Author Archives: admin


27.10. – 10.12.2017
Friday, 27.October at 17.30 and 18.15
e_city Ljubljana Apollonia
Strasbourg, Robertsau
Meeting at Apollonia venue – 23 rue Boecklin, Strasbourg

GardenWALK is a sustainable, locative sound walk performance, taking place along the streets of Strasbourg, Robertsau. It invites a visitor to relive the future impact of the planned Apollonia community garden to the immediate surroundings of district and its community.

An integral part of the project is a sound map with circular path which the visitor walks within the project. The beginning of this 1.6km long route and duration of 30minutes is at the Apollonia Garden, end of the rout is in Lieu de Europe Parc Henri.

Through the subtile sound inserts of the shared garden urban landscape sound and the sound scape transformation with vision of potentional possibilities, the sound walk performance sensitize public to experience the Robertsau quarter. Garden and gardening in this project is a metaphor for rethinking and re-cultivation of urban landscape changes in local society.

Sound design: Brane Zorman
Text and path: Irena Pivka
Spekers: Irena Pivka, Suzana Koncut, Viktorija Osolnik Kunc
English translation : Urban Belina
French translation: Suzana Koncut
German translation: Viktorija Osolnik Kunc
Production: Apollonia – European Art Exchange, Strasbourg, France 2017
Co-production CONA, Ljubljana Slovenia, 2017

Ideal (M)other

Sound design: Damir Avdić
Text, dramaturgy: Pia Brezavšček
Text, acting: Barbara Krajnc Avdić
Choreography: Sinja Ožbolt
Light design: Andrej Reza Petrovčič
Space design and costumes: Irena Pivka
Professional associate: Mila Popović
Text, director: Saška Rakef
Professional associate: Nada Sekulić
Language editing: Tatjana Stanič
Production: ŠKUC Theatre. Co-production: City of Women. In cooperation with Bunker.



more about performance Ideal(Mo)other on City of Women site

hodi.TI / 2.walk

2.WALK is a locational multimedia performance taking place on city streets. It is designed as a sound walk, which the spectator takes on a pre-delineated path and follows it by means of a mobile app and headphones. With the help of sound images, imprinted into the location of the delineated path, she or he traverses between fictive and real situations. The performance intertwines narration and sound with space and path, and offers it thoroughly as experience. The sound image was made at the edges of the Ljubljanica River, taped by binaural and studio microphones.

When you are walking a safe, known city path, you find it hard to imagine that women in some parts of the world do not walk alone. That individual walking is connected with inappropriate, even illicit, behaviour. At this point, the mechanisms of control for safe walking of female individuals enter the picture, in the form of social regulations, which are, and will be in near future, strengthened by the apparatuses of power, control and capital. It is exactly these apparatuses that, now and here, are tailoring our everyday walking in safe areas. Walking becomes more time-constrained, regulated, precisely determined and directed.

Group, collective walking, as a revolt and conquering of space, is a reflection of political action. What about individual walking? Can walking, as a personal and conscious choice, be the power of an individual? An intervention into the existing social system. Is it radical to walk? Walking as a possible means of resistance, so much more so when time and space are taken by a woman, the woman who has socially and, consequently, self-regulating access to the time to walk.

link to video, by City of Women

Text and space: Irena Pivka,
Sound creation: Brane Zorman,
Interpreters: Irena Pivka, Petra Tanko, Igor Velše
Dramaturgic advice: Saška Rakef,
Text review: Suzana Koncut
Translation: Urban Belina
Mobile App: Vasja Progar
Production: CONA. Co-production: City of Women.

WALKING the Aphelion


WALKING the Aphelion delays and shifts the soundscape within the same location and the same transitioned path. It is focused on the spatial actualization of a place, while enhancing the awareness of the place through auditory experience.

The sound image was recorded with binaural microphones on the evening of July 4 2016, at the moment when the Earth reaches the point known as Aphelion – an extreme point in Earth’s rotation around Sun. The participants, equipped with headphones and a cellphone soundmap app, walk the same path at the same time of day the sound image was made with a time delay. The length of the delay is equal to a quarter of Earth’s rotation – just after autumnal equinox.

In Janury 2017 we will produce soundwalk sequel: WALKING the Perhihelion. It will be recorded at the time when Earth reaches the opposition extreme point on its rotation around the Sun.

These soundwalks will form a pair to cyclic listening on the same spot where binaural recordings were recorded or as a pair on a remote location.

Soundwalks WALKING the Aphelion and WALKING the Perhihelion were recorded in the main city Tivoli Park, Ljubljana in order to research preception of a city park as an urban sonic ecology landscape within different time frames listenings.


HODITI odsončje (Afelij) zamika in premešča zvočno krajino znotraj iste lokacije in iste prehojene poti. Osredotoča se na prostorsko uresničitev kraja, ki ga preko slušne izkušnje na novo ozavesti.

