Festival in Opposition – Art and Politics of Improvisation, 26-29th October in Novi Sad, in organization of kuda.org

Festival in Opposition – Art and Politics of Improvisation

OUR 'Accompanyings'

26 - 29th October 2016

Venue: Youth Center CK13

Vojvode Bojovića 13, Novi Sad

Organization of the event: kuda.org

 

Festival in Opposition is a platform for establishing a relationship of art, education and politics of improvisation, as well as temporary zones of groupness and joint creation, through participatory musical and poetic production. OUR ‘Accompanyings’ initiates joint artistic production in the (anti)festival format, with the intention to conceptualise and ask questions of art and politics of improvisation. This anti-festival inspired by Derek Bailey’s Company Weeks, annual week-long free improvisational festivals (1977–1994). Also this was the name of records’ series of shifting ensembles with ever-changing musicians.

 

With the title of the event we think of Rock in Opposition, the movement of music bands which opposed to the monopoly of music industry during seventies. This event is realized in the context of the atrophy of contemporary art production, which in today’s Serbian society develops in direction of commercialization, festivalization and reducing art to social usefulness. We will look back to the history, but also to development of new forms of art production, including exploration of new forms of education in the arts.

 

Participants: Chris Cutler, London; Neven Korda, Ljubljana; Stevan Kovacs Tickmayer, Orléans; Howard Slater, London; Paul Abbott, London; Cara Tolmie, London; Nenad Vujić, Belgrade; Milan Nenin, Novi Sad; Danny Hayward, London; Ozren Lazić, Novi Sad; Mira Mattar, London; Anthony Iles, London; Vladimir Orešković, Novi Sad; Zsadányi Ernö, Novi Sad; Zsolt Polgar, Novi Sad; Vladimir Sekulić, Novi Sad; Igor Lečić, Novi Sad...

 

Organization & production: New Media Center_kuda.org, Novi Sad, www.kuda.org

In cooperation with the Youth Center CK13, Novi Sad, www.ck13.org

 

Festival in Opposition is realized within a larger project “Aesthetic Education Expanded”, which

represents an international collaborative network of organizations in which cooperate Multimedia institut (HR), Kontrapunkt (MK), Kulturtreger (HR), Berliner Gazette (DE) i kuda.org (RS).

 

The project is supported of the Creative Europe program of the European Commission with support of the Ministry of Culture and Information of the Republic of Serbia, European Cultural Foundation, Amsterdam – BAC program, Provincial Secretariat for Culture and Public Information and City of Novi Sad.

 

PROGRAM

 

wednesday / 26. October

17:00–23:00

JukeBox Comp (share-right)

Ongoing sound installation

Reading Desk

 

19:00

Re:Memberance > Audio-visual performance, Milan Nenin and Zsolt Polgar, Novi Sad

20:00

OUR Accompanyings > Open Music Sessions

Improvisations >> Performances

 

thursday / 27. October

17:00–23:00

JukeBox Comp (share-right)

Ongoing sound installation

Reading Desk

 

19:00 OUR Accompanyings > Open Music Sessions

 

20:00

Studio as An Instrument – Art Bears Winter Song > Lecture, Chris Cutler, London

Listening Sesion: Faust, Musique Concrete, Rock in Opposition, etc.

 

21:00

Anguish Language: public processing > Performance

Participants: Paul Abbott, Cara Tolmie, Danny Hayward, Mira Mattar, Anthony Iles, London

Anguish Language is a project that approaches language as a core aspect of the present social crisis. The project relates to, surveys and develops new forms of self-publishing, poetry and political speech arising in the wake of the 2008 financial crisis and social struggles which challenge the consequences of that crisis. At CK13 a new grouping will vocalise recent text, sounds and noises which respond to the term ‘anguish language’. http://anguishlanguage.tumblr.com

 

21:45

Operating with Yugoslav 1980s cassette experimentalism memory

> Presentation and Listening session, Nenad Vujić, Belgrade

Nenad Vujić is an experimental music aficionado from Belgrade who delves into the niches of the 1980s Yugoslav DIY cassette underground and strives to provide a map of its many miniscule subscenes (includes experimental, electronic, industrial, improvisation music from 80s). The web site A hogon’s industrial guide strives to provide a map for art historians, pop culture archaeologists and musicologists that lays out the main features and the topology of the cassette experimentalist field in 1980s Yugoslavia. More recently, the platform have expanded its scope to other Eastern European regional productions, with a forthcoming release of Hungarian 1980s cassette experimentalist retrospective LP compilation and accompanying research text. http://ahogonsindustrialguide.blogspot.rs/

