost japonskega hrastovega prelca</span></b></i><br /></p><p>Tonšpur Pasaža / Mednarodni festival računalniških umetnosti / MFRU 2020 /</p><p>podhod med Glavnim in Rotovškim trgom, Maribor<br /></p><p>23. - 29. oktober 2020 <br /></p><p>format: 8-kanalna zvočna kompozicija</p><p><br /></p><p style="text-align: right;">OR poiesis: YAMAMAYU, 2020, 8-channel sound composition<br />
<iframe allow="autoplay" frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/965349100&color=%23d75596&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true" width="100%"></iframe></p><div style="color: #cccccc; font-family: Interstate, Lucida Grande, Lucida Sans Unicode, Lucida Sans, Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/user-880349987-124851397" style="color: #cccccc; text-decoration: none;" target="_blank" title="OR poiesis">OR poiesis</a> · <a href="https://soundcloud.com/user-880349987-124851397/yamamayu-short-stereo-version" style="color: #cccccc; text-decoration: none;" target="_blank" title="YAMAMAYU short stereo version">YAMAMAYU short stereo version</a></div>
YAMAMAYU is a bio-acoustic sound-research project centring on the sonority of the Japanese oak silkmoth (Lat. Antheraea yamamai, Jap. ヤママユ), a nocturnal moth that, between the middle and the end of the 19th century, successfully assimilated in Slovenian deciduous forests. These forests have pronounced annual cycles and, at least until recently, prominent temperature amplitudes between summer and winter. This poetic research captures the life cycle of a yamamayu: larva, pupa and adult. The aspiration is the artist’s fascination with dislocated nocturnal poetic sonorities and with the sylvan-abstract textures of Japan and the local space, the artist’s affirmative and existential environment. The yamamayu nocturnal moth entwines all these elements. The artist collected its silk cocoons in the forests at the end of summer, not knowing until recently that precisely the light green cocoon of silk threads represents the remainder of the insect’s process of metamorphosis and concretely connects various forces and dislocated spaces. <br /> <p></p><p style="text-align: right;">In view of the current planetary environmental events, the project thematises the role and condition of forest habitats from the perspective of a specific species of nocturnal moths and their sensitive life cycle, enabled by a healthy forest. The cyclicality and thermal diversity, as well as the presence of large temperature differences needed by high deciduous forests, are also essential for a suitable habitat for the Japanese oak silkmoth. Annual moth populations are an indicator of the conditions in the forest and the seasonal, weather-related and atmospheric factors. In recent years, both temperature differences and the amplitude of those differences have noticeably decreased.<br /><br /></p><p><br />YAMAMAYU je bio-akustični, zvočno-raziskovalni projekt, ki v jedro umešča zvočnost japonskega hrastovega prelca, (lat. Antherea yamamai, jap. ヤママユ), nočno veščo, ki se je nekje od sredine do konca 19. stoletja uspešno asimilirala v slovenskih listnatih gozdovih z izrazitimi letnimi cikli, in vsaj do nedavnega z izstopajočim temperaturnim nihajem med poletjem in zimo. Poetična raziskava zajema življenski cikel jamamaja: ličinka, gosenica, metulj. Aspiracija so umetničine fascinacije nad dislociranimi nočno-poetičnimi zvočnostmi, gozdno-abstraktnimi teksturami Japonske in lokalnega prostora, afirmativnega in bivanjskega umetničinega okolja. Vse preplete nočna vešča jamamaj, katere svilene zapredke je pobirala ob izteku poletja v gozdovih, do nedavnega še ne vede, da prav ta svetlo zeleni zapredek svilenih niti predstavlja preostanek procesa metamorfoze insekta in konkretno povezuje raznolike silnice in dislocirane prostore.<br /><br />Raziskava vključuje terensko delo in lociranje tako svilenih zapredkov kot metuljev v njihovem prostem habitatu. Terensko snemanje (field recording) gozdov ter debel in krošenj listnatih dreves, ki so naravni habitati in prehrana gosenic jamamaja. Časovno okno metuljevega nočnega poleta je običajno pozno poletje, od sredine avgusta do začetka septebra. Terensko zvočno snemanje je izvedeno v slovenskih listnatih gozdovih ter jamamajevih ”izvornih” habitatih na japonskem otoku Honšu (v sodelovanju z Locus Sonus Stream Project (Francija) in Radio Aporee (Berlin) - oba omogočata spremljanje live streamov iz japonskih gozdov, kar omogoča poetično vzporednico s poslušanjem dislociranih gozdov. Zvočno gradivo ciklov nočne vešče, nočni posnetki dreves, umetničini zvočni arhivi iz potovanj na Japonsko ter performativne zvočne intervencije s svileno nitjo so jedro zvočne kompozicije. Zvočno zanimanje je ponovno usmerjeno na mikro raven, kjer je potrebna izolacija in tišina za slišanje prefinjenega premikanja in obnašanja in letenja nočne vešče in akustičnih lastnosti svilene niti. Poglobitev v mikro auralnost zahteva radikalno izolacijo in ukinitev zunanjih zvočnih impulzov.<br /><br />Z vidika aktualnega planetarnega okoljskega dogajanja projekt tematizira vlogo in stanje gozdnih habitatov z vidika specifične vrste nočnih metuljev in njihovega občutljivega življenskega cikla, ki ga zdrav gozd omogoča. Cikličnost in temperaturna pestrost, tudi prisotnost velikih temparaturnih razlik, ki jih potrebujejo visoki listnati gozdovi, so bistveni za primerno življensko okolje japonskega hrastovega prelca. Letne populacije metulja so pokazatelji stanja v gozdu in sezonskih, vremenskih ter atmosferskih dejavnikov. Zmanjševanje temperaturnih razlik in zmanjševanje amplitude temperaturne razlike je v zadnjih letih očitna.