Intermedijalni performans povodom svečanog otvaranja K1_ARt.bridges.∆{Wien↔Sarajevo} galerije proširene stvarnosti
Koncept, kompozicija: Belma Bešlić-Gál
14. septembar 2025. | Pravrijeme: 18:58 | Performans: 21:00
Trg Susan Sontag, Sarajevo (u slučaju nepovoljnih vremenskih prilika: Gradska vijećnica)
Kultur1 – Kulturverein Wien Innere Stadt i Fondacija Mak Dizdar u saradnji sa Narodnim pozorištem Sarajevo, u okviru programske inicijative Kultura na ulice! realizuju premijerno izvođenje EIDOLON:44°/Klangfeld/Ⰲremen. Ovaj intermedijalni performans austrijsko-bosanskohercegovačke kompozitorke Belme Bešlić-Gál osmišljen je specifično za lokalitet Trga Susan Sontag.
Temporalna arhitektura performansa večeri odvija se kroz četiri faze: Pravrijeme/AR aktivacija (18:58) > Protokol feat. AI agent PARALA/KS/X/ (21:00) > EIDOLON:44°/Klangfeld/Ⰲremen (21:15) > Nachzeit (~21:59).
Sintetizirajući savremenu muziku, tehnologiju i prostor, performans generiše privremenu autonomnu zonu gdje svjetlost, zvuk i arhitektura nisu odvojeni mediji već različite manifestacije iste transformacije. Prostorna zvučna spirala metabolizuje publiku u rezonantno tkivo, dok pet dijelova kompozicije—pra/feld/kern/Ⰲib/mod—pulsiraju kao agregatna stanja između maksimalne gustine i totalne disperzije. Tekstualni fragmenti Andrića, Horvátha i Dizdara, filtrirani kroz live elektroniku Tima Kreusera i zvučne projekcije harmonike sa albuma Sarajevo Gorana Stevanovića, aktiviraju latentne memorije prostora kroz fonetsku dekonstrukciju koja oslobađa jezik semantičkog tereta.
Od zalaska sunca u 18:58 do otvorenog kraja, EIDOLON:44°/Klangfeld/Ⰲremen transformiše urbani prostor u temporalnu partituru — organizam koji diše između digitalnog i tjelesnog, aktualnog i potencijalnog, u kojoj granice između tehnologije, arhitekture i tijela postaju propusne membrane jednog organskog sistema.
Ulaz je slobodan.
K1_ARt.bridges.∆{Wien↔Sarajevo}
EIDOLON:44°/Klangfeld/Ⰲremen koncipiran je kao inauguracijski događaj za svečano otvaranje K1_ARt.bridges.∆{Wien↔Sarajevo}, prve trajne galerije proširene stvarnosti (AR) koja povezuje Beč i Sarajevo kroz stvaranje hibridnog javnog prostora. Ovaj jedinstveni internacionalni projekt uspostavlja mrežu od devet audiovizuelnih AR radova renomiranih međunarodnih umjetnika, konceptualno povezanih sa ključnim javnim lokacijama u oba grada i dostupnih putem besplatne aplikacije K1_ARt (iOS/Android).
K1_ARt.bridges.∆{Wien↔Sarajevo} otvara novo poglavlje u kulturi sjećanja Bosne i Hercegovine i Austrije: umjesto statičnih spomenika, publiku očekuju žive digitalne membrane koje pulsiraju između prošlosti i sadašnjosti, lokalnog i globalnog, tradicije i spekulativne budućnosti—prihvatajući pluralitet percepcija kao kreativnu snagu koja gradi mostove kroz ono što nas spaja: zajedničku imaginaciju mogućih svjetova u kojima različitost postaje resurs, a ne prepreka.
AUTORSKI TIM EIDOLON:44°/Klangfeld/Ⰲremen
- Koncept, kompozicija: Belma Bešlić-Gál
- Live elektronika: Timo Kreuser aka материја
- Harmonika (zvučne projekcije sa albuma Sarajevo): Goran Stevanović
- Video: Catherine Spet, Belma Bešlić-Gál, Markus Passecker, Markus Wintersberger, K1_ARt.bridges.∆ (Z. Filipović, I. Jakarić, A. Labuhar, S. Lasić, A. Nagl, D. Schürrer)
- Podhuk Audio 7×7 Matrix: JuгⰑnaꙇtкиња
- ArchiveRuinsMachines (Audio/Video): Markus Passecker
- Heavenly Riders (Audio/Video): Markus Wintersberger
- Glasovi: Dobri Savjetnik, Vila Gorkinja, Dionysos’ Stimme
- Tekstualni fragmenti: Ivo Andrić, Ödön von Horváth, Mak Dizdar
Belma Bešlić-Gál je kompozitorka, kuratorka i umjetnica koja istražuje presjecišta zvuka, prostora i digitalnih medija, s fokusom na intermedijalno muzičko pozorište. Već više od dvadeset godina renomirani internacionalni ansambli poput Ensemble Kontrapunkte, ensemble mise-en i ensemble Phace izvode njena djela na festivalima kao što su ISCM World Music Days, styriarte i Musiktheatertage Wien, te u koncertnim dvoranama od Musikvereina u Beču do Palacio de Bellas Artes u Mexico Cityju.
