Voxfeminae.net – The Institute for the Future – the voice for those less heard, 03.10.2018.


U sklopu umjetničkih izvedbi ovogodišnjeg Vox Feminae Festivala, u četvrtak (4.10.) u foajeu CeKaTe-a održala se izvedba Vesne Mačković pod nazivom “naša Lijepa”. Radi se o performansu tijela i glasa na temu diskriminacije lezbijki u okviru nacionalističkih društvenih tijekova kojim autorica potencira svjesnost o institucionalizaciji diskriminacije kao metodi anuliranja identiteta i problematike koja proizlazi iz tabuiziranja seksualnosti.

Institut za budućnost Vesne Mačković – glas onima koje se premalo čuje

Vesna Mačković je autorica, izvođačica i producentica u predstavama suvremenog plesa te multimedijalnog i eksperimentalnog kazališta. Također se izražava kroz umjetnost performansa i videa te eksperimente glasa i zvuka. Ujedno, osnivačica je umjetničke organizacije ARKTIK – institut za budućnost čija je misija produkcija socijalno osviještenih umjetničkih projekata i davanje glasa kroz umjetnost onim ljudima i temama koje se premalo čuje.

Organizacija se između ostalog odlučila financirati kroz crowdfunding, a podržati ju možete na ovom linku. S donacijama se planira financirati osam umjetničkih projekata kroz prvu godinu djelovanja, zaposliti producenta/icu te pokriti troškove marketinga. Iako crowdfunding više nije neuobičajen na nezavisnoj kulturnoj sceni, povodom njega i same izvedbe odlučili smo s Vesnom, koja je ekonomistica po struci, porazgovarati o ovim temama.

Možeš li nam opisati kako je došlo do osnivanja ARKTIKA? Kakvu budućnost ova organizacija zamišlja, i kako ju planira zagovarati u javnom i kulturnom prostoru?

ARKTIK – Institut za budućnost rodio se kao ideja kada sam došla u točku moje karijere u kojoj sam shvatila da se sve više bavim umjetnošću zato da bih progovarala o društvenim promjenama, diskriminacijama ili osvjetljavala ideje za koje sam smatrala da su zanemarene ili slabo zastupljene u medijskoj buci i kakofoniji zabave, politike i sporta. Shvativši da mi potpuno prestaje imati smisla kako lijepa umjetnost tako i tzv. lapurlartizam i da socijalno angažirane umjetničke radove želim stvarati u suradnjama s drugim umjetnicima, ali i omogućavati financiranje radova u kojima ne sudjelujem autorski, kao logičan slijed misli stvorila se ideja za novim projektom. Zato Institut za budućnost – kako bi umjetnici kroz razne medije (kazalište, ples, glazba, film, vizualne umjetnosti) bili angažirani i jasno progovarali kroz svoju umjetnost u ime društva, pojedinaca i ideja koje su zanemarene, pregažene ili diskriminirane.

Što vas je kao kolektiv nagnalo da se okrenete crowdfundingu kao metodi osiguravanja sredstava za djelovanje umjetničke organizacije? Što iz ovog modela financiranja najviše donosi potencijalnoj publici?

Kako je u Hrvatskoj još uvijek u punoj snazi utjecaj postratne korupcije koji se očituje kroz nedovoljne institucionalne podrške kulturi i umjetnosti shvatila sam da sredstva za rad Instituta moraju doći i s dodatnih strana, a ne kao dosad isključivo iz ili vlastitog privatnog budžeta ili s tereta poreznih obveznika kroz javne natječaje. Također sam shvatila da svjesnost o vrijednosti kulture i umjetnosti mora porasti ne samo u očima institucija nego i publike i poduzetnika. Tek kada publika shvati da naša umjetnička scena stvara vrijednosti za društvo, pa kada i tvrtke shvate da sponzorske vrijednosti mogu pronaći i u kulturi i znanosti, a ne samo sportu i humanitarnim akcijama, tek tada će kultura u Hrvatskoj doći na razinu na kojoj je bitna za duhovni i intelektualni napredak društva. Kroz ARKTIK želimo raditi na osvještavanju ovih ideja u publici i poduzetničkoj sferi i stoga prikupljanje sredstava za našu prvu godinu rada želimo ostvariti većim dijelom van tereta poreznih obveznika pozivajući pojedince koji nas podržavaju u našoj misiji da doprinesu koliko smatraju da njihov udio može i treba biti, a tvrtke da uzmu u svoje sponzorske planove gotovo presedanski organizaciju koja se bavi suvremenom umjetnošću fokusiranom na društveno angažirane teme. Očito to što pokušavamo predstavlja svojevrsnu revoluciju na našim područjima. Izdvojila bih Fond za druge kao rijetku inspiraciju jer su krenuli sličnim metodama da ne bi potpuno ovisili o institucionalnim potporama.

Ekonomistica si po struci, s iskustvom u poslovnom sektoru. Kad smo na temi financiranja, ono je u brojnim razvijenim zemljama često vezano uz korporativni sektor. Zbog čega kod nas ne postoji svijest unutar poslovnog svijeta o važnosti doniranja za umjetnost, i što mi kao djelatnici i djelatnice na sceni možemo napraviti da to promijenimo?

Rekla bih da je stav korporativnog sektora izražen kroz nepostojanje interesa za podržavanje umjetničkih projekata posljedica jednog začaranog kruga. I rekla bih da sudionici umjetničke scene imaju itekako jak utjecaj na to da je tomu tako. Dok god pojedini umjetnički kolektivi ili pojedinci svoje radove smatraju elitističkim tj. teško razumljivim široj publici i dok god ne postoje marketinški i PR timovi koji će raditi na deelitizaciji umjetnosti dotad ni korporativni sektor neće imati interesa podržati umjetničke projekte ili još bolje cijele kolektive i organizacije, a posljedično ni instuticijama neće biti neki žurba da pojačaju budžete za kulturu. Dok god umjetnici rade umjetnost radi samih sebe i održavaju razne scene na umjetnom disanju tako da čine svoju vlastitu publiku i nema stvaranja nove publike do tada ni korporativni sektor koji na neki način predstavlja tu širu publiku neće imati poriva ni interesa da stane uz umjetnike i umjetničke organizacije. U Institutu za budućnost stvarat ćemo umjetnost koja neće imati elitistički stav samozadovoljne umjetnosti nego ćemo raditi na otvaranju prema široj publici temama koje su im bitne, a pritom pokazati da im se može svidjeti kako govorimo o tim temama a da ne zalazimo u sfere jeftine pop zabavne sfere.

