NOTE! This site uses cookies and similar technologies.

Like most websites, we use cookies to facilitate online booking and to ensure we give you the best possible experience on our website. If you continue without changing your settings, we'll assume you're happy to receive cookies. You can learn more about changing your settings in our Privacy Policy.

Accept & close
May 2017
5:00 PM
NFM, Red Hall
Plac Wolności 1, 50-071 Wrocław
ACOUSMA FORUM // God's Playground

Michał Mendyk – curator





Eugeniusz Rudnik Lesson II (1965)
Arsenije Jovanovic - Ilinka Colic Jovanovic La Parata (1998)
Eugeniusz Rudnik Guilotine DG (1989)

Z filmu 15 Stron Świata / fot. Ula Klimek-Piątek

In the colloquial sense, concrete music is the art of composing ’with the sounds of the world around us’. Pioneers of the experimental school called for focusing on the sounds themselves, forgetting about the external world from which they are abstracted (Pierre Schaeffer), as well as forgetting also about ‘us’, that is, about the personality and individual experience of being intimate with the sounds of other entities (John Cage).
From this perspective, the late Eugeniusz Rudnik, deceased in 2016, appears to be the Polish pioneer of electro-acoustic music with a rather peculiar taste when it comes to audio material. Nevertheless, those who had the opportunity to hear works such as Lesson II and Guillotine DG know very well that their audio content cannot be separated from the tragic experiences of the author, his entire generation and nation. The sounds of mass violence, atrocious education and totalitarian madness seem to have lodged in the mind of Eugeniusz Rudnik and did not let go despite his attempts at an artistic catalysis, undertaken for more than half a century. In this sense, his work sets the era not only in the Polish and world history of audio art – it is also a poignant, painful document of the totalitarian century.
Almost identical sounds come back in the works of Arsenije Jovanovic. The Serbian master of radio art became famous for thrilling sound images of the Yugoslav War. La Parata is a vision straight from the darkest depths of history – likewise Guillotine DG – yet at a much more general and ludic level, which only makes it more shocking. The voices of Lenin, Mussolini, Hitler and Tito seem to be resounding today with renewed strength. Will our part of the world once again become the scene of a terrifying spectacle?

Michał Mendyk

non-numbered seats
  • entrance ticket
10 PLN
Bilety na to wydarzenie nie podlegają zwrotowi. Wydarzenie dostępne w karnecie ze zniżką -20% w kasie i online pod adresem:



The National Forum of Music, plac Wolności 1, 50-071 Wrocław, co-managed by the Minister of Culture and National Heritage, City of Wrocław and Lower Silesian Province, registered in Rejestr Instytucji Kultury run by the City of Wrocław as RIK 38/2014.


Wdrożenie e-usług w Filharmonii im. Witolda Lutosławskiego we Wrocławiu - etap 2 współfinansowany jest przez Unię Europejską ze środków Europejskiego Funduszu Rozwoju Regionalnego w ramach Regionalnego Programu Operacyjnego dla województwa dolnośląskiego na lata 2007 - 2013 oś priorytetowa 6. Wykorzystanie i promocja potencjału turystycznego o kulturalnego Dolnego Śląska (Turystyka i Kultura), działanie 6.5. Działania wspierające infrastrukturę turystyczną i kulturową.