Dobitnica je brojnih priznanja, između ostalog IzS Kunst und Kultur Preis (2011), Composer in Residence Archiv Frau und Musik (2011), Staatsstipendium für Komposition (2014, 2024), SKE Publicity Award (2019), Arbeitsstipendium für Komposition der Stadt Wien (2024). Muzikologinja Elfriede Reissig svrstava je među najznačajnije austrijske kompozitorke od 1918. godine.
Pored kompozitorskog rada, Bešlić-Gál aktivno oblikuje savremenu kulturnu scenu Austrije. Članica je Vijeća Republike (Rat der Republik) bečkog festivala Wiener Festwochen i zasijeda u žirijima za odabir programa, koncipiranje festivala i dodjelu grantova. Kao kuratorka i direktorica vodi više platformi za savremenu praksu: umjetnička je direktorica transdisciplinarnog festivala shut up and listen!, kulturne asocijacije Kultur1, te osnivačica umjetničke rezidencije Zvjezdane staze u Bosni i Hercegovini.
Timo Kreuser je kompozitor, izvođač, dirigent i pozorišni stvaralac. Njegova umjetnička praksa spaja industrijsku muziku, noise, punk i avangardnu elektroniku sa vizuelnim i performativnim elementima, nerijetko u formi političkog komentara savremenog društva.
Blizak savremenoj pozorišnoj sceni, sarađuje sa vodećim evropskim pozorištima (Volksbühne, Schaubühne, HAU) i režiserima među kojima su Christoph Schlingensief († 2010), Frank Castorf, Thomas Ostermeier i Luk Perceval. Kroz eksperimentalne vokalne i klavirske tehnike i njemu svojstvenu estetiku, kritički preispituje društvene mehanizme, pitanja individualnosti i korporativne logike muzičke industrije.
Osnivač je i muzički direktor vokalnog ansambla PHØNIX16. Redovno sarađuje sa ansamblima FIGURA, Kaleidoskop i POING!, nastupajući na festivalima poput ULTIMA Oslo, MaerzMusik, Biennale di Venezia, te u Grand Théâtre Luxembourg.
Goran Stevanović smatra harmoniku instrumentom koji pripada cijelom svijetu — uvjerenje koje snažno prožima njegovu muzičku viziju i beskonačni repertoar, bez stilskih granica i kulturnih podjela. Njegovo koncertno putovanje odvelo ga je širom Evrope, na prestižne scene poput Elbphilharmonie i Konzerthaus Berlin, te na ugledne festivale kao što su Heidelberger Frühling, Schleswig-Holstein Musik Festival, Festspiele Mecklenburg-Vorpommern, Musikfest Bremen, Thüringer Bachwochen i Young Euro Classics. U koncertnoj sezoni 2025/26, na poziv austrijske violončelistice Valerie Fritz, Stevanović će biti dio ECHO Rising Stars koncertne serije, sa nastupima u Londonu, Briselu, Budimpešti, Hamburgu, Kelnu i Newcastleu.
Sa hvaljenom premijerom svog djela Sevdah Verse — sugestivne kompozicije za harmoniku, reed box i gudački kvartet — na festivalu Heidelberger Frühling, Stevanović je krenuo putem unošenja duboko emotivne tradicije bosanskohercegovačke sevdah muzike u nove umjetničke kontekste. Djelo je od tada izvedeno i pred publikom u Beču i Talinu. U 2025. godini, uz podršku Concerto21 Fondacije, nastavit će ovo istraživanje u New Yorku, gdje će se baviti arhivima i komponovati nova djela koja dodatno osvjetljavaju dušu sevdaha u savremenom svjetlu.
Pored umjetničkog rada, Goran Stevanović posvećen je i novim generacijama muzičara kroz svoju pedagošku djelatnost na Univerzitetu za muziku, dramu i medije u Hanoveru (HMTM Hannover).
