This is the piece we performed at the TFNM in Zurich and recorded at the radio studio in Lugano. It's scored for the ensemble of 7 musicians with one or more freely improvising soloists (with no score or any limitations whatsoever, which is a highly inspiring concept I'd like to see more of in contemporary music). Here is the radio version, with Patrick Crossland (tb), Raphael Camenisch (sax) and myself as the improvisers (the picture is a screenshot of the septet score)

A guest appearance with the wonderful ELISION ensemble, October 2011 in Leuven, Belgium. Here you can follow the quite complexly notated score as you listen.

Another appearance at the Improstor series. Duo for pocket trumpet and banjo, with the living legend Eugene Chadbourne. September 2012

The piece that gave Ensemble Laboratorium its name in 2005. This is from a compact 120 minute version (37 movements out of 55) with which we toured a few festivals in 2012/13, with Vinko himself joining us on stage as a conductor for "Exercises Articulatoires". The full piece lasts about twice as long.

I've had the opportunity to play this one twice, with Athelas in Copenhagen and two years later with Studio 6 at the BEMUS Festival in Belgrade (for which we still haven't been paid BTW, after 15 months...) Unfortunately the full-length video footage has mysteriously disappeared, but we were able to get some short snippets that one friend filmed from the audience. So, you can still hear a short fragment from a rather long trumpet solo in the last scene. 

20. 5. 2012. in Belgrade, at the amazing Ring Ring Festival. A really memorable set. Also, while we were on stage the election results came out, naming right wing Tomislav Nikolić the new president of Serbia. 

An opera by Helmut Oehring for 3 deaf-mute soloists, 5 singers, trumpet, bass-clarinet, electric guitar, 3 actors, mixed choir, baroque orchestra, symphony orchestra and live electronics; featuring music by Henry Purcell.
(The impatient ones can skip straight to the poetic scene with a nice trumpet solo at around 45')

One of my most memorable projects of 2014, a masterpiece by Oren Ambarchi. This is the last part of the piece, with my bronchitis-induced coughing edited out (if you're allergic to birch pollen, stay the hell away from Switzerland in April).
You can see the full piece here

World class improvisers and amazing people, the Blank Disc duo from Zrenjanin. And also, really bad at self-promoting, so I have to do it for them :) 
We've been collaborating for a while now, our first CD as a trio came out in 2009, here are a few tracks from the unreleased second CD, as well as some video footage from one of the first concerts in the "Improstor" series in Novi Sad.

This project was a brainchild of Patrick and myself, and is maybe even my personal favorite among all the programs we did with Laboratorium. Patrick made three wonderful arrangements of Nancarrow's studies No. 6, 7 and 14, and I arranged Pulau Dewata, the program also included "Greeting Music" and "Et je reverrai cette ville etrange" as well as Nancarrow's "two canons for Ursula" which you can listen to here and here, in the interpretation of my good friend Artur Avanesov.

I scored Pulau Dewata for violin, cello, oboe, trumpet, trombone, 2 melodicas, marimba and piano. The intention was to move away from the usual happy-go-lucky instrumentations with a lot of Balinese percussion, because my feeling is that although the piece is certainly named after, and heavily influenced by Bali, it still has a lot of Vivier's typical inner darkness and alienation, which I think was brought forward with the creepy colors of the melodicas. If there are any Vivier afficionados reading this who are familiar with other arrangements of Pulau Dewata, please, I'd be really glad to hear your comments.

And here is the Study No. 6, scored for three winds and four strings. I'll probably upload the rest of the pieces as well, when I get the time.