{"id":2535,"date":"2023-09-01T12:05:52","date_gmt":"2023-09-01T10:05:52","guid":{"rendered":"https:\/\/arhiv.cona.si\/slo\/?p=2535"},"modified":"2024-10-21T12:32:00","modified_gmt":"2024-10-21T10:32:00","slug":"elena-biserna-walking-from-scores","status":"publish","type":"post","link":"https:\/\/arhiv.cona.si\/slo\/2023\/09\/01\/elena-biserna-walking-from-scores\/","title":{"rendered":"Elena Biserna: Walking from scores"},"content":{"rendered":"<p><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-5810 size-thumbnail alignleft\" src=\"https:\/\/arhiv.cona.si\/wp-content\/uploads\/2023\/09\/DSF2625_Credit-Matej_TOMAZIN-scaled-1-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" \/>Predavanje<br \/>\n\u010cetrtek, 15. 9. 2022, ob 19:00<br \/>\nDesni atrij Mestne hi\u0161e<\/p>\n<div><\/div>\n<p><!--more--><em>Walking from Scores<\/em> je zbirka pribli\u017eno stotih partitur, ki niso site-specific. Ustvarili so jih umetniki, skladatelji in kolektivi, vklju\u010dujejo pa hojo, poslu\u0161anje in ustvarjanje zvoka v urbanem prostoru. Projekt raziskuje odnos med estetskim in vsakdanjim, dinamiko zvoka in poslu\u0161anja v urbanem prostoru ter (prepustne) meje med umetnikom in ob\u010dinstvom. Obravnava specifi\u010dne lokacije in kontekste, upo\u0161tevaje dve izhodi\u0161\u010di: (1)zanimanje za hojo kot relacijsko prakso, na\u010din vzpostavljanja interakcije s kraji, na\u010din \u00bbbranja in reinterpretacije\u00ab urbanega prostora, (2)osredoto\u010denost na verbalni zapis in besedilne partiture, razumljene kot katalizatorje delovanja, in vabilo, naslovljeno na vse in vsakogar.<\/p>\n<p>Naslov je preigravanje naslova dela <em>Working from Scores<\/em>, objavljenega leta 1990, v katerem je Ken Friedman obravnaval pojem \u00bbmuzikalnosti\u00ab v vizualni in intermedijski umetnosti in prevpra\u0161eval ideje \u00bbavtenti\u010dnosti\u00ab, \u00bbnamena\u00ab in \u00bbpomena\u00ab ter razumevanje umetni\u0161kega dela kot niza navodil, ki omogo\u010dajo razli\u010dne interpretacije. Skladno s tem odprtim pristopom projekt temelji na reprodukciji in redistribuciji zbirke ter njeni reaktivaciji v posebnih oblikah glede na kontekst. Po \u0161tevilnih ponovitvah v razli\u010dnih mestih (pop-up razstave, letaki, delavnice, anonimne intervencije in kolektivni performansi) projekt postaja knjiga (Les presses du r\u00e9el, 2022), da bi zbirka dosegla \u0161e ve\u010d zainteresirane strokovne in lai\u010dne javnosti.<\/p>\n<p>Predavanje, posve\u010deno predvsem teoreti\u010dnemu okviru projekta in njegovim hibridnim oblikam, bo hkrati prevpra\u0161evalo nekatera vpra\u0161anja, ki so se pojavila, na primer domnevna nevtralnost hode\u010dega telesa in krajev, po katerih hodi.<\/p>\n<p>Po partiturah in navodilih: Peter Ablinger, Milan Adam\u010diak, G. Douglas Barrett, Elena Biserna, Blank Noise, George Brecht, Cornelius Cardew, Stephen Chase, Giuseppe Chiari, Seth Cluett, Philip Corner, Viv Corringham, Bill Dietz, Amy Dignam, David Dunn, Haytham El-Wardany, Esther Ferrer, Simone Forti, Francesco Gagliardi, J\u00e9r\u00f4me Giller, Oliver Ginger, Anna and Lawrence Halprin, David Helbich, Dick Higgins, Christopher Hobbs, J\u00e9r\u00f4me Joy, katrinem, Debbie Kent, Bengt af Klintberg, James Klopfleisch, Milan Knizak, Alison Knowles, Takehisa Kosugi, Ji\u0159\u00ed Kovanda, Anne Leilehua Lanzilotti, Bob Lens, Ligia Lewis, Alvin Lucier, Walter Marchetti, Larry Miller, iLAND\/Jennifer Monson, Max Neuhaus, Alisa Oleva, Pauline Oliveros, Yoko Ono, Open City (Andrew Brown, Katie Doubleday and Simone Kenyon) &amp; Emma Cocker, Nam June Paik, Michael Parsons, Ben Patterson, Mathias Poisson, Anna Raimondo, Pheobe riley Law, Jez riley French, Paul Sharits, Mieko Shiomi, Mark So, Standards, Nicolas Tardy, Davide Tidoni, Ultra-red, Isolde Venrooy, Carole Weber, Manfred Werder, Franziska Windisch, Ben Vautier, La Monte Young.