Baby come back – soirée sentimentale - Bétonsalon
samedi 14 février 2026
De 18h à 20h
Baby come back – soirée sentimentale
Lancement éditorial, discussion et dj set de cl✰ra
avec les participant·es des ateliers « Écrire avec les moufles »
Silence is never actually silent.
Silence is never actually silent. Even in a recording studio at a radio station, there is a multitude of quiet sounds, constantly present, unintentionally produced, often unnoticed, which nevertheless make up the basic sonic environment we work out of.
By using the studio itself as an instrument, and its various noisy technological inhabitants as collaborators, this piece brings out the ambient voices which underlie all of the shows, jingles and tracks we produce on a daily basis. Condenser and contact microphones collect the hums of equipment, ticking of clocks, clacking of keyboards, etc, which are then passed through routine processes of effect chains in audio production software, as if they were any human voice or musical instrument.
In turning our attention to these tiny sounds around us, we are acknowledging and exploring the inextricable sonic nature of the studio itself from the audio products we craft within it. As Eno said, “Recording is not the same as reproducing - it’s producing something that couldn’t exist any other way” - sounds are brought into the studio and leave there in another form, with its presence imprinted; the studio has its own life, activity and agency, which co-authors the works made in it. Therefore, we can say that its voices are not necessarily annoying contingencies to be removed; rather, we can see them as intrinsic qualities, fundamental to the objects we produce, like a sonic DNA, or a distinguishing leitmotif, to be worked with rather than against.
Oliver Wagner (2002) is a sound, lighting, and stage technician, programmer and electrical engineer, based in Ljubljana, Slovenia. He works at the community radio station Radio Študent as a member of both the audio technical and IT teams; in addition to routine broadcast and production studio work, he manages infrastructural development projects and performs advanced technical tasks. He regularly provides technical support for lighting, sound and stage at concerts, intermedia art performances, cabaret and theater events in alternative venues. In 2024, he co-authored one transmission of the open radio investigative platform RADAR, as well as one for radia.fm (#997). Additionally, he collaborated creatively and technically in the production of the RAD+ART 15 and 16 events in 2024 and 2025, respectively, at Cirkulacija2, Ljubljana.
Robbie Hopper (1991) is a musician, biologist, audio technician, curator and sound artist who lives in Ljubljana but hails from Scotland. As a sound researcher and collaborator in the performing arts, they have completed artistic residencies at PIF Camp (Slovenia, 2023), Kino Šiška (Slovenia, 2024), the National Center for Dance in Bucharest (CNDB, 2024), the Independent Dance Stage in Talinn (STL, 2024) and the University of Applied Arts Vienna (dieAngewandte, 2025). They are an active member of experimental electronic collective Clockwork Voltage as an artist, of the culturo-artistic association Anarhiv as a workshop facilitator, and of Radio Študent as a broadcast/production technician and co-curator of the open radio investigative platform RADAR.
7pm Saturday and Sunday, you catch us playing 5 songs, back to back, without commercial interruption, you win a quick 98 dollars or-
Startalk is an audio/visual radio art piece depicting a network and history of seven independent Black radio stations in the US through paint, chalk, and sound. This work was informed by an ever-expanding audio/visual system that converts absolute locations into frequencies based on prompts centering Black music and autonomous Black spaces/entities. The audio component for Startalk was first broadcasted on Wave Farm’sWGXC 90.7 FM in July 2025, and the visual component first showed at Sanman Studios in November 2025.
Corey De’Juan Sherrard Jr. engineers a developing system for composing songs and generating objects that respond to the deficit of black post-capitalist propaganda within a world culture. He is a School for Poetic Computation alum and graduated from the University of Houston with a BS in Digital Media in 2020. Sherrard has exhibited visual and sound works at Sanman Studios, Sabine Street Studios, Cleve Carney Museum of Art, Basket Books and Art, and the George Washington Carver Museum and Cultural Center and has performed at Contemporary Art Museum St. Louis, DiverseWorks, and Blaffer Art Museum. He was a recipient of the 2023 Jones Artist Award. He is a resident DJ and media manager at internet radio station Ice House Radio, spins jazz on his weekly radio show STEAM at KTRU-LP 96.1 FM, and is a member of experimental music group Essex Moor.
