Recoding sounds, textile factory recoding sounds in tetxile factory Entrance, closed down Kamensko f. Installing the 4 channel sound Presentation of the sound work

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Concert for a Sewing Machine and a Tree is a 4 channel sound installation conceived as a part of Margan's project Movement for Space, its starting point being the recently devastated Kamensko factory and the protest of its workers. The project of re-purposing the land plot of the factory into a business and shopping area marks the onset of gentrification in that part of the city, whereby several questions should be raised: Who defines the public space and for whom? How can we achieve the choreography of democratization? What role should the citizens play? Concert for a Sewing Machine and a Tree is a composition of sounds from manual and machine work, recoded in one of the still existing textile factories in Zagreb, and exhibited as a public 4 channel sound installation in the park in front of closed down Kamensko Factory. The sound work was also shown in a gallery context, accompanied by a publication.

excerpt about the work from the text by Iva Rada Jankovic for the exhibition Compositions in Walking

"The recent four-channel audio-installation Concert for a Sewing-Machine and a Tree, recently displayed within the framework of the Zagreb Urbanfestival and now transferred from the public space of a square (from the trees) into a gallery venue, has also been created by intertwining and adoption of situations that actually took place in reality. Edited in the manner of a musical score, this interchange of irregular rhythms and sounds from real time and space, located into the public space of a city park, in four tree-crowns, introducing a spatial illusion of by no means harmless connotations, has for a short time animated a static idyll of the urban green oasis of the square. The produced sounds remind of the upsetting events that had shortly before happened in the immediate vicinity of the park. They are a result of long-term mismanagement by ruling structures, i.e. systematic economic destruction of one of the last textile factories in Croatia. The work of machines and women’s hands, of protesting voices, tearing, cutting, and sewing together are provoking, testifies Luiza Margan, while new questions crop up about who, how and to what end re-distributes the space and structures. The allusion to re-tailoring, suggested by the dominant sound of sewing machines and tearing of the cloth eludes any attempt at non-ambiguous interpretation. This re-tailoring evokes the memories of actual events (like renaming Trg Francuske Republike into Trg dr. Franje Tu?mana), as well as contemporary gentrification processes, which are frequently conducted in collaboration with art, in order to enliven a devastated structure after its economic collapse. In this particular structure, associations keep forming a chain: indicated by sound, the listener faces a new cognitive space that outlines the concept of power of individual resistance and even his/her possibilities to re-tailor the already set routes and to design trajectories to which the resistance to the inherent language of power is feasible and maybe even possible. “The language of power is being ‘urbanised’, but the city is still subjected to juxtaposed processes that complement each other and enter different combinations outside of the panoptic power”, says Michael de Certeau.
In Luiza Margan’s “wandering semantics”, in which art intertwines with reality, this sound installation, initially intended for direct and unplanned reception by passers-by in a place that had really experienced re-tailoring in the recent past, has now been transferred into a new situation – gallery venue – as part of the artist’s research practice. Although in her work she takes documentary methods of immanent practices of contemporary artistic activism as her point of departure, on the other hand Luiza does not deny the existence of an autonomous field of art. Migrations and dislocation of signs from one venue to the other, from one level of reality into the other by applying artificial editing procedures will equally efficiently result in reflections on critical spots not only in the society as such, but also in the position of art and artists in that society. The problem of the image/picture is how to depict a voice, writes Mladen Dolar; it brilliantly solves this problem in the editing process linked to Lacan’s description of urges as something devised and not founded on natural order of things or instincts; this editing process is not final, and like a surrealist collage it has no beginning and end. "

The work in public space is produced by Urban Festival 2012
The publication is supported by bm:ukk Austria, 2012