Venue: Nova Gorica City Gallery
tremolo is an interdisciplinary musical work and haptic installation that explores the vibrational communication of insects. It focuses on how listening to the insect microworld reshapes our perception of landscapes, and how landscapes and organisms are mutually and interdependently entwined. tremolo functions as an ethics of listening and coexistence, uncovering subtle vibrational layers of life within natural-cultural landscapes that remain imperceptible to the human ear.
The musical composition is grounded in sounds recorded with tremological equipment, primarily in the Krater laboratory landscape. Through sonics propagating through natural materials, the musicians reveal unseen layers of communication largely unheard by the human ear. The haptic installation complements the tactile experience of insect vibrations.
The team combines complementary expertise from the fields of musical and visual research, material and tactile practices, and bioacoustics, drawing on extensive experience with electroacoustic composition. It comprises the composers and sound artists Boštjan Perovšek and Brane Zorman, and the sculptor Paola Korošec. Their work combines sound, bioacoustics, and the exploration of vibrations. The biotremological material was kindly provided by Juan José López Díez and the Slovenian National Institute of Biology.
Sound research and musical composition: BBtrem (Boštjan Perovšek, Brane Zorman)
Recording source: Juan José López Díez and the National Institute of Biology
Live sound performance: BBtrem (Boštjan Perovšek, Brane Zorman)
Tactile sound installation: Paola Korošec, Boštjan Perovšek, Brane Zorman
Video: Matej Tomažin
Partners: National Institute of Biology, Krater (Trajna), Nova Gorica City Gallery
Production: Cona, 2026
Project co-funding: Ministry of Culture of the Republic of Slovenia and the City of Ljubljana, Department of Culture
Venue: Rotunda SNG Nova Gorica
MOONOLITH is an interactive monument for a public space. It reflects the moon and the constellations of stars on its surface. Dedicated to urban strollers, it is a tribute to dark matter, emptiness, voidness, in-between spaces, speed, and time and its passage. The installation is location-specific; as with every placement, it develops a new relationship with the guest space and visitors.
MOONOLITH is a large, round, celestial sphere that operates on two levels. Through interaction, its surface becomes a responsive instrument of light and sound, which opens up the field of play. In its rest phase, MOONOLITH is a sculpture that, with the movement of light and sound, represents a space of calmness and reflection for visitors.
Production: MoTA – Museum of Transitory Art
Concept and art direction: Martin Bricelj Baraga
Sound: Eric Raynaud – Fraction
Technical design: Igor Vuk
Programming and interaction: Rob Bothof
Martin Bricelj Baraga is an award-winning artist and curator. He creates works and sculptures that explore the spaces between the environment, nature, technology, and humans – his installations and interventions are often placed in unusual urban contexts or natural environments. His works in public spaces are included in the permanent and temporary collections of the cities of Ljubljana, Geneva, Wroclaw, and St. Petersburg. He has exhibited in many art venues worldwide: the Venice Biennale, the History of Science Museum in Geneva, ICA in London, Manege in St. Petersburg, the NEMO Biennale in Paris, Sonar in Barcelona, Columbia University in New York, FACT Liverpool, Centro Cultural Recoleta in Buenos Aires, Kunsthaus Graz, the Museums Quartier in Vienna, and ArbatFest Almaty, among others. He has received several international awards for his works, including awards from the GLOW festival, WRO Media Art Biennale, Europrix Multimedia Award, Memefest, and Baltimore Magazine, as well as a Plečnik Medal. He is the director of the MoTA – Museum of Transitory Art, the founder of the SONICA Festival in Ljubljana, and a member of the research-oriented art collective Nonument Group.
Co-production: Nova Gorica Cultural Centre, MoTA – Museum of Transitory Art
Venue: Nova Gorica City Gallery
The members of the Clockwork Voltage collective contribute modules from their modular synthesizers, chaining them into a shared patch that comes alive as a sound installation at the festival. Performers and visitors can interact with the system, altering its sonic flows. Each intervention reshapes the relationships between the modules, opening new possibilities of listening. The installation evolves through the synthesis of diverse approaches and collective acoustic exploration; its form remains open to unexpected responses and further transformations.
Clockwork Voltage gatherings bring together a Slovenian community of creators with a shared enthusiasm for modular synthesizers. The primary aim of the community is to foster live performances. The scope of its activity is captured in its debut compilation, Happy Little Voltages, featuring 17 domestic artists and designed to promote local production. Alongside Eurorack modules, the community utilizes other modular systems, custom-built analogue instruments, and vintage sound synthesizers.
