Kamizdat Rentgen

Manja Ristić and Mark Vernon present their new release on the Kamizdat label, an obsessive electroacoustic journey built from the forgotten sonic debris of Belgrade, guiding listeners into a temporally layered archaeology of sound, history, and human presence. 

Ljubljana–Scottish artist robrrr_ brings timeless, abstract compositions, a mixture of analogue and digital media, found sounds and field recordings, acoustic instruments, and semi‑modular synthesis.

Tickets: 10 EUR

Performers:

Manja Ristić & Mark Vernon

robrrr_

Manja Ristić & Mark Vernon: Volim te Beograd

 

Manja Ristić and Mark Vernon bring an exhilarating electroacoustic journey to Kino Šiška, built from the forgotten sonic remnants of Belgrade. At the centre of this sonic exploration are cassette tapes found at flea markets, carefully interwoven with recordings made between 2004 and 2024 and processed on the legendary EMS Synthi 100 at the Electronic Studio of Radio Belgrade. From this unexpected combination emerge dark compositional structures. Abandoned sonic relics transform into living memory, while fragments of lives on the edge of oblivion become an intimate portrait of a city marked by upheaval, resilience, and tenderness.

Voices retrieved from telephone answering machines, dictaphones, and reel‑to‑reel tapes appear as remnants of the past, echoing the chaos of life in its unstoppable flow. Together they lead listeners into an archaeology of sound, history, and human presence that resists temporal boundaries – in contrast to the post‑war vacuum of a society deeply immersed in exhausted and corrupted values.

MANJA RISTIĆ (RS/HR) & MARK VERNON (UK)

Manja Ristić and Mark Vernon are internationally active sound artists whose work intersects electroacoustic composition, improvisation, field recording, and media archaeology. Ristić, a Belgrade‑born violinist, sound artist, poet, curator, and researcher, works across classical music, experimental sound art, acoustic ecology, and radio art. Her work combines intuitive composition with extensive field‑recording research. She currently lives on the island of Korčula, Croatia.

Mark Vernon, based in Glasgow, is a sound artist whose work engages with audio archaeology, magnetic memory, and the poetics of obsolete media. His practice focuses on the intimacy of the radio voice, environmental sound, and the creative reuse of found recordings.

Together, Ristić and Vernon have developed a distinctive collaborative language rooted in the culture of memory, the revival of lost voices, and experimental approaches to constructing sonic landscapes. Their joint projects often emerge from site‑specific research, including work on the islands of Korčula and Mljet, as well as in Belgrade, where they merge their complementary sensitivities into richly textured sonic portraits.

robrrr_ (UK)

Robbie Hopper is a musician, biologist, sound technician, curator, and sound artist living in Ljubljana, originally from Scotland. She works with a mixture of analogue and digital media, found sounds and field recordings, acoustic instruments, and semi‑modular synthesis to create timeless, abstract compositions. Her work is often personal, drawing themes and sonic material from her own life and the lives of others – from home, conversations with friends, and the voices of nature. As a sound researcher and collaborator in the performing arts, she has completed artistic residencies at PIF Camp (2023), Kinematograf Šiška (2024), and the University of Applied Arts in Vienna (dieAngewandte, 2025). She is a member of the experimental electronic collective Clockwork Voltage and the ensemble Astērie, as well as a production technician at Radio Študent and co‑curator of the open radio research platform RADAR. She performs regularly in underground clubs in Ljubljana and beyond and has released work on ŠOP Records, Debila Records, and …tiuš men govoru kvaj pank?!…

▂ KAMIZDAT RENTGEN ▂

“Kamizdat Rentgen” is a look beneath the skin, a view into the fleshy interweaving of bones, muscles, and nerves that form the diversity of sonic bodies. It is a series of evenings through which the Kamizdat label seeks to establish a stronger presence for adventurous music‑makers who walk terrains where paths are often not yet carved. The evenings are frequently closely tied to new music releases.

Production: Emanat

Co‑organization: Kino Šiška

Financial support: Ministry of Culture of the Republic of Slovenia, City of Ljubljana

 

MK: TAM TAMs fünfte Nacht der luziden Träume

Münchner Kammerspiele ~ TAM TAMs fünfte Nacht der luziden Träume! 

Experience the iconic night in the “Snore into May” edition!

Therese—Giehse—Halle
30.4.2026, 23:00—06:00

For the fifth time, musicians, performers, DJs, and the audience will explore together the world between wakefulness and sleep. All around us, people are dancing into May—but we, in Ebenjenen, are sleeping, snoring, and listening. It’s about music and how it affects us when we find ourselves in this in-between world: between waking and sleeping. We explore all of this in the theater—until dawn. Starting at 11:00 PM, the dance floor is filled with sleeping pads and sleeping bags. And this is already the fifth time, as a veritable cult following has formed around this event. And this time, too, there will be special guests:

Sound artist Manja Ristič hails from the remote Croatian island of Korčula. Her music sounds like a sunken treasure. Or rather: like the search for a sunken treasure, deep down at the bottom of the sea. “Every note she chooses carries weight, is significant, and invites us to reflect on what it means to us,” attested the renowned British magazine The Quietus. Also joining us: musician Marja Burchard and dancer Anna Orkolainen. Together, they weave long, drone-like sound textures with the Butoh movements of a crane. The breadth of the wings and the breadth of the sounds complement each other to form a newly written landscape. In doing so, they explore a slowness that seems to dissolve time.

The Levegő flute trio focuses on the essentials: 1.) Flutes are everywhere and are among the oldest instruments in the world, and 2.) Levegő is the Hungarian word for air. “Rekord,” on the other hand, is the Hungarian word for record. And it reminds us that all these performances are framed by dimly lit DJ sets and subatomic sounds from Upstart w/ Ayda, Matthias Stadler feat. Dana & Babi, and Booty Carrell. The performance VOX ABSOLUTA: The Sonic Phenomenology of FABÍOLA by Portuguese vocal artist Fabíola Augusta ushers us into the new day. After that, the lucid dream is over, but armed with this energy, we can confidently let May 1st pass us by.

lights shimmered like whispers in the depths of the trees

 

Manja Ristić traces the textures of belonging embedded within the body, where ancestral memory, epigenetic inheritance, and lived experience accumulate in fragile yet resilient layers, shaping a poetics of sound and sensation. Drawing on imagined scores and gestures, tracing sulphurous rivers, activating abandoned industrial spaces, and listening to the dense resonance of ancient forests. The piece positions the body as both instrument and archive, where tremor, echo, and silence become forms of language. Personal and collective histories intertwine, invoking the lingering presence of past generations, including the labor and displacement of post–World War II Yugoslavia, to suggest that memory persists as a kind of sonic sediment carried through time. Blurring boundaries between field recording, performance, and narrative, Ristić creates an immersive listening space where environmental sound, embodied perception, and ancestral traces converge into a quiet yet insistent meditation on continuity, loss, and remembrance.

