Manja Ristić & Tomáš Šenkyřík – Vstal

Vstal is a collection of seven songs created in a dialogue between the experimentalist and composer Manja Ristić and the meticulous observer and field recorder Tomáš Šenkyřík. The album takes listeners on a journey across the European continent, from Ristić’s home on the Adriatic coast to the Czech-Austrian borderlands and the Moravian floodplain forests, which have long inspired Tomáš Šenkyřík’s sonic explorations. This broad scope, sensitively linking the soundscapes of both artists’ homelands, is an expansive vision of the possibilities of field recording and its relationship to place and its memory.

Here, hydrophonic recordings of sea urchins are juxtaposed with the sounds of the everyday, materialised in the electromagnetic hum of Manja Ristić’s kitchen appliances, while surgically precise recordings of the soundscapes of old-growth forests merge with the otherworldly sounds of NASA satellite communications. Together they dialogue with occasional vocals, violin improvisation, and sounds from Belegrad’s legendary EMS Synthi 100.

The intimate here informs the hyper-local, and then the cosmic, which travels back to communicate the political as well as the aesthetic through a subtle and poetic language, considering the interconnectedness of all sound worlds. The tender, almost sobbing poetics of the vocals in Pátek Sobota recalls an old folk song that sings of water in the land of Rusava, the content of which, due to climate change, no longer corresponds to the current state of the landscape. Similarly, the composition Čudna šuma, accompanied by the eponymous poem, speaks of a human swallowed by the ground in an unknown, alien forest, as a memorial to all the bodies lost on the Balkan migration route.

The presence of these meanings here is not a rigid axis, however, but only one of many ways to read the relationships between the songs and their sounds. This allows the listener to wander, to get lost, and to find their own way back, not only through different geographies but also through intimate and emotional terrains.

The Vstal aesthetic presents music composition, field recording, and experimentation as a critical practice capable of reflecting on complex socio-ecological issues. It is precisely by expanding the notion of ‘field’ that Ristić and Šenkyřík have created a body of work that presents sonic practice as a way of knowing and being in the world. As Ristić says, this album is a record of a shared experience and a relationship between two people who are deeply driven by a love of nature, its sounds, and humanity that transcends geographical and cultural distances. In this relationship, they share stories of their land and its past, creating imaginary soundscapes that speak to the listener in familiar tongues.

(Ján Solčáni)

Limited Edition Cassette + Digital Album

Releases October 24, 2024
Recorded and mixed by Manja Ristić and Tomáš Šenkyřík
Design by Ján Solčáni
Words by Manja Ristić and Ján Solčáni
Mastered by Filip Johánek
Released by Skupina as SKPN010 in 2024

Bojana Robinson: Mašina

The "Machine" is a duet by Bojana, a choreographer and dancer, and a breathing machine occasionally used by her daughter. Although the device is present due to the child's health condition, the author explores her personal relationship with the technological aid that indirectly and directly affects her life. She questions the nature of the machine, how it becomes the subject of the performance, and how the relationship between the device and the human can be embodied.

The machine is an intermediary. Machine is a source of fear and discomfort, but also a source of safety and freedom. The machine evokes emotions and demands them.

Dvorana Duše Počkaj, Cankarijev Dom, Ljubljana

Premiere: October 18, at 8 PM; 

Repeats: October 19 and 20, at 8 PM; 

Choreographer and performer: Bojana Robinson 

Text author and dramaturge: Dimitrije Kokanov 

Set designer and videographer: Dorian Šilec Petek 

Music: Manja Ristić 

Costume designer: Timotej Rosc 

Light designer: Igor Remeta 

Narrator: Polona Juh 

Movement consultant: Kaja Lorenci 

PR team: Paulina Pia Rogač and Tina Malenšek 

Photographer: Matt Robinson 

Production: Institute for Contemporary Artistic Practice and Theory 0.1 

Co-production: Cankarjev dom 

Co-organization: Society of Art and Culture 47, Vrhnika, DUM - Society of Artists, Ljubljana, Society for Cultural Production and Affirmation of Artistic Processes NAGIB, Maribor 

With financial support: Ministry of Culture RS and City Municipality of Ljubljana 

Thanks to: Pulmodata - Klavdija Ocepek Rožac and Marko Dovjak, HUD"O" Society 

Online media sponsor: Parada plesa

Sound Garden — Radio Alley, Art + Science Festival, Belgrade

“Rituals in Transfigured Time” a radiophonic work composed in collaboration with Marko Paunović, can be listened to as part of the Art+Science Festival at the "Jevremovac" Botanical Garden in Belgrade.

Marija Stojnić and Jakov Munižaba formed and edited the program and installations!

Creative support: Karkatag Collective

Sound Garden——Radio Alley is produced with 

The Center for the Promotion of Science, "Jevremovac" Botanical Garden, and Radio Belgrade.

In addition to “Rituals in Transfigured Time” which were finalists in this year’s radio competition The Prix Palma Ars Acustica, you will be able to hear works by Ljudmila Frajt, Paul Pignon, Svetlana Maraš, and Aleksandar Protić.

Announcement  Festival program

Opening Wednesday 25th at 18:00, "Jevremovac" Botanical Garden in Belgrade

The exhibition runs from 25.09. to 31.10., from 9:00 to 21:00

Orizont Sonor Festival

Silent Disco at the beach by the Black Sea! Come to the Orizont Sonor Festival in Constanța!!!

FACING THE HORIZON

On the sand by the sea, as the sun sets, face the horizon with an immersive silent disco of sound creations composed of Mark Vernon's "Hydrological Consequences" and Manja Ristić's "Dobra voda".

Date : 20/09/2024

Time : 18:45h

Place : meeting point at Biblioteca Ioan N. Roman

The event is free, the registration form

For its centenary year, the French Institute in Romania is launching Orizont Sonor – an innovative interdisciplinary project organized in cooperation with Longueur d'Ondes (France) – one of the largest radio and sound festivals in the world, which is in its 20th edition this year, and SEMI SILENT (Romania) – a podcast platform dedicated to sound creation, radio creation, and audio recordings.

The festival will take place from September 19th to 21st in Constanța.