Venue: Nova Gorica City Gallery
Boštjan Čadež’s installation presents a science-fiction scenario: upon achieving self-awareness, a robot renounces its intelligence to become the world’s first "drunk artificial intelligence". The two-wheeled Mr. Processor roams the gallery space, making graffiti, following visitors, creating mischief with sound and light, and spraying water. Rather than acting as an obedient assistant, it turns into a persistent nuisance. The work ironically interrogates our expectations of artificial intelligence, holding up a mirror to humanity through the machine’s improper conduct.
Boštjan Čadež is a new media artist exploring the intersections of art, technology, and human experience. In his installations and performances, he integrates artificial intelligence, virtual reality, robotics, and real-time data processing. His works are grounded in algorithms and simple rules that generate ever-new imagery and situations. They frequently engage viewers, who co-create the piece through interaction, bridging its digital and physical realms.
Venue: Nova Gorica City Gallery
Every hole is a paradox. A hole is defined by what is missing, yet it changes everything around it. As the hole fills with light, light loses its familiar direction, ricocheting through its reflective interior and unfolding into shifting webs of luminous lines. The ephemeral forms emerge almost like tangible structures, continuously dissolving and reforming. The installation explores the tension between the permanence of stone and the fleeting geometry of light.
Tadej Droljc is an audiovisual artist and creative coder who explores the relationships between sound, image, and light. He has presented his work at numerous events, such as Mutek, Sónar, Ars Electronica, the NEMO Biennale in Paris, the L.E.V. Festival, Deep Space Shanghai, Lunchmeat, and others, and has received several international awards for his work. He completed his doctoral research at the Centre for Research in New Music at the University of Huddersfield, where he received an award for outstanding achievement.
Collaborators: Miha Zupan, Marko A. Kovačič, Dijana Jež
Production: Strip Core/ Ljubljana Forum
Co-production: MGML, Osmo/za Consortium (Delak, Ljudmila, Projekt Atol Institute)
Venue: Galerija TIR, Mostovna
Drift/Trace is a study on the musicality of surfaces. Working in real time, the installation makes use of computer vision techniques to generate music from the image of the selected surface as a score for a virtual electroacoustic orchestra. The audience can follow the process of sonification through a pointer that indicates where the player is positioned within the “score/surface.” The surface images were taken in collaboration with Paola Pisani, as part of Corpus Terratorium, Bourges 2028.
Alessandro Fogar works in the field of electronic music and multimedia art, with a marked interest in soundscapes, spatialization, and interactive systems.
He has explored various approaches to sound generation, the resulting compositions are often studies in mutating existing sounds. The techniques range from the construction of original instruments, field recordings, and live performances.
Venue: Nova Gorica City Gallery
iMstrument is simultaneously a collection of audio and video recordings of musicians developing their personal musical languages and an audiovisual experimental instrument.
Selecting a musician's recording, toggling on/off, adjusting the volume, and chance are the parameters that allow the user to make music.
A forever-unrepeatable composition continuously unfolds before one's eyes and ears.
iMstrument is a creation in perpetual genesis, combining original and live musical performance at the intersection of technologically processed sonics and the elementality of pure sounds paired with digital recording. It serves as a meeting place between absent, technologically reproduced performers and the direct presence of the user.
