O događaju
(English below)
>>Sobni demo<< Armana Hasanbegovića napušta sobu! U akustičnom aranžmanu Arman će samostalno predstaviti svoj indie album. One-man show bit će izveden u okviru muzičkog programa Galerije Manifesto 13. maja 2023. godine s početkom u 20:30. Cijena ulaznice je 7.40 KM, a možete je preuzeti u Galeriji Manifesto (Despićeva 3) od utorka do subote između 12 i 20 časova i nedjelom od 12 do 14. Više o Armanovoj muzici i važnosti njenog predstavljanja u Manifestu pročitajte u tekstu ispod.
Sobni demo: memoar ostale generacije
U gradu gladnih ima li smisla zaplakat kad smo tužni?
Artikulaciju vizije Galerije Manifesto slijedio je pronalazak modusa djelovanja koji bi njenu realizaciju mogli omogućiti. Tako je pokretanje male kulturne revolucije obećano kroz participativnost umjetničkih izložbi, direktnu i aktivnu komunikaciju sa publikom, ali i uspostavljanje infrastrukture za produkciju različitih formi umjetnosti, između ostalog i onih muzičkih. Predstavljanje indie albuma Armana Hasanbegovića pod nazivom “Sobni demo” označava upravo jedan od pokušaja Galerije Manifesto da, prihvatajući novi organizacioni, umjetnički i produkcijski izazov, osvaja nove prostore slobodarskog. Ako hoćete, i revolucionarnog.
Ipak, živo rekreiranje “Sobnog demo-a” ima višestruku važnost za pokretanje kulturne revolucije u Sarajevu.
Prije svega, zato što je prilika da tonovi “Sobnog demoa” po prvi put napuste sobu. Drugim riječima, događaj je kojim sarajevska alternativna muzička scena dobija novi i prijeko potrebni prostor (samo)validacije. Međutim, premijerno izvođenje ovog albuma nema formu javne promocije na koju smo navikli, jer on nikada nije bio zamišljen kao kompilacija koju valja distribuirati. Epitet sobni ne proizilazi samo iz činjenice da je u potpunosti nastao u improviziranom studiju koji prostor dijeli sa onim životnim, već i iz nakane da se sluša, doživljava i promišlja isključivo individualno i intimno. Stoga bi se javno izvođenje moglo razumjeti i kao svojevrsno narušavanje sobnosti ovog albuma. No, iako album doživljavamo kolektivno, njegovo izvođenje udaljeno od klasičnog koncertnog karaktera, te kontekstualizirano u galerijskom prostoru veličine prosječnog stana, ostaje označeno kao intimno.
Semantička veza indie albuma i Manifesta nadilazi pojam intimnosti koju dijele toposi sobe i galerije. Suštinski, i jedno i drugo nastali su kao svojevrsni bunt, otpor i umjetničko-politički glas jedne generacije. Dakle, moglo bi se reći da “Sobni demo” i Galerija Manifesto komuniciraju na specifičnom nivou, idejno nadopunjavajući jedno drugo. Ono što Armanov album konceptualno čini bliskim viziji Manifesta u istoj mjeri jesu i muzika i tekstovi.
Stilska zrelost i formalno jedinstvo jezika upotrebu pojma tekst čine gotovo pejorativnom, jer Armanovi stihovi istinski zalužuju biti analizirani i promišljani u okviru savremene bh poezije. Duplo kodirana značenja riječi vješto su utkana u ritmičnu sintaksu stihova. Takav nimalo jednostavan princip poetskog komponovanja u nekim je pjesmama omogućio sintezu narativnog i poetskog – opjevane anegdote adolescentskog života razotkrivaju ideološke prijepore jedne generacije.
Jeftino vino, hladno je pivo / Ostat ću opet, a ne bih smio / Do sutra proći ce, zaboravit ću te / Nikad nam neće biti bolje // Za svaki osmijeh broje nam sate / Kad dođu djeca, sve će da plate.
Međutim, upotreba duplo kodiranih značenja još je dominantnija u križanju ideološkog i ljubavnog. Poetiziranje romantičnih osjećaja i mladalačkih ljubavnih krahova za Hasanbegovića očito ide stih-uz-stih sa gorkim sagledavanjem urušene utopije društva.
Nadam se da ne znaš ono što ne znam ni ja / Nadam se da ni ti ko ni ja / Nikome ne pripadaš.
Muzika i aranžman koje autorski Hasanbegović samostalno potpisuje, producirani su u sobnom studiju. Instrument po instrument, vokal po vokal. Stilski, ovaj album se dominantno oslanja na naslijeđe britpopa, povremeno otkrivajući uticaje britanskog post-punka. Međutim, neporecivo je ugledanje na specifičnosti bh indierocka s početka 2000-ih. Zbog toga bi se moglo reći je “Sobni demo” jedinstven revival zvukova koje su na bh muzičku scenu donijeli Skroz, Konvoj i u izvjesnoj mjeri Erogene Zone. Vraćajući zvuk generacije koja je u ratnim i postratnim godinama sazrijevala, Hasanbegović svjedoči o iskustvima generacije koja je u ratu rođena. Žanrovska opredjeljenost mogla bi se zato shvatiti i na simboličkom nivou – muzička reakcija i otpor postratnom ideološkom i društvenom rasijavanju ponovljena nakon nekoliko desetljeća postaje opomena da smo još uvijek duboko rasijani i da se ne smijemo prestati opirati.
