UNDER THE WINDOW is a spatially conditioned sound walk, a performance written by the city of Maribor. In a space that echoes in the ancient remains of a dream world, visitors are invited to embark on an audiovisual journey through the city in their slippers. The event combines sound, installation and photography. With a desire to discover the spaces, sounds and voices that Maribor encompasses, the artist has woven an imaginary narrative from reports, oral tradition, maps, photographs and sounds. These present the visitor with a particular narrative which allows the space in Kino Partizan to speak about its past and present. The soundtrack, interpreted by the poet Tjaša Koprivec, includes the voices of four local women.

I started the project by thinking about the museum space itself, its history as a former cinema and its relationship with the city. I knew that the boundary between the museum space and what I was going to create would be inseparable. When one enters the space, one is immediately struck by the static presence of the furniture collection, which seems to be frozen in a time capsule. It is physically impossible to escape it. The idea of working with sound developed from this initial feeling and is an attempt to destabilise the space and create a kind of movement. To what extent are people's experiences predetermined when they visit an exhibition? Where is the moment of critical friction that physically invites us into the past in order to resurrect memories or develop new thoughts?

I have always been fascinated by maps, the physicality of different spaces - entrances, exits and the boundaries between two spaces. I suppose because of the environment we grow up in, we develop a certain relationship to space, the environment and our own imagination. When I was a child I lived in an old house that used to be a weaving mill, in the middle of a steep valley in the Cotswolds. The garden was wild and blended into the surrounding landscape with narrow winding roads, hidden paths and old, partly derelict buildings. This intimate relationship with different spaces is what I have always incorporated in my work. The spatially conditioned context of this project allowed me to work physically with the space and to create the work in close dialogue with the dialectics of the city. I was fortunate to have the opportunity to meet and talk to four of the city's inhabitants during my research. Their presence and their stories stimulated my imagination to write a narrative that sheds light on what often remains hidden. The walk, which invites small groups to be guided by sound among the old furniture, is an attempt to synchronise what we see, hear and do in the museum. I wanted to bring the outside of the city into the space and at the same time create an intimacy between the viewer and the world created by the furniture. I had people put on slippers because I wanted them to feel like they were in the space again. What do people feel under their feet and how does it feel to wear slippers in a museum?