Na deževno prvo poletno soboto, 22. junija 2019 ob 21.00 vabljeni še na zadnjo kitarsko šagro!

Dvojni dogodek:

koncert dueta PonTon (Beograd/ Srbija) in elektronika Marko Batista (Ljubljana/ Slovenija) ter Gino Lucente (Milano/ IT)

DJ set in vizualije: Gino Lucente + projekcija videa “Finalmente soli” (“Končno sami”) – Filippo Parodi in Alessandro Di Giampietro.

PonTon
Marko Jevtić, Igor Stangliczky (el. kitara, el. bas) prihajata iz Beograda/ Srbija in od leta 2008 pripovedujeta svojevrstne zvočne zgodbe. Glasba je mešanica elektroakustičnega zvočnega ambienta, noise-a, eksperimenta in improvizacije – s pogosto uporabo zvokov okolice. Glasbene teme zazibljejo poslušalca v posebno vzdušje, kjer postane zvok podlaga za njegov lastni domišljijski film.

Nekaj skladb -> https://soundcloud.com/pontonband

Duetu se bosta pridružila Marko Batista in Gino Lucente.

Gino Lucente (IT/ Milano) – Sagra
Trije večerni dogodki/ multisenzorična doživetja v Cirkulaciji 2  | Tobačna Ljubljana – s skupnim imenovalcem v trojici pomenov: nasprotje (antinomija) – neskladje (nekompatibilnost/ asinhronost) – disonanca/ harmonija. Šagra je v Italiji ljudsko praznovanje trenutka združitve / povezave med posvetnim (človeštvom) in svetim. V starih časih so bila mesta praznovanja cerkve in templji. Izbira prostora Cirkulacije 2 kot nekdanjega industrijskega prostora že kaže na prenešene simbolike in sodobno osnovo projekta.

– četrtek, 20. junij 2019 ob 21.00: koncert/ performens – Gino Lucente z vokalno skupino REZIJA // Za srce mo. + 4 John Doe Masks by Alessandro Di Giampietro.

– petek, 21. junij 2019 ob 21.00: projekcija videa “Sagra” (“Praznik”), sestavljanka posnetkov starih italijanskih komedij + živa spremljava Gino Lucente (električna kitara in “looper”). Video montaža: Gino Lucente in Jennifer Keber. In addition, we said: “Gino, play some more for us” – and he played…

– sobota, 22. junij 2019: dvojni dogodek ob 21.00
-> koncert PonTon (Beograd/ Srbija) in
-> DJ set in vizualije: Gino Lucente + projekcija videa “Finalmente soli” (“Končno sami”) – Filippo Parodi in Alessandro Di Giampietro.

Kaj je”Šagra”

V treh različnih primerih medijev (zvočna pripoved, filmska pripoved in tretja – druženje) Gino Lucente raziskuje dobesednost, sinhronost, konsonanco na način, da jim superponira njihova nasprotja: metaforičnost, asinhronost, disonanco – in na ta način pritegne v vsako od pripovedi novo dimenzijo, ki predvsem poveča polje imaginacije (pri gledalcu, poslušalcu) – in pri izvajalcu.

Gino Lucente -> več o njegovem delu:
https://www.dropbox.com/sh/gfqh3sb51fcrgpj/AAAukoRsLmJaS8vNyKJNk8L6a?dl=0

Vokalna skupina “Za srce mo”
Valentina Praprotnik, Mateja Mavri, Simona Tomažič, Zvonka T Simčič.
Dve nekdanji članici skupine Uluru (Valentina in Zvonka) in dve članici ženskega pevskega zbora Kombinat (Mateja in Simona) se naslanjajo na ljudsko tradicijo Rezije. Zvonka se je rezijskega petja učila štiri leta pri Silvani Paletti, ki ji pravijo kar rezijska šamanka. Silvana ni le pevka ljudskih pesmi, ampak prenašalka oddaljene bližine nečesa, kar danes ne živimo več in se mu lahko le približamo. Ponosno predstavljajo živo bližino šamanske Rezije.

Details on the three approaches:

Performance with a traditional folk band/ choir.
There is an apparent antagonism between folk music with it’s typical melodies and harmonies and the dissonant electric-noise notes produced by my guitar. This antinomy doesn’t necessarily have to find a point of suspension nor an easy interpretation of the composite redundancy. Quite the contrary, it is in front of this incompatibility that the material becomes interesting. The performance’s objective is to focus the attention on the differences and the similarities between cultures and the potential dialogue-oriented composition based on improvisation.

found footage – Italian Comedy movies, with the score by Gino Lucente. Video editing by the artist and Jennifer Keber.
For the French critic Michael Chion there are two ways music can create a special emotion in relation with what is represented in a film. In the first case music directly expresses an emotional participation to the scene; in the second one, it displays an evident indifference to the situation, coming across as something equal, bold and inevitable. It’s on the background of this indifference that the action takes place. The effect is not to freeze the emotion but to reinforce it by inscribing it in a cosmic context. Images are strongly influenced by sound, and it’s here that the extra diegetic helps to turn a dramatic gesture into something different. The video found footage is made and presented by editing pre-existing scenes from Italian comedy films. It is substantially a multi-screen video installation supported by a live music commentary. The objective here is to create a third level of perception by highlighting the contrast between comedy (video) and drama (sound).

DJ set and visual by Gino Lucente. “Finalmente soli” (It. “Alone At Least”), video created in collaboration with Filippo Parodi and Alessandro Di Giampietro.
Intercepting the recent trend on social networks to create and share videos in lip-sync, through special apps, the artist starts from a series of amateur videos and to create a mosaic of the post-digital society. Each piece appears the same in that, which, despite being a choral composition, it turns out to be a single, repeated action, camouflaged in an apparatus that again takes on an almost decorative function for a visual distortion. This time contrasting silence with images, Lucente orchestrates mute figures performing a set of “solos” in front of the lens, at the rhythm of the tracks chosen for the DJ set. Recalling, one could say, “The Rite of Spring” by the Russian composer Stravinsky, the dance recovers its ritual and propitiatory function, giving back through the rapture of ecstasy and the shared catharsis, the warmth and intensity of ‘real’ human relationships within a non-pre-determined but voluntarily chosen community.