1 — thick green bed of a land

2 — bore its wounds in silence

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Textures of belonging, relentlessly woven into the epigenetics, layer upon layer, building palimpsests of human existence that are both fragile and resilient, with nothing but a wobbly strand of DNA. The way our grandparents' experiences spill across our systems, the way their grandparents’ experiences formed them in the first place, like a busy cityscape humming in the background, keeping the flow, making things operate, and despite their physical peril, hearts still flicker and divulge poetry in aqueous vellums.

(Voice of my grandmother) That heartthrob you caused is nothing but a retaliation.

Score: Find Sulphurous River — its sound tension, its flow melodic.

Ancient forest holds the space densely, through the pockets of morphological holos, it sputters resonance from its shallow bellies.

Score: Rub your palms inside the abandoned and toxic industrial cistern.

Texture of memories surging, saturated, rugous membrane, the uterus. Moments that escaped oblivion and became family stories, then carved in, until crystallized, until shimmering, until exhibited.

Score: Everything that was once Earth still roams. Can’t you feel the weight of it?

Between these textures, there and everywhere, these murmurs, cellular glitches open like an uninvited threshold. The body becomes an instrument, the sound becomes the language: the tremor, the echo, the fear or devotion, the quiet refusal. We lean our hearts toward ancestral static, its emotional sediment, yearning in stillness to sense the flow of these secret rivers. And as the past rises in its glory and resonance, the poem is born, waking up the burgeons once pressed into the tissue.

~

In the dead of night, she wandered through the mountain forest, far from home, where the shadows danced, and lights shimmered like whispers in the depths of the trees. She stumbled through the spiral, away from the trenches dug day after day, with comrades beside her, building railways to nowhere.

They couldn’t have known, those who toiled in the dust, that no trains would ever pass. Forgotten by time, the tracks were broken, sold, discarded.

Yet the forest, it remembered, her light steps and the luminous tears mothering the crevices of night. She found solace on the thick green bed of a land that bore its wounds in silence.

~

For my grandma Negosava Ristić, born Stefanović, and the youth of post—WW2 Yugoslavia, who built the country with their bare hands.

Releases May 1, 2026

All sounds recorded, played, composed, and edited by Manja Ristić

Mastering Kory Reeder

Cover image & text by Manja Ristić

Sculpture in the image by Adriana Popović

Field recording locations: Italy (Gagliole, Province of Macerata), Portugal (Lisbon, Barreiro, Nazare), Croatia (South Adriatic—islands of Vrnik, Mljet, Korčula), Austria (Upper Austria—European Green Belt). Hydrophone recording locations: Italy (mineral springs of Esino River), Austria (Schwartze Aist River), Portugal (Tagus River), Croatia (littoral belt around islands of Vrnik, Mljet, Korčula). Instruments used: cello, violin, EMS Synthi 100 (Radio Belgrade Electronic Studio), piano which belonged to Karl Katzinger aka John Tylo (Garage Drushba Harrachstal near Freistadt). Soundwalk through the village of Gagliole—participants: Munia di Domenico, Hélène Marseille, Lionel and Juliette Malric.

Executive Producer, Kory Reeder
Sawyer Editions, 2026
SES034

license

New introduction for the Violin Revealed notation system

graphic score Halcyon Dreams Movement I — The Red Moon (for violin solo) by Nevena Vasiljević

 

An updated introduction to the Violin Revealed — An Alternative Guide to the Violin’s Sonic Life — exploration into a graphic score notation system based on extended instrumental techniques, embodied listening, and conceptual composition.

PDF draft explores the context and deepens the concept, opening the way for a new series of experimental outputs — collaborations with both visual artists and contemporary music performers.

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In the gradual dissolution of the classical paradigm, in the occurrence of digital sound, and in the entropic aesthetics of the twentieth and twenty-first centuries, the experimental notation finds its place as a tool for navigating the evolving landscape of sound and as a possible cartography of novel sono-energetic experience. It also contributes to the ongoing discourse on improvisation and perception, opening the way toward a new culture of listening.

Violin Revealed is a point of departure for deeper exploration, for mapping personal improvisational style, and for expanding the perceptual and energetic dimensions of sound. It is a system, a method, a philosophy, and an invitation. A way of listening, perceiving, and creating, and a bridge between ancient sonic intuition and contemporary artistic research.

Download PDF

wind through the water through the stone

wind through the water through the stone is an ambient AV installation built around the act of listening through spaces dense with history, placed within an environmental setting specific to the Adriatic micro-biome. Sound, as an entry point, reveals an elemental complexity formed through layers of nature’s composition——layers that operate on different temporal scales yet remain tightly bound and mutually dependent. Recorded with a sensitive JrF hydrophone lowered into a hollow of a natural sea pool at the edge of the rocky littoral, the self-generative composition listens to the sea as it moves through limestone sediments on a windy winter day in the South Adriatic.

Conceptual listening——through spaces, materials, and elemental forces——opens the possibility of a different sensorial experience. It allows us to step into the position of environmental agents, to sense the relational epistemology of interconnectedness and energetic interdependence within conditions that exceed the human.

On the other side of the spectrum of perception, the human presence embedded in this place is culturally charged: the sound was recorded in the backyard of painter and muralist Maksimilijan “Maxo” Vanka, who spent long stretches of his life on these same rocks, shaping the imagery that would later define him. Vanka, born in Zagreb in 1889 and later active between Croatia, Belgium, and the United States, carried within his work a deep sensitivity to injustice, displacement, and the fragile dignity of everyday life. His murals, most famously those in St. Nicholas Church in Millvale, Pennsylvania, are monumental testaments to the human condition, painted with an urgency that mirrors the elemental forces embodied in these very shores, in his Adriatic refuge. His legacy lingers as a quiet counterpoint, a reminder of how landscapes imprint themselves onto human vision and gesture.

