LLORENÇ BARBER Y MONTSERRAT PALACIOS

Santiago Cirugeda

Desde el 07 de junio 2018
al 10 de junio 2018
Lugar: Nave 11. Sala Fernando Arrabal
Precio: Free admission

Institución:
NAVES MATADERO CENTRO INTERNACIONAL DE ARTES VIVAS

Espacio: Naves Matadero

Llorenç Barber is a musical composer, instrumentalist, and internationally renowned musicologist who stands at the forefront of sound art in Spain. Together with the Mexican singer and ethnomusicologist Montserrat Palacios, they have specialised in sound art in public spaces (they have written the most complete book on this burning issue: LA MOSCA TRAS LA OREJA - THE FLY BEHIND THE EAR) and they have created interventions in more than 100 cities in 35 different countries. Trained as classical musicians but “escapees to the fluxus - Cage - minimalisms - celebrational music-ethno-musicologies-music of cosmic transitions - tauromachies-naumachies - spoken music – the invention of the balcony genre - extended voice - glissandi – music in the ear – the city as an orchestra - objects/and/gestures as an orchestra, and an infinite etcetera”, says Llorenç.

THE AIR AS A FURNISHED SUITE
8 June
Barber and Palacios will install “bells, triangles, rattles, and flying cow bells in the house built by Santiago Cirugeda in the interior of the Nave 11, that they will grapple with, through all manner of attacks, using the voice (overtones, expanded, etc.)”, they tell us. “Small spaces, hearers on their own or in small groups, time poured out in keeping with the haste or the haven, listening in situation, etc., are for us artists of contextual sound, an incentive to resolve things depending on the unique circumstances that arise each time. So, we’re not talking about a “work” nor much less about a “composition”, it’s more an implicit pact between ourselves and those who come to elucidate, improvising, it’s about entering into a conversation (almost) without words yet respectful and always skirting the ineffable and mysterious nature of sonic communication, with its silences, gestures, ambience, and its possible excitement and tensions inherent in each case”.

FROM SUN UP TO SUN DOWN
From 9 to 10 June
In 1990, Llorenç Barber staged the first De sol a sol (From sun up to sun down) in a somewhat wild context called EL ARRECIADO, among mountains and next to a lake, while deer in heat bellowed and fought beneath the stars. “A De sol a sol consists of making sounds without interruption throughout the entire night, while the companions-listeners rest, snooze, read or stroll around without being able to stop listening -it is an expanded and extended nocturne- of everything that Montserrat and Llorenç can lay their hand on in the space, armed with their voices (calls, yells, melodies, overtone singing, refrains, etc.) and as many metal instruments as they can find (bells, cow bells, rattles, “paellophones”, etc.). Lengthy harangues, intricate duos, solos, silences, and pedals accompany a heartfelt "playing-in-company” while the world turns and breathing and even snoring or whispering besprinkle the air until -hour after hour- dawn draws nearer with her lengthy blue hour and daybreak brings us the brightness of the new sun”.

They performed this in the White Night of Rome, in the Klangkunst Festival in Berlin, in a small radio studio at the University of Cuenca, in the Carmelite Convent of Carmen of Valencia, in a factory occupied by squatters in Seville, and even in an entire city -Saint Etienne- at least until 4 in the morning when they had to stop because of the complaints of the neighbours.
 
JOBO Joven Bono Cultural
© Matadero Madrid

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