<br /><br />Avtorica je na terenskih pohodih po hribu Piramida na periferiji Maribora ob koncu poletja najdevala zelenskaste svilene zapredke z odmrlo lupino žužka znotraj njih. Po razgovorih z dr. Boštjanom Dvořákom je svilen zapredek dobil ime in presenetljivo neposredno povezavo z Japonsko. Daljno se je pojavilo neposredno v krošnji okoliškega hrasta ali pa na tleh, ob robu vsakdanje gozdne poti, japonski hrastov prelec, jamamaj, sviloprejka. Fascinacija nad odkritjem biološke povezave med lokalnim teritorijem bivanja in oddaljenim prostorom je vzpodbudila koncepcijo dela in smer umetniškega zanimanja.<br /><br />Jamamaj ali ”japonski hrastov prelec”, (Antherea yamamai), je priseljen z Japonske, kjer prvotno naseljuje gorski pas listnatih gozdov osrednjega in severnega dela otoka Honšu. V slovenskem prostoru je posledica vzreje svilogojca Jana Macha v vasi Veliki slatnik na Dolenjskem. Iz njegovih zapisov in poročil je znano, da je gojil gosenice in hranil bube pogosto pri odprtem oknu in mu je zaradi nepričakovanega zgodnjega izleganja večkrat ušlo mnogo metuljev. V primerjavi z navadnimi sviloprejkami, murvinim prelcem (Bombyx mori), ki so takrat obolevale za kužno boleznijo, so bili azijski jamamaji v bistveni prednosti, bili so naravni in torej obstojni tudi na prostem. (povzeto iz knjige: Boštjan Dvořák, Šest velikih vešč s Primorskega, Trst: Mladika) <br /><br />zahvale:<br />S finančno podporo Mestne občine Maribor.<br />Soorganizacija Ustanova Fundacija Sonda.<br />Posebna zahvala: ddr. Boštjan Dvořák.<br /><br /><br /></p>OR poiesishttp://www.blogger.com/profile/17128080284141999384noreply@blogger.comtag:blogger.com,1999:blog-5917248140596011965.post-11306394439409291422020-03-30T13:29:00.001+02:002020-05-19T10:40:58.897+02:00The Golden Walls / photography animation video<div dir="ltr" style="text-align: left;" trbidi="on">
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<iframe allow="autoplay; fullscreen" allowfullscreen="" frameborder="0" height="360" src="https://player.vimeo.com/video/402125166" width="640"></iframe><br />
<a href="https://vimeo.com/402125166">The Golden Walls by OR poiesis</a> from <a href="https://vimeo.com/orpoiesis">OR poiesis</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
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walking performance, photography ... time and place / space and void</div>
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One month (September) long walking performance along the river wall. Every few steps I took a photograph of the wall’s sequence.<br />
As bodies we carry voices with us, sounds don't vanish, they
transform and stay imprinted into the cells; later they appear as
thoughts, feelings, sensations, emotions, dreams, moods, longing … Along the
walls some of the sonic impulses are reflected – echoed as acoustic
sensation of the place. But something also stays, is melted, dissolved
in cut out stones – sonic sediments, traces captured by the stone wall.
Walls and bodies share collective memory.</div>
OR poiesishttp://www.blogger.com/profile/17128080284141999384noreply@blogger.comtag:blogger.com,1999:blog-5917248140596011965.post-12452828505377744582020-03-02T11:13:00.003+01:002020-03-16T11:28:32.128+01:00The Golden Walls / artists' book<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJPmiSFmSAKrw9SbdRZr03TnpzhHShFOtu8dxPYsAby3eRbll5rm0U4AU67Ldwkn4ruCAHdNjMMne23KLUxOZ24YshPvDoe6KWr4lOVBueDMWXkaMzQx4HYStc2RQKBa8-2LZgCqI54qw/s1600/Golden+Walls+book+by+OR+poiesis_2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="901" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJPmiSFmSAKrw9SbdRZr03TnpzhHShFOtu8dxPYsAby3eRbll5rm0U4AU67Ldwkn4ruCAHdNjMMne23KLUxOZ24YshPvDoe6KWr4lOVBueDMWXkaMzQx4HYStc2RQKBa8-2LZgCqI54qw/s640/Golden+Walls+book+by+OR+poiesis_2.jpg" width="640" /> </a></div>
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<span style="font-family: inherit;">OR poiesis: <b><i>The Golden Walls</i></b>, 2016-2018, 1/3</span></div>
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<span style="font-family: inherit;">book</span></div>
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<span style="font-family: inherit;">performative photography </span></div>
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<span style="font-family: inherit;">dimensions: 19 x 13 x 8 cm</span></div>
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<span style="font-family: inherit;">cover dimensions: 74 x 13</span></div>
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<span style="font-family: inherit;">pages: 462 + 1</span></div>
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<span style="font-family: inherit;">edition: 3</span></div>
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<span style="font-family: inherit;">publication date: 2018</span></div>
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<span style="font-family: inherit;">author: OR poiesis (alias Petra Kapš)</span></div>
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<span style="font-family: inherit;">paper: washi kozo / kozo thin natural 70 g/</span>m²</div>
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<span style="font-family: inherit;">archival pigment prints</span></div>
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<span style="font-family: inherit;">binding: sewn hardcover, silk</span></div>
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<span style="font-family: inherit;">gold</span></div>
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<span style="font-family: inherit;">printing: Dušan Antolin, Murska Sobota</span></div>
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<span style="font-family: inherit;">binding/stitching: Maruji, Ljubljana </span></div>
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<span style="font-family: "courier new" , "courier" , monospace;"><i>Searching for the river, I come across a wall</i></span></div>