Zvukom generacije koju je lokalna umjetnica Adela Jušić nazvala generacijom koju smo zaboravili liječiti, Arman Hasanbegović kritički je opjevao stanje generacije koju su razorili i raselili (ne)konstitutivnost i sve što iz nje proističe. Zato je “Sobni demo” kao muzički memoar onih koji su ostali, suptilan i poetičan poziv na revoluciju.
Slobodna misao nikome ne pripada / Šta će ti zemlja ako ne živiš u njoj/ Vojnici nemaju kome da se vrate / Ako prerano odu u boj.
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About the Event
>>Sobni demo<< (Engl. Room demo) by Arman Hasanbegović is leaving the room! In an acoustic arrangement, Arman will present his indie music album. The one-man show will be performed as part of the Manifesto Gallery's music program on May 13, 2023, starting at 8:30p.m. The ticket price is 7.40 KM, and you can pick it up at the Manifesto Gallery (Despićeva 3) from Tuesday to Saturday between 12 and 8 pm and on Sundays from 12 to 2 pm. Read more about Arman's music and the importance of its presentation in the Manifesto in the text below.
Room demo: a memoir of other generation
In a city of hungry people, does it make sense to cry when we are sad?
The articulation of the Manifesto Gallery's vision was followed by the search for modes of action that could enable its realization. Thus, the initiation of a small cultural revolution was promised through participatory art exhibitions, direct and active communication with the audience, but also the establishment of an infrastructure for the production of various forms of art, including music. The presentation of Arman Hasanbegović's indie album entitled "Sobni demo" marks one of Manifesto Gallery's attempts to conquer new areas of freedom by accepting new organizational, artistic, and production challenges.
Nevertheless, the live recreation of the "Sobni demo" contributes to the starting of the cultural revolution in Sarajevo in various ways.
First of all, it's an opportunity for the sounds of the "Sobni demo" to leave the room for the first time. In other words, it is an event that gives Sarajevo's alternative music scene a new and much-needed space for (self)validation. However, the premiere performance of this album does not have the form of public promotion that we are used to, because it was never intended to be a compilation for distribution. The mark "room" derives not only from the fact that it was created entirely in an improvised studio that shares the space with the living area but also from the intention to be listened to, experienced, and reflected on individually and intimately. Therefore, the public performance could be understood as a kind of violation of the roominess of this album. However, although we experience the album collectively, its performance, distanced from the character of the classical concert, and contextualized in a gallery space the size of an average apartment, remains marked as intimate.
The semantic connection between the indie album and Manifesto goes beyond the notion of intimacy shared by the topos of the room and gallery. Essentially, both were created as a kind of rebellion, resistance, and artistic-political voice of a generation. So, it could be said that the "Sobni demo" and the Manifesto Gallery communicate on a specific level, complementing each other conceptually. What makes Arman's album conceptually close to the vision of the Manifesto is both the music and lyrics to the same extent.
The stylistic maturity and formal unity of the language make the use of the term text almost pejorative because Arman's verses truly deserve to be analyzed and considered within the framework of contemporary BiH poetry. The double-coded meanings of the words are skillfully woven into the rhythmic syntax of the verses. Such a not-at-all-simple principle of poetic composition in some songs enabled the synthesis of narrative and poetic - the sung anecdotes of adolescent life expose the ideological disputes of a generation.
Cheap wine, cold beer / I'll stay again, but I shouldn't / By tomorrow it'll be over, I'll forget you / We'll never get better // We count the hours for every smile / When the kids come, they'll pay for everything.
However, the use of double-coded meanings is even more dominant in the intersection of ideology and love. The poetization of romantic feelings and youthful love crashes for Hasanbegović obviously go hand in hand with the bitter observation of the collapsed utopia of society.
I hope you don't know what I don't know / I hope you do, just as I / belong to no one
The music and arrangement, written and created by Hasanbegović alone, were produced in a room studio. Instrument by instrument. Vocal by vocal. Stylistically, this album draws dominantly on the heritage of Britpop, occasionally revealing British post-punk influences. However, the emulation of the specifics of BiH indie rock from the beginning of the 2000s is undeniable. Because of this, it could be said that the “Sobni demo” is a unique revival of the sounds brought to the BiH music scene by Skroz, Konvoj, and, to a certain extent, Erogene Zone. Bringing back the sound of the generation that matured in the war and post-war years, Hasanbegović testifies to the experiences of the generation that was born during the war. The choice of the genre could therefore be understood on a symbolic level - musical reaction and resistance to post-war ideological and social dispersion, repeated after several decades, becomes a warning that we are still deeply scattered and that we must not stop resisting.
With the sound of the generation that local artist Adela Jušić called the generation that we forgot to treat, Arman Hasanbegović critically sang about the state of the generation that was destroyed and displaced by (un)constituency and everything that stems from it. That's why "Sobni demo" is like a musical memoir of those who stayed/the others. A subtle and poetic call to revolution.
Free thought belongs to no one / What good is the country if you don't live in it / Soldiers have no one to return to / If they go to battle too soon.