BAM dans les orties
CRAC l’épaule
MOUVEMENTS de PANIK
« Une onde est la propagation au cours du temps d’une perturbation produisant sur son passage une variation réversible des propriétés physiques locales du milieu.
Elle se déplace avec une vitesse déterminée qui dépend des caractéristiques du milieu de propagation »
Transmissions de digressions
Digressions en transmissions
Naviguer entre les émissions, naviguer entre les sons, naviguer entre les voix
Telles des ondines voguant sur les ondes.
Mouvement de foules
Mouvement des corps
Mouvement des sons
Modulations sous tensions
Vibrations, altérations, révolutions et rotations
Pour sentir le monde vaciller et osciller
Pour sublimer en hertz les ersatz de nos résistances en perpétuelles modulations.
Cet épisode est un collage d’extraits d’émissions réalisées durant la programmation transversale « Mouvements de Panik» qui s’est déroulée du 17 novembre au 18 décembre 2026 sur les ondes de la Radio.
A ces extraits ont été ajoutés des sons et des fields recordings personnels enregistrés lors de mes voyages proches ou lointains.
« A wave is the propagation over time of a disturbance that produces a reversible variation in the local physical properties of the medium as it passes through it.
It travels at a specific speed that depends on the characteristics of the medium through which it propagates. »
Transmissions of digressions
Digressions in transmissions
Navigating between broadcasts, navigating between sounds, navigating between voices
Like water sprites gliding across the waves.
Movement of crowds
Movement of bodies
Movement of sounds
Modulations under tension
Vibrations, alterations, revolutions and rotations
To feel the world wobble and sway
To sublimate in hertz the ersatz of our resistance in perpetual modulations.
This episode is a collage of excerpts from programmes produced during Radio Panik’s cross-disciplinary programming « Mouvement de Panik » which took place from 17 November to 18 December 2026.
Sounds and personal field recordings made during my travels near and far have been added to these excerpts.
Un collage d’ondes collectives désorganisé et mis en sons par Madame Patate
Statue Of Liberty
Thousands of Radia fans have been asking what Ed Baxter has been doing since leaving Resonance after 23 years. Here is the answer. Statue of Liberty is an experimental big band featuring Otti Albietz (guitar, voice), Matt Armstrong (bass), Ted Barrow (electronics), Ed Baxter (concept, hand signals), Kit Bula-Edge (percussion), Toby Bula-Edge (saxophone), Adam Bushell (vibraphone), Fritz Catlin (drums), Helen Dodaki (voice), Stuart Griffiths (saxophone), Julian Juliano (percussion), Kitty McCarron (voice), Jude Montague (keyboards), Anthony Moore (electronics) and Tullis Rennie (trombone). Engineer: Theo Passingham. This excerpt from its inaugural performance comprises El Derecho De Vivir En Paz (Victor Jara); Left Bank Two (Robert Dale); Love in Outer Space (Sun Ra); and Now O Now I Needs Must Part (John Dowland). Thanks to XMTR Festival and Sono-Electro without whom this would not have happened.
This is strange Mom, Mom who is it?
PINS is a game for all anonymous egos, everywhere, made through repositioning and reproducing old dreams and documents. PINS is a game that rejects the word “practice”, a ponderous barrage balloon of a word, one with a thin skin that can be undone with a pin prick, revealing an awful lot of hot air. Leave it for the doctors and lawyers. Or call it “praccy”. PINS favours the word “process”. Process can mean the slow deconstructing of making art. Process also means something that can be tracked. It means repeated and unglamourous toil, uncertainty, silence, private actions with no hope of public validation, multiple failures and misunderstandings, and – eventually – something or other. In the 1960s you could enact “death by Process”. There is rarely a plan, just an idea. Chance, whim, accident and other people play a role in the end result.