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<span style="font-family: "courier new" , "courier" , monospace;"><i>I measure it out with painful steps</i></span></div>
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<span style="font-family: "courier new" , "courier" , monospace;"><i>Still standing</i></span></div>
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<span style="font-family: "courier new" , "courier" , monospace;"><i>Doors to Paradise </i></span></div>
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OR poiesishttp://www.blogger.com/profile/17128080284141999384noreply@blogger.comtag:blogger.com,1999:blog-5917248140596011965.post-80919616847852363342020-02-25T12:11:00.006+01:002020-03-24T13:00:37.100+01:00Spell of Silence / Urok tišine / sound performance <div dir="ltr" style="text-align: left;" trbidi="on">
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OR poiesis: Spell of Silence<br />
KIBLIX 2019 / MMC KIBLA, Friday, 6 December, 2019, at 8 pm<br />
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<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/_KASR0v9YAk" width="560"></iframe><br />
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In her live sound performance <i><b>Spell of Silence</b></i> (2019), OR poiesis wraps herself into the virtuality of stone silence, elevating emptiness out of anemia. Through touch, through breath, she wakes up the stone for the deafened body. <br />
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<i><b>Spell of Silence</b></i> is a performative art work of the project KISETSU Quarry, which the artist developed as an 8-channel sound installation for Steklenik Gallery (September–November 2019) and a stone instrument. She will include the stone instrument in her performance Spell of Silence. <br />
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For KISETSU Quarry, the artist wrote: "<i>A person might live with the belief that advanced technology induces life without meaning and out of sync with the cosmos, but our bodies demonstrate that this is certainly not the case. The sensual, material and discernible link with the world shifts us to the deep border of cognition. For several years, I have been engaged in an acoustic and poetic study of an abandoned quarry. At the core of the sound composition, we find stone, silence, the poetics of space and the acoustics of a certain place in an expanded, cyclical time, spanning several years. The echo of the stone garden is unburdened with the pace of change that could be forced by the need for monetization. Precisely stone connects the human with the ancient, authentic, cosmic elements of the world. The intent is to amplify the vibrational qualities of the stone, transfer them into the human hearing range and integrate them as an interactive sound-frequency field that resonates with a listener’s body and consciousness. I am interested in the behaviour of different material and biomorphic fields as well as their interference.</i>" (Translation: Urban Belina, Zavod Cona)<br />
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<b>OR poiesis</b> is an artist and researcher in the field of sound, sound perception and poetic performance. She expands the word into the sonorous spheres of time-space poetry. Besides all of the digital dimensions, her central interest is the physical presence of the body. In the broad oeuvre of her artistic practice, OR poiesis explores the modalities of silences and the potentialities that are offered by silent, frequently exploited environments to listen to subtle acoustic qualities of substances and the voice. In the past years, she has significantly contributed to the development of interactive, sound and performative art practices. Her sound works document solitudes. <br />
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Production Spell of Silence: Petra Kapš with financial support by the Municipality of Maribor <br />
Co-production: ACE KIBLA <br />
Documentary photos: Boštjan Lah (Kiblix/Kibla archive)<br />
Production of the KISETSU Quarry project: CONA | institute for contemporary arts processing, for venue: Steklenik, gallery for sound, bioacoustics and art<br />
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OR poiesishttp://www.blogger.com/profile/17128080284141999384noreply@blogger.comtag:blogger.com,1999:blog-5917248140596011965.post-15671128286066734402020-02-21T11:02:00.000+01:002020-02-28T12:44:13.549+01:00KISETSU quarry / sound performance<div dir="ltr" style="text-align: left;" trbidi="on">
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OR poiesis: KISETSU Quarry, sound event<br />
17 Sep 2019 at 8.00 p.m.<br />
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The event is part of 8-channel sound installation KISETSU Quarry, being on display: 14 Sep–15 Nov 2019 / live sound performance at Steklenik, Gallery for sound, bioacustics and art<br />
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<i>Stones connects the human with the ancient, authentic, cosmic elements of the world. The intent is to amplify the vibrational qualities of the stone, transfer them into the human hearing range and integrate them as an interactive sound-frequency field that resonates with a listener’s body and consciousness. The artist is interested in the behavior of different material and biomorphic fields as well as their interference.</i><br />
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Production: Cona, 2019<br />
Supported by: Ministry of Culture RS, Municipality of Ljubljana – Cultural Department, Municipality of Maribor<br />
Documentary photography: Dino Schreilechner <br />