The original sound piece was part of the collection Him, fast sleeping, soon he found / In labyrinth of many a round, self-rolled, a work that draws its conceptual frame from Milton’s Paradise Lost. The album explores the entanglement of wandering, enclosure, and self-emerging worlds seemingly lost within their own spirals. The concept unfolds as an internal labyrinth, where sound can be perceived as both a guide and an obstruction. A medium through which one confronts the limits of perception within the cyclical nature of searching for meaning. The collection suggests that meaning also may emerge through attentive, patient listening.

The visual aspect of wind through the water through the stone is reduced to a sensory impression: a shimmering light responding to the robust conditions of the winter sea. The fast-changing, tellurian colours amplify the suggestive state of an internalised, enclosed space. A space within, and between, wind and water, water and stone, wind and stone. Their coexistence leaves a unique energetic imprint, translated through textural amalgams. The question remains: can sound and light translate this imprint, or do they merely gesture toward something that ultimately resists specific translation?

Finally, the work proposes that sound could be perceived as a mnemonic force——a carrier of historical sediments, ecological tensions, and overlooked agencies. The installation opens a broader inquiry into how sound shapes our understanding of place, how it reveals the subtle negotiations between presence and absence, and how it allows us to investigate a specific biome as a remembering entity, and an ontology built through the apotheosis of muted signals in abandoned, neglected, or damaged ecosystems.

wind through the water through the stone is a minimalist encounter, a gentle meeting with the elemental, and a suggestive embodiment of the sound of the sea that has carried——and continues to carry——the quiet labour of tides, the erosion of stone, and the persistence of movement in water, by building an energetically potent environment through extreme temporal imparity.

Entanglements

Another curatorial playlist on CIFRA World. This time, I am offering a psychonavigation through 18 works gathered under the title “Entanglements,” brooding on the notion of desire. 

Featured artists are: Noémi Büchi, Shinji Wakasa, Tanya Akhmetgalieva, Cynthia Zaven, Tuan Mu, Gabrielle Le Bayon, Ben Frost, Sofya Skidan, Tyko Say, Suzana Phialas-dancevatar, Linda Loh, Dina Veruytina, Maria Papadomanolaki, Nika Son, Joao Pedro Oliveira, Yorgos Papafigos, Andrea De Fusco, and Manja Ristić.

Cover image by Asja Bernetić

Entanglements

Desire. A field of forces, a choreography of disruptions. It is not a single trajectory; it is an entanglement, a terrain where perception is no longer anchored solely in the human sensorium but distributed across posthuman ecologies. The environment as collaborator, as witness, and as the very substance of articulation. In this shifting landscape, sensory experience is stretched and reorganized. Glitches translated into embodiment, thought behaving like an algorithmic fractal, repeating itself across scales with consequential variations.

The post-digital condition is not a rupture; it is an efflux, a slow merging of sensory epistemology with the infrastructures that sustain it. In the expanded sensorium, memory reveals itself as holophrastic, a topography in which concepts propagate not only through space but also through time, binding together what appears disparate. Rogue energies emerging: the emotional architectures of Noémi Büchi, where longing thickens the air. Desiring the Desire constructs a sonic architecture in which longing becomes a structural force, folding emotional intensity into a sculptural field of resonance and rupture. The faint glow of Shinji Wakasa, lingering at the edge of fading away. Faint Light 2.0 marks the boundary between the visible and the invisible, capturing the delicate radiance that remains on the verge of perception.

And then there is the mutable narrative of Tanya Akhmetgalieva and Viktor Mazin, where the comic becomes a site of projection and return. Maybe She Would Laugh stages desire as an unstable storyline, oscillating between archival memory, futurity, and the uncanny persistence of the image. Cynthia Zaven’s Sonar Dream maps an acoustic chamber of the subconscious, where dream logic and underwater reverberation form a shared mnemonic terrain. Tuan Mu’s Sunyata approaches emptiness as a generative void, a site where desire dissolves into pure potential, juxtaposed with Gabrielle Le Bayon’s Wheels of Desire, which reanimates cinematic tropes of longing, exposing the mechanical undercurrents that drive both narrative and affect. And we move toward the orbital drift of Manja Ristić, carrying urban sonic residues into the vacuum of space, rendering mnemopolitics into a radical altitudinal otherness that amplifies the fragility of human existence. Only to be met by the tender violence of Ben Frost, where sonic curtains fall through cycles of decay. With Among the Petals, he explores the contrasts embedded in natural cycles, where beauty and decay remain inseparable.

The suspended oddity of Sofya Skidan, resisting coherence. What would you call an oddity that hasn’t quite come together? inhabits the liminal state of becoming. Form resists closure, and desire remains suspended. We move into the temporal recursion of Tyko Say, folding past and future into the present, fractures forming a recursive loop, a paradox of spiralling. Only to dive into the latent gestures of Suzana Phialas-dancevatar’s State 01: Idle Draw, which examines the body in states of latency, where movement is held in reserve and desire accumulates as potential energy. Fast forward into the anticipatory mode of Linda Loh, where the nearly arrived moment stretches itself thin. Always Nearly captures the perpetual deferral inherent in desire, the moment that is forever approaching but never fully arrives, while the politics of replication in Dina Veruytina's work boldly redistributes desire across digital bodies. CtrlC/CtrlV reframes the spatialisation of digital commodification into a neurodiverse choreography, opening a new chapter of somatic thinking.

And finally, we enter the resonant assemblage of Maria Papadomanolaki, constructing a mnemosonic ecology out of fragments, funnelling memory through vibration rather than chronology. We are then struck by Nika Son’s Scattered sprinkle, no turn, which disperses desire into micro-gestures and sonic fragmentation, refusing linear accumulation. The atmospheric turbulence of João Pedro Oliveira, storms as emotional weather. The infrastructural routing of affect in Yorgos Papafigos, who examines the circulation of affect and information, tracing how desire is routed through networks and infrastructures. And finally, the ritual breath of Andrea De Fusco, currents of deep knowledge wrapped firmly in elemental topographies. Beyond the visible, even beyond the sensorial.

These works do not illustrate a theme. They inhabit a shared ecology of entanglement. They reveal how desire circulates through environments, infrastructures, and bodies; how memory is not stored but propagated; how sound becomes a carrier of histories that resist erasure. They invite us into psychonavigation and involve us in the choreographies of listening-sensing and radical embodiment. Attuned to relations rather than fixed destinations, attentive to beyond-human and historical sediments that ultimately shape our orientation. Art as translational epistemology, converting affect into form, loss into resonance, drawing on archetypal frameworks and practices of confrontation. Art that engages and preserves the dignity of vanished ecologies and contested histories through attention as an act of care.