 

22:30

Sphuzo ti-FRX 98 (The Pocket) > Paul Abbott, London

Solo performance for drums and electronics.

http://www.paulabbott.net/paul/index-content.html#work

 

friday / 28. October

17:00–23:00

JukeBox Comp (share-right)

Ongoing sound installation

Reading Desk

 

19:00 OUR Accompanyings > Open Music Sessions

 

20:00

File Under Popular > Public discussion

Participants: Chris Cutler, Ozren Lazić, Howard Slater, Paul Abbott, Zoran Pantelić and Stevan Kovacs Tickmayer

Discussion on the book about political theory of popular music of British musician, composer and theorist Chris Cutler. Translation to Serbo-Croatian language: Ozren Lazić; published by: kuda.org

 

21:00

Historizing Borghesia > Presentation, Neven Korda, Ljubljana

The concept of DIY in general, could mean different ways of production, which are contrary to hegemonic production mode. Or otherwise, with which (next to) the dominant mode of production achieved, materialized other and different production methods.

 

21:45

The Scratch Orchestra > Archive, Presentation, Howard Slater, London

Howard Slater will take us on a journey through the Scratch Orchestra’s brief history and its continuing inspirational impact. The Scratch Orchestra grew out of a series of music composition classes held at London’s Morley College. The classes were instigated by Cornelius Cardew, Michael Parsons and Howard Skempton and were attended by avant-garde musicians and a variety of artists interested in exploring sound, performance and interventions outside the concert hall. From this, in July 1969, the Scratch Orchestra was formed; it was described, in its draft constitution, as “a large number of enthusiasts pooling their resources (not primarily material resources) and assembling for action (music making, performance, edification). See: https://www.cafeoto.co.uk/events/nature-study-notes/

 

22:30

Terebinth Mo’an > Performance, Cara Tolmie & Paul Abbott, London

ULAPAARC is an ongoing collaboration between Paul Abbott and Cara Tolmie. Their joint works balance physical, writing and research practices as investigative methods to explore the poetics and politics of language, rhythm and the voice.

 

saturday / 29. October

17:00–23:00

JukeBox Comp (share-right)

Ongoing sound installation

Reading Desk

 

19:00 OUR Accompanyings > Open Music Sessions

 

20:00

Cesura // Acceso Magazine > discussion, Paul Abbott, Anthony Iles, Howard Slater, etc.

Talk and listening session to introducing the Cesura//Acceso project, with some of the members of the editorial collective (participants tbc). Cesura//Acceso is a print and online journal for music politics and poetics. The editorial collective is: Paul Abbott, Gabriel Humberstone, Cara Tolmie, Chritstina Chalmers, Anthony Iles and Larne Abse Gogarty. Issue 1 can be read online: http://cesura-acceso.org

 

21:00

The relationship of composition and improvisation in music of Ernö Király – between tradition and the avant-garde

> presentation – Stevan Kovacs Tickmayer, Orléans

 

21:45

Notes On Contingent Organisations > A talk by Anthony Iles, London

This short talk and discussion will reflect on the form of small organisations and historical experience, raising questions of spontaneity, institutions, communes, the state in the context of the anti-festival.

 

22:30

Conspiracies > score by Chris Cutler, London

Music performance >> participants and conspirators – mix of artists-performers

Conspiracies uses a strictly time-based structure which is for the most part intentionally empty of specified content: when to play is given but what to play is not. Players are free to join in, resist or ignore one another for rigidly - and randomly - determined durations. To make life more interesting, every player is also invited to pre-prepare material involving one or several others, which they can introduce at will - or at least, during the minutes in which they are called upon to play. No one else knows what the material is or when it might appear. The result - since continuity and consensus are constantly frustrated is - as Frederick Engels once put it in the context of history – ‘what nobody wills*’. Notwithstanding, every player is strongly tasked by the score to work for the good - whatever they think that means. (*In the second place, however, history is made in such a way that the final result always arises from conflicts between many individual wills, of which each in turn has been made what it is by a host of particular conditions of life. Thus there are innumerable intersecting forces, an infinite series of parallelograms of forces which give rise to one resultant — the historical event ….. what each individual wills is obstructed by everyone else, and what emerges is something that no one willed.       …. But from the fact that the wills of individuals … do not attain what they want, but are merged into an aggregate mean, a common resultant, it must not be concluded that they are equal to zero. On the contrary, each contributes to the resultant and is to this extent included in it.’ Letter from Engels to J. Bloch in Königsberg, London 21 September, 1890)

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Festival in Opposition is part of the project "Aesthetic Education Expanded" supported by: