From June 11th to June 18th, 2000 I made a short Balkan tour, performing in three cities. My performances included a collage of live and pre-recorded sounds. A simple installation of resonating wires provided a bed of rich drones on which live acoustic sounds and pre-recorded material was layered. The composition entitled, “substance of fragments”, was structured on a single unbroken continuously evolving soundfield. The intention was to challenge the listeners with methods of sound abstraction that lie on the periphery of commonly defined forms of musical structure. The performances usually lasted about 1 hour. I received varying degrees of response after each of the performances, from genuine interest to deeply perplexed. For those people who were more familiar with what I do they understood the connections to traditional electro/acoustic music or more recent movements in experimental music and sound art. For many however, it seemed that extended passages of drifting tones, processed field recordings and dense noise was a new experience.
The dates and venues were as follows:
11.6.00, MaMa – multimedia institute, Zagreb;
14.6.00, Klub Kuk, Sarajevo;
16.6.00, Multimedijalni Kulturni Centar, Split.
Along with being a performance tour, I set out to collect information about artists and independent cultural initiatives existing in each of the cities.
Klub Kuk, Sarajevo (6/00), photos by Seki