What emerges is not a map but a field of possibilities. Entanglements are not obstacles; they are conditions of futurity, the very fabric through which new forms of relation, perception, and desire may yet unfold.

Three sisters

 

Three Sisters is a tape conceptualized for a performance in the Maginje: Zvučna zbivanja series, held in Zagreb in November 2025 and organized by Croatian artists Tin Dožić, Andro Giunio, and Niko Mihaljević. The intimate live set unfolded in the communal space of Zagreb’s Local Council of Old Thorns.

Three Sisters presents a sonic performance that weaves together three of the artist’s recent works, created as part of an ongoing investigation into the relationship between sound, landscape, and affective memory. Across these works, the artist develops a poetics of attention that positions listening as a form of mnemosonic topography — a way of sensing the world as a living, unfolding score. Additional instruments used in this performance were: hydrophones exposed to various chemical compounds, electromagnetic mics, contact mics, a survival blanket, Atlantic shells, Adriatic shells, pine cones, various wooden and clay objects, various debris salvaged from the sea, a radio receiver tuned to AM frequencies, limestone rocks, amethyst crystals, and a cardboard box.

The performative concept is rooted in reflections on post‑industrial landscape trauma, speculative listening, and dystopian ecological imaginaries, in which sound becomes a tool for probing the porous boundaries between the personal and the collective, the real and the imagined.

These works share an impulse to shape a practice that moves beyond documentation and into the sensorial, the reflective, and the political. Three Sisters is not merely a retrospective — it is an invitation: to collective listening as an act of attention and presence, and to imagining possible sonic landscapes of the future as a mode of ethical futurity, in an effort of co-composing with the rogue energies of the holofractal memory fields.

Released February 25, 2026

All sounds recorded, edited, and composed by Manja Ristić

Cover image by Zoe Šarlija

This tape includes excerpts from three collections: Purpurna vresišta, a cassette release published by the French label wabi‑sabi tapes; Sargassum Aeterna, a vinyl release on the Greek label Rekem Records; and Into Your Eyes, a digital release premiered at this concert and published by Los Angeles-based label LINE.

Fletina ~ collaboration

Terrow is an album of non-musical collaborations with various sound artists & experimental noisemakers from all around the globe. An abstract sonic tapestry of fragmented field recordings, concrete soundscapes, atmospheric drones, and textural noise experimentation.

Collected sounds from the UK, America, Canada, France, Croatia, Italy, Norway, Japan & Thailand.

Releases March 6, 2026

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Fletina is a Scottish sound artist & field recordist who creates raw abstract audio collages using found objects, room sounds, environmental noises, household items, mechanical devices, and various electronic manipulation techniques.

Artists: Fletina, Leo Okagawa, Manja Ristić, Bruno Duplant, Anne-F Jacques, Moon RA, Seah, Joakim Blattmann, Devin Sarno, Tossapol, Coagulant

Mastering: Jack Chuter

Artwork : Jerzy Durczak

The City Listens to Itself: Manja Ristić on Lisboa

The City Listens to Itself: Manja Ristić on Lisboa

Interview by Brad Rose, February 2, 2026.

"So much of Manja Ristić’s work reshapes my perception of environments and landscapes, and the sonic imprints they leave on us. Lisboa is a unique entry in her vast catalog, born from wandering freely through the Portuguese capital without predetermined paths or agendas. The sounds here feel tactile, almost physical in their presence. Gentle city soundscapes are imbued with emotional undercurrents, heightening the lived-in quality of this work. It is conversational and approachable. The album progresses from intimate ecological details to moments of collective political action, tracing how memory lives inside a city’s acoustic character rather than its monuments. Ristić creates soundworlds with so much depth that we can’t help but be enveloped in these ideas, wrapped wholly in their aural embrace."

Read the full interview on FOXY DIGITALIS.

Lisboa

 

Pauline Oliveros’ Deep Listening practice began in the vast resonance of the Fort Worden cistern, whose forty-five-second reverberation revealed to her that space itself can become an extension of the instrument — a co-performer capable of refracting, absorbing, and reclaiming sound under its own conditions. That site-specific encounter made audible how acoustically unusual spaces open portals into deeper perceptual strata. It raised a fundamental question: what is it in sound that can shift our sense of depth within a given space?

Architectural measurements can describe acoustic properties, mapping resonant patterns that shape how sound moves and propagates. Yet mathematics alone cannot account for the perceptual distortions — how a small chamber can sound cathedral-like, or how reverberation can dilate our sense of scale. Nor can it explain the elusive somatic effects these spaces provoke: spontaneous sensorial recall, subtle shifts in bodily orientation, sensations of elevation or expanded awareness. The missing link, one Oliveros intuited, lies in the energetic dimension of listening to “spaces”, and in the relational field between sound, space, and memory in permanent energetic entanglement with body–mind.

Sound behaves as a distributor of energy through space. It carries the imprint of intention but also funnels attention — reorganising the energetic conditions it encounters, affecting bodies, objects, atmospheres. Each body, with its own energetic dynamics, disrupts and reshapes the space it inhabits. Within the media of air, liquid, gas, and solid matter, this constant turbulence unfolds under the laws of non-negotiable physics: gravitational pull, pressure gradients, and electromagnetic exchange. In this interplay, sound captures and organises space into patterns, allowing us — beings whose perception depends on pattern recognition — to detect even the subtlest shifts in our surroundings. What we perceive sonically, as with vision, is an interpretation constructed by the brain from basic sensory responses. When interpretation shifts into somatic and deeper sensorial pathways, we regain the ability to sense delicate energetic modulations, expanding our reality towards the various conditions embedded in the spaces we inhabit — through heightened awareness, deeper cognitive processing, and stronger emotional and physiological reactions to stimuli.

I spent several days in Lisbon in April 2024. The recordings I made emerged from free roaming and intuitive movement through the city, the botanical garden, the banks of the Rio Tejo, both in the urban core and near its Atlantic estuary. I visited an independent gallery and several museums. I attended a political performance and a Free Palestine demonstration. I was in permanent motion, and these recordings are the outcome of that encounter between movement and place.