Catherine Spet je interdisciplinarna umjetnica čiji rad povezuje medijsku teoriju i tehno-filozofiju sa istraživanjem umjetne inteligencije, metaverzuma i game arta. Djela su joj predstavljena na festivalima i u galerijama širom Evrope – NRW Forum Düsseldorf, Athens Digital Arts Festival, Amaze Berlin, ASVOFF Paris, Museumsquartier Wien, Vienna Digital Cultures 2025, CIVA Festival Vienna, Re:Publica Berlin. U okviru Kultur1 realizuje AR projekte koji spajaju digitalnu umjetnost sa urbanim prostorom.
Markus Wintersberger je medijski umjetnik i direktor magistarskog studija Eksperimentalni mediji na FH St. Pölten. U svojoj praksi spaja performans, digitalne medije, umjetnu inteligenciju i prostorne instalacije. Dobitnik je brojnih nagrada za medijsku umjetnost, uključujući Nagradu za kulturu pokrajine Donja Austrija (2009). Bavi se istraživanjem Wearable Theatre koncepta i AR/VR motion tracking tehnologija. Sa koreografkinjom Andreom Nagl pod labelom nagl~wintersberger razvija XR projekte i video mapping instalacije. Kao umjetnički direktor DIGITAL Donaukanal i kurator festivala Lucid Dreams, fokusiran je na eksperimentalnu medijsku estetiku koja dovodi u pitanje ustaljene percepcije stvarnosti.
Markus Passecker je kreativni tehnolog, doktorand i univerzitetski predavač sa sjedištem u Beču. Njegov umjetnički fokus usmjeren je na imerzivna iskustva kroz instalacije i performanse koji reagiraju na tijelo, kao i na umjetničku upotrebu velikih arhiva kulturnog naslijeđa. Istražuje poveznice između tijela, digitalnih tehnologija i historijskih skupova podataka. Njegovi kolaborativni radovi spajaju fizičke, virtuelne i arhivske stvarnosti.
PRODUKCIJA
- Kultur1 – Kulturverein Wien Innere Stadt / Fondacija Mak Dizdar
- Koproducent: Narodno pozorište Sarajevo
- Kooperacijski partneri: WKS, Neuhauser Kunstmühle, Schubert Theater Wien
- Podrška: CC4WBs (British Council & EU), Stadt Wien Kultur, Ministarstvo za kulturu i sport Kantona Sarajevo, Visit Sarajevo, Basis.Kultur.Wien, Bezirkskultur Wien Döbling, Kulturausschuss Wien-Alsergrund, Zvjezdane staze
- Tehnička realizacija: ProfiLight, Blow-Up, Fluxguide
- AR tehnička implementacija: Fluxguide Ausstellungssysteme GmbH / Markus Passecker
K1_ARt.bridges.∆{Wien↔Sarajevo}
- Kuratorski koncept: Belma Bešlić-Gál, Gorčin Dizdar, Markus Wintersberger
- Digitalna umjetnička direkcija: Markus Wintersberger
AR UMJETNIČKA DJELA
- EVS.∆ (16.83_97) – Markus Passecker
- GP≭FF[1914] – Heavenly Riders – Markus Wintersberger
- SCRIPT.EXE//404 – Ivan Jakarić
- (⥀).Venus – Dagmar Schürrer
- [∅RAKULUM] – Antonio Labuhar
- FLUX.≫ – Catherine Spet
- ∆RBOR//0 – Andrea Nagl
- ACT:∞ – Zlatan Filipović
- ARC//CTRL(ʌ) – Sanja Lasić
_______________________________________________________________________________
EIDOLON:44°/Klangfeld/Ⰲremen
Intermedial performance on the occasion of the official opening of the K1_ARt.bridges.∆{Wien↔Sarajevo} augmented reality (AR) gallery
Concept, composition: Belma Bešlić-Gál
14 September 2025 | Pre-time: 18:58 | Performance: 21:00
Susan Sontag Square, Sarajevo (in case of bad weather: City Hall)
Kultur1 – Kulturverein Wien Innere Stadt and the Mak Dizdar Foundation, in collaboration with the National Theatre Sarajevo and within the framework of the program initiative Culture on the Streets!, will present the premiere of EIDOLON:44°/Klangfeld/Ⰲremen. This intermedial performance by Austrian-Bosnian composer Belma Bešlić-Gál is conceived specifically for the site of the Susan Sontag Square.
The temporal architecture of the evening unfolds in four phases: Pre-time/AR activation (18:58) > Protocol feat. AI agent PARALA/KS/X/ (21:00) > EIDOLON:44°/Klangfeld/Ⰲremen (21:15) > After-time (~21:59).