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OR poiesishttp://www.blogger.com/profile/17128080284141999384noreply@blogger.comtag:blogger.com,1999:blog-5917248140596011965.post-3485553802672703782019-10-04T13:33:00.000+02:002020-03-10T18:33:35.838+01:00KISETSU quarry / 8-channel sound composition<div dir="ltr" style="text-align: left;" trbidi="on">
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<b>KISETSU Quarry</b> <br />
14 Sep–15 Nov 2019<br />
Exhibition of 8-channel sound installation and live sound performance at
Steklenik, Gallery for sound, bioacustics and art, produced by CONA,
2019<br />
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<i>A person might live with the belief that advanced technology induces life without meaning and out of sync with the cosmos, but our bodies demonstrate that this is certainly not the case. The sensual, material and discernible link with the world shifts us to the deep border of cognition. </i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB4t2yZRA3RMscf9W1uFXCSwDvgEFTUCfXNWFsFeLrXwIfPv6nZ-yzB2k2otFhyphenhyphenGCYWQ5vAuECFmdVsXRg89Fo3cRyZsntwma10BMExElsSdutisUgVBqlQTQG6e4tKaOvMNJPI6_WV70/s1600/IMG_20190901_125246.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="894" data-original-width="1192" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB4t2yZRA3RMscf9W1uFXCSwDvgEFTUCfXNWFsFeLrXwIfPv6nZ-yzB2k2otFhyphenhyphenGCYWQ5vAuECFmdVsXRg89Fo3cRyZsntwma10BMExElsSdutisUgVBqlQTQG6e4tKaOvMNJPI6_WV70/s640/IMG_20190901_125246.jpg" width="640" /></a><i>For several years, the artist OR poiesis has been engaged in an acoustic and poetic study of an abandoned quarry. At the core of the sound composition, we find stone, silence, the poetics of space and the acoustics of a certain place in an expanded, cyclical time, spanning several years. The echo of the stone garden is unburdened with the pace of change that could be forced by the need for monetisation. Precisely stone connects the human with the ancient, authentic, cosmic elements of the world. The intent is to amplify the vibrational qualities of the stone, transfer them into the human hearing range and integrate them as an interactive sound-frequency field that resonates with a listener’s body and consciousness. The artist is interested in the behaviour of different material and biomorphic fields as well as their interference.</i><br />
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In the broad oeuvre of her own artistic practice, OR poiesis explores the modalities of silences and the potentialities that are offered by silent, frequently exploited environments to listen to subtle acoustic qualities of substances and the voice. In the past years, she has significantly contributed to the development of interactive, sound and performative art practices. Her sound works document solitudes.<br />
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<b>OR poiesis</b> (alias Petra Kapš) is an artist and researcher in the field of sound, sound perception and poetic performance. She expands the word into the sonorous spheres of time-space poetry. Besides all of the digital dimensions, her central interest is the physical presence of the body.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtB4yhUIGu0o3RFyS6ZfGzLYbZ8GtOYsDc6NlHtWHcGbZDx392F77Au9mMLF9mNGC7x56tHsFPaC1yEQ16s0Da4cgxks7UKLZkuKJLStmhvGZCKKNunbc0ta0ZC_dHdM2Iyq_Sp-IGpBI/s1600/Kisetsu+quarry+at+Steklenik+%2528photo+Dino+.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="765" data-original-width="1021" height="478" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtB4yhUIGu0o3RFyS6ZfGzLYbZ8GtOYsDc6NlHtWHcGbZDx392F77Au9mMLF9mNGC7x56tHsFPaC1yEQ16s0Da4cgxks7UKLZkuKJLStmhvGZCKKNunbc0ta0ZC_dHdM2Iyq_Sp-IGpBI/s640/Kisetsu+quarry+at+Steklenik+%2528photo+Dino+.jpg" width="640" /></a><iframe allow="autoplay" frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/692649070&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true" width="100%"></iframe><br />
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Credits:<br />
Artist: OR poiesis<br />
Technical consulting: Andrej Hrvatin<br />
Introduction: Petra Kapš<br />
Organisation: Jasmina Založnik<br />
Curation: Irena Pivka, Brane Zorman<br />
Photography: Petra Kapš <br />
Documentary photography from Steklenik gallery: Dino Schreilechner <br />
Translation and Proofreading: Urban Belina<br />
Production: Cona, 2019<br />
Supported by: Ministry of Culture RS, Municipality of Ljubljana – Cultural Department, Municipality of Maribor</div>
OR poiesishttp://www.blogger.com/profile/17128080284141999384noreply@blogger.comtag:blogger.com,1999:blog-5917248140596011965.post-7136625901758752019-10-01T11:07:00.001+02:002020-03-10T10:46:03.269+01:00Around with her / durational performance in public space<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;"><i>Around with her</i>, by OR poiesis (photo Aleksandra Saška Gruden)</td></tr>
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still standing performance in public space, Celje, Admission Free festival</div>
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summer equinox 2019</div>
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OR poiesishttp://www.blogger.com/profile/17128080284141999384noreply@blogger.comtag:blogger.com,1999:blog-5917248140596011965.post-37318082951007992402019-05-29T10:24:00.000+02:002020-05-12T10:04:53.407+02:00Curved Curses / Krive Kletve<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;"><i>Vse bolj in bolj sem padala v tišino / I was falling more and more into silence</i><br />
2015–2019<br />
4 kanalna zvočna kompozicija / 4 channel sound composition<br />
trajanje / duration 33:43<br />
foto: David Orešič </td></tr>