Concept: Tomaž Grom
Video recording and processing: Ana Čigon
Programming: Vasja Progar
Interface design and manufacture: Tilen Sepič
Executive producer: Špela Trošt
Sound and visuals:
Daichi Yoshikawa, Franz Hautzinger, Lee Patterson, Samo Kutin, Seijiro Murayama, Olivier Toulemonde, Jonas Kocher, Andrej Fon, Vitja Balžalorsky, Dimitra Lazaridou Chatzigoga, Ute Kanngiesser, Jennifer Allum, Tristan Honsinger, Sebi Tramontana, Axel Dörner, Tomoko Sauvage, Mike Majkowski, Liz Allbee, Birgit Ulher, Audrey Chen, Henrik Munkeby Nørstebø, Noid, David Stackenäs, Dirar Kalash, Burkhard Beins, Andrea Neumann, Tom Jackson, Onno Govaert, Mikko Savela, Jošt Drašler, Susanna Gartmayer, Michel Doneda, Lê Quan Ninh, Jean-Luc Guionnet, Ana Kravanja, Bertrand Denzler, Carlos Zingaro, Wilbert De Joode, John Butcher, Joëlle Léandre, Hans Koch, Martin Küchen, Paul Lovens, Pascal Niggenkemper, Xavier Charles, Vid Drašler, Mohammed Abdul Monem, Irena Tomažin Zagoričnik, Mazen Kerbaj, Sharif Sehnaoui, Raed Yassin, Agnes Hvizdalek, Sven-Åke Johannson, Christine Abdelnour, Michael Zerang, Pascal Battus, Elisabeth Harnik, Ilia Belorukov, and Chris Pitsiokos
Production: Zavod Sploh
Supported by: The Ministry of Culture of the Republic of Slovenia and the City Municipality of Ljubljana
Tomaž GromAfter a few years of playing campfire songs on guitar, Tomaž Grom got the chance to play bass guitar in a band. At music school, they introduced him to the double bass because they did not teach bass guitar. Despite being a highly talented handball player, Grom chose the double bass for unknown and rather incomprehensible reasons. In the style of the old Russian school, two of his left-hand fingers were taped together to keep them from drifting apart, while the space between the remaining fingers had to be stretched by pressing against the double bass neck's taper – a practice strictly monitored by the teacher, who punished any slackening with a stroke to the elbow. Meanwhile, his right hand bowed the opeen strings.
When a high school classmate visited him at the music school, he was initially struck dumb and subsequently fell asleep to the long tones. Drago Ivanuša, a piano and accordion teacher at the same school, sensed progress in the aching double bass player and invited him to play jazz standards. Being a great motivator, the teacher inspired Grom to strip off the tape and grab the double bass with both hands. Fortunately, Grom also had a close friend, Tao G. Vrhovec Sambolec, who introduced him to the vast world of sound, music, and art.
Grom perceives music as a medium of communication rather than as an aesthetic pleasure. He searches for reasons to play. He uncompromisingly probes into contemporary social reality. For him, music is a quest, it is unexplained questions, flowing ideas, and uncertain situations. Composition is improvisation. Improvisation gives him the space to drift off, to make mistakes, to get lost, and to invent solutions. In improvisation, problems give rise to reflections and create new avenues.
Venue: Nova Gorica City Gallery
iPoet is a mobile application that integrates multimedia poetry. The project is a synthesis of the artistic aspirations of Slovenian avant-gardists: the poet Srečko Kosovel, the painter and graphic artist Avgust Černigoj, and the composer Marij Kogoj. The app user builds artistic works – INTEGRALs – with which they co-create the COLLECTIVE: a new white society of the future being built on the web portal www.ipoet.app.
The first version of i-POET (2004) was created on the centenary of Kosovel's birth. On the centenary of the poet's death (2026), the iPoet.app was updated for a modern generation of mobile devices.
iPoet is a monument to Srečko Kosovel and the Slovenian historical avant-garde that fits in any pocket. On the centenary of Kosovel's passing, art has finally become constructive, synthetic, and collective.
The CollectiveThis spring, an interdisciplinary collective linking art, poetry, programming, and new technologies was established to develop and revive the iPoet project. The project explores the relationship between human, language, and machine, as well as new possibilities for creativity in the age of artificial intelligence.
Coding: Nejc Grmek
Concept and design: Boštjan Kavčič
Mentors: Prof. Dr Narvika Bovcon, Assoc. Prof. Dr Dejan Lavbič
Venue: Mestna galerija Nova Gorica
“A strange loop is something that does something to itself, that defines, reflects, restricts, contradicts, plays with, and creates itself.” (John Horgan)
Patrick K.-H. (aka Anton Iakhontov) is an Austrian-based sound, video, and media artist. Active since the 1990s, he specializes in electroacoustic music, graphical sound, animations, and cross-disciplinary theatre works. He has authored music and video for 40+ international plays and presented his work at over 200 global festivals. Among his curatorial projects are Floating Sound Gallery (since 2008) and the ACOUSMONIUM festival (since 2018).
https://floatingsound.at/Patrick-K-H
Realized with the support of SKE / austromechana
Floating Sound Gallery Vienna
Venue: Nova Gorica City Gallery
Eight unique vinyl records featuring the letters of the name SONONIMI (SONONYMS) combine sound fragments by various creators. Using four turntables, visitors and performers weave them into new entities. Through contact with other material, a sound, gesture, or unfinished idea assumes a new form. This collective installation opens a space for listening to and exploring that which is still emerging. With permission from the artists, the fragments also come alive in an online repository for subsequent creative work: https://seqmperor.com/sononimi/.