Sudjelovala si na više umjetničkih rezidencija i gostovanja van granica Hrvatske i Europe. Mislim da ne moramo posebno naglašavati da se tvoj rad više vrednuje vani nego kod nas. Ali zanima me zbog čega karijeru nisi dalje razvijala u inozemstvu? Koliko su realne mogućnosti mobilnosti i profesionalnog razvoja umjetnica u inozemstvu danas?

Da, pomalo je apsurdno da mi je teže dobiti gostovanje na festivalima u Zagrebu, Karlovcu ili Zadru nego u New Yorku, Brazilu, Moskvi ili Kazahstanu. Male sredine ponekad pate od kratkovidnosti, rekla bih, ali nemali utjecaj na to ima i popriličan klijentelizam. No, ne treba po broju mojih rezidencija i nastupa na festivalima na drugim kontinentima suditi da vani cvatu ruže za suvremene umjetnike. Teško je doprijeti do one razine na kojoj zaista možete beskrajno letjeti avionom oko planete od festivala do festivala i od toga živjeti. Skup je to sport i zato na većem broju tih gostovanja ovisim o potpori Ministarstva kulture za avionske karte. Nažalost, nijedna avio kompanija niti turistička branša nisu vidjele interes u ovakvoj vrsti sponzorstva. Festivali pokrivaju troškove života, produkcije rada, a kada daju honorar nije ni blizu cijene avionskih karata iz Hrvatske na često drugi kraj svijeta u mom slučaju.

Kao ženu, umjetnicu, queer osobu i osobu s invaliditetom, u današnjem društvu zapravo si diskriminirana na osnovi većine svojih identiteta. S druge strane tvoja umjetnost je provokativna i promišljena. Je li ti umjetnost svojevrsna terapija; kako i koliko to što radiš “liječi” tebe samu?

Umjetnost je možda u prvih dva ili tri projekata bila terapija za mene u smislu osvještavanje što mogu kroz nju reći i kako to mogu reći unatoč brojnim diskriminacijama koje nabrajate. No, vrlo brzo je prestala biti terapija. Ne bolujem, ne patim, dakle ne treba mi terapija. Za mene je umjetnost životni poziv, smisao zašto dišem i budim se svakog jutra unatoč svim financijskim i strukovnim preprekama i diskriminacijama koje me čekaju svaki put iznova iz projekta u projekt. Jedina tuga koju ja imam za liječiti umjetnošću kao terapijom je ona koju vidim da sam ugasila u drugim ljudima, u publici, primateljima, kad nakon predstave ili filma osluškujem komentare i dojmove i osjetim da se barem jedan čovjek pomakao iz svojih ustaljenih misli ili emocija u smjeru pozitivne promjene sebe samog ili pogleda na društvo u kojem živi. Tada je moja terapija, ona namijenjena zapravo drugima, odrađena uspješno.

Je li u tom kontekstu “naša Lijepa” tvoja najosobnija izvedba?

Svaka moja izvedba je nešto moje vrlo osobno, ali ne nužno intimno. U svakom mom radu ima mene, ali itekako ima ljudi oko mene, društva u kojem stanujem, svijeta u kojem živim.

Što je iduće za Arktik i Vesnu Mačković. Što pripremaš nakon izvedbe na Vox Feminae Festivalu?

ARKTIK ovih mjeseci čeka rad na promociji naše kampanje za prikupljanje sredstava i sponzorstva. Ovih nekoliko mjeseci sve do nove godine kada čekamo i rezultate natječaja Ministarstva kulture bit će presudno za naš rad u 2019.-oj, to je naš biti ili ne biti. Da bismo ostvarili zacrtane ciljeve od 8 projekata i zapošljavanja jedne osobe producenta na puno radno vrijeme mora se dogoditi puno pozitivnih reakcija od potencijalnih sponzora, tvrtki, ali i pojedinaca donatora i filantropa kojih u Hrvatskoj kritično nedostaje a mi ih želimo probuditi.
Što se tiče mojih osobnih nastupa, nakon ‘naše Lijepe’ pakiraju se koferi i letim u Brazil gdje imam dogovorene dvije suradnje. Festival Satyrianas u Sao Paulo drugu godinu za redom pozvao me da gostujem s performansom i vrlo me veseli ovogodišnji poziv jer sam dobila otvorene umjetničke ruke ne samo za izbor teme i tehnike rada nego mi je i ponuđeno da biram između nastupa u kazalištu ili gradskom trgu. To se može nazvati kao ponuda koja se ne odbija. Takve ponude sanjam u Hrvatskoj, Druga suradnja u Sao Paolu je s hrvatskim kulturnim centrom i zajednicom dijaspore gdje ću voditi radionicu stvaranja radio-drame za potomke hrvatskih imigranata koji su tamo došli prije 50 i 80 godina. Bavit ću se s njima temama domovine, doma, pripadanja i veselim se vidjeti i čuti u kakvom ćemo zajedničkom eksperimentu zvuka, teksta i osjećaja vezanog za temu domoljublja završiti. Finalni rad učinit ćemo javno dostupnim čim ga po povratku u Hrvatsku montiram.
Jedan meni vrlo drag poziv sam morala odbiti, a to je gostovanje u 11. mjesecu na festivalu u afričkoj otočnoj državi Cabo Verde jer nažalost nisam uspjela pribaviti sredstva za avio-karte, no možda još nije kasno ako se pojavi zainteresirani sponzor.

Croatian radio – Under the mountain – broadcast Skitnje u zvuku

Under the mountain – audio travelogue from Kazakhstan for Croatian Radio (broadcast Skitnje u zvuku)

Premiere: 2.8.2018.

Vesna Mačković took her art to various continents. In this episode of the Croatian radio broadcast Skitnje u zvuku she browses around with audio recorder at the largest Kazakhstan city of Almaty and the Shymbulak mountain that keeps this town from the cold winds. But this is not the only thing Almaty is hiding in the midst of this infinitely broad country.

Author: Vesna Mačković
Broadcast editor: Nikica Klobučar
Sound editing: Katarina Barišić

Croatian radio – Under the mountain – broadcast Skitnje u zvuku

Premiere: 2.8.2018., Croatian radio 3, broadcast Skitnje u zvuku

https://radio.hrt.hr/ep/vesna-mackovic-ispod-planine/263011/

Vesna Mačković took her art to various continents. In this episode of the Croatian radio broadcast Skitnje u zvuku she browses around with audio recorder at the largest Kazakhstan city of Almaty and the Shymbulak mountain that keeps this town from the cold winds. But this is not the only thing Almaty is hiding in the midst of this infinitely broad country.