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Reke in morja lovijo glasove, jih arhivirajo in prenašajo. Zamišljena vodnata vrzel – prazno polje vlažnega ničesar – postaja nabrekla, napolnjena <i>s koncem sveta </i>za mnoge. Voda je ena izmed osnovnih migracijskih poti - ki pa ni varna, nikoli ni bila, vsaj ne za človeka. <i>Kaj slišimo, ko pozorno prisluhnemo vodi? Kjerkoli</i> (zidovi, ograje, bodeče in rezilne žice v vodi ne delujejo več, transmisija gre gor, dol, okoli in predvsem skozi).<br />
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Rivers and seas capture voices, archive and transmit them. Imaginable watery void – blank field of humid nothing – is getting more and more potent, filled with <i>the end of the world</i> for many. Water is one of basic routs of today (and past) migrations of people. The way is not secure, it never was, not for human beings. <i>What do we hear, when we listen closely to the water?</i> Anywhere (walls, fences, barbed wires, razor wires don't function with water, transmission goes up, down, around and through).<br />
<iframe allow="autoplay" frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/818059513&color=%23d75596&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true" width="100%"></iframe><br />
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<a href="https://aporee.org/maps/work/projects.php?project=travelingbodies" target="_blank"><i>potujoča telesa / traveling bodies</i></a> (<span style="color: red;">listen: <a href="https://aporee.org/maps/work/projects.php?project=travelingbodies" target="_blank">here</a></span>)<br />
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on-line arhiv terenskih in performativnih zvočnih fragmentov, 2017–2019 <br />
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on-line archive of field and performative sound fragments, 2017–2019</div>
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zvočna karta uporablja platformo <a href="https://aporee.org/maps/work/projects.php?project=travelingbodies" target="_blank">radio aporee / sound map uses radio aporee platform</a><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3iI2zI2N1BLhsmizt-ZDwXv7ViPB4Xsi1ZBQcJkJvr7h5L7md4FJ7KYDkbgN_L-NlGiss0I_055nRisSti3CPZJwwrUx_G4h0TS-A3WT_ctDVUAoUO1_dyK4NN5URWBDulzjlHwS3OQU/s1600/traveling+bodies%252C+Karta+situacije%252C+foto+Gregor+Salobir+copy.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="778" data-original-width="1165" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3iI2zI2N1BLhsmizt-ZDwXv7ViPB4Xsi1ZBQcJkJvr7h5L7md4FJ7KYDkbgN_L-NlGiss0I_055nRisSti3CPZJwwrUx_G4h0TS-A3WT_ctDVUAoUO1_dyK4NN5URWBDulzjlHwS3OQU/s640/traveling+bodies%252C+Karta+situacije%252C+foto+Gregor+Salobir+copy.png" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>potujoča telesa</i> / <i>traveling bodies</i>, <br />
on-line archive of field and performative sound fragments, 2017–2019<br />
sound map uses radio aporee platform <br />
foto Gregor Salobir: </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIOXdH3DOUcPC2fl8vVjCP6JsLRSwUbDgYkg1QaJ4Wdhm6pocZMRAg9qTMzUlciTKJClv4u-wGHRbelJGxHArdIeZwOm84dZ408KybAkW_s5rzVRMVyNQtDFP8_OMZbgDR5bkGBuC9kr8/s1600/video%252C+Doors+to+Paradise%252C+Kibla+Portal%252C+Karta+Situacije%252C+2019%252C+foto+Petra+Kaps%25CC%258C.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIOXdH3DOUcPC2fl8vVjCP6JsLRSwUbDgYkg1QaJ4Wdhm6pocZMRAg9qTMzUlciTKJClv4u-wGHRbelJGxHArdIeZwOm84dZ408KybAkW_s5rzVRMVyNQtDFP8_OMZbgDR5bkGBuC9kr8/s640/video%252C+Doors+to+Paradise%252C+Kibla+Portal%252C+Karta+Situacije%252C+2019%252C+foto+Petra+Kaps%25CC%258C.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Krive kletve / Curved Curses</i><br />
2018–2019<br />
video 4:33<br />
performans / performance Doors to Paradise, Budapest<br />
photo: Petra Kapš</td></tr>
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Kibla Portal, razstava / exhibition:<i> <a href="http://www.kibla.org/si/projekti-koprodukcije-in-mednarodna-sodelovanja/aktualni-projekti/risk-change-tvegaj-spremembo/dogodki/karta-situacije/" target="_blank">Karta situacije</a></i> / <i><a href="http://www.kibla.org/en/coproductions-and-international-cooperation/current-projects/risk-change/dogodki/karta-situacije/" target="_blank">Situation Map</a></i> / April 25 - June 16 2019<br />
Participating artists: Nataša Berk, OR poiesis, name:, Simon Macuh, Eric Orbino, Vlado G. Repnik, Max Abend<br />
<span style="font-size: x-small;">Razstava je zaključni dogodek programa gostujočih rezidenc projekta Risk Change / Tvegaj spremembo (2016–2020), ki so se, v sodelovanje s projektnimi partnerji, odvijale v petih evropskih mestih: Żejtun – FOPSIM, Foundation for the Promotion of Social Inclusion in Malta (MT), Novi Sad – MSUV :: МСУВ Muzej savremene umetnosti Vojvodine (RS), Marseille – ZINC, Arts et Cultures Numériques (FR), Budimpešta – ACAX Agency for Contemporary Art Exchange (HU) in Rijeka – MMSU Muzej moderne i suvremene umjetnosti (HR).</span><br />
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<span style="font-size: x-small;"><i>The exhibition is the final event of the artist-in-residency program of the project Tvegaj spremembo / Risk Change (2016–2020). In collaboration with the project partners, the residencies took place in five European cities: Żejtun – FOPSIM, Foundation for the Promotion of Social Inclusion in Malta (MT), Novi Sad – MSUV :: МСУВ Muzej savremene umetnosti Vojvodine (RS), Marseille – ZINC , Arts et Cultures Numériques (FR), Budapest – ACAX Agency for Contemporary Art Exchange (HU), and Rijeka – MMSU Muzej moderne i suvremene umjetnosti (HR).</i> </span></div>
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OR poiesishttp://www.blogger.com/profile/17128080284141999384noreply@blogger.comtag:blogger.com,1999:blog-5917248140596011965.post-60591739400194779632019-05-27T12:10:00.001+02:002020-02-28T12:27:51.555+01:00TEOREMA<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;"><i>TEOREMA</i>, performans, galerija Škuc, cikel Slavne Neznane, foto: Nina Dragičević</td></tr>
