Curated by Patrick K.-H.-Transmission works by Victoria Morgunova, Patrick K.-H., Ksenia Bakhtina, Secretwar

Reveil / SC9 announcement by CONA

Description of sound works in downloadable pdf

Cona introduces transmission works by Victoria Morgunova, Patrick K.-H., Ksenia Bakhtina, Secretwar

Victoria Morgunova, Patrick K.-H., Ksenia Bakhtina, Secretwar

Start: 30/04 15:00 UTC+1

Online stream from Ljubljana

Cona is participating at the Reveil streaming for the ninth year in a row. 
For this year Reveil / SC9 festival we have prepared a part of a wider program. Invited artist Patrick K.-H., in partnership with Floating sound Gallery Vienna, has prepared a curated selection of sound art works which will be presented as part of the expanded program produced by CONA. 
Participating artists: Ksenia Bakhtina, Patrick K.-H., Secretwar and Victoria Morgunova.
Broadcast program:

Ksenia Bakhtina: Salva me 2022 (5'35“)
Patrick K.-H.: Concrete choirs, movement 2020 (17’30“), AorA 2020 (3’22“)
Secretwar: Every week Noise Blog: Street (2’09“), Elevator radiostatic (1’49“)
Victoria Morgunova: 'the./border.'/1.2', 2021 (12’30“)

Sound works description:

Ksenia Bakhtina: Salva me 2022 (5'35“)
 Salva me is a collage, a time slice of what is happening in the world. Wars,  political clashes of the world and clash of the inner world with reality. The  work uses field recordings that reflect the attitude to reality, which are  trying to tell a story, a complex story that may help to preserve the essence  of the value of human life. Sava me- translated from Latin "Save  me", this is the call of every person who is in the ongoing disaster.       

Patrick K.-H.: Concrete choirs, movement 2020 (17’30“), AorA 2020 (3’22“)
Concrète choirs series (since 2004):
Language is what makes conversations possible, and conversation is a quintessence of social activity, meaning survivorship—it is a cliché of what language meant to be and how it paved its way to nest in our brain. Electronic media and the new paradigm of “information explosion” that characterizes our times confront us with the limitations of the brain in processing information—indeed we suffer from information overload. But the bigger danger of information—what causes the infamous “paradox of rational ignorance”—is not only that we might be overwhelmed by how much data is, but that we interpret that we might be poisoned by it. And even if we could acquire as much information as we think we desire, there are certain sequences, messages and narratives a rational mind may not be willing to get. That “cursed” domain of language information presented in speech, which carries its traits of timbre, tonality, rhythm, linguistic, gender and other aspects classified as redundant, was adopted as sound objects—building blocks to constitute the “Concrète choirs”. 
an adjacent piece, a splinter that departed from the main body of “Concrète choirs” in search for its own way in life.

Secretwar: Every week Noise Blog: Street (2’09“), Elevator radiostatic (1’49“)
Every week Noise Blog are sketches made using mono mic that I always have in my pocket. When in travel or at work I record soundscapes and some special sounds of trolleys, trams, vending machines. Then I glue it in a classic blog style to recreate a sound experience of my day.”
Secretwar, musician and songwriter who is making sound design and some classical style music for theatre ("Ufo" 2021, "Two on a seesaw" 2022). In the past, worked in contemporary art - voiced exhibitions with live performances (Denis Patrakeev "Sheba" (Russia), Johanna van Overmeir (Belgium) "Family", "Crossing").

Victoria Morgunova: 'the./border.'/1.2', 2021 (12’30“)
'the./border.'/1.2'  is one of the compositions of the multichannel spatial sound installation /'metronome.of.time./ that was created within the framework of 'The Border Laboratory' program of the festival Access Point VII for the site-specific sketch 'Endless Work'. The compositions were  named according to the spatial location of 10 bluetooth speakers in the building where performance took place, most of the speakers played several compositions, which is indicated in the title ['1]/['2], etc./. Part of the sound space of the installation consisted of sounds recorded during the laboratory: walking through abandoned buildings, electric current, birds singing in the Ivangorod fortress, etc.