By synthesizing contemporary music, technology, and space, the performance generates a temporary autonomous zone where light, sound, and architecture are not separate media but different manifestations of the same transformation. A spatial sound spiral metabolizes the audience into resonant tissue, while the five parts of the composition — pra/feld/kern/Ⰲib/mod — pulsate as aggregate states between maximum density and total dispersion. Textual fragments by Andrić, Horváth, and Dizdar, filtered through Timo Kreuser’s live electronics and accordion sound projections from Goran Stevanović’s album Sarajevo, activate the latent memories of the site through a phonetic deconstruction that frees language from semantic weight.
From sunset at 18:58 until its open ending, EIDOLON:44°/Klangfeld/Ⰲremen transforms the urban space into a temporal score—an organism breathing between digital and corporeal, actual and potential—in which the boundaries between technology, architecture, and the body dissolve into permeable membranes of one organic system.
Admission is free.
K1_ARt.bridges.∆{Wien↔Sarajevo}
EIDOLON:44°/Klangfeld/Ⰲremen is conceived as the inaugural event for the official opening of K1_ARt.bridges.∆{Wien↔Sarajevo}, the first permanent augmented reality (AR) gallery connecting Vienna and Sarajevo through the creation of a hybrid public space. This unique international project establishes a network of nine audiovisual AR works by renowned international artists, conceptually tied to key public locations in both cities and accessible via the free K1_ARt app (iOS/Android).
K1_ARt.bridges.∆{Wien↔Sarajevo} opens a new chapter in the culture of remembrance in Bosnia and Herzegovina and Austria: instead of static monuments, audiences encounter living digital membranes that pulse between past and present, local and global, tradition and speculative futures—embracing the plurality of perceptions as a creative force that builds bridges through what unites us: the shared imagination of possible worlds where diversity becomes a resource, not an obstacle.
AUTHOR TEAM EIDOLON:44°/Klangfeld/Ⰲremen
- Concept, composition: Belma Bešlić-Gál
- Live electronics: Timo Kreuser aka материја
- Accordion (sound projections from the album Sarajevo): Goran Stevanović
- Video projections: Catherine Spet, Belma Bešlić-Gál, Markus Passecker, Markus Wintersberger, K1_ARt.bridges.∆ (Z. Filipović, I. Jakarić, A. Labuhar, S. Lasić, A. Nagl, D. Schürrer)
- Podhuk Audio 7×7 Matrix: JuгⰑnaꙇtкиња
- ArchiveRuinsMachines (Audio/Video): Markus Passecker
- Heavenly Riders (Audio/Video): Markus Wintersberger
- Voices: Dobri Savjetnik, Vila Gorkinja, Dionysos’ Stimme
- Text fragments: Ivo Andrić, Ödön von Horváth, Mak Dizdar
Belma Bešlić-Gál is a composer, curator, and artist exploring intersections of sound, space, and digital media, with a focus on intermedial music theatre. For more than twenty years, her works have been performed by renowned international ensembles such as Ensemble Kontrapunkte, ensemble mise-en, and ensemble Phace at festivals including ISCM World Music Days, styriarte, and Musiktheatertage Wien, as well as in concert halls from the Musikverein in Vienna to the Palacio de Bellas Artes in Mexico City.
She is the recipient of numerous awards, including the IzS Kunst und Kultur Preis (2011), Composer in Residence Archiv Frau und Musik (2011), Staatsstipendium für Komposition (2014, 2024), SKE Publicity Award (2019), and Arbeitsstipendium für Komposition der Stadt Wien (2024). Musicologist Elfriede Reissig has ranked her among the most important Austrian composers since 1918. Beyond her compositional work, Bešlić-Gál actively shapes Austria’s contemporary cultural scene. She is a member of the Rat der Republik of the Wiener Festwochen festival and serves on juries for program selection, festival curation, and grant allocation. As a curator and director, she leads several platforms for contemporary practice: she is the artistic director of the transdisciplinary festival shut up and listen!, the cultural association Kultur1, and the founder of the artist residency Zvjezdane staze in Bosnia and Herzegovina.
Timo Kreuser is a composer, performer, conductor, and theatre creator. His artistic practice merges industrial music, noise, punk, and avant-garde electronics with visual and performative elements, often as political commentary on contemporary society. Closely tied to the European theatre scene, he collaborates with leading theatres (Volksbühne, Schaubühne, HAU) and directors including Christoph Schlingensief (†2010), Frank Castorf, Thomas Ostermeier, and Luk Perceval. Through experimental vocal and piano techniques and his distinctive aesthetic, he critically interrogates social mechanisms, individuality, and the corporate logics of the music industry. He is founder and musical director of the vocal ensemble PHØNIX16. He regularly collaborates with ensembles FIGURA, Kaleidoskop, and POING!, performing at festivals such as ULTIMA Oslo, MaerzMusik, Biennale di Venezia, and the Grand Théâtre Luxembourg.