What does Richard think about PINS?
Richard often feels between worlds. He remembers the congealed boredom of the analogue industrial past. He is often wary of the earnest, yet fly-by-night present with its assumed importances and digital fevers. Like Syd Barrett, he is “much obliged” to contemporary life for regularly “making it clear that he’s not here”. Richard realises that being between these worlds is both his natural state and his opportunity to act. Between 1840 and 2023 he spent an incalculable amount of time looking out of bedroom windows, or sitting in pubs listening to builders, plumbers and middle managers telling him what real art is. Now he wants to bring those worlds he saw together, somehow. He feels he has a lot to do, even if his work may not make much sense.
Back in 2004, Richard painted out all the images he didn’t like in hundreds of 12” record covers. Only those that momentarily interested him stayed. The record covers are still more interesting than Richard’s actions. They are now under the spare bed. One day he may photocopy them. Now for the RULES, and ILLUSTRATIONS: both here and at the Museum of Photocopies.
Mix & Edit by Lukas Simonis
Text & voice by Richard Foster
Production by Ash Kilmartin
a RadioWORM/Dr Klangendum/Concertzender production
It’s not going to stop at a wall
This 27 minute radio version of When We Bow Down Our Heads was created by John Roach specifically for radia.fm. The work celebrates the resonance of wind and its promiscuous and borderless nature by combining 10 years of spatialized field recordings, live intervention of performers Wolf Robert Stratmann (double bass) and Inbal Hever (voice), and fragments of interviews that provide contextual turbulence. Two voices are heard in this edit, the interdisciplinary artist and composer Raven Chacon and the Geophysical Scientist Joonsuk Kang.
John Roach is an interdisciplinary artist with a particular interest in sound and multisensory experience who builds environments that blur the line between what we see and what we hear. His work moves fluidly between intermedia installation, radio transmission, performance, object-making, and image-making. It is guided by a playful embrace of uncertainty – something that is often fully activated through collaboration. Many projects focus on themes related to ecological systems, biodiversity, and climate, such as the installation Scorched Honey Archive about the complex interconnections between humans and pollinators that was exhibited at NARS and BioBAT galleries in Brooklyn, NY.
My love, even now we are starting to doubt that the stars are truly fire
“Silver Epiphany”
by Irrflug (Mark Kanak) featuring Jarboe and Blixa Bargeld (Radio Helsinki)
An undulating journey into the cosmos, featuring shattering, incessant and metallic soundscapes. Drawn from Mark Kanak’s 2023 book “Lie Detector” as well as 2025’s “Silver” (by Irrflug), much of the material moves in the silver and grey register, where surfaces hint at coherence without actually achieving it; a slow treading to an inevitable end. The voices of Blixa Bargeld and Jarboe interact in what is almost cold contempt while the piece revolves around questions of falsehoods and truth, what is not really known or can be, and the “epiphany” moment of realizing that in the end, the world wants to deceive and be deceived…and always will be.
It is a combination of texts taken from the 2023 book Lügendetektor/Lie Detector and new texts from a work called “Silver”.
Credits:
Voice: Blixa Bargeld
Voice: Jarboe
Musik, sounddesign, noise, chaos: Irrflug (Mark Kanak)
MUSIC IS MURDER
Мартин Џорлев – Музиката е отепувачка
This episode captures the closing moments of Kanal 103’s marathon broadcast marking 81 years of Macedonian Radio, on 28.12.2025.
After more than 15 hours on air and a never-ending closing live session, the scheduled program slowly dissolved into an open situation. Recorded around 4am, as the night tipped into morning, the studio shifted into a different mode. Using the station computer, Martin Djorlev began mixing live from multiple internet sources, navigating streams, fragments, and digital noise in real time.
