VIDEO DOCUMENT: NOISM: Public talk and presentation of research project, Improstor / kuda.org, Nemanja Sovtic (Novi Sad), Djordje Markovic (Novi Sad), Ljubica Ilic (Novi Sad)
October 31 – November 02, 2019, Novi Sad
production by kuda.org
NOISM: public talk and presentation of a research project
Improstor/kuda.org, Nemanja Sovtić (Novi Sad), Đorđe Marković (Novi Sad), Ljubica Ilić (Novi Sad) and festival guests
NOISM – New forms of research in contemporary music is focused on the development and analysis of contemporary art production and promoting practices in contemporary music and artistic creation with a particular focus on interactivity and group creative process.Through publishing, the project seeks to publish new author texts by local authors, relevant texts and translations of books, CDs, audio and video interviews, which will contribute to the development of art criticism and reception in the field of new music and new creative processes that are not sufficiently valorized in contemporary Serbian music.
The talk and presentation was realized within FESTIVAL-IN-OPPOSITION.
Festival-in-opposition is a platform for establishing a relationships of art, education and the politics of improvisation. This platform is oriented towards creating temporary zones of groupness, exchange and support for improvisational practice that works / produces in sound, with sound and around sound. Permanent ongoing drives - OUR 'Accompanyings' (Improvisations and Performance), JukeBox (Exchange of Materials), Sound Installation and Reading Desk - initiate artistic production in festival format, with the intention of affecting and conceptualizing improvisation as artistic, cultural and socio-political (against)an attitude opposed to the commercialization, trivialization, depoliticization and predatory utilization of art. Based on Company Weeks (the annual free-improvisation festival organized by Derek Bailey from 1977 to 1994) and Rock in Oppostion (a movement of music bands which opposed the monopoly of the music industry during the 1970s), the Festival-in-opposition does not aspire to a place of institutions with authority, it already persists as a fragile hub of intersecting fluxes from the local and regional scene, just like the influences of creative energy coming from European and world metropolises.
Photo: Manja Holodkov