The acoustic material for the SONONYMS: Open Sound Platform installation includes a fragment from Alessandro Fogar's work Flutter, an excerpt from Karmina Šilec's Recomposition of Motets featuring a bioacoustic source of stressed plants, a sound sketch by Patrick K.-H., and an excerpt from the installation NEUNUNDNEUNZIG (99) by Martin Bricelj Baraga and Olaf Bender, recorded at the Pochen Biennale in Chemnitz in 2018. Michele Spanghero contributes Listen! (2026), a recording of neon light made with an electromagnetic pickup. Contributions from the SONONYMS online sound database also feature works by Boštjan Simon, Gal Furlan, tipoRenesansa, Boštjan Pirnar, Aleš Krebs, Ram Cunta (Mart), Igor Vuk (BeatMyth) and Andrej Kobal. Using four turntables, visitors and performers interweave these sound fragments into new sonic entities.
Co-production:
The Maribor Youth Cultural Centre (MKC Maribor) is a public institution of the City of Maribor operating in the fields of art, culture, the youth sector, and youth infrastructure. It manages the Pekarna Hostel, Media Nox Gallery, and the Cultural Incubator. It is aimed primarily at young people, as well as all fans of contemporary art and urban culture. It organizes over 300 events annually (festivals, exhibitions, workshops, performances, etc.), including the Slovenian Book Days in Maribor, MFRU, and Young Maribor festivals.
Venue: Nova Gorica City Gallery
The sound installation Vol. (2026) is part of a series initiated in 2014. It explores the correlation between sound and architecture, transforming the artwork into an instrument to reveal the volumes and emptiness of the exhibition space. The geometry of the room is translated into sound waves propagated by a system of sound sculptures, creating a steady acoustic experience wherein the audience activates the perception of the work through their own presence and movement within the space, rediscovering the room's resonances and interferences.
Courtesy of Galerie Alberta Pane, Paris and Venice, and Mazzoli Gallery, Modena and Berlin
Michele Spanghero is an Italian artist whose work ranges from sound art to sculpture and photography. He has exhibited in solo and group exhibitions in various international institutions, such as the School of the Art Institute of Chicago (USA), Cinémathèque Québécoise (Montreal, Canada), Hyundai Motorstudio (Beijing, China), the Museum of Modern Art (Istanbul, Turkey), Jardin des Tuileries (Paris, France), Ars Electronica festival (Linz, Austria), Technische Sammlungen (Dresden, Germany), Mart (Rovereto, Italy), the National Gallery of Umbria (Perugia, Italy), the Bevilacqua La Masa Foundation (Venice, Italy), Palazzo Te (Mantua, Italy), OGR (Turin, Italy), and the 16th Quadriennale d’Arte (Rome, Italy).
Venue: The Circle, Gorizia (Italy)
A composition awaiting inscription into juniper for voice and a broadband spatial loudspeaker for outdoor use.
Music: Karmina Šilec
Chant: Živa Horvat
Performance: Kebataola Ensemble
Bioacoustic Sound:
Juniperus sabina (savine juniper)
Juniperus oxycedrus (prickly juniper)
A hypothetical scenario from a scientific discipline serving as the foundation of Recomposition – storing music created in collaboration with plants inside the plants themselves – invites reflection on the potential use of DNA as a new data storage medium, with plants serving as infrastructure. The storage location shifts from the cloud to juniper, transferring data control from major corporations back to the individual.
Karmina Šilec is a multidisciplinary artist. Working as a director, composer, and conductor, she collaborates with various theatres, opera houses, festivals, and ensembles worldwide. Her creative output forms an extensive, profound, and internationally acclaimed body of work. She is a recipient of the Prešeren Fund Award, two international Music Theatre Now awards, the Glazer Charter, the Sterijino Pozorje Award for theatre music, and other accolades. She serves as the artistic director of Carmina Slovenica, the New Music Theatre Choregie, and the Kebataola ensemble.
Co-production: Carmina Slovenica
https://www.carmina-slovenica.si/razzz_/dfjgaskljg_/
Venue: TIR Gallery, Mostovna
Sound-Shower invites listeners to sit and experience a multi-source sonic environment of mixed systems of sound that create acoustic and psychoacoustic phenomena under a deep listening experience.