Goran Stevanovich regards the accordion as an instrument that belongs to the world — a belief that resonates deeply in his musical vision and boundless repertoire, which knows neither stylistic borders nor cultural divisions. His concert journey has carried him across Europe, gracing esteemed stages such as the Elbphilharmonie and the Konzerthaus Berlin, and appearing at celebrated festivals including Heidelberger Frühling, Schleswig-Holstein Musik Festival, Festspiele Mecklenburg-Vorpommern, Musikfest Bremen, Thüringer Bachwochen, and Young Euro Classics. In concert season 25/26, invited by Austrian cellist Valerie Fritz, Stevanovich will be part of the ECHO Rising Stars concert series, with concerts in London, Brussels, Budapest, Hamburg, Cologne, and Newcastle.
With the acclaimed premiere of his Sevdah Verse — a haunting work for accordion, reed box, and string quartet — at the Heidelberger Frühling festival, Stevanovich set forth on a path to bring the deeply emotional tradition of Bosnian-Herzegovinian Sevdah music into new artistic contexts. The piece has since found its way to audiences in Vienna and Tallinn. In 2025, supported by the Concerto21 Foundation, he will continue this exploration in New York City, delving into archives and composing new works that further illuminate the soul of Sevdah in a contemporary light.
In addition to his artistic endeavors, Goran Stevanovich is dedicated to the next generation of musicians through his teaching at the Hanover University of Music, Drama and Media (HMTM Hannover).
Catherine Spet is an interdisciplinary artist whose work bridges media theory and techno-philosophy with research on artificial intelligence, the metaverse, and game art. Her works have been presented at festivals and galleries across Europe, including NRW Forum Düsseldorf, Athens Digital Arts Festival, Amaze Berlin, ASVOFF Paris, Museumsquartier Wien, Vienna Digital Cultures 2025, CIVA Festival Vienna, and Re:Publica Berlin. Within Kultur1, she develops AR projects that merge digital art with urban space.
Markus Wintersberger is a media artist and director of the Experimental Media master’s program at FH St. Pölten. His practice merges performance, digital media, artificial intelligence, and spatial installations. Winner of numerous media art awards, including the Culture Award of Lower Austria (2009), he explores concepts such as Wearable Theatre and AR/VR motion-tracking technologies. Together with choreographer Andrea Nagl under the label nagl~wintersberger, he develops XR projects and video mapping installations. As artistic director of DIGITAL Donaukanal and curator of the Lucid Dreams festival, his focus is on experimental media aesthetics that challenge conventional perceptions of reality.
Markus Passecker is a creative technologist, doctoral researcher, and university lecturer based in Vienna. His artistic work focuses on immersive experiences through body-reactive installations and performances, as well as the artistic use of large cultural heritage archives. He explores connections between the body, digital technologies, and historical datasets. His collaborative projects merge physical, virtual, and archival realities.
PRODUCTION
- Producers: Kultur1 – Kulturverein Wien Innere Stadt / Mak Dizdar Foundation
- Co-producer: National Theatre Sarajevo
- Cooperation partners: WKS, Neuhauser Kunstmühle, Schubert Theater Wien
- Support: CC4WBs (British Council & EU), Stadt Wien Kultur, Ministry of Culture and Sports of Sarajevo Canton, Visit Sarajevo, Basis.Kultur.Wien, Bezirkskultur Wien Döbling, Kulturausschuss Wien-Alsergrund, Zvjezdane staze
- Technical realization: ProfiLight, Blow-Up, Fluxguide
- AR technical implementation: Fluxguide Ausstellungssysteme GmbH / Markus Passecker
K1_ARt.bridges.∆{Wien↔Sarajevo}
- Curatorial concept: Belma Bešlić-Gál, Gorčin Dizdar, Markus Wintersberger
- Digital artistic direction: Markus Wintersberger
AR ARTWORKS
- EVS.∆ (16.83_97) – Markus Passecker
- GP≭FF[1914] – Heavenly Riders – Markus Wintersberger
- SCRIPT.EXE//404 – Ivan Jakarić
- (⥀).Venus – Dagmar Schürrer
- [∅RAKULUM] – Antonio Labuhar
- FLUX.≫ – Catherine Spet
- ∆RBOR//0 – Andrea Nagl
- ACT:∞ – Zlatan Filipović
- ARC//CTRL(ʌ) – Sanja Lasić