Sound art in Slovakia (1960s-2000s)

Artists

Milan Dobeš, Alex Mlynárčik, Milan Adamčiak, Róbert Cyprich, Vladimír Labat, Transmusic comp. (1989-96), Peter Machajdík, Juraj Ďuriš, Robert Rudolf, Lengow & HEyeRMEarS, CUCU Ensemble, Michal Murin.
Also : Ladislav Kupkovič

Forms

• audio-kinetic sculptures and environments (1960s, Dobeš, Mlynárčik)
• graphic artists meeting composers (George Cup - Peter Machajdík, mid-1970s; Daniel Fischer – Ilja Zelenka, 1979 and 1993; Svetozár Ilavský – Svetozár Ilavský, since 1991; Miloš Štofko – Martin Burlas, 1994; Viktor Hulík – Peter Machajdík, 1993; Dirk Dietrich Hennig - Peter Machajdík, since 2003; Bohuš Kubínsky and Monika Kubínska – Iris Szeghy, 1995; Jaroslav Drotár – Marek Piaček, 1995; Dorota Sadovská – Daniel Matej, 1997; Zbyněk Prokop - Peter Machajdík, since 2010)
• acoustic part of action art (1970, Adamčiak, Cyprich)
• sound objects (1970s-90s, Polymúzický priestor I. exhibition, Labat, Transmusic Comp, Lengow & HEyeRMEarS)
• sound environments (1990s-2010s, Machajdík)
• home-made musical instruments (1980s-90s, Adamčiak, Sound Off festivals)
• acoustic environments (1980s-90s, Murin)

Exhibitions

Polymúzický priestor I., 1970 in Piešťany. Concept by L Kár.
Touch to Connect, 1985–1989, relaunched in 1997. Concept by Ladislav Snopko and Zuzana Bartošová.
Image and Music, 1989-90. Curated by Ivan Jančár and Zuzana Martináková.
Priestor '93, 1993 in Piešťany. Peter Machajdík - Viktor Hulík: Blikač & Peter Machajdík - Viktor Hulík: Music for the Glass Bridge. Concept by L Kára.
Piano Hotel, 1997. Curated by Michal Murin. Five prepared pianos along with their parts were presented as acoustic objects (Viktor Lois, Otis Laubert, Milan Adamčiak, and Jozef Cseres). Part of Sound Off festival.
Fenomén Kafka, 2010 Tatranská galéria Poprad, Elektráreň. Peter Machajdík - Zbyněk Prokop - Robo Kočan.