More about the festival and full program can be found here

 

Akousma — International Festival Of Immersive Digital Music

Akousma —— International Festival Of Immersive Digital Music

20th edition: October 16-17-18 2024

Save the date! 

This fall the "ghosts" are traveling across the Ocean.

ghosts (2024) 20’

How do we approach the landscape of severe devastation and a dense history of warfare?

In the work ghosts I am using obsolete instruments – a modular synthesizer EMS Synthi 100, a discarded wheelchair wheel salvaged from the Adriatic Sea, and the piano fallen in disuse which belonged to the Austrian conceptualist, filmmaker, improviser, photographer, environmentalist, and writer – Karl Katzinger aka John Tylo (October 1953 – April 2021).

Next to these elements of the past and their voices rediscovered, I am incorporating live processing of hydrophone and field recordings, found objects, and electromagnetic fields, from several locations, appropriating them through the discourse of critical tourism and a culture of memory – more specifically through listening to the inherent memories of environmental devastation and warfare – in the South Adriatic, on the Atlantic coast, and the Czech-Austrian borderlands former Iron Curtain belt, including region of former Mauthausen–Gusen working camps.

DARA String Festival

KulturRaum Zwingli—Kirche, Rudolfstraße 14, 10245 Berlin

October, 12 & 13, 19:00, doors open at 18:30

Artists / Künstler*innen

Clara Levy, violin

Manja Ristić, violin, electronics

Biliana Voutchkova, violin, voice

Atsuko Hatano, viola

Judith Hamann, cello

Vinicius Cajado, double bass

Youmna Saba oud, voice, electronics

Dara String Festival opens its door for the sixth time to all music lovers who are in the mood for something new! Seven international interdisciplinary string artists come together to present a wide range of genre-bending innovative music! The unconventional exchange of experience and culture between the musicians creates fruitful synergies and surprising listening experiences. Solo and various ensembles play music ranging from early contemporary to experimental and freely improvised, including new own compositions, world premieres by Sarah Hennies, Zeynep Toraman, and Voutchkova/Levy, and pieces by Kaija Saariaho and Erika Vega.

--

Das Dara String Festival öffnet zum sechsten Mal in Berlin seine Türen für alle Musikliebhaber*innen, die Lust auf etwas Neues haben! Sieben internationale, interdisziplinäre Künstler*innen kommen zusammen, um ein breites Spektrum an genreübergreifender, innovativer Musik zu präsentieren! Der unkonventionelle Erfahrungs-und Kulturaustausch zwischen den Musiker*innen schafft fruchtbare Synergien und überraschende Hörerlebnisse. Solist*innen und verschiedene Ensembles spielen frühe zeitgenössische Musik bis hin zu experimenteller und frei improvisierter Musik, darunter neue Eigenkompositionen, Uraufführungen von Sarah Hennies, Zeynep Toraman und Voutchkova/Levy, sowie Kompositionen von Kaija Saariaho und Erika Vega.

Calypso's Dream

 

"Cruel folk you are, unmatched for jealousy, you gods who cannot bear to let a goddess sleep with a man." (Calypso to Hermes, who has just ordered her to release Odysseus. Homer, Odyssey 5.120).

“Calypso’s Dream” is a soundscape collection sculpted out of subtle sonic morphologies from the underwater and coastal environments, lake flora and fauna, marshlands, and forested areas of the island of Mljet. Manja Ristić and Mark Vernon, internationally established musicians in the fields of sound art, experimental music, and radio art, are responsible for the research, field recording, and composition. The work will also be adapted for radio, premiering on the local station Radio Korčula, and subsequently disseminated worldwide through independent digital media and national frequencies.

For many years, the tourist offer of Mljet has involved the use of Greek mythology and the myth of Odysseus, whom the goddess Calypso enchanted and trapped for 7 long years on a distant exotic island. After barely escaping the sorceress Circe (whom the people of Korčula have claimed for a long time), he found himself stranded on the next island with a beautiful nymph.

We could say that the appropriation of Homer’s thoughts, from the construction of the grand Hellenic epic to the main tourist offering of a small island in an entirely different sea at the beginning of the 21st century, has truly taken hold. We know that various peoples inhabited the islands before the Greek fleets arrived, thus settling the entire region. Numerous archaeological sites and traces of distant history indicate a completely different landscape. And everything that history failed to record, even Homer, is deeply engraved in the environment that persists to this day. Furthermore, the tourism of the southern Adriatic is its own kind of Odyssey, marked by numerous shipwrecks, losses, and devastation, directly and uncompromisingly affecting the environment shaped over millennia.

In their quest to listen to ancient nature, guided by the concept of mnemosonics – listening to the memory of places – artists will explore the subtle sonic identity of the island, especially its lakes and forested areas where anthropogenic influence hasn’t taken hold. They will then “confront” these recordings, in the form of conceptual counterpoints, with recordings of contemporary life and sound pollution.

But let’s go back to the beginning. Why is the cliff on Mljet, which tourists pilgrimage to, called Odysseus’s cave? Wasn’t Calypso, the daughter of Atlas, the goddess who lived on her hidden island before Odysseus was stranded there? He found temporary refuge there, solely at her will. Then, after 7 years, the gods from Olympus ordered her to release him. According to some accounts, she died of grief after Odysseus’s departure. If he already had his cave, where was hers? If they shared the cave, why isn’t it called Odysseus and Calypso’s cave?

In search of a different gender approach to the ancient Greek narrative and its contemporary commercial appropriation, artists will attempt to construct a narrative from Calypso’s perspective, inspired by the work of the renowned writer Margaret Atwood. Penelopiad, who tried to unravel the archetypal mystery, narrated Odysseus from the perspective of his wife, who was left for 20 years to defend the kingdom and raise their children. “Calypso’s Dream” is an attempt to create a symbolic micro-episode of Penelopiad within the medium of sound art and installation, woven from the dense spectrum of the island’s biophony, instrumental and improvised narratives, critically reflecting on the commercial appropriation of culture, advocating for the importance of listening culture, and emphasizing the urgency of raising ecological awareness.

Coming out September 19th, 2024!!!

all sounds recorded and edited by Manja Ristić & Mark Vernon

hydrophones used for underwater recording by Jez riley French

mastering La Plant Studio

cover art & text Manja Ristić

the release is followed by a PDF booklet containing additional curatorial texts and images of Mljet's many aquatic micro-environments, flora, and fauna.

The project is supported by the Ministry of Culture and Media of the Republic of Croatia, and the Dubrovnik-Neretva County Department for Education and Culture.

Sounding Spomenik

Sounding Spomenik, site-specific performances at architectural masterpieces of brutalist and modernist anti-fascist monuments scattered across ex-Yugoslavia, on this occasion we are visiting monumental pieces by the great Bogdan Bogdanović. July 2024, sites of Popina and Čačak memorial, with musicians Manja Ristić and Milana Zarić.

Co-production with Ensemble Studio 6, supported by the Culture Moves Europe Residency Program. 

ph courtesy by Arna Mackic

"While the stunning, still enigmatic visuality of the abstract brutalist monuments of the former Socialist Federal Republic of Yugoslavia has been well documented in recent years, we know almost nothing about their sound aspects. Most of these monuments (the original plural form spomenici, which in Serbo-Croatian and Slovene means monuments, comes from the root spomen-, which means memory) have hollow parts that serve as resonance spaces. The most typical materials from which these historical artifacts are made are concrete pouring and rebar or steel framework with metal cover plates. Materials that definitely affect sounds or have audible properties that change them. It is interesting that until now no one has studied, thoroughly documented and published these permanent landscape structures as acoustic spaces. Beyond the immediate sonic aspects of monuments, little is known about their surrounding acoustic environments. Most of these unique and individual monuments were built in remote rural locations, usually far from any urbanization, but some were placed in city centers or suburbs or near villages - all of which presuppose a very diverse sound environment.

However, the monuments functioned - and some still function - as monuments to the Second World War with a clear anti-fascist connotation, and from the mid-1950s to the end of the 1970s as the foundation and materialized symbols of Josip Broz Tito's utopian idea of ​​a strong and united Yugoslav state with the high-pitched slogan ' brotherhood and unity'; these abstract but undeniably iconic modernist constructions are treated purely as architectural works of art. All possible political and ideological layers aside, it is not our job to judge whether these monuments are useless politicized remnants of the former Yugoslavia's communist past or important historical artifacts still to be admired.

In addition to the fascinating brutalist architecture, we are interested in the sounds. KUD Mreža, ON Rizom Institute, and the sub-publishing label Inexhaustible Editions - Edicija FriForma started a long-term research, exhibition, recording, and publishing project in 2021, with which we research and reveal the sound attributes of the monuments of the former Yugoslavia (those that are now found in Slovenia, Croatia, in Bosnia and Herzegovina, Serbia, Montenegro, Kosovo and North Macedonia) by engaging local instrumentalists - mostly young, extremely talented professional musicians who work locally or internationally in the field of free improvised or contemporary composed music, to find the most responsive or fascinating sounding parts of the monuments on the spot while playing a musical instrument. In addition to intentional sounds produced by musical instruments, by recording the environment, we also document unintentional sounds from the immediate surroundings. We plan to visit at least three monuments each year, study and reflect on them through field trips, photography, audio and video recordings, and eventually audio publications. So far, we have collected more than twenty locations with emblematic monuments that are important for our Sounding Monument project." - László Juhász, April 2021.

workshop "Zvuk etera"

Workshop “Zvuk etera” namjenjen je mladima u dobi od 13 do 17 godina!

5 susreta po 2 sata u periodu od 8. do 12. srpnja, razgovora i praktičnog rada kroz koji će se polaznici upoznati sa osnovama terenskog i hidrofonskog snimanja zvuka, montaže zvuka i različitih primena zvuka u suvremenoj multimedijalnoj kulturi.

Radionica podrazumijeva upoznavanje polaznika sa širim spektrom zvučnih disciplina kroz ideju postavke zvuka kao glavnog protagoniste u eksperimentalnom filmu, sveobuhvatno kroz diskurzivno upoznavanje sa filozofijom slušanja, mnemofonijom i Sound Walk kulturom.

Polaznici radionice mogu očekivati –

1. Predavanje u prirodi

- Razgovor o fizičkoj prirodi zvuka i naučnoj pozadini njegovog utjecaja na tjelo i okoliš

- Sesija slušanja

- Upoznavanje sa opremom za terensko snimanje

2. Predavanje u prirodi

- Filozofija slušanja, sonične ekologije

- Zvučni narativ, građenje odnosa sa okolišem kroz tehnike slušanja

- Sesija hidrofonskog snimanja

3. Sound Walk

- Site-specific intervencije, eksperiment / zvučne teksture, eksperiment / nečujni slušni opseg, eksperiment / skriveni zvuci svakodnevnice

4. Multimedijalna sala Centra za kulturu

- Osnove zvučne montaže, uvod u dinamički opseg Reaper softwera

- Preslušavanje materijala, intuitivno i konceptualno skladanje

5. Multimedijalna dvorana Centra za kulturu

- Osnove zvučne montaže, uvod u dinamički opseg Reaper softwera

- Preslušavanje materijala, intuitivno i konceptualno skladanje

Workshop “Zvuk etera” je dio je projekta razvoja publike “Korčula voli film”, usko vezan uz razvoj manifestacije “Pansinijevi dani” – projekta koji lokalnoj i međunarodnoj publici približava lik i djelo Mihovila Pansinija, otorinolaringologa, istraživača i teoretičara spaciocepcije, velikog hrvatskog filmskog eksperimentatora.

Osim radionice “Zvuk etera” u listopadu nas očekuje bogat radioničarski program!

Film i književnost, voditeljica: Sonja Leboš

Napravimo film zajedno!, voditelj: Kosta Ristić

Uvod u Pansinija za najmlađe, voditeljica: Petra Belc

Pazi, snimamo! – radionica fotografskog snimanja, voditeljica: Dea Botica

Dođite da eksperimentiramo!!!

Radionice su dio programa poticanja razvoja publike “Korčula voli film” podržane od strane Ministarstva kulture i medija Republike Hrvatske, kao i Zaklade Kultura Nova, a provode se u suradnji sa Knjižnicom “Ivan Vidali” i Centrom za kulturu Korčula. Nositelj projekta je Udruga za interkulturalna i interdisciplinarna istraživanja.