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OR poiesis<br />
TEOREMA <br />
situacija poslušanja s fragmenti zvočne poezije<br />
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v okviru cikla Slavne Neznane, kuratorka Nina Dragičević<br />
galerija Škuc, 1. december 2019<br />
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Ponavljajoči se zvoki vsakdana so pogosto neznosni. Teror. Tudi zato, ker se običajno raztreščijo na zidu tišine. <br />
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Petra Kapš nas bo v slušnem sprehodu zapeljala v izbrane prostore in konkretne atmosfere, ki so bili inspiracija performativne zvočne poezije, lahke in krhke kot nepričakovani piš vetra, vzpodbujene s hojo in poskusi nepremičnega stanja. Posebej na Ljubljano in Berlin se vežejo njeni bralni performansi poezije Piera Paola Pasolinija na postajah in v vagonih podzemne železnice ter z varnostno službo pospremljeno prepovedano branje pesmi Srečka Kosovela na osrednjem stopnišču Narodne in univerzitetne knjižnice Ljubljana. Poti mnogokrat vodijo do zidovja, znotraj njih pa se pogosto razkrijejo paradiži. To je tam, kjer se nikoli nič ne spreminja, kjer je vse vedno isto. Njihovi prebivalci so najverjetneje že povsem gluhi ... bodisi nori. Nenehno navzočnost nespremenljivega, konstanto zdajšnjost, podprto z brez-časovno matrico nad(od)grajene resničnosti, bi lahko označili kot auralni pekel.<br />
Avtorica predlaga smrten, v tišino odluščen paradiž.<br />
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tekstualna/zvočna predloga performansa:<br />
<i>. hoja</i><br />
<i>. stanje pri miru</i><br />
<i>. poezija . zvočna poezija</i><br />
<i>.branje v konkretnem prostoru</i><br />
<i>. branje v intimnem prostoru</i><br />
<i>. tiho branje</i><br />
<i><br />začnem s hojo … <a href="http://kunstradio.at/2017A/26_03_17en.html" target="_blank">Walking Piece ... Golden Walls</a> / ali pa Planterwald Berlin<br /><br />Kar izrečem, izgubim. <br />Je glas v digitalnem do-končen – nesmrten?!<br /><br />Glas prihaja bližje kot pogled. Muzično bogato obdarjena Ekho, skrčena v izzvenevanju izkričanih besed, ostaja nerazumljena, prepuščena veku hrepenenja. Glas se lastninjenju izmika.<br /><br />Korenine OR je moč loviti v besedah, ki v svojem jedru nosijo sledi govora; izplen nas sooči z dolgotrajno premočjo okostenelega nad usti. OR (iz)sledimo v nukleus reda, sumimo v korespondenci s formo, jedru organuma. OR kot os diskurzivne civilizacije. OR skoz mrmrajoči glas brbljanja, vzpenjajoč se iz in potapljajoč se v globinah ust. OR kot označevalec, poetični modulator, sila navdiha, zrcaljajoča ostanke prihodnosti. OR kot simptom, medtem ko naj naša civilizacija pomena in (ne)(spo)razumevanja pije iz izvira Mnemozine, da se osveži s celovitim prizadevanjem poetičnega.<br /><br />Zame je trenutnost bistvena lastnost glasu. Neulovljiv je, med pretakanjem skozi telo izveneva, za seboj pušča rahle, komaj zaslutene sledi, ki jih sproti udušujejo drugi glasovi. Izginotje glasu je nuja. V telo ne vpisuje le slišanega, ampak izzove občutja, le ta pa minevajo veliko počasneje. Občutje traja dlje, tudi ko glasu, ki mi je prevel celice, ne slišim več. Sekvenca njegovega slišanja je krajša kot občutenje glasu. Spomin in blodni notranji glasovi pa pričajo še o drugačnih, dolgotrajneših glasovnih vrtinah, ki v globinah segajo tudi tja, kjer je uho bilo potopljeno v vodnati mehkobnosti. <br /><br />Kakorkoli že, poslušanje, tako in-situ kot preko vmesnikov in posnetkov, je vendarle zmožnost biti brez teže, lahak, je spozaba gravitacije. Spomini telesa so oplojeni s stapljajočimi, nerazločenimi občutji izginulih glasov; so v tesni zvezi z staro željo po odvezavi od privlaka zemlje in premestitvi v okolje, ko telo vsaj za trenutek odmisli težo lastnega telesa. Ob poslušanju glasov in zvokov, tudi posnetih, potujemo z eteričnostjo konkretne stvarnosti; glasovi so kot vmesni portali, ob pomikanju skoznje jih ne gostita le čas in prostor, poganjajo jih breztežnosti potujočih teles.<br /><br />Tako kot zvok v telesu odvija časovne tirnice, telo v zvoku bistveno zaznamuje izkušnja več časovnih konceptov. A telo mora biti najprej tisto, ki vzdrži različne zvočne situacije. Običajno skrajno samoumevno uporabljamo izraze kot sta hrup in tišina, vedno znova aktualna antagonista, on in ona. Presenetljivo pa je dejstvo, da sta besedi tako borno diferencirani, da obstoji skromen nabor terminov za izražanje njunih variacij, kaj šele fines. Izkustva so seveda izjemno različna – tako iz osebnega kot empirično merljivega pristopa. Zdi se, da je besedno nediferencirano tišino ustrezneje artikulirati skoz polje zvoka (hrupa). Tišina, izvrstna gojiteljica oksimorov, kraljica paradoksa, se zlahka manifestira kot glušeča, kričeča ... gosta in težka ... spokojna, neslišna. <br /><br /><br />belo<br />tišina<br />misli se ponavljajo<br />vrtijo krog, neumorne<br />so kot kristali snega<br />nočejo pasti na zemljo<br />ujame jih koprena neskončnih medprostorij uma<br />uhelj poskoči<br />ščegeta ga raskava površina šuma<br /><br />kORak oglašuje prostor, odmeva prostor, stavbe, tla, beton, pesek, odziva se na ljudi, živali, rastline<br />skozenj slišimo pomene, ki jih sam ne sliši, razpoloženje<br /><br />kaj tišina je je skrajno subjektivno, lahko pa manifestativno zatrdim<br /><br />tišina NI ENAKO nenehna prisotnost zvoka<br />ampak žal je prav NENEHNA PRISOTNOST ZVOKA situacija sodobne, digitalne civilizacije<br /><br />srednjeveški učenjaki so “nenehno navzočnost” opredelili kot pekel, danes “nenehno navzočnost” razumemo kot paradiž, ki nam omogoča, da si zatiskamo oči, a ušes si me moremo zatisniti, le sluh nam vztrajno krni</i></div>
