Ian Mikyska´s site-specific electroacoustic composition along the Stříbrnický potok explores the sonic environment of this mellifluous watercourse in Bertino údolí, Ústí nad Labem. The valley forms part of the city and yet remains somewhat removed from its everyday bustle. A location that is contained in the city yet remains somewhat removed from its daily routine. It was named in honour of Bertha Schaffner, the wife of the director of the Spolek pro chemickou a hutní výrobu, who, at the end of the 19th century, played a key role in transforming it into a nature park with rest areas and supported this endeavour with a financial donation. The Stříbrnický potok runs through the valley alongside a path that repeatedly twists into steep switchbacks along the hillside. However, many people simply drive past the valley rather than making a point of going there and stopping for a while.
The starting point for the installation Along (Stříbrnický potok) was the sound Ian Mikyska heard during his first walk through Bertino údolí, experienced in a constantly shifting relationship to his own movement. The electroacoustic composition, which invites sonic contemplation, combines field recordings from Bertino údolí with a classical guitar part and sustained electronic tones (sine waves), resonating through the bubbling sections of the Stříbrnický potok. Here, the sound of the water becomes more than a record of a particular place – it becomes part of a structure in which space, movement, and time are intertwined. The composition even prescribes the tempo and speed at which listeners should move through the space. The musical tones thus enter into an ever-changing relationship with the real sounds of water, stones, and the surrounding environment.
Bertino údolí (zdroj: kudyznudy.cz)
Ian Mikyska
The artist does not work with the recording here as a mere documentation of the landscape, but as a means of reactivating the experience of a specific place. Ian Mikyska created three versions of the composition, each exploring the relationship between, place, recording, and music in a different way.
The first version combines field recordings with a live instrument, played by guitarist Ondrej Veselý. The guitar is complemented by a musical layer consisting of electronic tones and additional recordings of the stream, captured both with conventional microphones and underwater microphones (hydrophones). The other two versions separate these elements: one works exclusively with the musical component, while the other consists solely of the field recording. Whereas listening directly in the valley is always shaped by each listener’s pace and manner of walking, listening in the gallery can become not only an evocation of the journey but also a new, imaginative continuation of it.
Ian Mikyska (b. 1994) is an interdisciplinary artist, composer, and musician who studied in London and Berlin and now lives and works in Prague. His practice spans music, video, writing, audiovisual and sound installations, as well as work for theatre, dance, and film. In 2018, he graduated with a bachelor’s degree in composition from the Guildhall School of Music & Drama in London. He then enrolled in a master’s program in alternative and puppet theater directing at DAMU in Prague. His sound- based practice within contemporary visual art connects different media while exploring the relationships between perception and context, between thought and present experience, and between imagined illusion and reality. His work deals with themes of transience, contemplation, and the relationship between sound and its environment. He frequently works with field recordings, collaborates with other musicians, and for gallery contexts most often creates complex installations based on forms of listening connected to specific places and situations. He also designed a series of “sensory walks,” in which a printed guidebook serves as a score for experiencing specific environments through the various senses. In 2023, he created a new body of work titled Writing by Walking for the GAMPA Gallery in Pardubice, in which he produces drawings inspired by specific walking motions or various modes of transportation. He also works as a translator from Czech to English and as deputy editor-in-chief of the magazine Czech Music Quarterly, and he introduces the Czech Philharmonic’s podcast Philharmonious.
Curator
Adéla Machová
Grafický design
Ludmila Půr
PR
Jan Čihák
Produkce
Hana Žalmanová