Author: Vesna Mačković
Broadcast editor: Nikica Klobučar
Sound editing: Katarina Barišić

Photography: Vesna Mačković

“our Beautiful” – performance

Premiere:

4.10.2018., Zagreb, Croatia, Vox Feminae festival

Author and performer: Vesna Mačković

Concept:

Our Beautiful is truly the most beautiful. We love her when she is in a good mood and even when she is angry at the whole world. We love her when she is beautiful under the sun which slides through her beautiful feet. We also love her in the dark when she talks about smart and tough things. At first, she talks trough whispering for herself. But we love her even when she screams and yells from the top of her lungs. No, we will not ban her from speaking. We’ll even tell her she can laugh and scream if she desires to do so, even when her screaming is not because of that female orgasm. Because she is ours. Yes, she is our Beautiful. Well, when her voice becomes the voice of many, when we no longer listen to her, instead, we will hear those voices all over the place, many of them, echoing. And then it is her, our Beautiful, and there she is all over in so many, very many.

This is body and voice performance on the subject of lesbian discrimination within the nationalist social trends. Performance emphasizes awareness of the institutionalization of discrimination as a method of annulment of the identity and the problem of stigmatizing sexuality. The textual part of the work includes the Croatian anthem, but the part of Mihanovic’s verses that did not enter the official part of the anthem text, were placed in the context of the subject of this work. By this alternation, author apostrophes the heroism of individuality within the public space that builds the semblance of tolerance. In the section of voice and text experimentation, the artist uses looper on the iPad, and the performer’s voice is mixed and effected on 16 channels as if she is not alone on the stage, as if she is surrounded by various female voices. Reproduction creates a network of marginalized women voices and creates a national body in the context of dominant heterosexual ideology.

In the performance are used lyrics by the poets Aida Bagić (from the collection If I was called Sylvia (Aora, Zagreb 2007)), Anamarija Levak and Antun Mihanović (original text of the Croatian hymn ‘Our Beautiful’).

Media

Announcement of the premiere at the Vox Feminae Festival:

https://voxfeminae.net/festival/vff-2018/vesna-mackovic-nasa-lijepa/

‘Screen saver’ presented in Biennial edition of Women Cinemakers

 

‘Screen saver’ presented in Biennial edition of Women Cinemakers

Inspired by the sense of growing alienation felt about life chained with physical existence, Screen saver is a captivating video by Croatian mutlidisciplinary artist and video maker Vesna Mačković. We have had the exclusive chance to see her  unpremiered works in full length and we have been captured by her ability to interwine elements from perceptual reality, with elusive idea of virtual worlds. Urging the viewers to question the apparent dichotomy between the real and the imagined, Screen saver echoes Philip K. Dick’s masterpiece and invite the spectatorship to wonder about the imaginary place where beings who live only as energy clusters would wish to escape to. We are particularly pleased to introduce our readers to Mačković’s multifaceted and captivating artistic research.

1) Hello Vesna and welcome to WomenCinemakers: we would like to invite our readers to visit http://www.vesnamackovic.com in order to get a wider idea about your artistic production and we would start this interview with a couple of questions about your background. Are there any experiences that did particularly influence your evolution as an artist? Moreover, how does you cultural substratum due to your current and previous collaborative works in Croatia direct the trajectory of your artistic research?

Life in it’s complexity of stories, experiences, disappointments and happy times, but also living beings; people, animals, nature; surrounding or making my life’s stories is the source of my artistic directions and turns. As I evolve as a human being and as my life pace is going on – at similar turning points my art evolves from some topics, methods or collaborations being left behind and other becoming current and more important to focus on. This is how I recently felt that there is a lot of truth in it when I say my art can be beautiful only at it’s shallow surface, but same as life, when you look and scratch deeper levels than you realize how hard and important are those questions or methods are on which it is focused on.

My collaborations in homeland Croatia had some modest impact on what I do in my own arts. Artist with whom I collaborated in Croatia like Borut Šeparović from collective Montažstroj and Boris Bakal from Shadow casters are pure examples of collaborations through which I as a beginner at that time learned or have been inspired by different approaches they use to talk about current croatian societal issues. Let’s say in my latest works definitely can be seen a trace of influences either in methods or topics by those artists and collaborations.

2) For this special edition of WomenCinemakers we have selected Screen saver, an extremely interesting video that our readers have already started to get to know in the introductory pages of this article. As you have remarked in your director’s statement, you drew inspiration from the growing sense of alienation that you feel about life chained with physical existence: when walking us through the genesis of Screen saver would tell us how important was for you to make a personal film, about a feeling that touches you from the inside, rather than develop a conventional language in order to establish an open dialogue with the viewers?  

I always felt that crazy feeling I would be happiest if I could exist only as energy cluster that doesn’t have to worry about filing the needs of physical body. Even as a small child I tought wouldn’t it be heavenly if it could be possible only to spend life absorbing and producing arts and intellectual materials. In this video work I drew parallel asking myself a question if there somewhere in vast universe actually do exist beings only as energy clusters what are those places, spots, to which they actually wish to run away and get away from their world similarly as we humans so many times wish to escape to nature and green color. It was an easy parallel to make, but answer is left to the viewer to figure out everyone for themselves.

3) We have appreciated the way Screen saver questions the dichotomy between the physical world the virtual dimension: we dare say that in a certain sense it relates to the disconnect — as well as the possibile points of convergences — between the reality that we perceive through our sensorial experience and our inner landscape. We would like to ask you how do you consider the role of daily experience as the starting point of your creative process: how does your everyday life’s experience fuel your artistic journey?

Of course, daily life with it’s Daily routines are a huge source of artistic material almost at same amount as global worldly issues. My latest work in dance film is actually all about that, called “Extreme routine”. As for the video work “Screen saver”, yes, most of it was influenced actually by my daily need of escape to some peaceful, comfortable, easy, tranquil spot. When thinking where would I escape to if I wasn’t born with human body but in some other type of universe intrigued me into making this video that tries to bring virtual world into green earthly nature and ask question  if it can actually be connected.

4) Featuring a poetic use of landscape, Screen saver shows a gentle naturalism capable of evoking a dream world with deeper metaphysical concerns. How did you select the locations and how did they affect the shooting process? In particular, what were your choices regarding lighting and grading in order to achieve such brilliant results on the visual point?

Selecting location for filming “Screen saver” was easiest. At the time of planning this video it was middle spring in Croatia and my favorite meadow was blooming with dandelions and trees trunks full of leaves, warm spring blossoms carrying the smell of this fresh new life. We were just worried that we come on time before the city parks mowning squad comes and cuts it all. The sun was at the day of filming actually very strong so Ana Opalić who filmed it had some work to make it best possible, and she succeeded as you saw. Ana is the best and I know when I work with her all will be eventually excellent. So it was with “Screen saver”.