OR poiesishttp://www.blogger.com/profile/17128080284141999384noreply@blogger.comtag:blogger.com,1999:blog-5917248140596011965.post-48135068332409257242019-01-10T12:28:00.002+01:002020-03-18T14:40:09.763+01:00Searching for the river ... performance, body intervention<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;">Doors to Paradise, still standing performance, June 29 2018, Vienna, photo Iztok Maroh</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Doors to Paradise, still standing performance, June 29 2018, Vienna, photo: Andreja Džakušič</td></tr>
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location of the performance in Vienna / map: https://goo.gl/maps/Wo6D8Z6Zo872<br />
wall/canal of Wienfluss river, below MAK - Österreichisches Museum für angewandte Kunst, Vienna<br />
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After applying 169 real gold leaves (23 carat) on the stones of the wall of Wienfluss river in Vienna and on the walls of Danube river in Budapest, below the parliament building, in the early morning hours, OR poiesis executes still standing performance in public space.<br />
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<i>Doors to Paradise</i> address the edge of the imaginary and confront the barrier of the (not)allowed. Liquid phantasy of micro locality. The work falls within the scope of the author's devotion to the phenomena of the wall, paradise, body, voice, rivers.<br />
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With poetic performance <i>Doors to Paradise</i>, OR poiesis delicately addresses the phenomenon of the wall and the theme of paradise. <br />
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location of the performance in Budapest: </div>
<a href="https://aporee.org/maps/?loc=42122&m=satellite">radio aporee ::: maps - by the Doors to Paradise, Danube river, below Parliament, Budapest</a><br />
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<tr><td class="tr-caption" style="text-align: center;">Doors to Paradise, still standing performance, 17 October 2018, Budapest, photo: name:</td></tr>
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OR poiesishttp://www.blogger.com/profile/17128080284141999384noreply@blogger.comtag:blogger.com,1999:blog-5917248140596011965.post-40936282873997913032018-12-30T16:50:00.001+01:002020-03-18T13:37:21.396+01:00Doors to Paradise, in Budapest<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;"><span style="color: #f4cccc; font-size: x-small;"><span style="color: #f4cccc;"><span style="color: black;">157 gold leaves (23 carat) on the stones of the wall of Danube river, Budapest</span></span></span></span></td></tr>
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so there they are now<i>,</i> on the east side of Danube<br />
river wall</span><span style="font-size: small;"> <br />
conquered with pure gold</span><span style="font-size: small;"> </span><br />
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or … as Cortés said to the natives of another Empire from the New World’s:</span> <span style="font-size: small;"><i>We … know a sickness of the heart that only gold can cure.</i></span><br />
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<tr><td class="tr-caption" style="text-align: center;">Doors to Paradise, still standing performance, Budapest, photo: name:</td></tr>
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<span style="font-size: small;"><i>Golden doors appeared on October 16th 2018, in the early morning, when city was still asleep. In the afternoon OR poiesis executed still standing performance, standing in front of the Doors to Paradise, this time for around 15 minutes, as the area was at the time heavily guarded. One month later news came people started to protest and gather above the doors.</i></span><br />
<span style="font-size: small;"><i>In the night on May 29th 2019 waters of Danube river were very high, close to the Doors of Paradise boat crash happened. </i></span><br />
<span style="font-size: small;"><i>The walls of the river belong to the river. </i></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;"><span style="color: #f4cccc; font-size: x-small;"><span style="color: #f4cccc;"><span style="color: black;">157 gold leaves (23 carat) on the stones of the wall of Danube river, Budapest</span></span></span></span></td></tr>
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OR poiesishttp://www.blogger.com/profile/17128080284141999384noreply@blogger.comtag:blogger.com,1999:blog-5917248140596011965.post-32690407554010246772018-07-19T13:15:00.000+02:002020-02-28T13:54:18.354+01:00xlip into the pool / xdrs v tolmun<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: small;"><span style="font-family: inherit;">sound intervention in public space / zvočna intervencija v javnem prostoru</span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;">empty fountain in city center of Celje / prazen vodnjak v mestnem središču, Celje </span></span><br />
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<span style="font-size: small;"><span style="font-family: inherit;"> </span></span><span style="font-weight: normal;"><i><span class="" id="result_box" lang="en"><span class="">captured watery voices continue their cosmic eavesdropping</span></span></i></span></div>
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<span style="font-weight: normal;"><i><span class="" id="result_box" lang="en"><span class="">in the intimacy of the interior regions the fountain recalls the uncertainty</span></span></i></span></div>
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<span style="font-weight: normal;"><i><span class="" id="result_box" lang="en"><span class="">hearing awakens</span></span></i></span></div>
