8 channel sound installation
29 Jun – 7 Sep 2019
Opening and guiding tour through the exhibition: Saturday, 29 June 2019, at 12.00 p.m. (noon)
IDEN, electroacoustic radio opera: Tuesday, 2 July 2019 at 4.36 a.m.
The soundscape of 100 km long and up to 4 km wide Curonian Spit could be described as all-permeating noises of sea and wind that are drilling into other sound layers. They mix with human noises that are also present everywhere, in the cormorant colonies, in the micro world of protected bugs and sand grains that are allowed to and must exist here but not on the next hill. The specific human views and aims in the management of the spit can also be observed from another perspective, as the influence of vegetal on human.
In the 8 channel installation at Steklenik I am trying to capture an impression of this influence that I foster within me with the question – what can I hear or what I cannot hear?
The music was created as a by-product in the process of creation of electro-acoustic radio opera IDEN in co-authorship with Saška Rakef and Tina Kozin. The project was inspired with research by bio artist Špela Petrič, PhD.
In a short opening lecture, Špela Petrič will surmise her last year’s experience of three-month-long art residency at Nida Arts Colony (Lithuania) during which she was searching for stories, inscribed in the flora itself and the traces of thousand years-long dynamics between people and their environment at the geologically unstable yet strategically important place of Curonian Spit. From the vegetal point of view (perhaps) a human drama is going on in a form of another negotiation for life between hundreds of beings in the network of bugs, mosses, fungi, wind, sand and moose. How to tune in to the vegetal? Up to which point we can be guided by plant science and gardening? And how to move even further, up to the very limit of our perception?
The creation of this work was supported by the Ministry of Culture and the Third programme of Radio Slovenia – programme Ars.
Bojana Šaljić Podešva spends most of her time as a composer on the research of sound as an entity that affects the listener both physically and through the content; her music thus spans between complete abstraction and complex semantic languages. She received several awards for her concert works, theatre and film music.