<\/p>\n<div id=\"gallery-1\" class=\"gallery galleryid-5157 gallery-columns-5 gallery-size-thumbnail\">\n<dl class=\"gallery-item\">\n<dt class=\"gallery-icon landscape\">\n<div data-light=\"nor-lightbox\"><a href=\"https:\/\/www.steklenik.si\/wp-content\/uploads\/2022\/09\/DSF2625_Credit-Matej_TOMAZIN-scaled.jpg\"><img decoding=\"async\" class=\"attachment-thumbnail size-thumbnail\" src=\"https:\/\/www.steklenik.si\/wp-content\/uploads\/2022\/09\/DSF2625_Credit-Matej_TOMAZIN-150x150.jpg\" alt=\"\" \/><\/a><\/div>\n<\/dt>\n<\/dl>\n<dl class=\"gallery-item\">\n<dt class=\"gallery-icon landscape\">\n<div data-light=\"nor-lightbox\"><a href=\"https:\/\/www.steklenik.si\/wp-content\/uploads\/2022\/09\/DSF2639_Credit-Matej_TOMAZIN-scaled.jpg\"><img decoding=\"async\" class=\"attachment-thumbnail size-thumbnail\" src=\"https:\/\/www.steklenik.si\/wp-content\/uploads\/2022\/09\/DSF2639_Credit-Matej_TOMAZIN-150x150.jpg\" alt=\"\" \/><\/a><\/div>\n<\/dt>\n<\/dl>\n<dl class=\"gallery-item\">\n<dt class=\"gallery-icon portrait\">\n<div data-light=\"nor-lightbox\"><\/div>\n<\/dt>\n<\/dl>\n<dl class=\"gallery-item\">\n<dt class=\"gallery-icon landscape\">\n<div data-light=\"nor-lightbox\"><\/div>\n<\/dt>\n<\/dl>\n<dl class=\"gallery-item\">\n<dt class=\"gallery-icon landscape\">\n<div data-light=\"nor-lightbox\"><a href=\"https:\/\/www.steklenik.si\/wp-content\/uploads\/2022\/09\/DSF2604_Credit-Matej_TOMAZIN-scaled.jpg\"><img decoding=\"async\" class=\"attachment-thumbnail size-thumbnail\" src=\"https:\/\/www.steklenik.si\/wp-content\/uploads\/2022\/09\/DSF2604_Credit-Matej_TOMAZIN-150x150.jpg\" alt=\"\" \/><\/a><\/div>\n<\/dt>\n<\/dl>\n<\/div>\n<p>Foto: Matej TOMA\u017dIN, arhiv CONA.<\/p>\n<p><strong><a href=\"http:\/\/www.q-o2.be\/en\/artist\/elena-biserna\/\">Elena BISERNA<\/a> <\/strong>(FR) je neodvisna raziskovalka in ob\u010dasna kustosinja iz Marseilla v Franciji. Pi\u0161e, predava, vodi delavnice ali kolektivne projekte, kurira in v\u010dasih tudi nastopa. Zanima jo poslu\u0161anje in kontekstualne, \u010dasovno pogojene umetni\u0161ke prakse v povezavi z urbano dinamiko, dru\u017ebeno-kulturnimi procesi, javno in politi\u010dno sfero. Njeni prispevki so bili objavljeni v \u0161tevilnih mednarodnih publikacijah (Les Presses du R\u00e9el, Mimesis, Le Mot et le Reste, Errant Bodies, Amsterdam University Press, Cambridge Scholar, Castelvecchi, Bloomsbury \u2026) in revijah. Trenutno pripravlja dve knjigi: <em>Walking from Scores<\/em> (Dijon: Les Presses du r\u00e9el, 2022) in <em>Walking, Listening, Sound-Makin<\/em>g (Bruselj: umland, 2022). Z Lucienom Gaudionom je sokuratorka serije <em>La Membrane<\/em>, s Carole Rieussec pa soureja rubriko <em>wi watt\u2019heure<\/em> v reviji <em>Revue &amp; Corrig\u00e9e<\/em>. Kot kustosinja in avtorica je sodelovala ali predstavila svoje projekte na razli\u010dnih prizori\u0161\u010dih\/dogodkih, md drugim Onassis Stegi (Atene) Sonic Protest (Pariz), Festival Plataforma (Santiago de Compostela); Oscillation Festival, CIVA, Q-O2 (Bruselj); Manifesta 13, Unit\u00e9 d\u2019Habitation Le Corbusier, La Friche la Belle de Mai (Marseille); Locus Sonus, Fondation Vasarely, 3bisF (Aix-en-Provence); soundpocket (Hongkong); Standards (Milano); NUB (Pistoia); Radio India (Rim); Sant\u2019Andrea degli Amplificatori, Xing, Radio Citt\u00e0 Fujiko (Bologna); Zavod Cona (Ljubljana); Saout Radio; p-node; Sound Threshold (London).<\/p>\n<div id=\"gallery-1\" class=\"gallery galleryid-5157 gallery-columns-5 gallery-size-thumbnail\"><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Predavanje \u010cetrtek, 15. 9. 2022, ob 19:00 Desni atrij Mestne hi\u0161e<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-2535","post","type-post","status-publish","format-standard","hentry","category-1radiocona"],"_links":{"self":[{"href":"https:\/\/arhiv.cona.si\/slo\/wp-json\/wp\/v2\/posts\/2535","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/arhiv.cona.si\/slo\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/arhiv.cona.si\/slo\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/arhiv.cona.si\/slo\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/arhiv.cona.si\/slo\/wp-json\/wp\/v2\/comments?post=2535"}],"version-history":[{"count":2,"href":"https:\/\/arhiv.cona.si\/slo\/wp-json\/wp\/v2\/posts\/2535\/revisions"}],"predecessor-version":[{"id":2543,"href":"https:\/\/arhiv.cona.si\/slo\/wp-json\/wp\/v2\/posts\/2535\/revisions\/2543"}],"wp:attachment":[{"href":"https:\/\/arhiv.cona.si\/slo\/wp-json\/wp\/v2\/media?parent=2535"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/arhiv.cona.si\/slo\/wp-json\/wp\/v2\/categories?post=2535"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/arhiv.cona.si\/slo\/wp-json\/wp\/v2\/tags?post=2535"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}