Lisbon’s mnemopolitics is inseparable from its layered history — a city shaped by maritime expansion, colonial complexity, dictatorship, revolution, and the long, unfinished labour of collective remembering. Its soundscape carries these strata not as static archives but as vibrating residues: from the echo of the Carnation Revolution to the quiet resilience of neighbourhoods resisting erasure under the pressures of tourism and gentrification. In Lisbon, memory is not a monument but an acoustic phenomenon — dispersed, refracted, and continually renegotiated. The city listens to itself through its own reverberations, and in doing so, it insists that history remains audible, contested, and alive.

The album Lisboa traces this mnemosonic terrain through a sequence of sonic waypoints, moving from micro ecologies to collective action. It listens to the fragile habitats threaded through the city’s interstices, then shifts into the pulse of human presence and the everyday choreography of bodies shaping and being shaped by place. The trajectory involves sounds of cultural spaces where memory is curated and sedimented, before extending outward into the delicate and harsh soundscapes of infrastructures: of transit and labour, thresholds of movement, exchange, and historical entanglement. The distant humming of the bridge becomes an architectural hinge between all these worlds, a structure of passage and tension. The album’s closing gathers all of it into a political zenith, where bodies, histories, and environments converge in collective action, insisting on freedom and justice for the oppressed.

Lisbon’s soundscape, unlike many European capitals whose identities have been eroded by gentrification, still resonates with the depth of mnemopolitics. From quietness to full urban tumult, in which human-made noise is in constant dialogue with hidden micro ecologies — ocean, river, forest, birds conversing with machines, transport systems, bridges, barges, electrical grids. Human voices, noise pollution, nature, and objects sounding as if some mysterious synchronisations were unfolding beneath the surface. A soundscape of unusual depth.

I was compelled to notice that the subtle sonic morphologies of Lisbon’s cityscape extend not only through space but through time, releasing forgotten memories from its holofractal belly, ensuring that every grain of painfully earned freedom remains accounted for. It is a soundscape that must be preserved at all costs.

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For Mark

Releases January 27, 2026

All sounds recorded, edited, and composed by Manja Ristić

Cover image, text, and video by Manja Ristić

Mastering Goran Simonoski — Studio La Plant, Belgrade

Track 6 contains an excerpt from the public performance by António Caramelo —

AIR PROTEST (2024)

Demonstration/performance to the sound of megaphones.

Route: From the door of the Zaratan Gallery to the steps of the Assembly of the Republic. AIR PROTEST is an imaginary protest that is formalized as a response to the pro-life demonstration scheduled for April 6th (2024), taking place between Zaratan Gallery and the Assembly of the Republic. It is a non-action that occurs in the cultural and political domain, aiming to exacerbate the notion of a culturally neutral people who have never been involved in a strong or convincing struggle related to anything. AIR PROTEST does not defend an ideology; it has no slogans or props, just the sound of past demonstrations and protests, in which nothing remains undone. AIR PROTEST is a project by António Caramelo, and is part of the «Lápis Azul» exhibition, with joint support from República Portuguesa – Cultura / Direção-Geral das Artes and Comissão Comemorativa 50 anos 25 de Abril.

Special thanks to Joao Castro

ALL RIGHTS RESERVED

Three Films on Water and Tradition — The Tempest of Neptune

 

The Tempest of Neptune will be screened at the Berkeley Art Museum & Pacific Film Archive, San Francisco, on February 21st, at 1PM.

Documentary, 66 Minutes, 2024 

Countries of production: Serbia, Croatia, Poland 

2024 — Beldocs International Documentary Film Festival, Serbia (World Premiere) 

Liburnia Film Festival, Croatia — AUDIENCE AWARD 

Dokumentale International Documentary and Media Festival Berlin (International premiere) 

Verzió International Human Rights Documentary Film Festival, Hungary 

Vukovar Film Festival, Croatia 

Island School of Social Autonomy (ISSA), Croatia 

2025 — Full Frame Documentary Film Festival, United States 

Production: Sirena4reel, producer/director/editor Katarina Stanković (SRB) 

Co—production: LEWA Productions, Magdalena Petrović & Tatjana Božić (HR); 

2K4K, Wacław Mączyński (PL) 

DoP: Grazyna Sowa (DE), Nemanja Jovanov (SRB) 

Add. Camera: Petra Murić (HR), Srđan Stojiljković (SRB), Danko Vučinović (HR) 

Sound: Tonči Tafra (HR) 

Sound design & mix: Miloš Drobnjaković (SRB) 

Colorist: Nikola Marinković (SRB) 

Consultant Editor: Dragan von Petrović (SRB) 

Music: Manja Ristić (SRB), Tasos Stamou (GR), James Thierrée (FRA) 

Teaser: Đurđa Stanković 

Poster design: Lazar Bodroža

The ritual of bonding that will change the world

An interview with Manja Ristić in the INSAM Journal of Contemporary Music. This journal represents a significant effort in these complex times for sound art in our region, and I extend my gratitude to guest editor Marija Maglov, editor‑in‑chief Bojana Radovanović Šuput, and the entire editorial board for including me in the latest issue.

Please find the journal here 

“The ritual of bonding that will change the world” Interview with Manja Ristić

Marija Maglov (Author)

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No. 15 (2025): Radio Art

"The main theme of the INSAM Journal of Contemporary Music, Art and Technology No. 15, another issue in the journal’s ongoing development that we are delighted to celebrate as a milestone and on the occasion of the INSAM Institute’s 10th anniversary, is “Radio Art”. In the year that marks the 40th anniversary of the Sound Workshop [Radionica zvuka], a serial dedicated to radio art produced in Radio Belgrade, we were inspired to invite collaborators to write on the histories, presents and futures of this artistic form. In response, we received five original articles discussing the histories of radio art serials, competitions, a radio documentary drama as a result of a collaborative educational project and radiophonic genres. Moreover, this theme was not merely contained in the Main Theme section, but was also marked by contributions in the (Inter)Views and the Reviews sections."

Issue guest editor: Dr. Marija Maglov, Institute of Musicology SASA

Cover art by: Rijad Kaniža

Published: 25.12.2025.

Imaginary Landscapes on Radio Belgrade 3

"Into Your Eyes" on Radio Belgrade 3, in the legendary program Imaginary Landscapes curated by Ksenija Stevanović.

Released on LINE imprint in November 2025, Into Your Eyes is a triptych of micro‑focused sound worlds: Innocence Overturned, A Seagull Speaks into the Chimney on the Shore of Lake Geneva, and Prophecy of the World Without Anguish — together spanning 54 minutes.