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<span style="font-weight: normal;"><i><span class="" id="result_box" lang="en"><span class="">v jezik voda ujeta pretočna bežnost glasov nastavlja ušesa kozmosu<br />
v intimo notranjih pokrajin vodnjak prikliče negotovost<br />
sluh se zdrami</span></span></i></span></div>
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<iframe allow="autoplay" frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/461339730&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true" width="100%"></iframe><br />
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Documentary photography: Andreja Džakušič<br />
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OR poiesishttp://www.blogger.com/profile/17128080284141999384noreply@blogger.comtag:blogger.com,1999:blog-5917248140596011965.post-42023394581030738272018-05-21T12:24:00.002+02:002020-03-18T13:35:35.070+01:00Doors to Paradise, in Vienna<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeWmVp5Fer5c4Hxfziz7-mmTqX8kYJgN2q8uFzdJDy9niku-y-Jft2X5hV7h7VQUrXv01IphkuqtLrKfaM9l7FvcUYiz7Niw9v6DuNTQS89zB1Ps0eH2AjtIKqmi61AXgUHS4HBFaqhyA/s1600/DSC_0156.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="839" data-original-width="1263" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeWmVp5Fer5c4Hxfziz7-mmTqX8kYJgN2q8uFzdJDy9niku-y-Jft2X5hV7h7VQUrXv01IphkuqtLrKfaM9l7FvcUYiz7Niw9v6DuNTQS89zB1Ps0eH2AjtIKqmi61AXgUHS4HBFaqhyA/s640/DSC_0156.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;"><span style="color: #f4cccc; font-size: x-small;"><span style="color: #f4cccc;"><span style="color: black;">169 gold leaves (23 carat) on the stones of the wall of Wienfluss river, Vienna</span></span></span></span></td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIw3VLK6ADfp8ORmNZH5Dg6BKMfoRSB75YbBVTUw7BcrHWHmsKvJ2_UUxs75ZSx6KDuXBBmrTn7RVQeX_brXW2ri1SQ4uGrNZ9RzUEGicM4I48fA7_Vb2CfoHBbS8VyPdwVoVP7QL4Vmc/s1600/DSC_0150.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="839" data-original-width="1263" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIw3VLK6ADfp8ORmNZH5Dg6BKMfoRSB75YbBVTUw7BcrHWHmsKvJ2_UUxs75ZSx6KDuXBBmrTn7RVQeX_brXW2ri1SQ4uGrNZ9RzUEGicM4I48fA7_Vb2CfoHBbS8VyPdwVoVP7QL4Vmc/s320/DSC_0150.jpg" width="320" /></a><br />
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<span style="font-family: inherit;"><span style="color: #f4cccc; font-size: small;"><span style="color: #f4cccc;"><span style="color: black;">geocode of the real gold intervention in public space:</span> <a href="https://www.google.com/search?q=48.207193%2C+16.382634&ie=utf-8&oe=utf-8&client=firefox-b-ab" target="_blank"><span style="display: inline; float: none; font-style: normal; font-weight: normal; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">48.207193, 16.382634</span></a></span></span></span><br />
<span style="font-family: inherit;"><span style="color: #f4cccc; font-size: small;"><span style="color: #f4cccc;"><span style="display: inline; float: none; font-style: normal; font-weight: normal; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="color: black;">map:</span> </span></span></span><span style="color: #f4cccc; font-size: small;"><span style="color: #f4cccc;"><span style="display: inline; float: none; font-style: normal; font-weight: normal; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><a href="https://goo.gl/maps/Wo6D8Z6Zo872" style="font-style: normal; font-weight: normal; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">https://goo.gl/maps/Wo6D8Z6Zo872</a></span></span></span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn5NSoyxoef3yH6uYv6Bv82tNcqd6vacTfEVX4TNlVX80oCYNPcF-IFmtjjkCd0nQD8a8nY9kgUnAiwq4ryw1WbPjZl_hNbB-P3_u9HvF1NlzrXm98_NpXuIp7iEnLG7tuj2ZBnkA9N4k/s1600/DSC_0244.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="839" data-original-width="1263" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn5NSoyxoef3yH6uYv6Bv82tNcqd6vacTfEVX4TNlVX80oCYNPcF-IFmtjjkCd0nQD8a8nY9kgUnAiwq4ryw1WbPjZl_hNbB-P3_u9HvF1NlzrXm98_NpXuIp7iEnLG7tuj2ZBnkA9N4k/s640/DSC_0244.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Doors to Paradise, Vienna</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_5vravnUSDCRXJmgGEUh0DxwMtJmpqrDzQovzicL6fV5vSUG3raTNKxz5O9b3Vxwu-UqAyLqdwoCrxaxH-4XDD3aWbKCBdn1cv5KQuNInRnaOUOQs2czMzO8IKlcp_vW5fNUFKEQQsdc/s1600/Doors+to+Paradise%252C+by+OR+poiesis.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="981" data-original-width="1307" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_5vravnUSDCRXJmgGEUh0DxwMtJmpqrDzQovzicL6fV5vSUG3raTNKxz5O9b3Vxwu-UqAyLqdwoCrxaxH-4XDD3aWbKCBdn1cv5KQuNInRnaOUOQs2czMzO8IKlcp_vW5fNUFKEQQsdc/s320/Doors+to+Paradise%252C+by+OR+poiesis.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Doors to Paradise, Vienna</td></tr>
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<span style="font-family: inherit;"><span style="color: #f4cccc; font-size: small;"><span style="color: #f4cccc;"><span style="color: black;">With the <i>Doors to Paradise</i>, OR poiesis subtly addresses the phenomenon of the wall and the theme of paradise. The intervention in the public space is a round up of the author’s long term process with a central focus on the wall of the Wienfluss river in Vienna. The work falls within the scope of the author’s devotion to the phenomena of the wall, paradise, body, voice, rivers, and is the last step of the artist’s book <a href="https://orpoiesis.blogspot.com/2020/03/the-golden-walls-artists-book.html" target="_blank">The Golden Walls</a>.<br /> After applying 169 gold leaves (23 carat) on the stones of the wall of Wienfluss river in the early morning on April 13th, OR poiesis executed the still standing performance. The location of the piece is just a few steps before the confluence with waters of Danube. </span></span></span></span><br />
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