Works

The Pulsating Rhythm, 1963. Milan Dobeš. Sound manipulated on the basis of the synchronization of impulses.
A Cathedral of Humanism, 1968. Stanislav Filko. Exhibited at the international exhibition Danuvius ’68. The synthetic environment that utilized concrete music (sounds reproducing radio broadcast).
Chafing, 1969. Milan Adamčiak and Róbert Cyprich. Created the musical component of Alex Mlynárčik's event in the High Tatras.
Miss Pogana’s Flirt, 1969. Alex Mlynárčik. Exhibited in Apollinaire Gallery in Milan, Italy. (1934) in his homage to Constantin Brâncuşi used plastic eggs that emitted ringing sounds after being set in motion by spectators. Interactive environment changing, through a visitor’s gesture, was not merely the constellation of objects but also the acoustic quality of space.
Water Music, 1969. Milan Adamčiak and Róbert Cyprich. Music project that modernized Georg Friedrich Händel’s original composition; together with Jozef Revallo, the piece was performed at the indoor swimming-pool of the college dormitory Juraja Hronca in Bratislava.
Spring Union, 1970. Milan Adamčiak. Created the musical components of Jana Želibská's event in Dolné Orešany.
The Yellow Environment, 1970. Milan Adamčiak. Created the musical components of Jarmila Čihánková's event at the exhibition Polymúzický priestor I. in Piešťany.
The Wheelwork of Time, 1970. Vladimír Môťovský. Piece for the exhibition Polymúzický priestor I. in Piešťany. Sculpturesque object in the shape of a clattering mill.
A Dwelling-Place, 1970. Andrej Goliáš. Piece for the exhibition Polymúzický priestor I. in Piešťany.
1970. Ivan Štěpán. Piece for the exhibition Polymúzický priestor I. in Piešťany. Optophonic space consisting of the synchronization of visual, acoustic, and architectural elements.
Three Graces, 1970. Róbert Cyprich. Participated musically at the Alex Mlynárčik's project at the I. Otvorený ateliér in Bratislava.
Acousticon, 1970. Alex Mlynárčik, Miroslav Filip and Viera Mecková. Project was begun but left unfinished; it had been intended as a programmed musical instrument whose sound depended on the movement of the spectator on an ascending and descending spiral.
1971. Milan Dobeš. Wrote a special light-kinetic program for the American Wind Symphony Orchestra to accompany symphonic compositions by T. Mayazumi and Krzysztof Penderecki (a series of concerts in the United States).
Games of Games, 1985. Michal Murin. Acoustic environment.
Earth Music, 1986. Michal Murin. Part of Monuments and the Present Age project.
A Visual Composition, 1987. Michal Murin. Acoustic environment.
Simultaneous Improvisationshttp://www.rainerlinz.net/NMA/repr/Synchronistic.html, 1989. Michal Murin. Acoustic environment. Music bridge Perth – Bratislava.
1989. Milan Adamčiak. At the exhibition The Basement in Bratislava. Extensive installation consisting of sound objects and musical instruments constructed primarily from found materials.
The Schrattenberg Sprite, 1991. Miloš Boďa and Juraj Ďuriš. Interactive acoustic object.
Archeomusic, 1992. Michal Murin. Used natural material (wood, leaves, soil, straw) for creating sound objects brought into play during performances.
Sonic Environment, 1993. Peter Machajdík and David Moss. Audio Art Festival, The Hague (NL).
Green Pianos, 1993. Sound environment by Peter Machajdík. AVE Festival (internationaal audiovisueel experimenteel festival), Arnhem (NL).
Tanz-Klang-Raum I., 1993. Sound Environment by Peter Machajdík. With dancer-performer Dorothea Rust. Festival Hier und dort, Shedhallen, Zug (CH).
Tanz-Klang-Raum II., 1993. Sound Environment by Peter Machajdík. With dancer-performer Dorothea Rust. Performance-Tage, Seedam Kulturzentrum, Pfäffikon (CH).
Tanz-Klang-Raum III., 1994. Sound Environment by Peter Machajdík. With dancer-performer Dorothea Rust. Kunstmuseum Thun (CH).
TROMPeter, 1995. Sound Environment by Peter Machajdík. Audio Art Festival, Kraków (PL) and Melos-Ethos Festival, Bratislava (SK).
Tanz-Klang-Raum IV., 1995. Sound Environment by Peter Machajdík. With dancer-performer Dorothea Rust. International Festival Bollwerk Belluard, Fribourg (CH).
Tanz-Klang-Raum V., 1995. Sound Environment by Peter Machajdík. With violinist Malcolm Goldstein and dancer-performer Dorothea Rust. Aargauer Kunsthalle, Aarau (CH).
Soundscapes, 1997. Peter Machajdík and Nicolas Collins. Studienwoche für Neue Musik, Lüneburg (DE).
Travelling Art Museum – Musical Ecofacts and Artifacts from the Eocene to the Futurocene, 1997. Lengow & HEyeRMEarS. For the symposium Kép-Ze-Let at the Mining Museum in Tatabánya (HU). Sound object oscillating between a sound object and a conceptual visual acoustic installation.
SOUNDgARTen, 1999. Peter Machajdík. Festival La Belle Jardinière, Künstlerhaus Schloss Wiepersdorf (DE).
Warholes, 1999. Lengow & HEyeRMEarS and Otomo Yoshihide. Acoustic installation on the premises of the permanent exhibition at Andy Warhol’s Museum of Modern Art in Medzilaborce.
Personal Time Quartet, 2003. Sound environment by Peter Machajdík for a mixed media installation by Gülsün Karamustafa. Historisches Museum, Hannover (DE).
Hannahver, 2003. Sound environment by Peter Machajdík. Electric Rainbow Coalition Festival; Dartmouth College, Hanover (USA).
SOUNDpaik, 2003. Sound environment by Peter Machajdík. Künstlerhaus Lukas, Ahrenshoop (DE).
The Healing Heating, 2007. Sound environment by Peter Machajdík. With Petra Fornayová and Boris Lenko. Kunstforum Ostdeutsche Galerie, Regensburg (DE).
Sonic Situations, 2010. By Peter Machajdík and Michal Rataj. Multimedia Festival Banská Bystrica 2010 + Elektronischer Frühling 2011, Kunstverein Wien (AT).

Articles

Michal Murin: The Seeing Ear - Sound Object and Instalations II, http://www.radioart.sk/frames.php?url=http%3A//www.radioart.sk/doc/soundart/inx_ucho_eng.html