Into Your Eyes positions sound as a philosophical inquiry into being and as an Anthropocenic meditation on ecological entanglement. It treats every element of the world as sentient, dissolving boundaries between human and beyond-human. The radical ontological claim: sound is not imposed upon the world but is the condition of its being, resonates with panpsychism, where matter itself is imbued with agency and perception.

By framing listening as a “cartography of attention,” the work elevates sonic practice into an ethical stance. To listen is to acknowledge existence, to dissolve hierarchies, and to resist silencing.

Temporal Poetics of this album meditate on unfinished creations. They grapple with mortality and the possibility of a utopian paradigm shift, imagining resilience and continuity beyond rupture. “Every single body is a battlefield.” Vulnerability, toxicity, and the corporeal impacts of environmental change are all inscribed in sound.

Into Your Eyes conceptually proposes a world where everything vibrates with sonic being, while confronting ecological collapse. It is offering listening as a way to re‑attune ourselves to planetary voices and imagine futures beyond anguish.

Global Conservatoire ~ Music, Sound, and Environment

ph by UPA Rostrum, Split

A guest lecture at the Global Conservatoire — kindly initiated by Nicholas Moroz, composer and lecturer at the Royal College of Music, London.

We will discuss Water memory — mnemosonic topographies of the Adriatic: composing with environmental sound, conceptual listening, and interdisciplinary research in sound practices.

Water memory is a musical journey through the subtle relations between sound and aquatic habitats on the island of Korčula and its surrounding archipelago. From the heart of an ancient town to the island’s deepest wilderness, it gathers aquatic and sub-aquatic imprints captured with extended field recording techniques, gently woven into an emotionally charged 50‑minute ambient composition.

A beautifully designed booklet is available for free download. Among other things, it reflects on the vast history of limestone cutting and its material embeddedness in European cultural heritage — from monuments and temples to public squares and urban architecture, spanning an entire millennium. 

Magical image of a marine gastropod mollusc belonging to UPA Rostrum, Split. 

Sargassum aeterna, repress

Sargassum aeterna has been repressed — this time on a beautiful dark yellow vinyl, echoing the living colour of the Sargassum algae itself. My deepest gratitude goes to Rekem Records for their dedication and care, and to all of you who continue to listen, support, and share in this journey.

Pre-order repress, shipping out around December 1st!

As journalist Lujo Parežanin wrote in the liner notes, Sargassum aeterna embodies “listening-as-speculation,” a practice that moves beyond registering sound into imagining futures through it. The album unfolds as a programmatic four-track cycle, situated in a fantastical narrative set in the year 2221. In this imagined world, magnetic fields collapse, global wars divide North and South, and ocean mining reshapes the planet’s abyssal landscapes. Yet amid catastrophe, sanctuaries remain: the Scottish Isle of Arran, home to the child-God Luka, and the Adriatic island of Mljet, where coralligenous species and fragile traces of marine life persist.

The accompanying text expands this vision: Wardenclyffe Towers harness solar radiation at the poles, megalopolises of the North are ruled by sentient cyborgs, and communication between worlds occurs only through dreams or fleeting portals. Against this backdrop, Sargassum aeterna renders sound as both archive and prophecy — sparse, uncanny, suspended in ominous stillness, yet carrying gestures of care and gentleness.

As Royal Editoryal noted, the album “transforms ecological crisis into a poetic act of listening, where sound becomes a vessel for memory and resilience.” Similarly, SoundOhm described it as “a profound exploration of marine ecologies, weaving field recordings and extended techniques into a sonic fabric that is at once fragile and immersive.”

This repress is not only a continuation of the work but also a way of preserving its speculative dramaturgy in material form — a gesture of remembrance, and a reminder that listening itself can be an act of care and resistance.

 

𝑮𝒂𝒓𝒅𝒆𝒏𝒔 𝒐𝒇 𝑪𝒉𝒓𝒊𝒔𝒕𝒊𝒂𝒏𝒆. 𝑻𝒉𝒆 𝑷𝒂𝒍𝒆𝒔𝒕𝒊𝒏𝒆 𝒇𝒓𝒐𝒎 𝒃𝒆𝒇𝒐𝒓𝒆

𝑮𝒂𝒓𝒅𝒆𝒏𝒔 𝒐𝒇 𝑪𝒉𝒓𝒊𝒔𝒕𝒊𝒂𝒏𝒆. 𝑻𝒉𝒆 𝑷𝒂𝒍𝒆𝒔𝒕𝒊𝒏𝒆 𝒇𝒓𝒐𝒎 𝒃𝒆𝒇𝒐𝒓𝒆.
By Anamaria Pravicencu and Manja Ristić

In the shade of Palestinian gardens, memory once bloomed — fragrant with olive groves and the quiet gestures of care. These were spaces of closeness, of which Christiane Dabdoub Nasser recalls inviting us into her childhood and Palestinian culture from another time, where the Mediterranean breathed through shared rituals of tending and living in harmony with the land. Rooted in practices of cultivation, refuge, and sensory proximity, such intimacy has been systematically disrupted by the colonial project of the Israeli state, which reconfigured land into instruments of control and dispossession. Today, the relational fabric of Palestinian landscapes lies fractured — yet the soil remembers.

Through powerful storytelling, family history, and enduring friendship, this piece gathers what remains: the rustle of leaves under siege, the echo of footsteps in forbidden groves, the persistence of tenderness in a terrain marked by erasure. It traces how ecological and cultural memory endure despite spatial fragmentation and political violence.

Manja Ristić engages with sounds gathered from war-torn landscapes and towns across the former Yugoslavia, from WWII memorial sites to intoxicated rivers — bearing witness to how the land carries its wounds in silence, while the echoes of war still tremble through every pore of the heart.

Concept and direction: Anamaria Pravicencu

Storytelling by Christiane Dabdoub Nasser, with the support of Maya Nasser

Sound design and composition: Manja Ristić

Presentation text: Manja Ristić

Mastering: La Plant Studio, Belgrade

A production of SEMI SILENT and tranzit.ro, Bucharest

The first version was presented in the frame of To Give a House the Form of an Event, a program by Tranzit at the Experimental Station for Research on Art and Life, Silistea Snagovului, Romania, June 2025.

The present form, with the contribution of Manja Ristić, premiered at the Orizont Sonor festival, in the Botanical Garden of Bucharest, September 2025.

