01. 03. – 01. 05. 2016
Michal Kindernay
Radio in the Mine

14.3. Chronology I. / Radio in a Mine

13.4. Chronology II. / Sleeping Etudes

1.5. Chronology III. / Rota Fortunae  

In spring this year Michal Kindernay, curator and producer of Galerie Školská 28, and artist connecting sound experiments with visual artworks was the guest/resident of the Prague INI Gallery. He prepared two sessions over projects he has pursued on the long run. In his third event he made use of the possibility of connection to the just ongoing Festival of Experimental Sound Manifestations Vs. Interpretation 2016.

The event Chronology I. / Radio in a Mine included a multimedia installation, a visualization of de/fragmentation of both sound structures and the landscape. Part of it was e.g. fly ash from the Most lignite basin where Michal took part in the Frontiers of Solitude Project, or a video recording of sounds of the mining machinery, and a lecture with a discussion. The sound or rather noise pollution is brought about not just by the mining itself; but to a great extent also by everyday city life – the landscape invasions (both physical and sonic) dissipate our peace, though we are hardly ever aware of their impact, coming little by little.

The session also included a lecture on sound hygiene, shared with guests Peter Cusack, Petr Šenkyřík, Martin Zet, Miloš Vojtěchovský, Lloyd Dunn and Sonya Darrow. During the evening visitors could also listen to fragments of the prepared composition with a working title “Drones, Machines, Winds, Water and Humanity”, prepared for the Czech Radio as one of the Frontiers of Solitude international project output.

The third meeting took place as part of the Vs.Interpretation 2016 Festival. Michal Kindernay and Miloš Vojtěchovský invited Christof Migone, Hans van Koolwijk and duo Sarah Washington and Knut Aufermann under the Tonic Train project. At the end of a busy day Michal Kindernay together with Sára Vybíralová presented performative reading of Rota Fortunae. About a dozen of 20th century stories or biographies were read to the viewers from a paternoster lift in Bubenská Street. The uniqueness of history hopped on and off the perpetual circulation of today already anachronistic elevator technology, creating thus accidental encounters with parts of texts along the lift’s up and down journey.

(Anežka Bartlová)