| DaDa |
| Création sonore | audio | | 11'6'' | Kroatien | 2005 |
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DADA – Some claim that the word was chosen randomly at the Cabaret Cafe in 1916, when a paper knife was found inserted into a dictionary pointing to the term "dada". It is French for "hobbyhorse". In Croatian it means "yes yes".
Rather than returning to the original works of Dada, we have chosen to put together a new (hi)story of Dada-Zagreb. Led by the techniques of Dadaism such as montage, collage, and the use of ready-mades, this piece merges 45 years of recordings of Biennial Zagreb Music, with sounds of contemporary Zagreb. We start roughly at a time when Dadaism was conceived, with "the father of electronic music" Edgard Varese, bringing back a recording of his Ionisation performed at the 15th Music Biennial. It was he, 100 years ago, who fell in love with the sounds of a city. The roar of the modern times became his inspiration in discovering the new worlds of sound – dissonant chords, sirens, polyphonies of percussion and wind... So we followed him. Setting forth on a path of music remembered in the Phono-archives of Croatian Radio, and visiting the most beautiful sights in the center of Zagreb along with its concert venues, our sound collage makes possible the encounter of Edgard Varese, Benjamin Britten, Igor Stravinsky (speaking about vodka), Michael Nyman, Sofia Gubaidulina, Daryl Runswick, Dieter Schnebel, Alvin Lucier, Howard Skempton, David Hykes, Stefano Scodanibbio, Peter Maxwell Davies, Josef Anton Riedl, and our guide - the voice of John Cage (Mushrooms and Variations). As in a dream, where realistic scenes are joined by bizarre connections, these individuals from our past all meet in contemporary Zagreb. Just as Dada works forced the observer to question accepted realities and acknowledge the role of chance and imagination, the listener of this piece becomes an editor, or a Dada artist, who connects many excerpts of discontinued time, and creates an authentic reality. These two aspects confronting each other – reality of detail and irreality of the piece as a whole, create a version that is one in a thousand possibilities composed in this way.
Iva Lovrec Štefanović was born in 1964. She earned a degree in Musicology and Comparative Literature from Zagreb University. Since 1988 she has been working at Croatian Radio as a reporter, producer and host. She has conceived numerous programs for Music Departement with topics ranging from early music to contemporary music festivals, electronic music, and ars acustica. For more than five years, she has been hosting a talk show about Croatian music, where she discusses current issues with prominent and young composers, interpreters, musicologists, and others involved in the musical arena. Her passion is experimenting with various forms of radio programming, including documentaries and ars acustica. Occasionally she writes about music for specialized magazines and works for TV. She is a member of Croatian Musicological Society and Croatian Music Union.
Lana Gospodnetić was born in 1979. She earned diplomas in Art History from Tufts University, and Sound Art from the School of the Museum of Fine Arts, Boston. Since 2003 she has been living in Zagreb, Croatia, and working as a sound designer for radio and film. Her video and sound installations have been presented at the Museum of Fine Arts, Boston, USA; Brandeis University, Waltham, USA; The Berwick Institute, Boston, USA; Prix Marulić International Festival of Radio Plays and Documentary Radio Drama, Hvar, Croatia; and BAG Gallery, Boston, USA. Sound work has been published on Acustiphobia, by Sublingual Records. Finally, she won second prize Prix Marulić in Croatia in 2005.
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