Tomislav Oliver & Goran Nježić, w/ Joshua Hyde: Percées de Lumière (2023)
Joël Lavoie & Guillaume Vallée: Champs Vagues (2023)
Mark Fell & Rian Treanor: Crashing Into Bleaklow (2024)

Tickets presale: Entrio.hr

At the end of October, KONTEJNER presents two exciting sound performance evenings dedicated to the spatialization of sound. The program includes performances by Croatian and international musicians, composers and video artists who will perform their recent multi-channel electronic and electroacoustic compositions and audiovisual performances.

The two-days program begins with the performance of producer and musician Ivona Eterović tonota; brings the first guest appearance in Zagreb of one of the most important composers and musicians, but also a lecturer in the field of spatial sound, Ji Youn Kang; the Croatian premiere of Tomislav Oliver's composition - his final work on the study program at IRCAM in Paris - with a video by Goran Nježić and performed by saxophonist Joshua Hyde; followed by an audiovisual performance by Canadian sound artist Joël Lavoie and experimental filmmaker Guillaume Vallée; and the program ends with a performance by Mark Fell and Rian Treanor, who will perform a multi-channel composition created during a joint residency at INA GRM in Paris.

Tomislav Oliver & Goran Nježić: Percées de Lumière (2023)
Percées de Lumière is an audiovisual performance piece by Tomislav Oliver (music) and Goran Nježić (video), performed by the Australian saxophonist Joshua Hyde. It was realized as Oliver’s final project for the Cursus study program at IRCAM, Paris.
The composition is influenced by the search for new sound potentials of acoustic instruments in the context of electronic music, composition and improvisation practice. While researching the (meta)possibility of acoustic instruments in the context of new performance potentials the research shifted towards examining new ways of generating sound that would arise from the structural properties of the instruments themselves. Influenced by the "no-input mixer" technique in the works of artists such as the Japanese improviser Toshimaru Nakamura and the Croatian-German composer Marko Ciciliani, it focused on experimenting with the phenomenon of feedback and the way it functions in relation to different material properties, i.e. " architectures and spaces" of wind instruments. Using the saxophone’s resonating chamber as a sound generator, the instrument is recontextualized as a modular space for a feedback system and thus goes beyond its primary function and immanent sound idiom.
As a “hommage” to the work of Gordon Matta-Clark, the piece explores the power of the imperceptible, the role of visual in auditory space through the poetics of feedback and the delicate stillness of noise.

Joël Lavioe & Guillaume Vallée: Champs Vagues (2023)
Champs Vagues is an audiovisual performance by musician and sound artist Joël Lavoie and experimental film/video maker Guillaume Vallée.
In numerous areas of the world, industrial complexes take a major part in urban and rural life. With their intricate and massive infrastructure, they overlook us occupying our visual and sonic spaces. Yet we have a reciprocal relationship with them as they take a central part of the production cycle and sometimes even allow a whole community to function. Still these austere buildings and their oppressive impressions are seen as a nuisance to the landscape, without any aesthetic qualities, being a necessity that we had no word on its constitution or emplacement. With Champs Vagues artists propose the audience to reconsider their gaze towards this infrastructural landscape enhancing its aesthetic beauty with a poetic and contemplative experience.
This performance unveils itself through a fluid transformation of a stark industrial scape to a shapeshifting abstraction which enhances its dynamics properties. The sonic material consists of field recordings of various machines and scenes of industrial workers which are orchestrated and played in real time. With minimal intervention to keep their agency intact and instead underline their temporality in enhancing some properties like timbre and pitch with various manipulations. It’s this minimalistic intervention in the sound that conveys this sentiment of deviation from the brutalistic nature of machinic soundscape to the sublime wonderings of the mind.
The visual elements are the result of a film/video hybrid process that uses both analog and digital technologies. A combination of AI generated industrial landscapes, hand-processed 16mm, hand-painted 35mm and analog video brings new visual perception to the viewer through an austere imagery where colourful blossoming occurs. This work is a constant dialogue between sound and image, analog and digital, harshness and beauty.

Mark Fell & Rian Treanor: Crashing Into Bleaklow (2024)
The multichannel sound composition Crashing Into Bleaklow combines the artistic practices of Mark Fell and Rian Treanor and features electronic composition, Max/MSP patches and modular synthesis. In the dynamic and adventurous performance of the work they explore extended rhythmic techniques and algorithmic processes.