The setup features two directional speakers generating binaural beats, a conventional loudspeaker rich in resonance, and a chair equipped with a bass transducer for direct haptic transmission of low frequencies. This discreet installation highlights the vital connection of sound to physical and mental health, while addressing urban noise as a pervasive damaging influence in contemporary life.Public exhibition note: expect vibrotactile sensations through the chair; suitable for ages 12+. Pregnant individuals or those with pacemakers/epilepsy should consult staff before use.Duration: ~10 min per session.
Mauricio Valdés San Emeterio is a professor, curator, media systems developer, and researcher with a 30-year career, 15 of which have been spent in Slovenia and internationally, working at the intersection of sound, space, and technology. His work focuses on composition, spatial audio tools for testing and development, immersive sound environments, interactive media systems, and contemporary instrumental music. He is a Composition and Technology Professor at Anton Bruckner University, Curator and Head of R&D at Kuber, HEKA Art & Science Laboratory in Koper, Slovenia; he leads spatial audio research and mentors interdisciplinary projects, designing content and production for resident artists, including for the EU’s S+T+ARTS Air Project (2024), and has been a member of the abeceda ensemble since 2023. Valdés San Emeterio’s experience includes serving as Music Chair for the International Computer Music Conference (ICMC) in Ljubljana (2012) and was a member of the PRISMA Group at IRCAM in Paris (2018), and has contributed to festival programming as co-curator of the IZIS Festival in Koper since 2021, as a founder-curator of FAN in Chihuahua (Mexico), and as curator of Share-Ploring at Ars Electronica in 2024 in Linz, Austria. As an active member of the National System of the Art Creators (FONCA) Fellowship for the Mexican Government until 2028, he has received multiple accolades in Mexico, Slovenia, Spain, Germany, and Greece, and has a catalogue of more than 100 works presented in over 20 countries; he shares his experience through workshops, lectures, and diverse outlets for both general audiences and experts in his fields.
Venue: Nova Gorica City Gallery
Interactive audio-haptic installation
The Object Orchestra is an interactive audio-haptic installation in which visitors use hand gestures to conduct an ensemble of everyday objects. A Leap Motion sensor detects gestures and translates them via audio transducers into vibrations of a drum, a gong, and a child’s toy. Each object resonates according to its specific material and form. Between the visible gesture and the audible response lies a space of surprise: the objects transform the visitor’s idea through their inherent sonic qualities. Listening thus opens a different perspective on familiar things.
Igor Vuk is a sound artist and producer whose practice explores the relationships between sound, space and technology. His work combines dance and experimental electronic music with explorations of modular systems and sound installations. Through sound production, design and fabrication, he contributes to a wide range of artistic projects, continually seeking new modes of listening and expression, and new ways of connecting sound with space.
Venue: Nova Gorica City Gallery
Event Time: 16 October 2026 at 8 p.m. Official opening of the festival
Gal Furlan is a drummer and percussionist who trained under Zlatko Kaučič, his work focusing on jazz and contemporary improvised music. He teaches, leads workshops, and conducts sound baths. He also runs Klub Štala, organizing events under the auspices of KUD Kussa, and has collaborated with numerous renowned Slovenian and international musicians, contributing to over 70 albums.
Venue: Klub Teater, Nova Gorica
Event Time: 16 October 2026 at 10 p.m.
Lineup: DUF, Nalax Temus, Monoscarves, Shekuza, Open DJ
Clockwork Voltage gatherings connect the Slovenian community of creators united by shared enthusiasm for modular synthesizers. The primary aim of the community is to foster live performances. Its scope of activity is captured in its debut compilation, Happy Little Voltages, which features 17 Slovenian artists and promotes local production. Alongside Eurorack modules, the community utilizes other modular systems, custom-built analogue instruments, and vintage sound synthesizers.
Venue: Nova Gorica City Gallery
Event Time: 17 October 2026 at 6 p.m.
On Saturday, 17 October, the day after the festival opening, sound artists Boštjan Perovšek and Brane Zorman will perform a live quadraphonic version of tremolo at 6 p.m. within the ambient setting of the installed artwork.
tremolo is an interdisciplinary musical work and haptic installation that explores the vibrational communication of insects. It focuses on how listening to the insect microworld reshapes our perception of landscapes, and how landscapes and organisms are mutually and interdependently entwined. tremolo functions as an ethics of listening and coexistence, uncovering subtle vibrational layers of life within natural-cultural landscapes that remain imperceptible to the human ear.