What emerged was an unplanned deep drone / ambient mix, imperfect, glitchy, unbalanced, marked by signal cracks and bleed from an old mixer worn down by years of use. Slow and immersive, the sound hovers somewhere between exhaustion and focus. A live navigation through online audio, shaped by the moment, the hour, and the accumulated energy of the broadcast.
Martin Djorlev is a central figure in the new Macedonian music scene. Active across projects, genres, and formats, he plays almost nightly, releases constantly, and moves between live performance, composition, and experimentation. This set reflects that momentum, created without preparation, without pause, as if there were no tomorrow.
Recorded live at Kanal 103, Skopje.
End of broadcast, beginning of another space.
When I held up “Boo”, the people on this side will say “Boo”
Narrative is in a pretty pickle without the culture of experimental theatricals tossing off their posing pouches and expressing with wild abandon but, today in the studios of Soundart Radio, almost everybody is naked! That’s because devised theatre, in the most magical of spaces - the radiophonic environment - is back! Ghosts! Witchcraft! Savoury jelly! Welcome to the future dramaturgy! May or may not involve contributions from interstellar intelligences.
by Dr Ergo Phizmiz, Lottie Depresstival Bowater, and the Soundart Radio MASSIVE
In the hidden valley, one can dissolve into a dynamic emptiness
The Wind of Heaven
Hidden Valley seems to be far removed from our worlds. There, a musical encounter with Flies, Cicadas, Wombat Poo, and a little Waterfall unfolds. These characters become my Musickin—through the musicking—as the wind of heaven blows through the pipes of every critter.
Later in my studio: A contemplation re-enfolds on the affordances of identity and identitylessness.
The originary recording was made 2020, in the Budawang Mountains, southwest of Nowra, on the east-coast of Australia. This Country is the lead author of this work, and respects are paid to the Yuin people, who have been singing up these Mountains everywhen. My studio is on Gadigal Country.
//
Born in the Illawarra, Dharawal Country south of Sydney in 1957, Jim Denley has been active with experimental and improvised musicking since the 1970s.
He has performed in Australia, Europe, Japan and the US with artists such as Chris Abrahams, Clare Cooper, Keith Rowe, Joel Stern, Robbie Avenaim, Jon Rose, John Butcher, Otomo Yoshihide, Fred Frith, Phil Niblock, Trey Spruance, Clayton Thomas, Tess de Quincy, Axel Dörner, Adam Sussman, Ami Yoshida, Oren Ambarchi, Tony Buck, Ikue Mori, Sachiko M, Malcolm Goldstein, Michael Sheridan and Annette Krebs.
He is interested in what his music instinct might learn from language. From 1989 to 2009 he worked with the text/music group Machine for Making Sense, (Amanda Stewart, Stevie Wishart, Rik Rue and Chris Mann). Jim co-formed 180º with Amanda Stewart and Nick Ashwood in 2018 to continue the pursuit of text/music intra-activity. He’s been involved with the radically inclusive Splinter Orchestra since 2001.
He often records around the coves and beaches of Sydney Harbour, where for thousands of years the Dharug people would have played ngaramang (music).
His radio work Collaborations, produced by ABC Radio National won the 1989 Prix Italia for radio production.
Bloomsbury will be publishing his PhD research as the book, Towards ecological musicking: As Weather Improvisation.
Un sticker arc-en-ciel à paillettes Vierge Marie
Cyborg Lullaby from Gwen Sainte-Rose
« Est-ce que vous avez des enfants ? »
A cette question qui paraît anodine, celles qui ne sont pas mères peuvent apporter, chacune, une réponse et une histoire très différentes.
Gwen y répond ici à sa façon, dans ce premier geste sonore qui raconte son histoire et son rapport à la non-maternité. D’autres créations sur cette question suivront, présentant les univers singuliers de chacune autour du projet : « Celles qui ne sont pas mères ».