Sve radionice programa “Korčula voli film” su besplatne!

Dizajn: Jelena Vilović

 

Sonic Narratives

the 4th edition of NARAȚIUNI SONORE / SONIC NARRATIVES organized in Timișoara by the intrepid SIMULTAN FESTIVAL.

Through their sound works, the invited artists propose listening situations and dialogue around the diversity of natural and human sounds in various forms: augmented sound walk with Stephane Marin (FR), sound performance with field recordings and musical valences with Manja Ristić (SRB/HR), Felicity Mangan (AU), Patrick Tubin McGinley (US/EE) or Mark Vernon (UK), installation listening devices with Stephane Marin, Ana Teodora Popa (RO), Anamaria Pravicencu (RO) in collaboration with Daniela Rațiu (RO) and Manja Ristić (SRB/HR), a performative intervention with Edka Jarząb (PL), auditions and presentations of the radio and sound art platforms framework radio and Radiophrenia Glasgow, an initiation workshop in sound art and field recording with Ana Teodora Popa, and a party with Sandra & DJ Shuffle (RO).

Follow us along the Bega Canal in the mornings, through Central Park in the afternoons, to the chain of abandoned swimming pools on the warm weekend evenings, and on a cruise out of town on the boat Pelican.

Tape & Fields

 

Tape & Fields —— seemingly unrelated... While I was still under the impression of Portugal's sonic palimpsest, I composed this tape for the Ring Ring festival (which took place last weekend in Belgrade).

The Tape —— a 45-minute-long mix of a few recent releases, and snippets of new ones that will be released this year. This tape served as a framework for an improvisational set, including objects, Atlantic shells, an electromagnetic microphone, a hydrophone submerged in different chemical compounds, a wheelchair wheel, a violin, and an open upright piano.

The Fields —— a 19-minute-long hydrophone recording of the barge on the Tagus River outside of Lisbon, capturing the calming and mysterious sound of waves underwater near the river's estuary with the Atlantic.

Released May 27, 2024

All sounds recorded & composed by Manja R

Cover art by Manja R

The Tape —— master by Goran Simonoski / La Plant Studio

Tagus River Barge —— recorded with a JrF hydrophone

Neptunova nevera

 

Wonderful news! The documentary movie "The Tempest of Neptune" is premiering as part of the Serbian competition program at Beldocs Festival, this Thursday, May 23rd at 20:00 —— Youth Cultural Centre (Dom omladine) Belgrade.

It is a mesmerizing story about life on a remote island in the Adriatic, its industrial heritage, and the local community's struggle against mass tourism, gentrification, and various challenges of the 21st century.

Congratulations to Katarina Stanković, the mother of this wonderful project!

Director: Katarina Stanković

Script: Katarina Stanković

Producer: Katarina Stanković

Directors of photography: Grazyna Sowa, Nemanja Jovanov

Editor: Katarina Stanković

Music: James Thierrée, Manja Ristić, Tasos Stamou

Language: Croatian, English

forest floodlights

 

SOUND ART: ZEIT-TON

forest floodlights beim musikprotokoll 2023

Klangerkundungen im österreichisch-tschechischen Grenzgebiet

> broadcasting 17. Mai 2024, 23:03 < link > ORF Radio

Im Rahmen einer Shape+ Artist Residency tauchten Franziska Thurner, Abby Lee Tee und Manja Ristić in die Wälder des österreichisch-tschechischen Grenzgebiets ein, folgten den Spuren von Ameisen, Bibern, Flusskrebsen und Fischottern, erforschten die Hydrogeomorphologie verschiedener Waldbäche und lauschten Sedimenten oder Insektenchören. Eine von kleinen, aber wasserreichen Gewässern und Waldhängen durchzogene Landschaft, in der fast greifbar Vergangenheit und Gegenwart, Natur und moderne Gesellschaft, persönliche und kollektive Geschichte mitschwingen. Die heute unsichtbare Grenze entlang des früheren Eisernen Vorhangs wird nur noch durch verschiedene Arten der Landnutzung und dem Verhältnis zu Naturräumen sichtbar.

Zwei Stücke sind im Anschluss an einen mehrtägigen SHAPE+ Artist Residency-Aufenthalt für das ORF Festival musikprotokoll im steirischen herbst entstanden. Nachdem wir Ihnen "Water Whispers" bereits im Oktober vergangenen Jahres präsentiert haben, hören Sie heute den Mitschnitt der Performance "forest floodlights", die am Eröffnungsabend unserer Festivalausgabe 2023 im Grazer Dom im Berg zu erleben war.

Am 10. Mai hörten Sie ein Zeit-Ton Portrait über Manja Ristić. Manja Ristić ist Shape+ Artist 2023/24, nominiert vom ORF musikprotokoll. Shape+ ist die Plattform für spannende neue Projekte aus dem Bereich der Musik und audiovisuellen Kunst des Festivalnetzwerkes ICAS der International Cities of Advanced Sound. Gefördert wird Shape+ durch das Programm "Creative Europe" der Europäischen Union.

ORF musikprotokoll im steirischen herbst
Shape+

Sendereihe Sound Art: Zeit-Ton
Gestaltung Susanna Niedermayr

Slani pejzaži

 

Trio album Manja Ristić / Verónica Cerrotta / Joana Guerra is out on TSSS tapes!

Coral red cassette + Digital Album "Slani pejzaži"

Side A: Diario de sueños 16:50
Side B: O vento retoma o seu lugar inicial 16:52

Recorded, composed & edited by Verónica Cerrotta, Joana Guerra & Manja Ristić
Mixed by Manja Ristić
Mastered by La Plant Studio
The title of side B is a line by Yannis Ritsos, in Diários do Exílio

Deepest gratitude to Francesco and his TSSS tapes magic!

