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EMAP residency 2021 This year’s EMAP residency began in February. The residency was an online one with weekly curatorial and production meetings between the artist and KONTEJNER. The goal of the EMAP residency is to offer artists better conditions and resources for the research and production development of art works. The focus is on cross-sectoral and interdisciplinary aspects of art works development and the possibility for an intensive and focused artistic research. The residency contributes to international visibility and significance of contemporary artistic practices engaging local communities and new audiences, merging productively and creatively diverse areas of knowledge. High Fidelity Wasteland II: The Protoplastic Groove, 2021 High Fidelity Wasteland is a trilogy of sound-centric works that wade through generations of decomposing material waste produced by the global music industry. High Fidelity Wasteland II: The Protoplastic Groove is an immersive sound installation consisting of a 1950s era record player that devolves the audible timescale of music from the past. The work amplifies and inhabits the impurities, noise, and biological origins of shellac records – the precursor to vinyl as we know it today. Rather than rapidly spinning these classical compositions and nostalgic hits at the standard 78 rpm (revolutions per minute), this work slows everything down to a mere 16 rpm and stretches sound into an encompassing somber landscape. The first form of widely collectible music was inscribed on the byproduct of an insect survival strategy. Whereas High Fidelity Wasteland I: 100 Year Old Quicksilver Cloud (2020) sonifies the toxic high-frequency environment of vaporized metals inside a vacuum tube – a technical component pervasive throughout early radio and communication transmission technology – this work revolves around the hidden ecological origins at the foundation of recorded music. The shellac record was the first ever disk-shaped recording medium which allowed people to own, collect and listen to music on a gramophone in the domestic setting. And although, as a material, it looks and behaves like any other plastic, this dark resin is in fact an organic bio-adhesive – one that is excreted by the tree dwelling lac beetle as a protective shelter for her offspring. Chemically similar to synthetic polymers, shellac is considered a natural form of plastic – one that was rapaciously harvested and commodified throughout the 20th century for the global music industry. Although produced on a massive scale, shellac records signify a short-lived transition towards the plastification of music at the outset of our throwaway culture. The second work in the trilogy was inspired and supported by the German Phono-Museum St. Georgen, which was made possible through a residency at the Kunstverein Global Forest e.V. in Saint Georgen in the Black Forest. High Fidelity II: The Protoplastic Groove was realised within the framework of the European Media Art Platform EMARE programme at KONTEJNER with support of the Creative Europe programme of the European Union. The artist gratefully acknowledges the support of Daniel Stigler, Irene Pérez Hernández, Studio Alex Rex, Olsen Wolf, Jürgen Weiser and the German Phono-Museum St. Georgen.
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EMAP rezidencija 2021. Ovogodišnja EMAP rezidencija započela je sredinom veljače. Rezidencija je u potpunosti održana online uz tjedne kustoske i produkcije sastanke umjetnice i udruge KONTEJNER. Cilj EMAP rezidencija je pružanje boljih uvjeta i resursa umjetnicima za istraživački i produkciji razvoj umjetničkog rada. Fokus je stavljen na međusektorske i interdisciplinarne aspekte razvoja umjetničkog rada, kao i na pružanje mogućnosti za provedbu intenzivnijeg i specijaliziranog umjetničkog istraživanja. Rezidencija doprinosi međunarodnoj vidljivosti suvremenih umjetničkih praski koje uključuju lokalne zajednice i nove publike te na produktivan i kreativan način premrežuju različita znanstvena i istraživačka područja. High Fidelity smetlište II: Protoplastični zapis, 2021. High Fidelity smetlište trilogija je sonocentričnih djela koja se probijaju kroz generacije raspadajućeg materijalnog otpada proizvedenog u globalnoj glazbenoj industriji. High Fidelity smetlište II: Protoplastični zapis imerzivna je zvučna instalacija, a sastoji se od gramofona iz razdoblja 1950-ih koji devoluira zvučnu skalu glazbe iz prošlosti. Djelo pojačava i usvaja nečistoće, buku i biološko podrijetlo ploča od šelaka – preteče vinila kakav poznajemo danas. Umjesto brzog puštanja klasičnih skladbi i nostalgičnih hitova na standardnih 78 o/min (okretaja u minuti), ovaj rad sve usporava na samo 16 o/min, rastežući zvuk u sveobuhvatni tmurni krajolik. Prvi oblik glazbe koja je bila široko dostupna kolekcionarima zapisan je na nusproduktu strategije preživljavanja jednog insekta. Dok High Fidelity smetlište I: Stogodišnji oblak od stare žive (2020.) sonificira otrovno visokofrekventno okruženje isparavajućih metala unutar vakuumske cijevi – tehničku komponentu koja je bila sveprisutna u ranoj tehnologiji radijskog i komunikacijskog prijenosa – ovaj rad bavi se skrivenim ekološkim podrijetlom snimljene glazbe. Gramofonska ploča od šelaka bila je prvi medij za snimanje u obliku diska koji je ljudima omogućio posjedovanje, prikupljanje i slušanje glazbe na gramofonu u domaćem okruženju. I premda kao materijal izgleda i ponaša se kao i svaka druga plastika, ova tamna smola ustvari je organsko bio-ljepilo koje izlučuje ženka štitaste uši nastanjene na drveću čime stvara sklonište za svoje potomstvo. Šelak je kemijski sličan sintetičkim polimerima i smatra se prirodnim oblikom plastike, a tijekom 20. stoljeća grabežljivo je sakupljan i prerađivan za globalnu glazbenu industriju. Iako su se proizvodili u velikom broju, zapisi na šelaku obilježavaju kratkotrajni prijelaz prema plastifikaciji glazbe na počecima naše kulture bacanja. Drugi rad u trilogiji nadahnuo je i financirao Njemački fono-muzej St. Georgen, a omogućen je umjetničkom rezidencijom u Kunstverein Global Forest e.V. u St. Georgenu (Schwarzwald). High Fidelity smetlište II: Protoplastični zapis realiziran je u okviru European Media Art Platform, programa EMARE u KONTEJNER-u, uz potporu kulturnog programa Kreativna Europa Europske unije. Umjetnica zahvaljuje na podršci Danielu Stigleru, Irene Pérez Hernández, Studiju Alexa Rexa, Olsenu Wolfu, Jürgenu Weiseru i Njemačkom fono-muzeju St. Georgen.