“Do you have children?” To this seemingly innocuous question, those who are not mothers can each give a very different answer and tell a very different story. Gwen responds in their own way, in this first sound piece that tells their story and their relationship with non-motherhood.
It’s also about what they feel on a sensory level. How they live in a binary and heterosexual system. What is “natural” or not And how they find their way in there. Other creations on this question will follow, presenting each person’s unique universe on this theme.
Gwen Sainte-Rose is a musician, composer and sound artist. Their creations are always guided by sensitive listening.
For cello and loopstation, they composed “Collines – Racines”, two soundscapes inspired by the Forêt de Soignes and the Gaume region in South Belgium.
They produced the radio documentary “Ne pleure pas !” (Don’t cry!), about child abuse. Now they are also exploring links between videos they made with a microscope camera, sound and music, as in « Garden ».
Production, sound design and music : Gwen Sainte-Rose
Curation : Carine Demange
Les sources de l’imaginaire finissent toujours par former un lac.
Ré-affirmer le merveilleux comme une manière de ré-enchanter le réel
Les rives du Léman ont toujours fasciné des artistes, écrivain·es et penseur·euses venu·es des quatre coins du monde.
Nous faisons l’hypothèse que vivre avec nos histoires, nos légendes et nos mythes fondateurs, est une manière de nous ancrer et de nous régénérer en tant que communautés, et que la transmission culturelle est un processus qui contribue à connecter les individus et à perpétuer des groupes humains.
Aux prémices de ce projet nous avons constitué une équipe de recherche pluridisciplinaire, réunissant des artistes et des scientifiques local·es ainsi qu’international·es et leur avons proposé un temps de résidence embarquée. Nous avons pensé que cette immersion offrirait un terreau fertile pour la compréhension, la réinterprétation et la création de récits liés au Léman.
Cette résidence embarquée s’est montrée être une aventure hybride, à la fois nautique et expérimentale, scientifique et artistique. Nous l’avons destinée à la mise en commun de nos savoirs et pratiques liés aux légendes du Léman. Ce fut aussi une occasion de partager nos connaissances sur le milieu, de développer et témoigner nos attachements au lac, d’expérimenter de nouvelles manières de dialoguer avec lui et de vivre ensemble des moments conviviaux.
(documentation audio des résidences embarquées)
par Eric Desjeux
avec les voix de Jean-Baptiste Molina, Federica Tamarozzi, Christian Baumann, Dalia Mauvis, Mathilde Tinturier, Jonathan Frigeri, Emmanuelle Nizou, Antoine Schaad, Maryne Lanaro, Henry Deletra, Benoit Grison, Diederik Peeters, Paul Courlet, Luca Schöpfer, Stéphanie Pfister, Eva Zornio, Vanessa Montero.
J’avais l’impression d’entendre des poissons effrayés
A sound geography of the Calanques National Park, mixing sensitive knowledge, empirical and scientific.
Sound creation resulting from a workshop of listening and recording underwater sounds co-created with people concerned by psychiatry.
With the participants of Radiolà:
Fanny Ausseil, Yves Seksek, Anita Lindskog, Sylvain Vicarini, Yacine Djemli
Aurélie Darbouret, anthropologist researcher
Underwater recordings: Julie Rousse, sound artist
Recordings & Production: Jean-Baptiste Imbert
A creation with the phonograph artist Julie Rousse, anthropologist researcher Aurélie Darbouret and sound director Jean-Baptiste Imbert.
Floating listening, a project proposed by Radio Grenouille – Euphonia and supported by the Calanques National Park as part of its call for ‘Culture’ projects for the Autumn of the Calanques 2025 and labeled La Mer en Commun.
Andrew Backhouse Entrances As Other Exits
This radiophonic piece is improvised from live broadcast, dubbed and mixed across four channels in real time, with effects layered in the moment. It explores the fleeting quality of sound — how something can be summoned into being just by pressing Play. It’s about listening as a kind of magic, where the act of playback becomes the act of creation, unfolding outward like a ripple
from the centre. A quiet celebration of the ephemeral, the accidental, and the everyday wonder of tuning in.
