AnimotMUZIK: Ecological concerts with birds
3. May－20. June 2026
Botanical Garden Maribor, Volčji Potok Arboretum, Božidar Jakac Gallery, Triglav National Park
CURRENT EVENTS
Sun, 3. May., at 19:00
Maribor Botanical Garden, meet point at the enteranceFri, 22. May., at 19:30Arboretum Volčji Potok, meet point at Boljkova galleryFri, 29. May., at 19:30Triglav National ParkSat, 30. May., at 19:30Triglavski narodni parkSat, 20. Jun., at 20:00Božidar Jakac GallerySat, 20. Jun., at 20:30Božidar Jakac Gallery, meet point at the park’s enteranceAnimotMUZIK is a cross-species sound cycle conceived as a research-artistic platform for direct interspecies musical improvisation between humans and non-human animal species. The project arises from a critique of anthropocentric models of production and perception in which the natural environment is reduced to a backdrop or resource, and it proposes a shift toward a relational understanding of space as an active sonic agent. It foregrounds an ethics of listening and responsibility toward multispecies ecosystems, in which human presence does not function as the dominant organizer of the event but as a situated component within a broader sonic configuration.
The theoretical framework of AnimotMUZIK draws on sound ecology and zoomusicology. The former considers the soundscape as a dynamic system of relations among organisms, technologies, and place, while the latter examines musical and communicative structures in the vocalizations of non-human animals. In this context, the soundscape is understood as a multilayered, temporally variable composition in which biophony, geophony, and anthrophony interweave. Rather than aestheticizing nature, the project develops a methodology of attentive listening that enables the perception of micro-events, rhythmic patterns, frequency densities, and spatial relations that shape the specific sonority of each location.
AnimotMUZIK frames the concert as a situational event: a singular, site-specific configuration that cannot be repeated in identical form. The non-hierarchical polyphony that emerges is not merely an aesthetic strategy but also a model of coexistence and a proposal for how, in the Anthropocene, interspecies relations might be thought and practiced through listening, responsiveness, and restraint. In this format, the audience is invited into active reception, where listening is understood as a participatory process that transforms the perception of the natural environment from “backdrop” into a co-creative space.
Matej Tomažin
AnimotMUZIK is a cross-species sound cycle conceived as a research-artistic platform for direct interspecies musical improvisation between humans and non-human animal species. The project arises from a critique of anthropocentric models of production and perception in which the natural environment is reduced to a backdrop or resource, and it proposes a shift toward a relational understanding of space as an active sonic agent. It foregrounds an ethics of listening and responsibility toward multispecies ecosystems, in which human presence does not function as the dominant organizer of the event but as a situated component within a broader sonic configuration.
The theoretical framework of AnimotMUZIK draws on sound ecology and zoomusicology. The former considers the soundscape as a dynamic system of relations among organisms, technologies, and place, while the latter examines musical and communicative structures in the vocalizations of non-human animals. In this context, the soundscape is understood as a multilayered, temporally variable composition in which biophony, geophony, and anthrophony interweave. Rather than aestheticizing nature, the project develops a methodology of attentive listening that enables the perception of micro-events, rhythmic patterns, frequency densities, and spatial relations that shape the specific sonority of each location.
AnimotMUZIK frames the concert as a situational event: a singular, site-specific configuration that cannot be repeated in identical form. The non-hierarchical polyphony that emerges is not merely an aesthetic strategy but also a model of coexistence and a proposal for how, in the Anthropocene, interspecies relations might be thought and practiced through listening, responsiveness, and restraint. In this format, the audience is invited into active reception, where listening is understood as a participatory process that transforms the perception of the natural environment from “backdrop” into a co-creative space.
Matej Tomažin
Great Tit (Parus major) A distinctive songbird of Slovenian forests, gardens, and parks. Known for its adaptability, complex vocalizations, and high level of cognitive skill.
Blue Tit (Cyanistes caeruleus) A small tit with recognizable blue and yellow plumage. Noted for its foraging agility and remarkable vocal diversity.
Blackbird (Turdus merula) A vocal specialist with a distinctly melodic and individualized song. One of the most common birds in Slovenia’s cultural landscape.
Eurasian Nuthatch (Sitta europaea) The only European bird capable of climbing down tree trunks headfirst. Its call consists of metallic whistles, contributing a key element to the forest soundscape.
Eurasian Blackcap (Sylvia atricapilla) A singer with a rich vocal repertoire, known for its melodic and improvised phrases. Common in deciduous forests and shrublands.
House Sparrow (Passer domesticus) A highly social species closely associated with human settlements. Communicates through short, rhythmic calls during group interactions.
Chaffinch (Fringilla coelebs) A territorial singer with a characteristic, pulsating melody. A frequent inhabitant of forests and managed landscapes across Slovenia.
Self-employed cultural worker active as a pedagogue, performer, and vocalist. Her practice spans street and music theatre, vocal performance, and the creation of music for storytelling, puppet theatre, and contemporary dance.
A saxophonist and clarinettist of the younger generation, working between Ljubljana and Nova Gorica. He is primarily active in free jazz, experimental, and alternative music practices.
Cellist, drummer, and composer, and recipient of numerous awards. He creates music for film, theatre, and dance productions, has contributed to 52 albums, and has performed in more than 25 countries.
A Slovenian musician who primarily performs as part of a duo with musician Ivo Švigelj. In her work she blends tradition and contemporary approaches, classical music and jazz, creating music that reflects an inner world shaped by emotion, exploration, and creative freedom.
A vocalist, pedagogue, and researcher dedicated to musical art, facilitation of individual and group sound-vocal workshops, and therapeutic sound practices. She draws inspiration from soundscapes of nature and urban environments.
An intermedia artist, composer, sound manipulator, producer, and curator. He composes sound works for theatre, intermedia, and dance productions.
Artists: birds (great tits, blue tits, blackbirds, nuthatches, blackcaps, sparrows, chaffinches), Tea Vidmar (voice), Jure Boršič (clarinet, saxophone), Kristijan Krajnčan (cello), Vita Kobal (violin), Allja Petric (instruments/voice), Brane Zorman (electroacoustics)
Concept of the original sound cycle: Katarina Radaljac
Ornithological guided tour/lecture: Alenka Bradač, Katarina Radaljac
Organization: Alja Petric, Irena Pivka
Public relations, video and photography: Matej Tomažin
Production: Cona, Institute for Processing Contemporary Art, 2026
This year’s partners: Botanical Garden Maribor, Volčji Potok Arboretum, Božidar Jakac Gallery, Turizem Bohinj, DOPPS (Birdlife Slovenia)