5) Salute is an interesting video performance created in June 2014 in abandoned iron factory space and it’s based on an imaginary come back to Sisak, your native city, where you lived during the tragic events that affected Croatia during the war. Reminding us of the atmospheres of Thomas Hirschhorn’s work, the images seem to speak about the dematerialization of memory that affect the place: could you tell us how important is the role of memory in your practice? In particular, what were you aesthetic choices when selecting the exact locations for your performance?

I was actually struggling and am still struggling in upcoming works if we should cherish and retell our memories of life, places of living, country, politics anything that affects how well we are in our lives or we should only use it as you say as an image to be dematerialized and made into background landscape for current and future happenings. Choosing location for video performance “Salute” had two triggers for me. Iron factory from my hometown had it’s visual weight in it’s size, flat wide shapes and colors that lack actual color. Since it is part of my memory as a place in the city which before the war was a source of income for more than half of citizens of Sisak and after the war the factory was closed down, sold through suspicious corrupted contracts and workers lives actuality brought to almost no income due to that capitalistic corruptive events and actually not due to the war itself it was a devastating memory to hold and it was the correct choice to tell it at the exact inside of one of the factory halls.

6) Another interesting work from your artistic production that we would like to introduce to our readers is entitled Extreme routine, whose trailer can be viewed at: https://youtu.be/anR9DGeab64. We have been impressed with the way you have captured the sculptural qualities of movement, highlighting the resonance between the body and its surroundings in the physical movements of everyday life. What was your preparation in term of reharsal with the performers Luka Barešić, Irena Boćkai, Ida Fucic, Michał Gostyński In particular, was important for you to achieve spontaneity or did you aim to schedule and control each step of your choreography?

It was, of course almost as our daily life’s routines, a combination of spontaneity, free improvisation and planned choreography. I wanted to have scenes  like laughing, playing, dancing to be created by the performers at the moment but scenes like going to work or going to sleep at night to be choreographed and planned in every detail.

7) Deviating from traditional videomaking, To migrate or not to migrate  touches a highly topical issue in the socio political debate, that affects our unstable contemporary societies. Do you think that contemporary Art could play a role in offering to the viewers a different perspective on the pressing themes that plague our unstable age? And what could be the role of artists, in this sense?

3d animated video “To migrate or not to migrate” runs this heavy current topic of human migrations through mathematical formula of particles moving randomly but attracted to invisible force, route or spot their movement becomes the same and most of times very routed with clear path and goal. Yes, contemporary art can spread the light on current socio-political topics in a way that usual debate or analysis might not. Generally, I believe the role of contemporary artists is to always and endlessly be the light spreaders and visionaries of new views on global and local problems or at least pointers to attract more views to what is already well known as a problem but not spoken about enough to trigger the need for social change.

8) To migrate or not to migrate  rejects any stereotyped approach to urge the viewers to elaborate personal narratives: at the same time, your video How important is for you to trigger the audience imagination to elaborate personal association?

What I try to escape is giving to the audience my view or feeling on the  topic. I like to leave as much opportunity as possible for the viewer to develop his/hers own personal association to the topic. Not only the beauty is in the eye of beholder but the point of the topic very much also.

9) Sound and visual are crucial in your practice and we have appreciated the way the sound tapestry by Denise Mei Yan Hofmann provides the footage of Extreme routine with such an enigmatic and a bit unsettling atmosphere: how would you consider the role of sound within your practice and  how do you see the relationship between sound and movement?

Sometimes I feel it’s like many of my works first had sound or visual idea and and that latest the actual topic i.e. content was clarified or I would say born from it. As for choreographic and contemporary dance works I am balancing actually on the thin line between dance and physical theatre so sound is not necessary for defining movement in my works but as was the case in “Extreme routine” the sound can be the landscape for movement. I don’t wanna put a line between any of the options as it always depends from where the creative process actually started.

10) It’s no doubt that collaborations, as the ones that you have established over the years with Ana Opalić are today ever growing forces in Cinema and in Contemporary Art in general. It’s important to mention that together with photographer Boris Cvjetanović, Ana Opalić  represented Croatia at the 50th edition of the prestigious Venice Biennale: would you tell us something about this proficient collaboration? In particular, can you explain how your work demonstrates communication between you and Ana?

Our first work together was video performance “Salute” filmed in abandoned iron factory in my hometown. This is actually when it was clear how well Ana with her poetic camera and light work transfers or reads the poetics of my movements in front of the camera. From that experience and excellent work she created from this performance which was later awarded we continued to collaborate on filming my theatre shows and also on video work “Screen saver”. It is simple as that; when I work with Ana there is almost no explanations needed and no requests from my side, she reads my ideas very well and builds on them perfectly. But it moved from that even further: when music video for the song “Peanuts” (Kikiriki) was being created with alternative rock band Radost! as a parody to sports anthems and nationalistic slogans at soccer matches Ana was the sole author of the video and she created  excellent video content. The video was provoking with visuals picturing all those truths about nationalisms on soccer stadiums but also paradoxes of para-olympic games and it delivered those images so boldly that none of Croatian TV channels wanted to show it so it is currently only available via youtube: https://youtu.be/Zm37JJwIFgs

11) We like the cross disciplinary nature of your artistic research: you are a versatile artist and your practice involves video art, live and video performances, contemporary dance and multimedial experimental theatre. What did address you to develop such multidisciplinary approach to art? And how do you select a particular technique in order to examine a particular topic or theme?

Oh, this is actually the hardest question. I would say that art just happens to happen to me. As I said previously, many times I feel my work is triggered by sound or visual base and than from it the topic and actual content is being born. So, I cannot say I choose technique or even theme of the work, although I know it sounds funny, but I think a technique and vision of image or sound make a pact and they choose me, they bring me to finished choice without even me having the time to ask myself what I wanna do, haha.

12) We really appreciate the originality of your multifaceted artistic practice and before leaving this conversation we want to catch this occasion to ask you to express your view on the future of women in contemporary art scene. For more than half a century women have been discouraged from producing something ‘uncommon‘, however in the last decades there are signs that something is changing. How would you describe your personal experience as an unconventional artist? And what’s your view on the future of women in this interdisciplinary field?

It actually makes me deeply sad that we are in the new millenium for almost 20 years now and it is still obvious how few women artists in the contemporary art scene actually exist and especially in film making. It is unbelievable to me how fast technology is changing the world and our lives but how terribly slowly grows general awareness that we can be anything we wanna be. I even caught myself when transferring from only writing stage works to actually performing them that due to my disability I tought my place is not on the performing side of the stage or camera. How much more wrong could I be? But this is what general society is still giving to us through last century education approaches and media support, this idea that different is special and unusual instead that different is normal and ordinary.

