Une rencontre avec Caroline Profanter pour nous guider à la découverte du festival.
Jingel Oscillation 2020
Olli Aarni : Syvenevä vihreä (Mustikoita ja kissankelloja - Mappa - 2020)
Laurent Güdel : State Music N°1 (Interactions: A Guide to Swiss Underground Experimental Music - Buh Records - 2019)
Catherine Lamb (Sacred Realism) Three bodies moving
Teresa Cos : A (The Archive of Loops_Vol.1 (Simulation) - Bandcamp - 2019)
Marja Athi : Chora (Vegetal Negatives - Hallow Ground - 2019)
Julia E Dyck : Radiant Particles (Compillation003: Infinite In-betweens - Unheard Records Intl - 2019)
Jasmine Guffond : Dotcompound (Microphone Permission - Editions Mego - 2020)
Site web du festival + lien pour le stream :
The second edition of Oscillation festival will take place as a 3-day radio marathon over the first weekend in May, in resonance with the International Day of Workers. In the absence of project funding, the format of radio offered us a possibility to nonetheless continue the festival and to use it as a framework to reflect on the notion of value in art and cultural organisation beyond the monetary. Radio has always been a favourite tool of autonomous, DIY and experimental practice; offering low-cost means of reaching people, diverse forms of expression, and new tools for thinking community, audience, and access. We want this year’s festival to be practical experiment in balancing responsible collaboration with an urgency to make space for things to happen.
Under the additional strain of collective lock-down measures, the festival has again adapted and will now take place entirely online. Formats were rethought where necessary as e.g. live streams, concerts-on-tape, focus radio-features, workshops via video-conference, and experiments in synchronised remote performance. In the necessary absence of a live-local audience, attention again folds out to a public dispersed in space. These new conditions created the possibility to draw on friends and contributors from other places, to see a wider spread of autonomous practices in dialogue with those in Brussels. In this way the festival can stay with the initial plan to be an open laboratory for near-continuous broadcast; a reflection on communities of producers and listeners, on making do, doing-it-ourselves, doing-it-with-others, and using what is at hand.