Manja Ristić im Zeit-Ton Porträt

SOUND ART: ZEIT-TON / ORF.at

Manja Ristić im Zeit-Ton Porträt

Die Kunst des Hörens

> broadcasting 10. Mai 2024, 23:03 < link > ORF Radio

Eigentlich schien eine Karriere als Konzertviolinistin vorgezeichnet. Bereits während ihres Studiums zuerst an einer Musikschule und später an der Fakultät für Musik der Universität der Künste in Belgrad und dem Royal College of Music in London trat Manja Ristic regelmäßig auf, sowohl solo als auch in Ensembles und Orchestern, und gewann erste Preise. Doch es kam anders. Eine Arbeitsbewilligung in Europa zu bekommen, stellte sich für die junge Serbin als überaus hürdenreich heraus, dann erkrankte die Mutter. Ristić ging zurück nach Belgrad, um bei ihr sein zu können. Bald nach ihrem Tod wurde die angehende Violinistin selbst Mutter, - eines autistischen Kindes, das besonders viel Aufmerksamkeit brauchte.

Für die Kunst blieb der Alleinerzieherin nicht viel Zeit und das Leben im vom Krieg erschütterten ehemaligen Jugoslawien war schwierig. Doch die Musik blieb Zufluchtsort. In den wenigen ruhigen Momenten horchte Manja Ristić tief hinein in ihr Innerstes und entwickelte dabei ihre eigene Methodologie des Hörens, die sie schließlich zur Klangkunst führte. Als Ausgangsmaterial dienen Ristić heute vor allem Field Recordings, aus denen sie imaginäre Klanglandschaften schmiedet, die schnell Sogwirkung entfalten und die Hörer:innen auf wundersame Reisen schicken. Und die Künstlerin möchte auf die Missstände unserer Zeit aufmerksam machen, auf den zerstörerischen Massentourismus auf ihrer Heimatinsel Korčula etwa, auf die immer größer werdende Verschmutzung der Adria und auf jene Menschen, die - der Balkanroute folgend - ehemalige Minenfelder durchqueren, in der Hoffnung in Europa ein neues Leben beginnen zu können.

Manja Ristić ist SHAPE+ Artist 2023/24, nominiert vom ORF musikprotokoll im steirischen herbst. Im Rahmen einer SHAPE+ Artist Residency erkundete Ristic gemeinsam mit Abby Lee Tee und Frankziska Thurner das österreichisch-tschechische Grenzgebiet. Das im Anschluss entstandene Stück "forest floodlights", das beim musikprotokoll 2023 seine Uraufführung feierte, ist im Zeit-Ton am 17. Mai zu hören.

SHAPE+ ist die Plattform für spannende neue Projekte aus dem Bereich der Musik und audiovisuellen Kunst des Festivalnetzwerkes ICAS der International Cities of Advanced Sound. Gefördert wird SHAPE+ durch das Programm "Creative Europe" der Europäischen Union.

Manja Ristic

ORF musikprotokoll im steirischen herbst

Shape+

Sendereihe: Sound Art: Zeit-Ton

Gestaltung: Susanna Niedermayr

Imaginary Landscapes, Radio Belgrade

 

Album "Ma" published for LA based label LINE is having its Balkan radio premiere on Radio Belgrade 3 —— 97.6 FM in the famous show Imaginary Landscapes! Monday, May 6th, 2024. Tune in at 23.10 CET

> go to channel 3 <

Editor Ksenija Stevanović

Predstavljamo najnoviji album „Ma”, koji je saund umetnica Manja Ristić objavila 19. aprila za diskografsku kuću LINE iz Los Anđelesa.

Ovo je drugo izdanje naše umetnice za uglednog američkog izdavača, posle ostvarenja „Awakenings” iz 2023. godine. U dve numere od po dvadeset minuta, čiji su nazivi „Cvrčak i mrav” i „Pun mesec podrhtava na površini potoka”, Manja Ristić stvara suptilno, delikatno zvučno tkanje sastavljeno od semplova, terenskih snimaka, deonica na violini, zvuka prevlačenje gudala po činelama i rafiniranih elektronskih dronova.

Poput drugih radova koje ova umetnica potpisuje, pred nama je potraga za sučeljavanjima okruženja i nas samih, traganje za dubinskim, posve mističkim vezama između pojavnosti sveta i našeg unutrašnjeg života. Manja Ristić je posve singularno usmerena na osluškivanje svih onih talasa, pulsacija i tembralnih senčenja koje dolaze sa zvukom oko nas i u nama.

Autorka, u poetskom tekstu koji prati album kaže:

„Zvuci „Ma” su duboko u zemlji, na površini, u podmorju, na površini vode, u vazduhu, između gravitacije i lebdenja;...između Meseca i njegovog odraza; na dnu mirnog jezera i stratosfere izvan našeg sveta, na nekoj smrznutoj planeti sa skrivenim okeanom.

Ma je duša uhvaćena na traku”.

OUT.RA residency

On April 12 and 13, Convento da Madre de Deus da Verderena hosts a weekend entirely dedicated to the European platform SHAPE+, presenting artists from its 2023/24 roster, including the absolute debut of two unprecedented collaborations between SHAPE+ artists and national talents, specially commissioned for this event.

On Friday the 12th, we welcome the Swedish composer, artist, and instrument builder Amina Hocine, for a performance of her Instrument: a vertical organ built with PVC pipes, "powered" by compressed air, as well as the presentation of the collaborative residency between the Portuguese artists Joana de Sá and Joana Guerra and the Serbian Manja Ristić.

On Saturday the 13th, in the afternoon, with free admission, we begin with a session programmed by NOVOCINE, an online platform celebrating new voices in Portuguese cinema and audiovisuals, which for this occasion curated a selection of films in which sound constitutes a central element; followed by a presentation session of the action platform VIRA|dd/mm/yy, and a concert by the Lisbon-based Ukrainian duo OO0oϙ0O0O00O.

In the evening, time for a concert from the Italian Nicola Ratti, as well as the presentation of another collaborative residency, this time between the Portuguese Ondness and nëss and the Italian Francesca Heart.

Tickets for one day (10€) or for both days (15€) available via https://outra.bol.pt/

Ma

 

The new release coming out on Richard Chartier's label LINE, on April 19th, 2024.