Andrew Backhouse is one of the founders of Harrogate Community Radio and an artist in his own right. Born in East Anglia and somewhat superstitious, Andrew has lived across the UK but now happily calls Harrogate home.
Autumn in Sobrarbe
This sound creation piece captures the essence of autumn in the Aragonese region of Sobrarbe. Through field recordings collected in forests, rivers, and mountain villages, it reveals the textures of a landscape in transition - the rustle of dry leaves, distant cowbells, the whisper of the wind through beech and pine trees, and the echo of footsteps on ancient stone paths. The composition invites the listener to experience the emotional and acoustic depth of the season, blending natural ambiences with subtle sound design to evoke the quiet beauty and melancholy of autumn in the Pyrenees.
Soundscapes recorded at Bielsa, Pineta and Chisagüés 23-25 october 2025.
Are you up for it?
What became of the Library of Alexandria? It seems to have fallen victim to the flames. Just like our beautiful jingle. Only remnants of it remain, because we allowed ourselves to play with fire in this programme. We were amazed at how many levels there are links between the element of fire and radio! It starts with the German word “Funkfeuer” (radio beacon) and ends with Telefunken and lightning. We enjoy the convivial warmth of the campfire and marvel at electromagnetic inventiveness.
A programme featuring sonic illusions and surprising parallel universes.
Production and recordings by Barbara Huber, Barbara Kaiser, Fabi Lux, Stefan Nussbaumer & Karl Schönswetter. Contains industrial recordings by kwandalist.
Arrangement & mixing by Karl Schönswetter.
From our Elements series. Previously released: Earth, Water and Metal.
Le principe de ce système, des spirit box, c’est de rentrer en contact avec des entités, des êtres désincarnés, par le biais du scannage des radios.
Sur les ondes hantées du B.O.O., les fantômes prennent la parole.
Un paysage sonore où résonnent monstres, maisons hantées et autres présences invisibles.
Une proposition de Reem Saleh et Louise Siffert pour *Duuu.
On the haunted radio waves of B.O.O., ghosts speak out.
A soundscape filled with monsters, haunted houses, and other invisible presences.
A proposition by Reem Saleh and Louise Siffert for *Duuu.
Cette playlist a été diffusée à l’occasion de l’événement A Ghost Radio Camp, une soirée horrifique organisée en juillet 2025 à Duuu Radio / Folie N4, Parc de la Villette (Paris).
This playlist was broadcast during the A Ghost Radio Camp event, a horrific evening organized in July 2025 at Duuu Radio / Folie N4, Parc de la Villette (Paris).
Radia Mixage : Sampson Staples
The Cristal Receivers
The KunschTTurm Club was located in the Kunstturm, a 100 m² apartment, on the 22nd floor of the Tour de l’Europe in Mulhouse. Made available by its owners, the club quickly became a second studio for the Alsace branch of ∏-Node. Julia and Dinah bubbled up the closing weekend. Armed with their cristal Baschets, they pulled the plug from the heat in the bathroom for a 2 hours improvised installation/performance. Inspired by Anne Carson’s poem ‘Guillermo’s Sigh Symphony’ (2002) which was copied onto the tiled walls, ears steaming near the bath tub of sounds, the audience drifted in and out. The “souffleuses de son” captured FM radio through the pipes, read extracts from the poem, and used hydrophones and small radios to amplify the drip, drip, dripping.
This is an edit from the ∏-Node stream, during the KunschTTurm Club, Season 1-31 jan-31 july 2025
Thanks to : JPRRR for the mastering, individu and the whole KunschTTurm crew.
Don Giovanni Metamorphosen Fragmente
Radio version of the audiovisual performance
Don Giovanni is one of the archetypes of our culture, one of its founding myths. And myth is not an inert fable but an active, creative force, it nourishes, in a surprisingly circular way, the very culture that gave it life.
