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PRE / OBČUTLJIVOST

Festival Sonica praznuje deseto obletnico in se obenem nahaja v položaju doslej največje negotovosti. Pogled nazaj, na zadnjih nekaj let, razkriva počasno spajanje mainstream zvoka in alternative; bodisi zaradi izmikanja resnično svežega ustvarjanja iz središč, bodisi zaradi iskanja novih občinstev, ali pa preprosto zato, ker trenutni čas zaznamujeta enodimenzionalnost mnogoterih in hkratnih signalov ter spajanje visokih in revnih podob. Umanjkanje potrebne pozornosti, ki jo lahko razumemo tudi kot neobremenjenost, morda prinaša počasno izginjanje občutljivosti; stranski, vendar vse bolj viden simptom tega procesa pa je izrinjanje različnih alternativ na obrobje. Ko pa se meje brišejo in stili spajajo, se ponovno vzpostavljajo nove hierarhije; zakoreninjeni položaji in definicije se nenadoma izmikajo; pojavita se nuja po zaščiti in potreba po lastnem prostoru. Vsako premikanje in deplasiranje pa prinašata čas večje občutljivosti in prespraševanja.

Sonica se je začela v varnem zavetju, pod okriljem enotnega prostora javne institucije – Galerije Jakopič. Zastavljena je bila kot razstava v prostoru in času; naslednjih deset let je z vsako edicijo raziskovala različne formate razstave in festivala ter segala od kratkih, nekajdnevnih edicij do takšnih, ki so se raztezale čez cel mesec. Vstopala je v javne prostore, stanovanja, podzemne prostore in hkrati povezovala institucionalno kulturo. Danes je v duhu svojega poslanstva tranzitornosti razpršena tako prostorsko kot žanrsko; sega od institucionalnih prostorov do samoniklih in samoorganiziranih prizorišč; predstavlja glasbenike, ki so hkrati preveč alternativni in premalo mainstreamovski; spaja priljudnost svetlobe in interakcije z kritičnim razmišljanjem in aktivizmom; ob vsem tem spodbuja k posluhu in občutljivosti.

Tema pre/občutljivost se nanaša tako na konec (s katerim se je festival ob izgubi podpore letos spogledoval) in preseganje kot na občutljivost. V času, ko je vse manj prostora in posluha za vsebine, ki presegajo žanrske okvire; in ko je hkrati prisotno posploševanje in spajanje različnih vsebin, je ključno, da gojimo občutljivo uho in naravo. Finančni, politični in družbeni premiki povzročajo občutljivost, pogosto tudi preobčutljivost, ki onemogoča spremembe. Tudi festival se je znašel v tem položaju: je področje zvoka, ki ga gojimo, v tem prostoru in času občutljivo in potrebno zaščite? Ali je, nasprotno, čas, da preživi brez zaslona institucij in državne podpore? Kdaj vstopimo v polje pre/občutljivosti? In koliko, če sploh, nas ta pre/občutljivost določa in pozicionira v svetu?

Občutljivost kot tista kategorija, ki v rastlinskem in živalskem svetu določa življenje, vredno življenja ali smrti. Občutljivost in avtohtonost podob in zvokov, ki se pretakajo, kompresirajo in manjšajo ob pretoku informacij. Občutljivost inteligentnih algoritmov, da zaznajo spremembe, jih preživijo in se od njih učijo. Moralna občutljivost in z njo povezano obsojanje zaradi neznanja, ki smo ji bili priča letos v kulturnem dogajanju. Občutljivost politik identitet. Občutljivost za spremembe in posledično zapiranje in varovanje obstoječega stanja, ki onemogoča razvoj. In nenazadnje, gojenje občutljivosti za zvok, ki v spajanju in prepletanju vedno šepeta, citira, premišljuje trenutno družbo.

VABLJENI NA DESETO EDICIJO FESTIVALA SONICA.

Ob tem razmisleku z velikim veseljem predstavljamo edicijo festivala, ki ponuja šest presežnih večerov na presečišču zvoka in umetnosti. Od temačnega folka do transcendentalno-meditativne klubske glasbe, k razgrajaškemu spoju punka in industrial tehna, do novih loopov, perzijske tehno apokalipse ali subtilnega zvočenja vode, mikročipiranih kompozicij in efemernih, neopredeljivih iskanj lastne občutljivosti.


OVER / SENSITIVITY

SONICA Festival celebrates its 10th anniversary and at the same time faces its most uncertain situation so far. A look back at the past few years unravels a slow merging of mainstream sound and the alternative. This may be due to various reasons: maybe it’s because really fresh creation is evading the centres, maybe because of the search for new audiences, or simply because the current time is marked by the one-dimensionality of multiple and simultaneous signals and the merging of highbrow and poor images. Maybe the lack of necessary attention, which can also be understood as unconcern, brings along a slow departure of sensitivity, the symptom of which - only a side-effect, but an increasingly visible one - is the displacement of various alternatives to the periphery. And when the borders are erased and styles merge, new hierarchies are restored: established positions and definitions suddenly become elusive, the need for protection and one’s own space emerge. Each transition and displacement is a time of greater sensitivity and examination.

Sonica started in the safe shelter of a unified institutional space - the Jakopič Gallery. Conceived as an exhibition in time and space, during its next ten years, each edition of Sonica explored various festival and exhibition formats: from the duration of a few days to a full-month festival. Sonica entered public spaces, apartments and underground spaces and bridged institutional culture. Today, in the spirit of its transitory mission, Sonica is dispersed among spaces and genres: it reaches institutional, as well as self-organised and grassroots spaces, presents musicians who are too alternative and not enough mainstream, merges the popularity of light and interaction in art installations with critical thinking and activism, and encourages listening and sensitivity.

This year’s theme, over/sensitivity, means both the end (which the festival faced when its support was cut), overcoming, and sensitivity. In a time when there is less and less space and attention for content that surpasses established genres (and, at the same time, the omnipresent generalisation and merging of various contents), the most important thing is to take care of our sensitive ears and nature. Financial, political and social transitions cause sensitivity, often oversensitivity, that prevents change. Sonica festival, too, has found itself in this position: is the area of sound we nurture over-sensitive in this space and time and needs protection? Or is it perhaps time for it to survive without being sheltered by institutions and public funding? When are we entering the field of over/sensitivity? And how much, if at all, does this over/sensitivity define and position us in the world?

Sensitivity as a category which, for instance, in the world of plants and animals, determines a life worthy of life or death. Sensitivity and originality of images and sound that circulate, compress and diminish with the transfer of information. Sensitivity for detecting change, surpass it and learn from it, as intelligent algorithms do. Moral sensitivity and the associated condemnation of ignorance we have witnessed in the sphere of cultural policy-making this year. Sensitivity of identity politics. Sensitivity for change and the consequent retirement and protection of the status quo that prevents growth. And last but not least, nurturing sensitivity for a sound that in its merging and weaving always whispers, quotes and reflects today’s society.

WELCOME TO THE TENTH EDITION OF THE SONICA FESTIVAL.

With this reflection we are delighted to present the tenth edition of the Sonica festival, which offers six exceptional evenings at the intersection of sound and art. From the gloomy folk to transcendentally-meditative club music, from the rowdy fusion of punk and industrial techno to new loops, from Persian techno apocalypse to the subtle acoustics of water, from microchip compositions to the ephemeral and undefined searches of one’s sensitivity.