The team combines complementary expertise from the fields of musical and visual research, material and tactile practices, and bioacoustics, drawing on extensive experience with electroacoustic composition. It is comprised of the composers and sound artists Boštjan Perovšek and Brane Zorman, and the sculptor Paola Korošec. Their work intertwines sound, bioacoustics, and the exploration of vibrations. The biotremological material was kindly provided by Juan José López Díez and the National Institute of Biology.
Venue: Small Hall of the Nova Gorica Cultural Centre
Event Time: 17 October 2026 at 8 p.m.
Boštjan Simon, saxophones and electronics
Marek Fakuč, drums
Lina Rica, visuals
Etceteral is an audiovisual trio composed of the saxophonist Boštjan Simon, the drummer Marek Fakuč, and the visual artist Lina Rica. At Pixxelpoint, they will present their third album, Kimatika, which brims with rhythmic loops, electronic sequences, and exploratory saxophone solos. The synesthetic train is running on schedule, heading straight into the future.
"This local audiovisual trio has never sounded more tight and precise! Their combination of restlessly throbbing electronic sequences, the howl of a thunderous baritone saxophone, playful, punchy drumming, sharp synthesizer melodies, and direct visuals synchronized with sound was exceptionally effective before, but this time Etceteral delivers even greater density, multilayered complexity, compactness, deliberation, and control. Despite this, Kimatika is a polyrhythmically elusive bonanza, one that, in its constant tumbling and headlong rush, is hard to keep up with, settling down only right at the very end. Yet the countless ideas are distilled, the motivation is clear, and the result is fiercely tangible. More concentrated than triple-concentrated tomato paste."
Borka, MLADINA
"Etceteral is a triumphant auditory experience that captures the spirit of the contemporary world. Futuristic music for an optimistic future."
Brigita Gračner
https://etceteral.bandcamp.com/album/kimatika
https://www.instagram.com/_etceteral_/
https://www.facebook.com/etceteral/
Venue: Nova Gorica City Gallery
Event Time: 18 October 2026 at 5 p.m.
Dorian Šilec Petek, author of the project
Dr Sašo Grozdanov, lecturer
Andrej Kobal, concert
The multi-media project EYE (CYCLONE) explores the interplay between modern science and the contingencies that accompany human progress. The different events in sequence interpret the history of art and science through time and the impact of their development on the prevailing ontologies. Starting from a historical context – the accidental discovery of the Prussian blue pigment – the project traces the evolution of science from alchemy through classical Newtonian physics to contemporary research fields such as quantum physics, artificial intelligence and advanced biomedical simulations.
Dorian Šilec Petek works as a theatre director and set designer. He has directed at the Ljubljana Drama Theatre, the Ljubljana City Theatre, the Prešeren Theatre, and elsewhere. He has worked as a set designer on projects at ASU Gammage (AZ), Z-Space (SF), the Watermill Center (NY), SNG Drama Ljubljana, the Ljubljana City Theatre, the Prešeren Theatre, and elsewhere. His works have been presented at Triennale di Milano (IT), FLARE – Festival of Radical Theatre (GB), Fast Forward (DE), BITEF (SR), Maribor Theatre Festival (SLO), Operadagen Rotterdam (NL), Music Theatre Now.
Dr Sašo Grozdanov is an Associate Professor of Physics at the University of Ljubljana and at the Higgs Centre for Theoretical Physics in Edinburgh. He holds a BA from Harvard, an MA from Cambridge, and a PhD from Oxford. His research interests encompass theoretical and mathematical physics, ranging from hydrodynamics and quantum field theory to gravitation and string theory. His work explores the dynamics of collective states such as the quark-gluon plasma that populated the early Universe.
Andrej Kobal works in the fields of music composition, sound design for film and theatre, and sound installations. He develops virtual instruments such as the award-winning GranuRise and seqMPEror, which enable granular synthesis and the transformation of sound in real time. He is also active as a lecturer in Vienna.
