OPENING OF SONICA FESTIVAL and a group EXHIBITION | Antiphonic Incidence
24 September 2019 — 06 October 2019

Antiphonic Incidence

Group exhibition opening


Museum of Contemporary Art Metelkova, +MSUM

Tuesday, 24 September 2019, at 8 p.m.


Artists: CHAINES, Hannah Catherine Jones aka Foxy Moron, Jörg Piringer, patten, Ross Manning

Curated by Sally Golding.

Opening screening: Allora & CalzadillaThe Great Silence, PR, 2016, 17 min

Opening concert: UmdhlebiTears of the Last Glacier


Festival SONICA invites you to the opening of Antiphonic Incidence group exhibition curated by artist and curator Sally Golding at the Museum of Contemporary Art Metelkova in collaboration with Moderna galerija.


The exhibition Antiphonic Incidence presents five new commissioned works for the Museum of Transitory Art´s Impermanent collection, curated by Sally Golding. Works by five selected artist-composers: CHAINES, Hannah Catherine Jones aka Foxy Moron, Jörg Piringer, patten, Ross Manning finding duality, division and new directions across solid form, transmission, being, product mutation and transfiguration will be displayed at the Museum of Contemporary Art Metelkova​ (+MSUM).


The festival will open with the screening of The Great Silence by Allora & Calzadilla The film presents parrots as the guardians of the values that could potentially save humanity if only the latter listened. On the other hand, deaf humanity is magnificent as well, even though it is directing gigantic mechanical ears towards the Universe, instead of understanding the rest of the Earth species. It has built complicated technology to listen and send various signals into it. The response, however, is only a hum, the mantra of the vast nothingness. The message that a nearly extinct parrot species would send to humanity if it could, will introduce this year´s festival, entitled Sentinels.


Umdhlebi is a solo project of Luka Bevk. Umdhlebi mostly uses analog machinery to create apocalyptic and dystopic soundscapes. It is an aural embodiment of hatred toward civilization and our culture, praising the industrial collapse and end of civilised man. Umdhlebi will open the festival with his avdiovisual project The Tears of the Last Glacier.



Produced by: SONICA Festival and MoTA – Museum of Transitory Art
Coproduced by: Moderna galerija, Unconscious Archives

Supported by: Austrian Cultural Forum




Sally Golding (AU / SHAPE) is a British-Australian artist, curator and archivist whose work considers participation and liveness in audiovisual art as a mechanism for shared experiences and dialogues within technological contexts. She is also a director of Unconscious Archives and curator of this year’s exhibition titled Antiphonic Incidence.


Jennifer Allora and Guillermo Calzadilla are a collaborative duo of visual artists who live and work in San Juan, Puerto Rico. They represented the USA in the 2011 Venice Biennale and in 2012 they exhibited at Documenta 13 in Kassel.




Ross Manning (AU): Ambient Painting, dichrohic filters; silver and araldite on stretched canvas (310mm x 410mm x 100mm); 2 x 45-degree mounted lights.

Ambient Paintings (2017– ) are a series of ongoing works inspired by availability/detritus, incidence/ambience and form in space. Using a selection of dichrohic glass filters– a hidden component used in the manufacture data projectors– emergent qualities are foregrounded via new composition and display. The person installing is to make the aesthetic choices– the work has no imagery of its own.

Ross Manning is a Brisbane based visual artist and musician who stages spatial interventions using everyday objects: fluorescent tubes, ceiling fans, household twine, brown wrapping paper, analogue overhead projectors and detritus from discontinued data projectors. From soundwaves to light waves, Manning has an uncanny ability to foreground the hidden beauty in audiovisual technology. Exhibited widely across Australia and the Asia Pacific’s most prestigious institutions, Manning is represented by Milani Gallery and his sonic work is released on the Australian label Room40.




Jörg Piringer (AT): darkvoice space=time, 3D printed PLA filament object; flatscreen wall mounted monitor with digital video; sound.

darkvoice is an album and a set of videos reflecting on the role of spoken language in the age of pervasive and permanent electronic surveillance. Exclusively made from manipulated voice, sinister typography and digital technology—frames of the video g-singe from the album darkvoice were printed with a 3D printer in chronological order, and combined with the original generative video to create a three-dimensional sculpture.

Jörg Piringer is a Viennese media artist, musician, software programmer and poet who weaves complex ontological narratives from the building blocks of single letters, computer code and expressions of his own voice. His live techno-poems generate unforeseen and vanishing abstract poetry in real time inspired by non-literary fields like physics, biology and mathematics.



Hannah Catherine Jones (UK): Owed To Bussa 2.0, 2 x opposing flatscreen monitors with digital video; sound.

Owed to Bussa (2016) is the first in Hannah Catherine Jones’ Diasporic Oweds series of investigations into her own embodied Afrofuturism. Newly reconfigured as an installation, Jones infuses the historical figure of Bussa with her sense of ever-expanding research practice. A digital scrapbook of her internet browsing history– simultaneously experienced and shared with her audience as a form of collective and actionable history.

Hannah Catherine Jones aka Foxy Moron is a London based artist, researcher, radio presenter (NTS Radio; BBC Radio), composer and conductor, and founder of Peckham Chamber Orchestra. Jones often performs under the pseudonym Foxy Moron– creating works that juxtapose ancient musical modalities (Mixolydian, Phrygian) with sci-fi timbres to produce what she calls ‘sonic antagonisms’– a vehicle for the artist to explore the conceptual possibilities of Afrofuturism.



CHAINES (UK): The Prototype In The Attic, card game

Green Four Forest.. Oak Stump.. Tree Creature.. Witch Fruit.. These are a few of the ingredients in CHAINES’ object based, tactile card game. Playing without looking– intuition and circumstance, un-augmenting reality across place and time. A space for thought and interaction– “..all things interconnect.. [and manifest] as.. communication”.

CHAINES (Cee Haines) is a composer, multi-instrumentalist and artist based in Manchester, UK, who writes surreal and fantastical electronica and electro-acoustic music. Their album The King (Slip) was received with enthusiastic critical praise (FACT, Boomkat, The Wire). Their live set incorporates semi-improvised electro-acoustic performance, which The Guardian has called ‘a mesmeric collage of ecclesiastical beauty and creeping dread’.



patten: FLEX Constellation (SNC0919), FLEX Constellation (SNC0919); pyramid acoustic foam panels; wall mounted flatscreen LED monitors with digital video; sound.

FLEX Constellation (SNC0919) extends the world of patten’s new transmedia project FLEX – combining fragments of liquified, hi-tech sound with evocative image and text to create a physical intervention within the gallery space. Set within a full wall clad in pyramid-acoustic foam usually found in recording studios, the panelling operates as a means to redefine the white walled gallery space itself– unvariegated planes reacting and shifting across surfaces.

patten is a London-based project renowned for their hi-tech immersive AV shows. Their sci-fi-sounding concepts on the trail of Aphex Twin are a mix of influences from footwork to techno, and deconstructed club and contemporary British electronic milieu. Their last full-length Ψ (“psi”) was released by Warp. Their creative outlets range from design as 555-5555, to installation, film, software programming, music, live performance, and publishing. Their recent work includes AV shows at the ICA and Tate Modern in London and ongoing art direction for Dan Snaith’s Daphni albums. This year they are represented by the SHAPE Platform.

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