Maginje: zvučna zbivanja #2 / Manja Ristić — Three sisters

Photo by Zoe Šarlija

Maginje: Sonic Events no. 2, Local Council of the Old Thorns, Zagreb

Friday, November 7, 2025, 20:00 CET

Conceived as an ad hoc program for performances and research in the field of experimental sound, the series brings together artists working across interdisciplinary performative forms, contemporary music composition, and sound art.

Free entry

Manja Ristić / Three sisters

Three Sisters presents a sonic performance that brings together three of the artist’s recent releases, created as part of an ongoing investigation into the relationship between sound, landscape, and affective memory. Through these three works, the artist develops a poetics of attention that positions listening as a form of mnemosonic cartography and the world as a living score.

The performative concept is grounded in reflections on post-industrial landscape trauma, speculative listening, and dystopian visions of ecological catastrophe. Sound material is employed as a means of probing the boundaries between the personal and the collective, the real and the imagined.

The performance includes three compositions: Purpurna vresišta, a cassette release published by the French label wabi-sabi tapes; Sargassum Aeterna, a vinyl release for the Greek label Rekem Records; and Into Your Eyes, a digital release premiering at this concert, scheduled for release on November 7th by the label LINE.

These three works are united by a shared impulse to shape a sonic topography that transcends the documentary and enters the realm of the sensorial, the reflective, and the political. Three Sisters is not merely a retrospective, but an invitation to collective listening — as an act of attention, presence, and imagining possible sonic landscapes of the future.

Manja Ristić about Animal Sounds and Interspecies Communication

I had a wonderful exchange once again with Tobias Fischer, this time about Animal Sounds and Interspecies Communication, a series of interviews he is conducting on his ever-growing archive, the 15 questions.

Find the full interview here.

"Nature, for Manja Ristić is an intelligent system, complex and cruel, self-devouring and adaptive. Her sound work is holistic, yet curious about micro-environments and their subtle wonder. It is not a product on display, but an invitation for listening as an act of communication."

MANJA RISTIĆ
Into Your Eyes

OUT NOVEMBER 7, 2025 ON ALL DIGITAL LISTENING PLATFORMS

Serbian sound artist, poet, curator, and researcher, Manja Ristić returns for her third album for LINE. Ristić’s new album Into Your Eyes is a triptych of her unique micro focus works recalling the subtle, detailed worlds of Steve Roden or France Jobin, fused with the adept field recordings of Jana Winderen, Francisco López, and the delicate resonances of Toshiya Tsunoda.

–

Every wave, every grain of sand, every rock, every millimeter of current, every hum, every drop of rain, every gust of wind, every grain of salt, every molecule of air, every electric pulse, every Pascal of pressure, every creature in lake, sea, or river, every insect, bird, mammal, arthropod, crustacean, every leaf, branch, root, every inch of soil, every fungal culture, every crystal, every forest, moss, cloud, or heavenly object, every atom of every square millimeter—is sentient.

This triptych of works listens into that sentience. It moves through a world saturated with voices—an intricate weave of physics, chemistry, biology—where nothing is silenced, nothing excluded. Every ripple vibrates with sound, dissolving boundaries and erasing hierarchies. Here, music is not an art form imposed upon the world, but the condition of its being.

Innocence Overturned is a meditation on unfinished creation—a pact made in the gaze of death to let the pen rest, to leave the book unwritten. It carries the weight of youthful visions realized and relinquished, of characters conjured and then set free.

A Seagull Speaks into the Chimney on the Shore of Lake Geneva is a lament and a witness. In a poisoned ocean, the bird’s cry into the hollow throat of a chimney becomes an act of faith: “Perhaps someone listens.” It is a work of elemental conversations— tide to rock, river to cloud, cloud to sun—and of the human ear straining to hear them.

Prophecy of the World Without Anguish imagines a future where such conversations are uninterrupted, where the tide’s love song in Scotland, the whisper of the Adriatic seabed in rain, the hollow resonance of a barrel at the Tagus estuary, and the singularity of each lightning strike are all part of a continuous, unbroken chorus.

Threaded through these works are moments of encounter: a Guardian Angel sculpted by Adrian Arleo on the banks of Rattlesnake Creek; the deep sediments of seashells underfoot; the knowledge that love can grieve into eternity; the recognition that every single body is a battlefield.

Collectively, they form a cartography of listening—a poetics of attention that treats the world not as backdrop, but as a living score.

–

All sounds recorded, edited, and composed by Manja Ristić

Except for the field recordings of Lake Geneva by Mark Vernon

Hydrophones built by Jez riley French

Mastering by Goran Simonoski, Studio La Plant

Cover image by David Fulford, Black Hill Creative

Text by Manja Ristić

Mnemosonic Topographies — Sensory Epistemology Between Sound, Space, and Memory

 

Article commissioned and published by The Attic Magazine, and to be discussed at the Sonic Turn Conference, November 14—15th, National Theatre Bucharest.

Abstract: In the interstice between sound, space, and memory, this article unfolds a mnemosonic topography — an embodied listening practice that traces the ephemeral contours of place through sonic resonance and sensory recall. Drawing upon field recordings and psychoacoustic reflection, it navigates the liminal terrain where sonic phenomena become mnemonic vessels, carrying sedimented histories and affective geographies. Through a trauma‑informed lens and an ethics of minute listening, the work interrogates how acoustic ecologies inscribe themselves upon the sensorium, revealing latent narratives embedded in the sonic substrata of contested landscapes, and exposing the entanglement of personal and collective memory with spatial experience.

The methodology emerges from a transdisciplinary praxis, integrating sound art, ecological awareness, and phenomenological inquiry. Listening is approached not as passive reception but as an active epistemic gesture — a way of knowing that resists ocularcentrism and privileges the vibrational intimacy of place. By mapping sonic memory across spatial thresholds, the article proposes a sensory epistemology that is both archival and generative, where the act of listening becomes a form of witnessing, healing, and reimagining.

Written by Manja Ristić.

READ THE FULL ARTICLE

*** This article is part of the project The Sonic Turn, co-financed by AFCN.

The Gardens of Christiane. Palestine From Before.

 

SIMULTAN Festival, the 20th anniversary!

4th of October, 2pm at Garnizoană, Piața Libertății, Timișoara.

SÂMBĂTA SONORĂ celebrates the 20th anniversary of SIMULTAN Festival with the 𝐥𝐢𝐬𝐭𝐞𝐧𝐢𝐧𝐠 of a series of sonic gardens commissioned and collected by SEMI SILENT, portraits of real or imaginary places, from hands-on gardening to the subtle revealing of the sensory networks of memory that anchor us into reality and the history of the land.