The text uses fragments and ideas from a number of texts: Benjamin Labatut, When We Cease to Understand the World; Benjamin Labatut, The Maniac; W. G. Sebald, The Rings of Saturn; W. G. Sebald, The Rings of Saturn; Sebald, After Nature; James Bridle, Ways of Being; Otto Oerlemans, Romanticism and the Materiality of Nature; William Kentridge, Six Drawing Lessons; Alan Weisman, The World Without Us; Daisy Hildyard, The Second Body; Timothy Morton, Humankind; Riccardo Falcinelli, Chromorama; Michael Wooldridge, The Road to Conscious Machines; Eric Johnson, Anxiety and the Equation; John Berger, Portraits; Hito Steyerl, Wretched of the Screen; Peter Osborne, Crisis as Form; Nicolas Bourriaud, The Exform; Andreas Malm, The Progress of This Storm; Rebecca Solnit, Savage Dreams; J. G. Ballard, Hello America; Jean Baudrillard, America; Siddhartha Mukherjee, The Emperor of All Maladies: A Biography of Cancer; T. J. Demos, Radical Futurisms; Rebecca Skloot, The Immortal Life of Henrietta Lacks.
We would like to thank Dr Sebastjan Cizl, Dr Uroš Mavr, Dr Lidija Gradišnik, Mija Špiler, Lučka Neža Peterlin, Eva Mahkovic, Ajda Ana Kocutar, Lovro Zafredo, Domen Novak, Juš Zidar, Jan Krmel, Živa Bizovičar, Karmina Šilec, Aljoša Živadinov Zupančič, Dunja Zupančič, and Dragan Živadinov for their advice and help in the realization of the project.
The event utilises a sequence of flashing lights. Themes of suicide and death are addressed. Images of dead animals are used.
Production: Zavod Delak with the support of the City of Ljubljana
Venue: The Small Hall of the Nova Gorica Cultural Centre
Event Time: 19 October 2026 at 8 p.m.
Authors and Performers: Loup Abramovici, Vid Drašler, Tomaž Grom, Samo Kutin, Lola Mlačnik, Eduardo Raon
"To make music-making a collaborative and transformative activity (from performer to composer to listener to composer to performer, etc.), to direct the collective nature of the activity toward the very source of music itself. To awaken through music-making a sense of the social conditions in which we live and how they might be changed."
Christian Wolff
When a musician chooses a stone as their instrument, the strongest reference point is Christian Wolff's composition Stones (1968). Soft Line is neither a recreation nor a reinterpretation of his original compositional idea for the work, but rather a dialogue with his perspective on music-making itself. Instead of a single, authoritative authorial figure, music functions as a participatory, collective, non-hierarchical, democratic, social, and political activity that effects change and reshapes reality. Is this not somewhat utopian? Let us dare to hope!
Commandment and prohibition – both are enticing in that they offer opportunities for transgression.
"The chosen flat pebble had seemingly concluded its skipping journey across the water’s surface and was already sinking toward its new location, while the gaze remained fixed on the point of ripple: 2, 4, 8, 16, 32, 64… These are certainly very fundamental numbers, numerical sequences from the cosmos of Western music, with 64 – a magic number for John Cage as well – instantly introducing us to the East: a chessboard is divided into 64 squares; the I Ching (The Book of Changes) comprises 64 hexagrams. Christian Wolff (b. 1934) introduced the I Ching to Cage back in the 1950s, when his parents, publishers, and writers who had fled Nazism, provided a new English translation. The aspiring composers were introduced to each other by piano teacher Grete Sultan, herself an emigree from Germany and a rather overlooked, significant figure in the musical world. (…)
Stones? Rocks? An abundance of lighter processes, the influence of Earth's history, but also a fair amount of Sisyphean toil that looms over the history of the human race as it contends with either stacks of stone or rubble: precisely because of an avant-garde capable of flirting with both West and East, these are inscribed directly into compositional methods." (excerpt from the essay Miha Zadnikar Broadens the Context)
Production: Zavod Sploh
Supported by: The Ministry of Culture of the Republic of Slovenia and the City of Ljubljana
Co-production: Nova Gorica Cultural Centre, Zavod Sploh
Venue: Nova Gorica City Gallery
Event Time: 20 October 2026 at 7 p.m.
Samo Kutin is a multi-instrumentalist known for his use of unconventional and self-made instruments and sound-makers. Within the field of free improvisation, he focuses incessantly on seeking, discovering, and manipulating various sonic potentials and the acoustic dimensions of the medieval hurdy-gurdy. He amplifies the instrument’s sound in space using acoustic resonators that he has developed and upgraded over the years. He is also interested in performing in natural environments, raising questions about the possibilities of acoustic and existential collaboration with various forms of life present.