Over the course of four centuries, Don Giovanni has taken on - or disguised himself in - countless and extraordinarily varied forms.
With this audiovisual project, we seek to explore the recurring and often mutable archetype concealed beneath Mozart’s masterpiece, creating a performance that draws on a contemporary aesthetic and language. Mozart’s music itself undergoes metamorphosis, electronic, sampled and manipulated, from old vinyl records to acoustic renditions, serving as the foundation for literary “evocations” of Don Giovanni, from Tirso de Molina to José Saramago, from Molière to Baudelaire, Hoffmann, Kierkegaard, Byron, and many others. And, of course, the operatic libretto by Lorenzo Da Ponte.
The project includes readings, sung passages, and historical recordings of actors’ performances, a sound carousel that conjures the situations, characters, texts, and voices that have given life to the Don Giovanni myth across different historical periods, authors, and its continual metamorphoses. Whether invoking the unrepentant libertine or the punished sinner, the paradise of the senses, the complexity of human relationships, or the hell of damnation.
Paolo F. Bragaglia is an electronic composer born in an entirely analog world, who has stubbornly journeyed into our digital age. Ever fascinated by the metamorphosis of sound across genres, over the years he has expanded his interests toward the intersections between music and moving images, dance, architectural spaces, visual arts, spoken word, and theatre.
This has led to an intense career as a composer of film scores, soundtracks, and multimedia performances, alongside record production, sound art, and sound installations. He is the creator and artistic director of the electroacoustic music festival “Acusmatiq”, held for twenty years in Ancona at the Mole Vanvitelliana, and the founder and president of the Museo del Synth Marchigiano (Museum of the Marchigian Synth)
By Paolo F. Bragaglia
Damian Dombrowski, Chiara Pietroni: narrators
Ludovica Gasparri: soprano
A production of Mozartfest Würzburg
World premiere: June 21, 2019
Arrested Gestures
A composition imagining gestures, an anthropological archive of the body, as sound objects, predominantly through an acousmatic approach to the deconstruction and reconstruction of field/phone recordings, using the CD and CDJ as a tool or instrument for real-time manipulation, re-recording and improvisation, highlighting the musical potential of seemingly trivial real world sounds.
A sound situation extracting and trapping gestures from a socio-cultural landscape into an unpredictable set of sonic objects, continuously re-arranged and re-choreographed in time.
This radio piece is in direct relation to Milic’s expanded cinema performance INSCRIPTION, ENDURING; POTENTIAL which centers on gesture as holder of subtle cultural memory and history (the body as an anthropological and sociological archive) using found footage to practice experimental autoethnography – extracting glimpses of gestural movement from super8 home movies and interconnecting them in multi-projections.
“Gesture is the name of this intersection between life and art, act and power, general and particular, text and execution. It is a moment of life subtracted from the context of individual biography as well as a moment of art subtracted from the neutrality of aesthetics: it is pure praxis. The gesture is neither use value nor exchange value, neither biographic experience nor impersonal event: it is the other side of the commodity that lets the “crystals of this common social substance” sink into the situation.” (Giorgio Agamben)
Geanina Gypt is a leftfield music project of artist and DJ Maja Milić, fueled by a hardcore use of loops, extensive resampling, deconstruction and creating rhythms by misuse and destruction of samples or trivial sonic elements of reality, as well as the use of DJ equipment as tool for real-time manipulation of prerecorded sound (improvisation of an improvisation), mostly on tapes and CD.
She uses radio as a space for releasing music in long form or testing conceptual ideas, often intermedial (like, broadcast of images or live happenings), through her show Gypt Sessions on Berlin’s artist radio reboot.fm, and sometimes through Intruder Sessions, which is an irregular intrusion of the radio with spontaneous sets or concepts. She started to self-release tapes under Gypt Records.