𝑪𝒖 𝒕𝒂𝒏𝒅𝒓𝒆ț𝒆, 𝒅𝒆𝒔𝒑𝒓𝒆 𝒈𝒖𝒔𝒕𝒖𝒍 𝒓𝒐𝒎â𝒏𝒆𝒔𝒄, an interview with Dolores Toma, 2017 (Romanian)

𝑴ă𝒓 𝒅𝒊𝒏 𝒎ă𝒓, Maria Balabas, 2021 (Romanian)

𝑨𝒑𝒑𝒍𝒆𝒄𝒐𝒓𝒆, Cosmin Nicolae, 2021

𝑻𝒉𝒆 𝑮𝒂𝒓𝒅𝒆𝒏𝒔 𝒐𝒇 𝑪𝒉𝒓𝒊𝒔𝒕𝒊𝒂𝒏𝒆. 𝑻𝒉𝒆 𝑷𝒂𝒍𝒆𝒔𝒕𝒊𝒏𝒆 𝑭𝒓𝒐𝒎 𝑩𝒆𝒇𝒐𝒓𝒆, Anamaria Pravicencu & Manja Ristić, 2025 (English, French, Arabic).

Orizont Sonor 2025

SEMI SILENT is happy to announce its contribution to the organizing and programming of the second edition of Orizont Sonor, a festival dedicated to podcasting, radio, and sound art. Initiated by the Institut français de Roumanie à Bucarest in 2024, with a beautiful first edition in Constanța, this year's annual meeting is taking place in Bucharest.

The highlight of SEMI SILENT's propositions is the program curated by Anamaria Pravicencu and hosted by Grădina Botanică "D. Brandza", Universitatea din București, on the 28th of September, a series of 5 events dedicated to gardens, the life of plants, contemporary rural life, and the relationship to nature. We invite you to a performance by Vittoria Assembri (IT), a round table moderated by Laura Jiga Iliescu (RO) about "Les nouveaux contes de Cincu" (New Tales of Cincu), the new radio documentary created by Marie Guérin (FR) and coproduced by RTS and SEMI SILENT, a guided listening of sound pieces about gardens that were produced by SEMI SILENT and composed by Maria Balabaș, Cosmin Nicolae, Pheobe Riley Law, Anamaria Pravicencu and Manja Ristić, a presentation of a series of bio-art experiments and sound installations about plants with Sillyconductor, and closing the program and the festival, a subtitled (RO/EN) listening of the brand new radio fiction "Nuages" (Clouds) by Anne Lepère (BE), coproduced by Babelfish asbl and SEMI SILENT.

from island to island, limited vinyl edition

 

Weaving a transient web, a dreamatorium with its own agenda, thoroughly concerned about space—in—between, from island to island, is a subtle sonification of deep musicality, real and surreal journeys, and a giant Maelström hiding the unknown multiverse. Invitation for the descent is open, but whether those journeys are imaginary or not, one thing is certain—both Anja and Manja must take the ferry home.

„Though separated by the sea between Croatia and Norway, the two artists have developed an intimate musical dialogue 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.“ (Tatiana Heuman)

Music & Sound Design: Anja Lauvdal and Manja Ristić

Anja Lauvdal: Piano, pump organ, synthesisers

Manja Ristić: Pre-recorded tape — violin, field & hydrophone recordings, electronics, objects, found sounds

Recorded by Peter Rvrbjar

Mastering by Rupert Clervaux

Cover Image by Manja Ristić

Cover Design by Matej Vojtuš

Performed and recorded at NEXT Festival Bratislava 2023

Bratislava, A4

Released by NEXT Festival Records

℗ ATRAKT ART, 2025

Commissioned by A4, together with INA grm (FR) and KONTEJNER (HR) as part of New Perspectives for Action, a project by Re-Imagine Europe, co-funded by the European Union and supported using public funding by the Slovak Arts Council and Bratislava City Foundation.

Mašina ~ Sarajevo Theatre Showcase

Introducing THE MACHINE – STS 2025 / Play in the Showcase Programme

In this striking performance, Bojana Robinson explores the intimate relationship between body, care, and technology. The Machine examines connectivity through the lens of an oxygen concentrator used by the author’s daughter, questioning both its potential and its limits. The performance unfolds as a radical investigation of vulnerability, interdependence, and the boundaries of performative presence.

Author, choreographer, and performer: Bojana Robinson

Text and dramaturge: Dimitrije Kokanov

Scenographer and video artist: Dorian Šilec Petek

Music composer: Manja Ristić

Costume designer: Timotej Rosc

Lighting designer: Igor Remeta

Text translation: Polona Glavan

Actress (voice): Polona Juh

Choreographic dialogue: Kaja Lorenci

Photo: Matt Robinson

Production: Institute for Contemporary Art Practice and Theory 0.1

The Sound of Ether — workshop with Manja Ristić

The workshop will consist of 5 sessions between October 4 and 8 — combining discussions and practical work through which participants will be introduced to the basics of field and hydrophone recording, sound editing, and various applications of sound in contemporary multimedia culture.

The workshop will familiarise participants with a broad spectrum of sound disciplines through the idea of positioning sound as the main protagonist in experimental film, approached comprehensively via discursive engagement with the philosophy of listening, mnemonics of sound, and Sound Walk culture.

The “Sound of the Ether” workshop is part of the audience development project “Korčula Loves Film”, closely linked to the development of the event “Pansini Days” — a project that brings local and international audiences closer to the life and work of Mihovil Pansini, otorhinolaryngologist, researcher and theorist of spacioperception, and a major Croatian film experimenter.

In addition to the “Sound of Ether”, October and November will bring a rich programme of other workshops:

Introduction to Pansini for the youngest, led by Petra Belc

Photography workshop, led by Dea Botica

Film and literature, led by Sonja Leboš

All workshops in the “Korčula Loves Film” programme are free of charge! 

Come and experiment with us!

The workshops are part of the audience development programme “Korčula Loves Film,” supported by the Ministry of Culture and Media of the Republic of Croatia, and organised in cooperation with the “Ivan Vidali” Library and the Korčula Cultural Centre.

The project is run by the Association for Intercultural and Interdisciplinary Research, with institutional support from the “Kultura Nova” Foundation.