Time. Rhythm.
This is the tenth year of the Sanatorium of Sound Festival. The upcoming edition is presented under the theme Time. Rhythm.
Time. Rhythm. Time. Rhythm.
Time. Rhythm Rhythm. Time. Rhythm Rhythm.
All these years, we have tried to present a programme rich in experimental artistic activities, which will once again revolve around the issue of time. This edition, we will focus on the organisation of time in music–rhythm. It orders, subjugates, and sometimes also surprises, confuses.
We also see rhythm as one of the fundamental concepts to describe contemporary culture. The word ‘rhythm’ itself comes from the Greek rhythmos (ῥυθμός), which means coordinated movement, and is also related to the verb rhein (ῥέω)–’to flow’, ‘to move’. Etymologically, therefore, it refers to an organised, repetitive movement. In music theory, the rhythm of sounds gives meaning and order to a composition. But it also plays a key role in community building and the transmission of cultural values. Defined more broadly, still as an organising force, it affects both the functioning of individual entities and the structure of whole societies. At present, rhythm seems to be a concept undergoing intensive exploration and innovation, especially in the context of socio-cultural changes and the dynamic development of technology, as can be seen, for example, in computer algorithms, data processing and analysis processes or machine learning, which are based precisely on the rhythm of computational cycles.
At the same time, rhythm remains an effective tool for redefining one’s own corporeality and learning to carefully observe and embrace the changes taking place in the postmodern world. Henri Lefebvre wrote that one should listen to one’s body in order to be able to recognise the different kinds of rhythms surrounding us. Pauline Oliveros taught a similar practice. It is the body that serves as a metronome.
Time. Rhythm Rhythm Rhythm. Time Rhythm Rhythm Rhythm.
During this year’s Sanatorium of Sound Festival, we will discover new and surprising rhythms of musical expression. Sometimes they will be bold and tangible or mechanical, sometimes barely perceptible, subcutaneous or dreamy. At other times improvised, as if scattered or hypnotising with the same quality. We will see what happens to the metre when few rhythms are juxtaposed. The music will also pulsate in the rhythm dictated by the algorithms. Finally, we won’t forget the movement of the body through which the rhythm will be flowing by DJ sets.
We will hear and see sound works by such artists as: Marja Ahti, Jessica Ekomane, Hania Rani, Thomas Ankersmit, Marcin Pietruszewski, Piotr Peszat, Aleksander Wnuk, Hanna Grześkiewicz, Julian Rieken, Aleksandra Chciuk, Joanna Dreczka, Natalia Kędzierska, Alicja Pangowska, Paweł „Paide” Dunajko, Józef Robakowski, Paweł Romańczuk, Hubert Zemler, Jakub Knera, Gerard Lebik, Biuro Dźwięku Katowice.
Time. Rhythm.
Program
Curatorial tour/opening of exhibitions
Nobody is ever missing | Curatorial tour/opening of exhibitions
Watertime | Curatorial tour/opening of exhibitions
Talk Program - The Organization of Sound. On the Performativity of John Cage's Works
Premiere - festival composer commission
Dj set
Dj set
Dj set
reConvert: Roberto Maqueda/Mikołaj Rytowski- (ex)tension by Fabrizio di Salvo in collaboration with reConvert produced by Flor Medina
Installations
Nobody is ever missing | Installations
Watertime | Installations
Talk Program - Taming Space. About silence and its illusions in music and everyday life - Paweł Szroniak, Hanna Grześkiewicz, Hubert Zemler
Browner 20:07 (2020) | A Y U, aka "as yet untitled" 21:11 (1999) | EXPLORATORY II 30:00 (2019)
Gerard Lebik / Piotr Ceglarek - ambisonic specialization
part 1
part 2
The Sanatorium of Sound is a festival dedicated to experimental music and the broad spectrum of sound art. Its main aim is to present the widest possible range of phenomena related to the development of musical forms in the 20th and 21st centuries. Thus far, the festival has showcased works by approximately 250 artists from around the world, many of which were created specifically in the context of the place during artistic residencies in Sokołowsko.