13) Thanks a lot for your time and for sharing your thoughts, Vesna. Finally, would you like to tell us readers something about your future projects? How do you see your work evolving?

I am currently at a very huge crossroads of deciding how to continue my work in Croatia due to low funding sources. I dream about large ensemble stage works and feature films which is at the current level of institutional funding impossible. Financial support in Croatia is getting lowered year by year for contemporary arts and it is making me trying to start some new approach to finding everything by starting serious large fundraising project. So, as you say, my work can evolve on this path of my dreams. I wanna create art works in film, stage and music that openly discuss current global and local social problematics, I see works in which different artists collaborate and bring important activistic and socially engaging works to life and not only to Croatian stage or big screen but to the world as our global artistic and human home.

Screen saver – video performans

Premiere: 28.9.2018., Zagreb, The Festival of the First

Idea, concept: Vesna Mačković
Camera, editing, sound: Ana Opalić
3D animation, voice and text: Vesna Mačković

Acknowledgments

  • Video was presented in biennial edition of magazine Women Cinemakers
  • The video was selected for the exhibiton ‘Age of emptiness’ of The Festival of the first, Zagreb, Croatia

Concept

What is our reality?
What is the reality of certain others?
What kind of imagined or virtual worlds are we running to, and to what are they?

The inspiration for this video work I find in growing alienation I feel about life chained with physical existence.
Through this work, I ask myself what kind of existence do I aspire to. I wonder what would I miss from the physical world if I existed only as an energy cluster.
In the end, I wonder, if there are beings who live only as energy clusters which virtual realities such beings strive to and what are their screensavers?
Where do such beings wish to escape to?

Magazin Women Cinemakers (Bijenalno izdanje 2018.)

https://issuu.com/womencinemakers.mag/docs/special.edition/4

Interview transcribed:

‘Screen saver’ presented in Biennial edition of Women Cinemakers, 18.09.2018.

Video stills, filmed by Ana Opalić

Whisper to me, I wanna yell! – concert, Almaty, Kazakhstan

Premiere:

5.2.2018., Festival Otkrovenie, Almaty, Kazakhstan

Author, conductor: Vesna Mačković

Performers: Vesna Mačković, Zhanel Sergazhina, Tokzhan Karatai, Meruyert Tulenova, Elias Duisen

Festival ‘Revelation’ održao se u Kazahstanu između 26.1.-15.2.2018. Radionica improviziranog glasa, zvuka i teksta “Whisper to me, I wanna yell!” koja je prethodnu verziju doživjela u suradnji Vesne Mačković i Festivala Satyrianas u Brazilu, ovom prilikom u Kazahstanu je unaprijeđena uključivanjem glazbenika i vokalista iz suvremenog orkestra ‘Eegeru’ s izvedbom koja kombinira tri jezika: ruski, hrvatski i kazački. Glazbenice na flauti (Meruyert Tulenova), kazačkom tradicionalnom instrumentu kobyzu (Tokzhan Karatai), operni i gregorijanski zborski pjevač na ruskom (Elias Duisen), glumica na kazačkom jeziku (Zhanel Sergazhina) i Vesna Mačković na hrvatskom jeziku i elektronici nakon 2 dana radionice izveli su 45-minutni koncert.

Excerpts from the concert

From the concert announcement

Photographs from the concert

Photos by: Marina Konstantinow, Diana Balayan

Whisper to me, I wanna yell! – performance, Festival Satyrianas, Sao Paulo, Brasil

Premiere:

6.11.2017., Sao Paulo, Festival Satyrianas, Brasil

In her sound and text work ‘Whisper to me, I wanna yell!’ performing artist Vesna Mačković explores variations her brain produces using her vocal chords as the tool. She pushes random words into her brain, both in her mother tongue Croatian, but also in world languages she has been hearing during her travels. She forces those words, sounds and sometimes full sentences into her brain and through her throat and vocal chords explores their warmth or coldness, their sharpness or softness. As if she understands them… As if her brain knows what it has been confronted with. As if… she doesn’t need to take them carefully…

In Brasil the topic she played with was censorship of culture and arts which was very hot current topic in Sao Paulo during the festival.

Eu tehno uma voz.
Voce nao consegue ouvir?
Ouca, por favor, escute!
Ouca com cuidado.
Tehno palavras para voce.
Pegue elas.
Leve com cuidado.
Se eu falar o seu idioma,
nao julge apenas porque voce entende.
Se eu falar o que voce nao entende,
nao goste apenas porque e exotico.
Nao sou seu palhaco de palavras.
Eu so tenho alguns sons para voce.
Ouca.
Leve com cuidado.

Whisper to me, I wanna yell – excerpts – Sao Paulo, Festival Satyrianas, Brazil

Interview for the festival

Fotographs from the performance

Photographed by: Salim Mhanna, Igor Bogdanović

Different me, different you (workshop) – Sao Paulo, Brasil

Workshop dates: 3.-5.11.2017.
Public performance: 5.11.2017., Sao Paulo, Festival Satyrianas, Brasil

The 18th edition of the Satyrianas Festival had 1100 artists, who performed in 21 theaters and cultural spaces in the city of São Paulo. In total, 318 activities (theater, performance, cinema, music and workshops), all with conscious tickets (pay as much as you want), with an estimated audience of 30 thousand people.

Vesna Mačković held a workshop ‘Different me, different you’ which had local artists as participants. Through practices and tasks involving trained breathing, work with the voice and improvised text the participants practiced to produce individual and group content of performance on the topic xhosen by all together. Last day of then workshop a public performance of all participants was created from parts of workshop contents. The topic was really current in Sao Paulo those days and it was censorship of arts and the Festival Satyrianas.

Excerpts from the workshop and full video of public performance:

Photographs from the workshop ‘Different me, different you’

Photography by: Salim Mhanna, Igor Bogdanović

Close all slaughterhouses! – performance during peaceful public demonstrations, Zagreb 2017.

2017-5-27, King Tomislav Square, Zagreb – A protest for closing of all slaughterhouses

The Animal Liberation Initiative organized a second international demonstration in Zagreb on Saturday, 27 May 2017, “ANIMAL LIBERATION for closing of all the slaughterhouses”.
The aim of the protest was to alert the citizens to the unnecessary and morally unacceptable daily suffering and torment of millions enslaved animals, pointing out the extreme cruelty of the industry regarding meat, milk, eggs, skin, silk, fur, cosmetics and medicines tested on animals, etc. and to give notice to particularly damaging health and environmental consequences of growing industrial production and consumption of meat and dairy products.

Vesna Mačković, among others, before the demonstation participated in a video call to invite people in joining:

A protest report

http://oslobodjenje-zivotinja.com/video-danas-je-zagreb-hodao-za-zatvaranje-svih-klaonica/

How it was made – dance film “Extreme routine”

We have created 20 minutes of music and choreography and filmed a short dance film “Extreme routine” for seeking funds to develop full evening contemporary dance work.

