When Kaja plays, Grgur smiles, and listens. The process flows both ways. Their intentions are honest and generous, guided by curiosity and trust. In the world of music improvisation and creating in the moment, they believe that sound is not given, it is negotiated, not played, but discovered together.
This performance marks their first collaboration as a duo, bringing together two distinct yet closely connected practices. Letting go of traditional ideas of instruments and form, they treat sound as living material: something to be found anew, stretched, transformed, or redefined in the moment.
They do not prepare pieces, only possible fragments, directions, and surprising situations that can fully emerge through playing. For both, sound is always alive and in motion, sometimes stable, sometimes deliberately unstable, shaped by mutual listening, interaction, and the trust to follow it wherever it leads. What connects them is a shared love for stepping beyond comfort and familiarity, exploring what sound can become, how it behaves, and how it relates to space, body, and each other.
Kaja uses percussion as a space for expression, believing there are no limits to what an instrument can be or what can become music. For her, the question is always what to do with a particular sound at a given moment. Her playing always brings a fresh and vibrant energy to the stage, and she loves when sound, movement, and visual presence are equally important and carefully shaped.
Grgur approaches his saxophones as something to play with and rethink, objects to be prepared, taken apart, pressurized, and reshaped. He searches for unexpected narratives not only in the sound itself, but in what the instrument becomes through transformation and re-hearing. He enjoys staying with uneasy, uncomfortable sonic moments, where things feel slightly off, because that’s where new ideas appear and real discovery begins.
Kaja Farszky (HR/BE), based in Brussels since 2016, is percussionist whose work is rooted in contemporary music and interdisciplinary collaborations reaching diverse age audiences, including babies. Her life is marked strongly through work with composers, artists from different fields such as dance, theatre, and visual arts while being involved in creations on a regular basis. She deeply questions the music that is played, and the context that is being put into. She uses percussion instruments to express herself, communicate, and touch physical and psychological dimensions of sound in order to expand the possibilities of contemporary music for creating bridges between audiences, disciplines, and (sound) environments. Kaja believes that percussion music at its best reveals and amplifies something fundamental about the composers and performers who engage in it.
Grgur Savić (HR/DE) works across the mediums of sound, visual art, and technology. His practice spans performance, composition, and material transformation, with a focus on deconstructing the saxophone to explore resonance, vibration, and the tangible presence of sound. Working with graphic scores, he investigates visual–sonic translation and real-time interaction, as in his project [air>coded], which stages a dialogue between human fragility and digital precision, questioning authorship, perception, and agency: who leads, and who listens? His intermedial practice transforms found objects and discarded texts into hybrid sound–text works, reflecting on communication, authorship, and the social dimensions of art. Across formats, his work listens for how sound, text, and objects can be coded, re-coded, and ultimately re-heard. His work has been featured at international experimental music festivals. Based in Berlin since 2015, he is an active member in the Echtzeitmusik scene.
