ABSNC

About the event 

(Bosnski ispod*)​

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On Saturday, November 18, Basheskia will present a conglomerate of compositions called ABSNC to the Sarajevo audience for the first time.

Conceptually moving away from the idea of ​​an album as a predefined structure, Nedim Zlatar Basheskia opens his musical practice to constant and unpredictable changes, variations, and modifications. Calling ABSNC an authorial process, Basheskia underlines a highly subjective and intimate relationship to music. Rejecting the principle of reproduction, he self-consciously responds to his need for continuous research in music.

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A particular compositional skeleton created in the play of electronic music and percussion is the basis for further authorial metamorphosis. So, it is not just a matter of well-known and widely accepted jazz improvisation but modifications that are sometimes thought through in advance, sometimes composed in situ. Such a writing and performing principle draws attention to the ephemeral nature of music and the unrepeatability of its experience.

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The authorial process ABSNC, as the name suggests, is an artistic questioning of the notion of absence. Researching the absence of something in us or someone around us can hardly have an end in contemporary society. The only possible result is a new question or a new absence. Therefore, rejecting a ready-made composition is, on the one hand, a purposeful formalization of an idea of absence. On the other hand, it is an idea in itself - the idea that the continuous musical process can be a tool of personal, intellectual, emotional, and spiritual processes.

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Unsurprisingly, this author's process is interwoven with the sounds of life - car sirens, the cries of children, shouts, and the murmur of the street. Understanding music as a process and the process as a means of facing the world and oneself implies a return to the primary postulate of the historical avant-garde. In other words, ABSNC is a contemporary attempt to bring music closer to everyday life and to return life and liveliness (however difficult and painful they may be) to music as a form of resistance.

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O događaju

(Bosanski)​

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U subotu 18. novembra Basheskia će prvi put sarajevskoj publici predstaviti konglomerat kompozicija pod nazivom ABSNC. 

 

Konceptualno udaljavajući se od ideje albuma kao unaprijed definisane strukture, Nedim Zlatar Basheskia svoju muzičku praksu otvara prema konstantnim i nepredvidljivim promjenama, varijacijama i modifikacijama. Nazivajući ABSNC autorskim procesom, Basheskia podcrtava krajnje subjektivan i intiman odnos prema muzici. Odbijajući princip reprodukcije, samosvjesno odgovara na vlastitu potrebu za kontinuiranim istraživanjem na polju muzike.  

 

Izvjesni kompozicijski kostur sazdan u igri elektronske muzike i udaraljki, baza je za daljnju autorsku metamorfozu. Dakle, nije samo riječ o već poznatoj i općeprihvaćenoj jazz improvizaciji, već modifikacijama koje su čas unaprijed promišljene, čas komponovane in-situ. Takav princip komponovanja i izvođenja navodi na promišljanje o efemrnom karakteru muzike, te neponovljivosti njenog doživljaja. 

 

Autorski proces ABSNC, kako i sam naziv sugerira, umjetničko je propitivanje pojma odsustva. Istraživanje odsustva nečega u nama, ili nekoga oko nas u savremenom društvu teško da može imati jasnu konačnicu. Jedini mogući rezultat je, čini se, novo pitanje, ili novo odsustvo. Zbog toga je odbijanje zgotovljene kompozicije, s jedne strane, svrsishodna formalizacija ideje odsustva. S druge strane, ono je ideja sama po sebi – ideja da kontinuiran muzički proces može biti alatom ličnih, intelektualnih, emotivnih i duhovnih procesa. 

 

Ne čudi onda što je ovaj autorski proces protkan zvukovima života – automobilskim sirenama, grajom djece, uzvicima i žamorom ulice. Razumjeti muziku kao proces, a proces kao sredstvo suočavanja sa svijetom i samim sobom, implicira vraćanje na primarni postulat historijskih avangardi. Drugim riječima, ABSNC je savremeni pokušaj da se muzika približi svakodnevnom životu, a život i životnost (koliko god oni teški i mučni bili) kao forma otpora, vrate u muziku.