“[...] a writing with pneumatic, electronic, or gaseous indifferent supports [...] embracing all that flows and counterflows, the gushings of mercy and pity knowing nothing of meanings and aims [...] the pure process that fulfils itself, and that never ceases to reach fulfilment as it proceeds – art as ‘experimentation’.”
Gilles Deleuze & Felix Guattari [Anti-Oedipus, 1973]

“A work should include its environment, is always experimental [unknown in advance]”
John Cage [Themes and Variations, 1980]

Borderline: lines of demarcation.
The three-day festival attempts to create artistic conditions that probe various lines of demarcation, challenging the prejudice that comes with conditions of identity, and the contradictions that underlie this ever-fluid condition, in an indirectly and subtle way; using experimentation to undermine the concept of division, but without ignoring the different sublayers that define distinct artistic approaches.
The programme will highlight the individuality of each artist, while seeking to achieve a counterpoint and interactivity between them in spatial, musical and audience terms. Distancing itself from psychological symbolisms, stasis and the lack of contact that comes with specialization, Borderline’s focus is on restlessly playful, relentlessly rhythmic movement, on instability and on formal variety.
And because, for some, the term ‘experimentation’ calls to mind the austerity of manifestos or academic approaches, we imagine building our three-day festival and the prospects entailed by the above as a call to participation and as personal interpretation; as something open—hence multidimensional—and poetic.

Family Battle Snake
The Family Battle Snake aesthetic has much in common with contemporary DIY trends on the experimental noise scene. Though often verging on Punk, the rough analogue sound is filtered through his personal background and quests in various forms of musical expression.

On Pentral, Jacaszek tries to interpret the interior of Gothic churches in musical terms. He recorded chants and organ in churches in his native Poland, which he then processed electronically. The results are intense, abrupt and abrasive.

Ηildur Gudnadóttir & BJ Nilsen
Although Ηildur Gudnadottir seems to be playing classical-sounding motifs on her cello, she is essentially creating variations of melancholy sound. BJ Nilsen focuses on the dark side of art. Their collaboration is a unique amalgam.

Visit the page of the first day (March 31)