LINE_151

Serbian sound artist, poet, curator, and researcher, Manja Ristić returns for her second release for LINE after 2023's 'Awakenings' (LINE_138). Her new album 'Ma' recalls the incredibly subtle, detailed works of Steve Roden, Francisco López, and Bernhard Günter fused with the adept field recordings of Jana Winderen and the delicate resonances of Toshiya Tsunoda. Two entrancing long-form works incorporating field recordings, acoustic instruments, and unexpected found sounds.

—

Ma — depth of the space, of the environment, of relations and mystical interrelatedness. The hidden or obvious void that defines the form and liberates from it at the same time. Ma and the sound? The weight of emptiness and quietness is revealed by unexpected density—the space chants, the chants spread in waves, pulsations, a pellucid spectrum of timbre.

“I hear the water dreaming” echoes in my mind.

Patterns of the forest chorus build pandiatonic clouds, on the brim of sonic hallucinations, we hear the space breathing, vellum of light expanding, beyond our hearing range.

Sounds of Ma deep in the ground, on the surface, underwater, on the surface of the water, in the air, between gravity and the air; Ma between air and objects, tubes and thermal bodies, between the Moon and its reflection; bottom of the silent lake and the stratosphere far beyond our world next to the frozen planet with the hidden ocean.

Ma of the soul caught on the tape.

Nothing is necessary.

Nothing holds everything together.

—

List of field recordings and samples:

• Giant anthill in the abandoned forest quarry

• Cricket chorus next to Pohořský rybník lake

• Hydrophone recording of the “silent lake” Stierhüblteich

• Hydrophone recording of the river Schwarze Aist and its various tributaries

• Bowing cymbal under the full moon next to the Schwarze Aist (recorded by Abby Lee Tee)

• Museum of Contemporary Art Ljubljana—ventilation in the man’s toilet (recorded by Mark Vernon)

• Cassini passing between Saturn and Enceladus Moon (NASA sounds)

• Dad’s boiler

• Breath and broken tape recorder hum extracted from Toru Takemitsu’s tape “Ki Sora Tori” (1956)

• Bowing glass vase

• Two wine glasses gently trembling in front of the fan

• Electro-magnetic field around the broken socket

• Violin

Releases April 19, 2024

Sounds, composition, images, and text by Manja Ristić

Mastering La Plant Studio

© all rights reserved

the scaffold

 

A new collaborative release coming out on the fantastic label Unfathomless. 

"the scaffold" is announced for pre-order on Unfathomless, a marvelous collaboration with dear friend Patrick Tubin McGinley aka murmer, and under the skillful baton of Daniel Crokaert.

Releases March 18th, 2024

Recording, composing, and editing by Manja Ristić and Patrick Tubin McGinley from March 2020 to November 2022.

Mastering by Flavien Gillié.

Cover & card design + treatments by Daniel Crokaert.

Framework IWD 2024

 

Framework Radio International Women's Day Special 

> listen <

In this edition you will hear sounds and creators from South Africa, Marocco, Ethiopia, Lebanon, Iran, China, Brazil, Argentina, Mexico, and Columbia; Spain, Greece, Serbia, Croatia, Bosnia, and Slovenia; from UK, Australia, USA, Germany, Italy, and Ireland; with aporee sounds of morning prayer in Ramallah, and bird’s song from Jerusalem – I am taking you for a journey around the Globe presenting the real sonic history of the world, the one told by girls and women. From place to place and from heart to heart, these voices hold the space together, storytelling from the shadows of oppression and discrimination, with wounds inflicted by systematic neglect, poverty, and wars – these authors speak the truth and nothing but the truth.

In this edition you will hear works by fierce creators, researchers, mothers, activists, freedom fighters, tribal elders and one famous nun, life-long expats, former sex workers, extraordinary versatility, and contemporaneity of their sound, being their common denominator, is what will mark this International Women’s Day Framework mix.

Track list!

Sélection Musiques Expérimentales 2024

 

With great honor and gratitude, I announce that my album water memory —— mnemosonic topographies of the Adriatic is a laureate at the Sélection Musiques Expérimentales 2024 of the prestigious Academie Charles Cros. 

Among the incredible works of Chœur tac-til, Lionel Marchetti, Marja Ahti, Oren Ambarchi & Eric Thielemans, Paula Matthusen & Olivia Valentine, Natalia Beylys, Crys Cole, Cloning, Pali Meursault & Thomas Tilly, the Grand Prix went to the album Melt by Pali Meursault et Thomas Tilly. My sincere admiration and congratulations to the winners!

For me, this selection indicates that experimental music, being for a long time deeply embedded in the processes of European socio-cultural transformation, is finally reaching a wider cultural audience and gaining deserved attention from influential cultural institutions such as the Academie Charles Cros.

Not to mention the effort and focus of the Commission, which in my case was to select a small self-released artistic research dealing with abstract notions such as the phenomenology of listening, the mnemosonic and mnemopoetic properties of the Third Landscape, and the historical sites on the brim of the European heritage —— geographically, culturally, and ecologically. 

Once again, thank you for this incredible opportunity to be heard and presented among some of the most incredible experimental music creators of our time!

Here you can read the presentation of water memory —— mnemosonic topographies of the Adriatic written by Guillaume Kosmicki for the Academie Charles Cros Sélection Musiques Expérimentales 2024.

"C’est un fait, la puissance évocatrice, sensitive et émotionnelle des sons aquatiques saisit presque à coup sûr l’auditeur ou l’auditrice sensibles. Manja Ristić propose avec ce Water memory une symphonie de l’eau, parée de toutes ses couleurs sonores, depuis les gouttelettes cristallines jusqu’aux sons d’orage, en passant par les textures sous-marines, les clapotis de vagues et une infinité d’autres états. Au travers de captations de pollutions sonores diverses, de sons enregistrés dans des carrières en ruine ou dans des bases militaires abandonnées, son projet a pour ambition d’évoquer « les négligences humaines transformées par l’intelligence de la nature ». Fait remarquable, l’artiste enregistre près de 60 ans plus tard sur l’île de Korčula, qui fut le lieu de captation d’une œuvre pionnière en 1967, le Presque rien n°1 de Luc Ferrari. La filiation semble évidente, notamment lorsque surgit le chant des cigales. Une réflexion poétique et écologique sur le temps et sur la mémoire."

listen & read 

ghosts

radio premiere of the work > ghosts <

SHAPE Radio Show on Resonance.fm

February 22nd, 2024

The deeper I am investigating field recording as both artistic and listening practice, the more I become aware that each recording session is an intrusion into the landscape and that the landscape, whatever historical, biotic, or environmental system defines it – is sentient to my presence.

