LOOS ONLINE all day SPRING FESTIVAL ONLINE day #3 - https://www.tilenlebar.com/

April 16, 2020

Map

https://springfestivalonline.myportfolio.com/

Day 3. April 16, All Day

Tilen Lebar
Emancipated Fauna (2020)

eight-channel sound installation

(commissioned by CONA Institute For Contemporary Arts)

The Emancipated fauna is relating to the animal industry and its industries (including livestock, entertainment, textile, etc.) and puts its focus on the alienated individual from these industries and the reflection on the oppression of an individual who succeeds in cultivating a distant attitude towards oppression and morbidity towards non-human animals and labor exploitation in the livestock sector (especially in slaughterhouses). Because this kind of action is socially dominant, there are global, worrying trends (both in the relation to non-human animals as well as to humans and the environment) which are mostly negated by society. The market can thus without any critical scrutiny still operate with the benefit of exploitation.

During the project, I was wondering »Why can we easily buy a product of an animal origin, while not being able to kill our pet, and at the same time we do feel that such an act would be unethical?«. We also own "pets" we buy and sell and thus at least symbolically link them to the level of an item. But is there such a difference between a "pet" and a creature that has a shelf life and use-by date?

Despite the oppression of an individual who brings an estranged attitude to the living being, most people are conscious and refuse to face his participation in the act of murder - we prefer to leave that to the Other (in a society deprived and stigmatized butchers). This is how we wash our hands over the massive slaughter and exploitation and responsibility for him (in the seemingly good of our psychological health) is shifted to the food industry, which then follows the capitalistic paradigm, sector growth and profit growth. So far, it seems to be growing along with the sector the degree of naturalization of the human disposition of humans.

The sound installation responds to this problem with the very nice "plasticized" sounds that
can be understood as products of animal origin, neatly packaged in plastic and in handy
to use. May this work relieve us of oppression and raise in us the awareness that all these sounds are
the result of the exploitation of non-human animals, as well as of workers who care that we do not need
to enter the world of large (and small) farms and slaughterhouses and in some way (by psychological
they take trauma on their shoulders) protect us against psychic suffering. Let us falling
drops of blood, screams, exhales, growls and sounds of abrasion in a living body bring a new
sonic experience of approaching and raising awareness of the covert.

We are organising this event because we want to continue presenting the pieces we have worked on all year to the best of our ability. Unfortunately this year, we were not able to perform them in The Hague due to the COVID-19 crisis. With this, it is obvious that worse yet, many of the pieces we have are simply not adaptable, and so have to be held off for a different day. However, we are looking to keep the spirit of the composition department alive and celebrate what we can do rather than cannot.

We see this as an opportunity to explore a wide range of possible networked concert situations: from fixed-media pieces and solo performances to ensemble pieces played by people from different countries, pieces with live electronics, and sound installations. And, since for many of us this online format is unknown territory, we’re exploring it not only from the qualities of the medium itself but also from imagining a general concert situation and how we can “replicate” that in this medium. This approach is really interesting and it doesn’t exclude the spirit of exploration. By tailoring the technology to our needs, we’re discovering something unknown to us and finding ways to employ it in our music.

We’re having participants who are currently staying in many countries throughout the northern hemisphere. During the concerts, we are not only playing together but having transitions from one “set” of places to another, offering a journey and connecting with people from many different places in real time. Yet, we’re trying to keep the continuity of the concert situation and we want to make the transitions as smooth as possible.

This is also made possible thanks to Studio LOOS, who offered us their help and their space with a high-quality internet connection. Firstly, as a hub that reroutes all the sound and video from participants to the viewers, and secondly, as a space that will host some of the performances.

Pieces we have prepared: Performers/Improvisers with Electronics, Live electronics, Live electronics with Vocalists, Acoustic performers streamed from across the world, 8 Channel Sound Installation, Fixed Media/visual pieces, Pieces for Philosophical Ponderings and Broadcasting Shenanigans from private spaces.

Composers: Eva Beunk, Hidde Kramer, Robert Coleman, Daniil Pilchen, Yóuell Domenico, Arie Verheul van de Ven, Myrto Nizami, Harry Golden, Wilf Amis, Tilen Lebar, Ábel Fazekas

Artists/performers: Mieke Robroeks, Pim Piët, Maarten Bauer, Amba Klapwijk, Jeroen Spieker, Sterre Decru, Ruth Mareen, Sasha Elina, Seamus Cater, Vasilisa Filatova, Cody Takács

Happy watching!

The organizing team: Danill Pilchen, Domenic Jarlkaganova, Hidde Kramer, Arie Verheul-van de Ven.

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