Zvočna slika je bila posneta z binauralnimi mikrofoni, 4. julija 2016 zvečer, ko zemlja prispe na točko imenovano odsončje (Afelij), to je skrajna točka Zemlje na tirnici okoli Sonca. Udeleženec, opremljen s slušalkami in aplikacijo zvočni zemljevid na mobilnem telefonu, obhodi isto pot ob istem dnevnem času nastanka izvorne zvočne slike, a v časovnem zamiku. Dolžina zamika je četrtine zemljine tirnice – malo po jesenskem enakonočju.

V januarju 2017 bomo pripravili HODITI prisončje (Perihelij) in hkrati ponudili v posluh poletni zvočni sprehod. Tako bosta dva zvočna sprehoda namenjena cikličnemu poslušanju: zimski poleti in poletni pozimi.

avtorja: Irena Pivka, Brane Zorman
radioCona aplikacija: Vasja progar
produkcija CONA, 2016

From Švicarija to Bellevue

On 18th July 2016 Irena Pivka and Brane Zorman dedicated their two short early morning sound walks to the #WLD2016 event focusing on Sounds Lost and Found.

We have used binaural in-ear microphones to record sounds at two very different locations in two different states: one was in park Tivoli in Ljubljana, Slovenia while the other was on the island of Molat in Croatia. At both locations we walked between two formerly important social places, located away from the centre, in the park and in a garden.

All objects (starting and ending points of both soundwalks) have been officially closed for a number of years and the facilities have declined. All of them have been closed due to recent historical, political and economical changes. Following the years of closure they have been attempts to revive these locations but it seems that the social interests have shifted in a different direction.

By connecting two locations in two different towns we highlighted the broken paths and connected the locations from our not so distant memories.

Krhanje lepote

directed by: Saška Rakef
dramaturgy and production: Klavdija Zupan
performers: Barbara Krajnc Avdić, Uroš Maček
sound cloud concept: Alenja Pivko Kneževič, Simon Penšek
scenography and costume design: Irena Pivka
lighting design: Janko Oven
Krhanje_2 Krhanje_3 Krhanje_4Krhanje_1

Isn’t it amazing how one little self-absorbed creature that must always be the first fed, the first put in dry diapers, the first to be loved, becomes a man who sincerely cares for another man?

Abrasion of Beauty is the story of the collapse of the community. It is the story of the (virtual)-dependency of the struggle for power and the struggle for survival. The story of manipulation. And about that “consciousness and responsibility,” which are born too late. And last but not least, it is a reflection of the human. Human as a basic part of the Community (and its policies). Human as adversarial entity, which is on one hand defined by the need for power, egoism, total supremacy; and on the other by the need for belonging, security, acceptance, and love.

If the law does not regulate terms of the survival, but more or less the power of the players — is in this case, the struggle for power equated with the struggle for survival and justifies any form of coercion, including war and destruction?

production: Cona
coproduction: Cankarjev dom, AGRFT,Društvo Celinka
financial support: Ministry of culture, Municipality of Ljubljana

ATL 220

ATL220_ali_Neznani_Linhart_020foto_nadaZgank copy 635797351467738740_atl220_ali_neznani_linhart_008foto_nadazgank IMG_6610 copy
romantična zgodovinska drama
Besedilo in režija: Andrej Rozman Roza
Asistent režije in koreograf: Sebastjan Starič
Scenografija in ilustracije na videu: Irana Pivka
Kostumografija: Andrej Vrhovnik
Asistentka scenografije in video: Ana Čigon
Avtor sodobne glasbe: Boris Jurjevčič
Izbor stare glasbe: Pavel Rakar
Oblikovanje luči: Tomaž Štrucl
Nastopajo: Nik Škrlec, Urška Taufer, Iztok Drabik Jug, Patrizia Jurinčič, Lovro Finžagar, Stane Tomazin in Andrej Rozman Roza
Produkcija Rozinteater in Cankarjev dom 2015


radioCona-najava3-mala-150x150radioCona | temporary project radio for contemporary arts

radioCona is a platform that uses the radio-frequency space in the art contexts. FM frequency is understand as public space and explored from a different perspectives and mediated through artworks, audiobooks, programming and exhibitions. radioCona is intervention into public space.

Art project radioCona first broadcasted on january 1st, 2008. Till present numbers FM and internet broadcasts with series of sound art, radio art, discursive projects, thematic discussions and lectures were produced.

radioCona broadcasting is announced at the competent national agency for the regulation of the frequency space with an aim to thematise the use of public space as a public good within the existing legislation and to think the non-media use of the frequency radio space.

more about on special radioCona site

Čazven: mapiranje procesa dela

risba 60 x 400cm, risba v nastajanju med 1.6 – 30.9.2015

Skladba Braneta Zormana Čazven uporablja zvok različnih časovnih označevalcev, od cerkvenih zvonov, do mehanizmov mehanskih ur. Delo vključuje tudi in-situ zvoke krajine nedeljskega večera na sv Marjeti z vso zvočno dinamiko okolja.

Sočasno je Irena Pivka mapirala dela Čazven. Risba meri čas, je stražar procesa dela, in oko drugega.

delo za razstavo, Hiša na hribu, Sv. Marjete v vasi Žlebe pri Medvodah, organizacija zavod CCC.