The concert and the release form a single narrative: an experience that does not end with the last sound but continues — in a recording you can take with you.
Artur Rumiński
He operates the electric guitar as a tool of deconstruction. His music spans drone, prepared sounds, repetition and controlled distortion. He builds tension through reduction — focusing on texture, micro-shifts, and the slow densification of sound matter. He is interested in the physicality of sound: resonance, feedback, weight and time. It is a narrative without a linear story — more a process that unfolds inward.
Teo Olter
He treats percussion as a source of structure and energy, but equally often as a generator of timbre and space. His playing balances between motoric drive and rhythmic decay, between pulse and its undermining — building a multilayered sonic fabric. In his solo form, rhythm becomes a field of exploration rather than a stable foundation.
MOM to Music is a long-term process in which the concert is not a closed form but a starting point — a situation initiating the continued presence of sound in another time and context.
The project reads the Manifesto of Open Form by Oskar Hansen as an invitation to co-creation — to dialogue and presence. The architectural mass of the pavilion of the Museum of Housing Estates in Lublin becomes a resonator of sound, thought and interpersonal relations. Space is not a neutral background; it co-creates the structure of the event, influencing its dynamics and mode of reception.
MOM to Music proposes a radical turn toward audibility in a world dominated by visual noise and informational overload. It is not another concert series but an attempt to tackle the issues of sound in the 21st century. Rejecting established models of art consumption, the project raises questions about noise pollution and about our responsibility for shaping the auditory fabric of our immediate surroundings.
The cassette becomes your guide through the architecture of sound: attentive, raw, true. It is not merely an archival recording of the concert. It is an echo — an autonomous object that transfers a fragment of that attentiveness into your present. The solo recordings by Artur Rumiński and Teo Olter contained on it do not reproduce a past experience. They constitute an open invitation to continue the process that begins in Lublin and goes on.
Listening to this tape takes you beyond the event's frame. It is the moment when sound — anchored in a specific social and philosophical context — resonates in a new space: yours. In the spirit of Open Form, it is you who completes this composition with your presence.
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