Extreme Routine is a work-in-progress contemporary dance performance piece with currently 4 performers and in the final work planned with live string quartet, featuring the choreography of Vesna Mackovic (Croatia). and music by Denise Mei Yan Hofmann (Switzerland, Hong Kong).

Participants of work-in-progress:
Choreography: Vesna Mačković
Music composer: Denise Mei Yan Hofmann
Performers: Luka Barešić, Irena Boćkai, Ida Fučić, Michał Gostyński
Light design: Andrija Šantro
Camera: Noah Pintarić, Ivona Kraljević
Photography: Ivan Marinković

The visual concept of this piece is based on the physical movements of everyday life, highlighted and interrupted by a string quartet, living on the tonal extremes of instrumental ranges. Routine-like actions of contemplative musings to drinking coffee will be carried out by Vesna Mackovic and a group of performers who live out life in real time for us, highlighting the simultaneous struggle and beauty of our domesticity.

The sound world of Extreme Routine is made up of the contrast between silence, string quartet and amplified sounds derived from performers’ movements and everyday objects. Fueled by an additional layer of emotional narrative, the strings play a traditional role as soundtrack. The physicality of performers’ hand-movements is also integrated into the lines of the piece – as a result, every detail of this production is to be integrated into performance.

‘Who is faster?’ – theatre show for the end of the world

Tko je brži?
Kazališna predstava za smak svijeta

Who is faster?
Theater show for the end of the world

Video najava #3: https://youtu.be/TVV-oBIxysI
Video najava #2: https://youtu.be/8kHDAvSN9qY
Video najava #1: https://youtu.be/8YGR5TZHeNM

premijera izvedba: 31.5.2018., 20h, Pogon Jedinstvo, Trnjanski nasip bb (pored kluba Močvara), Zagreb

Autorski tim
Autorica: Vesna Mačković
Izvođači: Luka Barešić, Lana Bitenc, Ida Fučić, Vesna Mačković, Filip Sučić
Glazba: Filip Sučić (električna gitara), Vesna Mačković (glas)
Fotografija: Ivan Marinković
Grafičko oblikovanje: Antonio Dolić
Video dokumentiranje: Dina Karadžić, Dora Bodakoš, Nives Milješić
Kostimografija: Vesna Mačković
Rekviziterka: Marija Despotović i obitelj Mačković

‘Who is faster?’ – Trailer # 3 – theatre show for the end of the world

Tko je brži?
Kazališna predstava za smak svijeta

premijera: 31.5.2018., 20h, Pogon Jedinstvo, Trnjanski nasip bb (pored kluba Močvara), Zagreb

Autorica: Vesna Mačković

Izvođači: Luka Barešić, Lana Bitenc, Ida Fučić, Vesna Mačković

Foto i video dokumentiranje: Ivan Marinković
Video: Vesna Mačković
Kostimografija i scenografija: Vesna Mačković
Rekviziterka: Marija Despotović i obitelj Mačković

Ostvareno uz podršku: Pogon Jedinstvo, Gradski odbor za kulturu Grada Zagreba, Udruga za audio-vizualnu kulturu ‘Kamera’

OPIS
———————-
Vozilo. Trokolica. Ili romobil. Ili invalidska kolica. Ili kolica iz supermarketa.
Vozači. Vozači vozila. Vozači vremena. Vozači svemirskih prostranstava.
Putuju zajedno. Ili se utrkuju.
Pitanje je tko je brži? Onaj koji je ispred ili onaj koji je iza?
Iza čega? Iza drugog? Iza vremena? Iza povijesti?
I što bilo koji od njih može uopće učiniti po pitanju svoje brzine?
Mogu li putovati kroz vrijeme? Ili su zaglavili u jednostavnoj matematičkoj formuli koja uključuje gravitaciju i trenje?
Koja je njihova putna prtljaga?
Plastične boce njihova su vrijednost. Puna su ih vozila. Bježe im po sceni.
Boce su žive. Plešu. Mašu im iz prošlosti. Mašu im i iz budućnosti.
Jesu li dovoljno brzi ovi vozači? Ili su prebrzi?

‘Who is faster?’ – Trailer # 2 – theatre show for the end of the world

Tko je brži?
Kazališna predstava za smak svijeta

premijera: 31.5.2018., 20h, Pogon Jedinstvo, Trnjanski nasip bb (pored kluba Močvara), Zagreb

Autorica: Vesna Mačković

Izvođači: Luka Barešić, Lana Bitenc, Ida Fučić, Vesna Mačković

Foto i video dokumentiranje: Ivan Marinković
Video: Vesna Mačković
Kostimografija i scenografija: Vesna Mačković
Rekviziterka: Marija Despotović i obitelj Mačković

Ostvareno uz podršku: Pogon Jedinstvo, Gradski odbor za kulturu Grada Zagreba, Udruga za audio-vizualnu kulturu ‘Kamera’

OPIS
———————-
Vozilo. Trokolica. Ili romobil. Ili invalidska kolica. Ili kolica iz supermarketa.
Vozači. Vozači vozila. Vozači vremena. Vozači svemirskih prostranstava.
Putuju zajedno. Ili se utrkuju.
Pitanje je tko je brži? Onaj koji je ispred ili onaj koji je iza?
Iza čega? Iza drugog? Iza vremena? Iza povijesti?
I što bilo koji od njih može uopće učiniti po pitanju svoje brzine?
Mogu li putovati kroz vrijeme? Ili su zaglavili u jednostavnoj matematičkoj formuli koja uključuje gravitaciju i trenje?
Koja je njihova putna prtljaga?
Plastične boce njihova su vrijednost. Puna su ih vozila. Bježe im po sceni.
Boce su žive. Plešu. Mašu im iz prošlosti. Mašu im i iz budućnosti.
Jesu li dovoljno brzi ovi vozači? Ili su prebrzi?