He is widely recognized both in Slovenia and internationally for his work in ensembles such as Širom, Bakalina Velika, matter 100, and Trš, as a solo artist, and in various improvised formations (the Tepih quartet, Šalter Ensemble, and duos with Jean-Luc Guionnet, Lee Patterson, Pascal Battus, Martin Küchen, Vid Drašler, among others). He also creates music for theatre, dance, and puppet performances, animations, and films, and provides musical accompaniment for storytelling.
Venue: Nova Gorica City Gallery
Event Time: 23 October 2026 at 7 p.m.
Zlatko Kaučič, a drummer, percussionist, and composer, will celebrate 40 years in jazz and improvised music as well as mentorship to young musicians in 2028. He launched his professional musical career in 1978 at the Tres Tristes Tigres club in Valencia, Spain. To date, he has released over 60 albums, several of which have gained wide domestic and international acclaim. He has performed at major jazz festivals worldwide and played and recorded alongside renowned figures and innovators in his field, such as John Lindberg, Kenny Wheeler, Paul Bley, Albert Mangelsdorff, Chico Freeman, Louis Sclavis, Alexander Bălănescu, Marc Ribot, Evan Parker, the late Peter Brötzmann, and many others. Kaučič also leads the Nova Gorica-based ensemble Kombo.
He has composed music for numerous films and worked on documentaries in Spain (Jazz en Libertad, which won the 2008 RTV-España Award, and Camera Obscura, for which he received the Jury Award for Best Music in Niš, Serbia, in 2017). Over the years, he has received several honours: the Bronze Key of the City of Hong Kong in 1979, the Silver Key of the City of Vigo (Spain) in 1993, and the Recognition of the Municipality of Brda (Slovenia) in 2008. He is a recipient of the 2011 Prešeren Fund Award and the 2017 Bevk Award of the City of Nova Gorica.
Venue: France Bevk Public Library Nova Gorica
Workshop Time: 17 October 2026, 9:30–11:30 a.m.
Micro:bit Microcontroller Programming Project: Programming the Game Catch the Pixel, Programme the Circuit!
The introductory segment will acquaint participants with microcontrollers in everyday life and present a brief historical overview. The session will then focus on getting to know the hardware and software components of the Microbit microcontroller.
In the practical section, participants will gain an understanding of simple programming concepts and basic coding using a block-based programming language. From initial commands to a fully functioning game, we will explore how devices follow our instructions and to what ends they can be applied.
Practical exercises include the following:
The workshop is suitable for children aged 8 and up.
Prior knowledge is NOT required. All equipment, including computers, will be provided.
The workshop is free of charge. Registration is mandatory, at: mestnagalerija@kulturnidom-ng.si.
The Cancel Association brings together diverse IT professionals who share a passion for disseminating knowledge and fostering an enthusiasm for technology. Delavnica 2 operates under its auspices, providing educational computer science content for children and youth in Solkan for more than five years. Leveraging programming, Lego robotics, 3D printing, digital creation, and exploring the broad field of computer science, it provides young people with a platform for exploration, creation, and practical learning.
Venue: Nova Gorica School of Arts
Workshop Time: 21 October 2026 at 5 p.m.
Pixel-art
Traditional letterpress is most commonly a combination of lead type and imagery, which may take the form of an etched metal plate or a linocut. In this workshop, however, we will explore the visual dimensions of pixel-art practice. We will translate it into the analogue realm using basic Lego building blocks (circle, quarter-circle, square, rectangle), colliding into a total reduction of detail, while simultaneously discovering the vast horizon of its possibilities.
Maximum number of participants: 10
The workshop is free of charge and suitable for students.
Mandatory registration at: mestnagalerija@kulturnidom-ng.si.
http://youtube.com/watch?v=9fqDj5ERhro&authuser=0
Marko Drpić started out as a calligrapher and stone carver. For the past 15 years, he has been dedicated to the art of movable-type printing. He has salvaged a great amount of vintage printing equipment and tools from imminent destruction and mastered the corresponding trades, from hand compositing and printing to bookbinding. He currently runs the tipoRenesansa print shop in the centre of Ljubljana, where he organizes creative programmes for children, as well as for undergraduate and postgraduate design student participating in all three levels of the Erasmus programme.