Goran Vejvoda

Feb 27th, 2006

Goran Vejvoda is an artist based in Paris. After studying music in Belgrade and participating in that city's rock and experimental art scene in the mid seventies and early eighties, he moved to Paris and turned to media arts with a particular interest in the field of sound. Guitarist with various rock bands ("Idoli" in the former Yugoslavia and "Oko 3" in France), he has worked with renowned French comic strip artist and filmmaker Enki Bilal in the creation of the soundtracks of Bilal's films "Tykho Moon" and "Immortal". For French contemporary dance choreographer Angelin Preljocaj he composed the music for the productions commissioned by the Paris Opera, "Le Parc" and "Casanova".

He has released several solo albums under a Japanese label, "Fruit Cloud"
and "Harmonie," and cosigned a CD recording for a sound installation with the late Yugoslav composer and producer Mitar Subotic-Suba, "The Dreambird" (Brazil). Other records include "Mikro-Organizmi" with Rambo Amadeus (Serbia-Montenegro) and "What" with Zerone (France). In 1986 he published a book in Belgrade devoted to Brian Eno and is currently preparing a compendium on sound art. He writes occasionally for the Wire and is on the editorial board of Vibrö an audio-art magazine.

He has exhibited since 1981. Recently in 2004 he participated in the exhibition "Off The Record" at the Arc/Musée D'Art Moderne de la Ville de Paris. Vejvoda works around, the nature of sounds and their inner meanings, its modes of exhibiting and dissemination, its visualization (e.g. as dense nano structures, or involving contemporary dance and fashion), interrogating references and representation of sound systems we have incorporated into our usual ways of thinking.
Also questioning such matters as the process and the product, the overwhelming production and the consumption connected to what he calls the "direct to brain" generation or the "what are you really hearing - headphone culture".
He reflects on psychoacoustics, the propagation of sounds in various spaces and their inherent internal codes (the various meanings of the same sound played in a different contexts) the relationship between the birth of sounds and their evanescence, and what remains once the sounds & music have faded away, the meaning of silence; with what type of residues are we dealing with.
Part of work is modular, meaning that various building blocks from any given situation (exhibition, installation, recording, performance, video, experimentation, writing, etc) can be remixed and re-injected into new configurations. Some of his pieces are disseminated in various places and are not necessarily meant to be seen or heard and their existence not meant to be known.
From normal format live shows he has now moved on to unique site specific performances with an open structured outfit called Background.

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