‘Who is faster?’ – Trailer # 1 – theatre show for the end of a world

Tko je brži?
Kazališna predstava za smak svijeta

premijera: 31.5.2018., 20h, Pogon Jedinstvo, Trnjanski nasip bb (pored kluba Močvara), Zagreb

Autorica: Vesna Mačković

Izvođači: Luka Barešić, Lana Bitenc, Ida Fučić, Vesna Mačković

Foto i video dokumentiranje: Ivan Marinković
Video: Dora Bodakos
Kostimografija i scenografija: Vesna Mačković
Rekviziterka: Marija Despotović i obitelj Mačković

Ostvareno uz podršku: Pogon Jedinstvo, Gradski odbor za kulturu Grada Zagreba, Udruga za audio-vizualnu kulturu ‘Kamera’

OPIS
———————-
Vozilo. Trokolica. Ili romobil. Ili invalidska kolica. Ili kolica iz supermarketa.
Vozači. Vozači vozila. Vozači vremena. Vozači svemirskih prostranstava.
Putuju zajedno. Ili se utrkuju.
Pitanje je tko je brži? Onaj koji je ispred ili onaj koji je iza?
Iza čega? Iza drugog? Iza vremena? Iza povijesti?
I što bilo koji od njih može uopće učiniti po pitanju svoje brzine?
Mogu li putovati kroz vrijeme? Ili su zaglavili u jednostavnoj matematičkoj formuli koja uključuje gravitaciju i trenje?
Koja je njihova putna prtljaga?
Plastične boce njihova su vrijednost. Puna su ih vozila. Bježe im po sceni.
Boce su žive. Plešu. Mašu im iz prošlosti. Mašu im i iz budućnosti.
Jesu li dovoljno brzi ovi vozači? Ili su prebrzi?

‘Krleža, stand in line!’ – trailer

Premiere: 5. 4. 2018, 20 h
Reprise: 6. 4. 2018, 20 h
Pogon Jedinstvo, Zagreb, Croatia

Performers: Tonka Kovačić, Vesna Mačković​, Vilim Matula​, Ida Fučić, Roko Nakić, Vilim Ostović

Production: Association for Audio-Visual Culture ‘Camera’
Author: Vesna Mačković
Performers: Tonka Kovačić, Vesna Mačković, Vilim Matula, Ida Fučić, Roko Nakić, Vilim Ostović
Costume and props design: Vesna Mačković
Technical solution for props and costumes: Ines Kolenko
Photography: Edita Sentić
Video: Dora Bodakoš
Video selfies: friends around the world and Pero Kvesić
Light and sound technician: Tomislav Maglečić

‘Krleža, stand in line!’ is a multimedia contemporary theater play, in which the theme revolves around the invisibility of artists today. This stage work originated from the same name radio-drama premiered in the show “Ars acustica” of Croatian Radio in October 2017.

Author Vesna Mačković is using performers voices and live effects on iPad looper and then produces experiments of voice, sound and text emphasizing subject’s invisibility, earshot or inaudibility. The performers use the text that the author has imposed on them, but they twist and replicate them as they wish. In spite of everything, and despite the disobedience of the performers, the author manipulates their voices live, and these sounds, that reality, go to the public – the world hears what she decides. And the performers themselves are not sure what will happen when they open their mouth and let their voice out. Where is the artist in all of this? He was invited, he came on time, but nobody notices him. Krleža, stand in line! Snack is served. We have also prepared a fun-music program. And maybe we can talk about your new book. Come on, Krleža! Harry up! Hurry, Krležaaaa!

Kazahstan, Almaty – excerpts from concert ‘Whisper to me, I wanna yell!’

Improvisational sound and voice lab
public performance
‘Whisper to me, I wanna yell!’
ШЕПНИ МНЕ, Я ХОЧУ КРИЧАТЬ! Фестиваль «Откровение»

Feb 5th, 2018.
Kazahstan, Almaty, Festival “Revelation”

author/conductor: Vesna Mačković

performers:

Elias Duisen
Tokzhan Karatai
Vesna Mačković
Zhanel Sergazina
Meruyert Tulenova

Flying by sound, melting the words – Museum of contemporary arts, Zagreb

Letjeti zvukom, topiti riječi
Eksperiment improvizirane glazbe, zvuka i teksta
autori i izvođači:

Mia Zabelka (električna violina, Austrija),
Roman Stolyar (klavijature, frula, Rusija),
Vesna Mačković (glas, tekst).

Premijera: 30.9.2017., subota, 19:30h
Repriza: 1.10.2017., nedjelja, 19:30h
Muzej suvremene umjetnosti, Zagreb

Nakon Zagreba Vesna Mačković i Roman Stolyar duet verziju premijerno izvode u Rusiji:

Moskva 14.10.2017.: Elektroteatr Stanioslavsky
Petrograd 15.10.2017.: Aleksandrinsky teatr
Moskva 20.10.2017.: Ground

Često govor promatramo kao nešto što egzistira odvojeno od drugih zvukova. Često zvukove doživljavamo kao nešto strano što postoji u prostoru. Često mislimo da prostor, kao složeno i beskonačno biće, teško može biti opisan govorom. Istraživanje jedinstva govora, zvuka i prostora zahtijeva potpunu pažnju i dubinu od onih koji žele istraživati. Način na koji istražujemo prostor, govor i zvuk je ujedinjenje spontanosti, sinestezije i sinteze.

Kada je nepoznata riječ izgovorena, ona postaje strani zvuk. Kada je stvoren zvuk određene glasnoće, visine, dinamike – možemo ga promatrati kao riječ, iako nepoznatu. Što se događa u našim umovima kada čujemo nešto – možemo li to prepoznati kao riječ ili samo kao zvuk? Koji trud moramo uložiti da bismo instantno zvuk pretvorili u riječ? Tijekom izvedbe, hrvatska umjetnica Vesna Mačković, ruski glazbenik Roman Stolyar i austrijska električna violonistica Mia Zabelka istražuju krhke granice između zvuka i riječi, vidljive i nevidljive, čujne i nečujne.

O UMJETNICIMA
————————-
Mia Zabelka – www.miazabelka.com
Umjetnica zvuka, kompozitorica i fantastična eksperimentalna violinistica iz Beča. Od ranih dana educirana u klasičnoj glazbi nastavlja istraživati granice zvuka i glazbe u svom vlastitom glazbenom jeziku (de)konstruirajući zvučne mogućnosti violine te šireći raspon ovog instrumenta koisteći elektroničke uređaje, strane objekte među žicama i inovativne izvedbene tehnike.
Mia je trostruka dobitnica nagrade Prix Ars Electronica i Fulbright Commission u New York. Trenutno je umjetnička direktorica Festivala Phonofemme u Beču.

Roman Stolyar – http://rstmusic.narod.ru/
Sibirski improvizator Roman Stolyar školovani je jazz pijanist i suvremeni kompozitor. Autor je prve ruske knjige o učenju slobodne improvizacije – “Moderna improvizacija: Praktičan vodič za klavir”. Osnivač je JZ Improvising Orchestra, prvog velikog kolektiva slobodne improvizacije u Kini. Član je savjetodavnog odbora Međunarodnog društva za improviziranu glazbu (International Society for Improvised Music) kao i Ruske unije kompozitora.
Roman Stolyar stapa razne stilove i žanrove u svojoj izvedbi – od drevnih polifonija do modernih kontrapunktova i klastera. On je jedna od ključnih figura ruske improvizirane glazbe. Roman Stolyar postao je 2000. godine glazbenim ravnateljem Novosibirsk Academic Theater GLOBE.

