SVITAVA: TRASH PERIFERIE
“Transplanted scene where pulses of sound are embedded in materials, causing the image to resonate and vibrate off the projection screen. Light acting as a trigger activates perhaps even the lyrics of synthesizers. The objects were provided by a post-industrial site that right now teeters between a useful dumping ground for companies, a home for plants and animals, and a dusty concrete reservation. While the vague terrain is being abandoned by crane drivers, the artists are arriving...”
Authors: Tomáš Vtípil, Jiří Suchánek, Karolina Raimund, Matúš Stenko
SVITAVA was founded as an association that connects people from different parts of the world as well as artistic, scientific and technological sectors. It is located in a former cement factory under the Hády quarry. The original mission was to bring expertise to Brno and gradually build a local community of practitioners of “new“ media production through workshops. Even though the implementation and development of complex works of art, SVITAVA seeks new ways and means of non-hierarchical education in the post-digital age. Since the association's establishment in 2020, it has held annual workshops developing the skills of members and the public alike, in the areas of e-textiles, AI, DIY radio, VR, sensor manufacturing, learning software and programming languages. Since the second year, the association has focused on collaboratively building community. They believe that an individual can do a lot, but a professionally and humanly competent group, the maximum. So far, the results of the collaboration have been the sound and VR installation Archipartitura in Villa Tugendhat, the collaborative project TRYCHTÝŘ and the SONDA Festival in Brno Observatory and Planetarium. The association sees the invitation to TERÉN as another opportunity to bring the community together and share its artistic views with the public.
Tomáš Vtípil is most often described as a noisemaker, composer of film and stage music, and performer. He often collaborates with a variety of musical groups across musical genres, and as diverse as this list may sound, it all represents an exploration of inner unity.
Jiří Suchánek focuses on experimenting with sound, shape, light and the technosphere in multimedia installations in public spaces and natural monuments such as caves. As a musician, he brings objects to life through codes. He thus turns sculptures into tools for social games for himself and the audience.
Karolina Raimund works with the boundaries of design, social art and portrait photography. Her works are profound experiences and recollections of the tasks she has to perform on planet Earth.
Matúš Stenko works on the border of interactive design, graphic design, animation and illustration.
Maria Komarova: Krɑjïnɑ V
“Some say, there are no places better than home. Others hope there are lands that were promised or places existing as gaps out of timespace, within the realms of the ordinary world. We may fall into them and find ourselves on a boundary between two nowheres, like on a coast without water and land lost among debris from both sides. There, things become forces and sounds become tales. There, artefacts dance with landforms and offer hints without making riddles. How do you feel about a waltz with a burnt piece of rock or a gentle hug with a bottleneck?”
Maria Komarova is an interdisciplinary artist whose practice is situated on the borders of performing arts, scenography, sound, and installation art. By staging and technically repurposing commonplace objects, Komarova’s works emphasise sonic and visual potential of the non-human world. Working with sound as a performative medium, she continuously develops DIY electro-acoustic objects and lets them temporarily inhabit the sites of performances and installations.
Yann Leguay: 7 haikus for a turntable
„“When listening to a record, I often wonder if it's really the turntable that spins the record on its axis, or if finally, the disc doesn't move and it is the whole earth which is in rotation below? Between an active installation and a sound performance, the series of haikus for a turntable unfold in 7 acts is a circumstantial and ephemeral experiment on the edge of the absurd and around the vinyl record. Fundamental questions turn and spin on our relation between the whole universe and this object.”
Yann Leguay’s work, located on the border between conceptual art and music, focuses on media archeology while developing critical thinking on technological evolution. Internationally active on the experimental scene since 2007, he performed at concerts and festivals such as Présence Eléctronique in Paris, Tsonami in Valparaiso, Listahatid in Reykjavik, LUFF in Lausanne... He regularly presents his formal research at exhibitions like in Mexico where the «ExTeresa Arte Actual» museum invites him for his first retrospective, as well as in numerous collective exhibitions, such as Audiograft in Oxford, STUK in Leuven... He is also at the origin of the independent label Phonotopy offering a conceptual approach to recording media and we find him on various specialized labels such as Vlek, ArtKillArt, Consumer Waste, Impulsive Habitat, Tanuki, TTT.