No matter how considerate my “intrusions” are, an abstract form of communication always takes place, and it largely depends on my ability to maintain this connection, which goes beyond the soundscape and sonic properties of the place. In this sense, my capacity to employ deep intuition and activate a specific neural architecture developed through a compound of skills also defines the recording process and its future aesthetic transformation. Thus, making a field recording fully personalized practice and soundscape composition a discipline of open interpretation, as well as a vast field for misuse and false representation of a particular soundscape. Regardless of an evaluation system, whether we contemplate an act of listening through scientific observation of one’s cognition event boundaries or through the capacity to comprehend the existential phenomenology of Zulu spiritualism, the possibility that two or more listeners can have the same listening experience is minuscule.

We are all deeply rooted in a diversity of psychological constructs; neural and sensory imprints, memory compounds, cognitive abilities, and many body-mind pathways determining our current psycho-physical state. Therefore, if the field recording practice is based on any form of active listening – it is a discipline based on interpretation.

With that in mind, I am asking: How do we approach the landscape of severe devastation and a dense history of warfare? Knowing that serious ethical and moral consequences are involved in the effort to interpret a particular soundscape.

In the work “ghosts” I am using obsolete instruments – a modular synthesizer built in 1970, a discarded wheelchair wheel salvaged from the Adriatic Sea, and the piano fallen in disuse which belonged to the Austrian conceptualist, filmmaker, improviser, photographer, environmentalist, and writer – Karl Katzinger aka John Tylo (October 1953 – April 2021). Next to these elements of the past and their voices rediscovered, I am incorporating hydrophone and field recordings from several locations appropriating them through the discourse of critical tourism and a culture of memory – more specifically through listening to the inherent memories of environmental devastation due to exploitation of natural resources as well as warfare – in the South Adriatic (Old town Dubrovnik and island of Vrnik), and the Czech-Austrian borderlands nearby of Mauthausen–Gusen concentration camps.

Instruments:

EMS Synthi 100

Wheelchair wheel salvaged from the sea

John Tylo’s old piano

Field recordings:

Dubrovnik – Stradun air conditioning units and collection of rubbish containers

Vrnik Island South Adriatic – crickets in an ancient limestone quarry

Adriatic dolphins *hydrophone recording by Robertina Šebjanič

Harrachstal village on Czech-Austrian borderlands – crickets in the abandoned granite quarry

Hydrophone recordings of the river Schwarze Aist

Train coming into Freistadt train station in Austria

All sounds performed, recorded, composed & edited by Manja Ristić

Some sounds gathered at the SHAPE + musikprotocoll residency, July 2023

Hydrophone used for underwater recording made by Jez riley French

Mastering by La Plant Studio

 

basne

New self-release is coming out on January 27th!

Manja Ristić & Mark Vernon

basne

Our initial dialog with Synthia was an adventurous creative endeavour that made us question whether machines could have a soul. This one definitely spoke her mind, and left a fascinating mark on both of us as a wondrous machine——————woman, a marvelous piece of engineering, an entity trapped in a modular eternity.

Considering that neither of us had any previous contact with such a complex modular system such as EMS Synthi 100, we took a somewhat intuitive approach. This is a fairly raw glimpse of the first days spent in the studio.

Oh, Synthia, we only just met...

~

Happy birthday Mark!!!

~

Composing, editing, patching & live mixing: Manja Ristić

Live mixing & patching: Mark Vernon

Cover art: Manja Ristić —— segment of the sculpture by Angelina Gatalica made in memory of Serbian painter Nadežda Petrović, erected in 1989 in the Pioneer’s Park, on the occasion of the IX Summit of Non-Aligned Countries.

Rituals in Transfigured Time

The premiere of "Rituals in Transfigured Time" — a collaborative radio work with Serbian artist and tape loop wizard Marko Paunović, commissioned by Radio Belgrade for ART’S BIRTHDAY 2024 /// Euroradio Ars Acustica Special Evening

17 January 2024 (20:10 – 20:30 UTC)

Output LISZT

Marko will present the piece LIVE from Radio Belgrade, Studio 6

The work “Rituals in Transfigured Time" is made of field recordings from across Yugoslavia, from pristine nature to intoxicated lands and waters, memorial sites, abandoned military compounds, factories and mines; analogue instruments, found sounds, radio appropriations; the cylinder archive of the National Library of Serbia, and voices long gone and forgotten.

8. Izvedbena konferencija — PODRHTAVANJE

8. Izvedbena konferencija — PODRHTAVANJE — 14.1.2024. od 17 do 22 h \\\ Lea Vidaković: Podrhtavanja, Manja Ristić: Kronologija straha, Tina Hofman: Ananas is Always Ananas but Pineapple in English, Selma Banich: Glasovi / Voices.

Koncept i produkcija: Četveroruka / Fourhanded

U suradnji sa Zagrebačko kazalište mladih

MANJA RISTIĆ: Kronologija straha

Kronologija straha je ambijentalna audiovizualna instalacija koja se bavi nostalgijom ustrajavanja u anksioznim prostorima reduciranih ljudskih prava, stigme i diskriminacije, kao i društvene klaustrofobije amplificirane pandemijom i njezinim moralnim sunovratima. Rad se oslanja na zvučni palimpsest različitih realnosti; imaginarij satkan od zvukova koji su nastali prije, za vrijeme i nakon katastrofe. Ispituje osjećaje straha i nemoći kroz prizmu prepuštanja i preispitivanja — što smo imali, što nam je nasilno oduzeto, što smo zauvijek izgubili, u čemu je vrijednost onoga što smo dobili preživljavanjem agresivne životne promjene. Bilo da se radi o potresu, pandemiji, razvodu, bolesti, gubitku člana obitelji ili prijatelja.