Vesna Mačković – www.vesnamackovic.com
Autorica, izvođačica, producentica u predstavama suvremenog plesa, inkluzivnog plesa, multimedijalnog eksperimentalnog kazališta. Također se izražava kroz umjetnost performansa i videa te eksperimente glasa i zvuka. Surađivala s: Montažstrojem, Bacačima sjenki, Alenom i Nenadom Sinkauzom, Vedranom Hlebom, Anom Horvat, Ivanom Lušičićem Liikom, alternativnim bendom Radost!.
Tijekom ljeta 2017. stvara u rezidenciji Roberta Wilsona u New Yorku gdje nastupa na Summer Gala 2 puta pred ukupno 2500 posjetitelja. Dobitnica 3. nagrade za suvremenu umjetnost – THT @ MSU na godišnjoj izložbi suvremene umjetnosti u MSU, Zagreb za video performans ‘Pozdrav’.

Trailer – ‘Golden medal’

Premiere:
18.6.2017, Festival Perforacije, Zagreb Dance Center

Reprise: 26.5.2018., Theater 21, Sisak

Author and Performer: Vesna Mačković
Music: Group Radost! (Branko Hlap Bogunović – guitar, vocal, Dimitrij Petrovic – drum, percussion, Dino Sylence Kraljet – bass guitar, Goran Bogunović – Biber – guitar, background vocal)
Scenography and props design: Vesna Mačković
Technical solution of props: Ines Kolenko (Elizabeth Grom)
Photography: Silvija Dogan, Ana Opalić
Video survey: Mladen Ergić filming, Vesna Mačković editing
Video content and music video: Ana Opalić

In the performance of the body “Golden medal” Vesna Mačković, with the technical and coaching support of the carefully selected team,  challenges several existential questions.

The evaluation of “games” in the concept of “bread and games” comes into question when games become superimposed, over-games and non-games. When games become a competition, idolatry and suicide. When games are no longer a game, they are no more than games. They become less and less games until in time they completely disappear from their own definition, and the word “games” takes on the most different meanings.

‘Flying with sound, melting the words’ (Zagreb, MSU)

Letjeti zvukom, topiti riječi
Eksperiment improvizirane glazbe, zvuka i teksta

autori i izvođači:
Mia Zabelka (električna violina, Austrija),
Roman Stolyar (klavijature, frula, Rusija),
Vesna Mačković (glas, tekst).

Premijera: 30.9.2017., subota, 19:30h
Repriza: 1.10.2017., nedjelja, 19:30h
Muzej suvremene umjetnosti, Zagreb

Nakon Zagreba Vesna Mačković i Roman Stolyar duet verziju premijerno izvode u Rusiji:

Moskva 14.10.2017.: Elektroteatr Stanioslavsky
Petrograd 15.10.2017.: Aleksandrinsky teatr
Moskva 20.10.2017.: Ground

Često govor promatramo kao nešto što egzistira odvojeno od drugih zvukova. Često zvukove doživljavamo kao nešto strano što postoji u prostoru. Često mislimo da prostor, kao složeno i beskonačno biće, teško može biti opisan govorom. Istraživanje jedinstva govora, zvuka i prostora zahtijeva potpunu pažnju i dubinu od onih koji žele istraživati. Način na koji istražujemo prostor, govor i zvuk je ujedinjenje spontanosti, sinestezije i sinteze.

Kada je nepoznata riječ izgovorena, ona postaje strani zvuk. Kada je stvoren zvuk određene glasnoće, visine, dinamike – možemo ga promatrati kao riječ, iako nepoznatu. Što se događa u našim umovima kada čujemo nešto – možemo li to prepoznati kao riječ ili samo kao zvuk? Koji trud moramo uložiti da bismo instantno zvuk pretvorili u riječ? Tijekom izvedbe, hrvatska umjetnica Vesna Mačković, ruski glazbenik Roman Stolyar i austrijska električna violonistica Mia Zabelka istražuju krhke granice između zvuka i riječi, vidljive i nevidljive, čujne i nečujne.

O UMJETNICIMA
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Mia Zabelka – www.miazabelka.com
Umjetnica zvuka, kompozitorica i fantastična eksperimentalna violinistica iz Beča. Od ranih dana educirana u klasičnoj glazbi nastavlja istraživati granice zvuka i glazbe u svom vlastitom glazbenom jeziku (de)konstruirajući zvučne mogućnosti violine te šireći raspon ovog instrumenta koisteći elektroničke uređaje, strane objekte među žicama i inovativne izvedbene tehnike.
Mia je trostruka dobitnica nagrade Prix Ars Electronica i Fulbright Commission u New York. Trenutno je umjetnička direktorica Festivala Phonofemme u Beču.

Roman Stolyar – http://rstmusic.narod.ru/
Sibirski improvizator Roman Stolyar školovani je jazz pijanist i suvremeni kompozitor. Autor je prve ruske knjige o učenju slobodne improvizacije – “Moderna improvizacija: Praktičan vodič za klavir”. Osnivač je JZ Improvising Orchestra, prvog velikog kolektiva slobodne improvizacije u Kini. Član je savjetodavnog odbora Međunarodnog društva za improviziranu glazbu (International Society for Improvised Music) kao i Ruske unije kompozitora.
Roman Stolyar stapa razne stilove i žanrove u svojoj izvedbi – od drevnih polifonija do modernih kontrapunktova i klastera. On je jedna od ključnih figura ruske improvizirane glazbe. Roman Stolyar postao je 2000. godine glazbenim ravnateljem Novosibirsk Academic Theater GLOBE.

Vesna Mačković – www.vesnamackovic.com
Autorica, izvođačica, producentica u predstavama suvremenog plesa, inkluzivnog plesa, multimedijalnog eksperimentalnog kazališta. Također se izražava kroz umjetnost performansa i videa te eksperimente glasa i zvuka. Surađivala s: Montažstrojem, Bacačima sjenki, Alenom i Nenadom Sinkauzom, Vedranom Hlebom, Anom Horvat, Ivanom Lušičićem Liikom, alternativnim bendom Radost!.
Tijekom ljeta 2017. stvara u rezidenciji Roberta Wilsona u New Yorku gdje nastupa na Summer Gala 2 puta pred ukupno 2500 posjetitelja. Dobitnica 3. nagrade za suvremenu umjetnost – THT @ MSU na godišnjoj izložbi suvremene umjetnosti u MSU, Zagreb za video performans ‘Pozdrav’.