ZVO.ČI.TI so.und.ing DUO

11 02 2020

Kino Šiška, Ljubljana


300 Feet

17 11 2015

Collective Multimedia Event.

Participating artists:
Lina Rica, Boštjan Čadež, Dominik Mahnič,
Jan Turk, Srđan Deba, Marko Batista

M&M (16 of 34)


SRDJAN DEBA….. RECENT WORKS >    srdjandeba.wordpress.com

M&M (14 of 34) copy



14 10 2013

Aksioma – Institute for Contemporary Art added some photos from the performance at Kino Šiška to their Flickr photo archive. Marko Batista and Boštjan Čadež-Fšk presented an outdoor audio-visual performance as a part of the event to celebrate the 4th anniversary of Kino Šiška. The programme of Kino Šiška represents and combines the urban life, multiculturalism, a politically unbiased attitude and advanced technology.

kino šiška

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OPTOLYTH audio/visual performance

9 06 2013

Tractrix horns and high voltage generator system were successfully  tested on friday at Old Power Station. Minor glitches still remain a mystery and task for further experiments…

Premiere: OPTOLYTH

30 05 2013

NewMedia Performance

Date: FRIDAY, 7-JUNE-2013      at   10 PM
Location: Old Powerplant
                      Slomškova 18, Ljubljana

  • Concept and realization: Marko Batista
  • Technica support: Primož Juvan, Urška Batista, Brane Ždralo, Miljenko Kadič, Matija Praznik, Dejan Kastelic
  • Production : Aksioma – Institute for Contemporary Art, Ljubljana
  • Executive Producer: Sonja Grdina
  • Partner: Zavod Bunker

2-optolit copy

Over the past few years, intermedia artist Marko Batista has conceived a series of experimental performances and installations whose common denominator reveals itself, above all, in the analytical exploration and development of abstract sound and video structures, usually established in relation to various electrochemical or improvised, DIY, as it were, electronic processes. In his projects, Batista usually uses such processes in the sense of entry variables, that is to say, as a sort of immaterial and, at the same time, unpredictable, yet, still malleable matter, which – via various modular interfaces and return loops at the exit from the system – generates dynamic frequency compositions, which travel to the spectator’s senses in the form of audible or visual signals. In devising these complex installations, which inhabit the intersection of technology and art, the author thus explores the phenomenology of sound and image in relation to their mutual correlation and, in doing so, he paves the way for new experiential and aesthetic potentials in the context of contemporary techno reality. Batista’s intermedia projects are also characterised by the movement through the spaces of liminal situations, which occur in chaotic, unstable systems; the author makes the most of the changes in physical quantities of matter, interferences and mutations generated by his audio-visual “machines” and he fashions them into an environment of rhizomatic entities; in this manner, he populates the emergent audio-visual landscape with moments of the unpredictable and the inimitable.


At the heart of the performance Optolyth, with which Batista remains true to the established line of his creative inquiry, there are high-voltage generators, whose operation releases a lot of energy or heat and thus affects the material characteristics of purposefully used materials. Such operation of high-voltage generators facilitates the emergence of a specific architectonics of signals, whose mapping, manipulation and distribution within the system result in the audio and the visual fields of the spectator, confronted with real-time projections, accompanied by synchronous soundscapes. The repetitive, mutating structures of audio and video elements produce unpredictable effects at various psychosensorial levels of the spectator’s perception.

An important element, which is increasingly present in the artist’s work, is the relation to the concrete spatial architecture as regards its acoustic attributes. The well-considered spatial set-up of sound bodies, which uses the existing elements of the industrial legacy of the Old Power Station, points out, yet again, the author’s exploration of the changing perception of sound and its hapticity within a specific spatial configuration. Therefore, the experiential and aesthetic potentials of Optolyth are not dependent solely upon the used technology and the audio-visual stimuli produced by it; rather, they are also conditioned by the very architecture, in which the performative act is being carried out, and by the very position of the spectator within the spatial conglomerate.

Matjaž Brulc

The programme of Aksioma Institute is supported by the Ministry of Culture of the Republic of Slovenia and the Municipality of Ljubljana.


6 05 2013

Marko Batista and Boštjan Čadež will present an updated 4th edition of TIMING DIAGRAMS audio-visual performance in Rijeka.

. . . .

13-MAY-2013      @     9 P.M.
Location: Kobler Square, Rijeka Croatia

Spajalica – serija umjetničkih intervencija u javnom prostoru
Mjesto: zona Muzeja moderne i suvremene umjetnosti, Rijeka
Produced by Aksioma-Institute for Contemporary Arts

spajalica logoPerformans TIMING DIAGRAMS, Marka Batiste & Boštjana Čadeža bazira se na otvorenoj formi i nepredvidivim efektima, omogućenim upotrebom video mapiranja, interakcijom sa zvučnim modulima, te hibridnim spojevima između digitalne slike, elektroničkog zvuka i mehaničkog pokreta. Bez narativne komunikacije i istraživanja značenja, posjetitelj se oslanja na neposredniji, perceptivni i  emocionalni doživljaj koji može donijeti drugačije viđenje poznatog prostora. Na licu mjesta, tj. u ovom slučaju na

Koblerovom trgu, prepliću se različiti aspekti stvarnosti, a greške, šumovi i zastoji postaju sastavni dio procesa.



26 02 2013

Prototype update: Siphon Sonic Machine

P1110449 copy


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