Nasuprot apstraktnom zvučnom toku, rad u svoje “tijelo sjećanja” upisuje video izveden od fotografija podvodnog bioma, flore i faune zelenog pojasa nekadašnje željezne zavjese, kao alegorije duboke prirode koja na svoj način svladava traume prošlosti — sistematski “gutajući” samu sebe zarad konačnog iscjeljenja.

U prošlosti ozloglašena nepropusna granica okovana minskim poljima, bodljikavim ogradama i odredima smrti koji pucaju na sve što se miče, danas je zaštićena zelena zona. Na žalost, “nestajanje” ove granice tek je iluzija, jer ona se samo pomaknula, lijevo, desno ili u drugu sferu nekropolitika i društvene manipulacije,poput nepodnošljivog postkolonijalnog zadaha koji slobodu novog vijeka drži na distanci.

Interview for SHAPE +

 

I had an honour and great pleasure to have correspondence with the amazing Lucia Udvardyova, here you can read the interview we delivered together for the SHAPE platform 23/24.

Škvar by Manja Ristić & Mark Vernon

"Škvar" is a sound installation composed by Manja Ristić & Mark Vernon, as a part of the site-specific installation "Invoking shipbuilding in Korčula" created and realized by the visual artist Matea Šabić Sabljić aka Argonauta.

The installation was presented on the 6th and 7th of December, next to the Antifascist memorial by architect Bernardo Bernardi which was built at the exact place of an old shipyard.

Sound work is an extension of an art action: "Taking the tool in your hands is an act of honesty", which took place in September and engaged wider community. The participatory action involved people bringing hammers and nailing the names of old Korčula's shipbuilders into the planks of abandoned boats. Doing so produced the noise — sound of an old shipyard that was gone decades ago.

This public action became a silver lining of the sound work "Škvar".

Matea continued to collect hammers in Korčula, Dubrovnik, Split, Betina and Zagreb. Collected hammers will be installed as a site-specific installation accompanied by the sound work. Collecting hammers is continuing as a work in progress for the sake of "Invoking shipbuilding in Korčula" hoping to initiate a Museum which will protect both history and the future of local shipbuilding.

Exhibition is curated by Sonja Leboš (UIII / AIIR) and co-organised by Association KaP Korčula.

Seasonal Diary IV: Shadowed Embrace

 

Composition More tuge / The Sea of Sorrow released on a seasonal compilation by objects & sounds collective from Ghent, Belgium. 

Read more about the work and the release!

Mastering by Mathieu Savenay
Artwork by Letterlik
Words (compilation) by Allie Hatch

Words (about the work More tuge / The Sea of Sorrow) by Manja Ristić

--

Port of Gruž. One of the most frequent wharves on the Adriatic, where fast sea lines constantly arrive and depart for all the islands and for all major cities of the southern and central Adriatic. And right next to it, lazily and with the great hubbub of ocean-going engines, monstrous cruisers, cities on the water, the biggest polluters on the planet, are anchored. On the other side of the bay, hundreds of yachts, sailboats, excursion boats, and even those that look like medieval galleys from fairy tales, swing on their heavily paid moorings which provides them with technical water and electricity, and washing of the decks with heavy chemical detergents; also allows them dropping of faeces as they please, or engine idling, if nothing else due to the air conditioning running, or to keep the oversized refrigerators and the generator-run stoves going. I wonder what kind of life is it without a private chef and numerous crew crammed into intermediate spaces with bunk beds and not even half a meter of passage? I tried to enter the anchorage area of the cruise ship to record the giant ship's engines with a hydrophone, but security chased me away. I tried to find a hole in the fence in that 2-kilometre-long dock, but I couldn't find it. A high and glowing, densely cast metal fence defends modern Dubrovnik better than a historical fortification. So I recorded in the local port, and the guys from the port authority who coordinate the catamarans were betting whether my hydrophone will fall apart from all those excrements, while I'm capturing the underwater daily dread of the devastated Gruž ecosystem. 

Fortunately, summer doesn't last forever.

More tuge / The Sea of Sorrow is a continuation of the work Kuda plovi ovaj brod? Where is this ship sailing? dealing with underwater sound pollution. The work is an unsettling sonic journey revealing the dystopian realm of Adriatic noise contamination, due to increased water traffic and the insatiable urge for the expansion of industry and tourism. The work consciously exposes a disturbing marine reality in which an inexhaustible amount of mechanical sources are literally grinding the underwater soundscape.

Framework afield

<< listen >>

Framework Radio presents >>

Sound Postcards from the Centre of the Periphery —— radio adaptation.

by Manja Ristić & Mark Vernon

The artistic practice of both Manja and Mark has been deeply immersed in the sonic strata of space and the imaginary narratives that emerge from it. A dedication to the culture of memory, the sounding of lost voices and an unorthodox approach to re-composing the soundscape, conveniently unites these two experimenters in a collaboration that arises from research into one particularly inspiring locality – the island of Korčula.

In addition to their own field recordings, the artists were given access to the audio archives of the local radio station, including sounds of local folk customs, traditional songs, festivities and music. The strong anthropological emphasis in this collection of works is intended to encourage a deeper consideration of the coexistence of people and the environment in a historically dense climate. The appropriation of the hidden narratives of a small town on the fringes of the European Union opens up new fields of reflection on identity that looks back at the “centre of the periphery”, pointing to the importance of “small” spaces in the creation of European heritage.

From island to island

ahead of a collaborative performance at the NEXT Advanced Music Festival in Bratislava, Manja Ristić & Anja Lauvdal are talking to Tatitana Heuman in an interview for 3/4.sk magazine.

"This year’s NEXT Festival in Bratislava will feature an exciting collaborative performance by experimental musicians Anja Lauvdal and Manja Ristić. Though separated by the landscape between Croatia and Norway, the two artists have developed an intimate musical dialogue through working remotely. Both Lauvdal and Ristić are mothers, which has shaped their careers as they have adapted to balancing family responsibilities with their artistic passions.

Inspired by the coastal landscapes that surround them, Lauvdal and Ristić exchange recordings, guiding one another into new realms of sonic possibilities. Ahead of their festival debut, the musicians share glimpses of the sounds that might emerge from their collaborative imagination, born out of their sharp improvisational practices and delicate observations of everyday life."