The performances by Slovenian artists Miha Ciglar and Luka Dekleva & Luka Prinčič are going to transform the club space into a space for experimental audio sessions. The artists will present to the audience a unique insight into the intriguing world of sound art.
The unpredictable dynamic and use of abstract glitch aesthetics of Schizogram, along with Ultrasound Haptics' research into the haptic interface based on ultrasound waves, are going to create an atmosphere that merges the concepts of temporary and permanent, accidental and mechanical, and human and technological. In the focus of the 2011 programme of Gallery Mochvara the emphasis will be put on sound art, promoting the progressive urban art scene focused on the creative use of technology, acoustics and noise, using new media practices to bring together the auditory, the visual and the tactile.
The 2011 programme has been conceived by the curatorial team of KONTEJNER | bureau of contemporary art praxis.
Luka Dekleva (SI)
Luka Dekleva is a Slovenian photographer and video artist. After finishing his MA studies at FAMU in Prague he joined Codeep, a Ljubljana based collective of artists working in the fields of new and classic media, organizing gallery exhibitions, art festivals and club events. Luka is active in the field of conceptual photography and haptic media. He is currently working on a gesture based interface called PLAY.VJ.
His exhibitions include participation in 95'05 Slovene Art 1995-2005, Territories, Identities, Networks, Gallery of Modern Arts, Ljubljana, Slovenia 2005, 25 PEACES, euroPART, Austria 2006.
Miha Ciglar (SI)
Miha Ciglar is a composer and sound artist currently studying at the University of Music and Dramatic Arts in Graz, Austria. Originally from Maribor, Slovenia, Ciglar now lives and works in Western Europe. Since 2001 he has performed his own compositions for saxophone, guitar, vibraphone, double bass, electro-acoustical performances, interactive dance performances, computer music and audiovisual installations at many art festivals all around the world.
His work has strong conceptual fundaments and points away from expressive values of common aesthetic ideals. A subject of high concern and priority is the problem of absolute awareness of sonic perception which is directly connected with the question of existential legitimacy of sound art. Ciglars compositional approach and attitude towards technological solutions are very similar and rooted in a revaluation of existent ‘material’, resulting in its preliminary decomposition, in order to absorb its originally suggestive character for an employment in the further process of creation.