Galerija za zvok, bioakustiko in umetnost / Gallery for sound, bioacustics and art

Jata C: Chronolith

live sound event / Friday, 18 Nov 2022, at 20:30
installation / 17 – 18 Nov 2022
part of Parallel soundscapes
Kino Šiška, Ljubljana


live sound event / Thursday, 10 november 2022, at 21:00
installation / 10 – 13 Nov 2022
part of Gibanja: eksperimentalno zvučno događanje
Museum of contemporary art, Zagreb

live sound event / Friday, 14 Oct 2022, at 20:00
part of the International Festival of Computer Arts
Vetrinjski dvor, Maribor

premiere of live sound event / Friday, 30 Aug 2022, at 20:00
MGLC Švicarija, Ljubljana

In the work Chronolith, 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. Jata C (beepblip, OR poiesis, Boštjan PEROVŠEK, Bojana ŠALJIĆ PODEŠVA, Brane ZORMAN) poses the questions: How to listen to stone and think in geological time? 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?

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 Chronolith is produced by the CONA institute for the program of the Steklenik gallery.

Ida HIRŠENFELDER (beepblip), a member of Jata C, wrote about the work:
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 what worlds world worlds.[1] 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?”

[1] Donna J. Haraway. Staying with Trouble. Making Kin in the Chthulucene. Durham and London: Duke University Press, 2016, p. 35. “It matters what worlds world worlds. It matters what stories tell stories.“

Video: Miha GODEC, CONA archive.

Jata C 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 deep listening 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,  the group has presented to public two other compositions, namely ICEmeltings (2019) and Bibaret JC210120 (2020)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.

Ida HIRŠENFELDER (beepblip) is a sound and intermedia artist. Her interests include the media history, archives and their vanishing, and media archeology. She collaborates with the Museum of Contemporary Art Metelkova, +MSUM, Topographies of Sound festival, and within the radioCona program. She is a co-founder of the ČIPke Initiative for Women With a Sense for Technology with intermedia sound artist Saša Spačal. Between 2011 and 2017, Hiršenfelder was a member of DIY Theremidi Orchestra sound collective.

Petra KAPŠ (OR poiesis) is an artist and researcher of sound, sound perception and poetic performance. She extends the word in sonic spheres of timespace poetry. Along with the digital dimensions, her focus is nevertheless the physical presence of the body.

Boštjan PEROVŠEK, an artist, composer and sound designer, who composes experimental electroacoustic music. His special is creating bioacoustic music based on the sounds of animals, in particular insects. In addition, he collaborates with the SAETA group, creates music for film and theater, performances, multimedia installations and soundscapes for museums and galleries.

Bojana ŠALJIĆ PODEŠVA dedicates most of her time as a composer to the research of sound as an entity that affects the listener both physically and in terms of content. Her music spans from complete abstraction to complex semantic narratives. She is the recipient of several awards for her concert compositions, incidental music and film scores.

Brane ZORMAN is an intermedia artist, composer, sound manipulator, producer and curator. He composes sound works for theatre, intermedia and dance performances. He performs electro-acoustic solo pieces and improvisations with local and foreign artists in surround sound. Working with sound and space, Zorman develops various strategies, techniques, dynamic and interactive modules, records and reinterprets soundscapes and by way of sophisticated tools he creates electronic and acoustic sound sculptures.

Sound artists: Jata C (beepblip, OR poiesis, Boštjan PEROVŠEK, Bojana ŠALJIĆ PODEŠVA, Brane ZORMAN)
Production: Cona Institute for Steklenik Gallery, 2022
Premiere sound event partner: MGLC Švicarija
Produced by: Irena PIVKA
Public relations: Matej TOMAŽIN
Translation and proofreading: Melita SILIČ
Photo: Mojca ČERPENJAK
Video: Miha GODEC

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.
The project is a part of konS – Platform for Contemporary Investigative Art.
We would like to thank the company Marmor Hotavlje d.o.o. for access to their quarry and the offered sponsorship for the marble slabs comprising the installation.