AADK has ended the year with a program in which to enjoy and reflect about the sound experimentation and its potential to generate community. With the support of Acción Cultural España (A/CE), Daniel and Nina Carasso Foundation and The Municipality of Blanca, AADK invited relevan agents -from different origins and fields with in the sound arts- to participate in an encounter in which to show what is happening in the local scene.
Llorenç Barber, pioneer of sound experimentation in Spain, Miguel Álvarez, director of the legendary radio program Ars Sonora, in RNE, and Patricia Raijenstein, of the Escuela de Oficios Electronsonoros (School of Electro Sound Crafts) in Madrid, were the national expert guests. Pedro Rocha, responsible for the music and performance programming of the Museum of Contemporary Art Serralves, Oporto; Tamara Kaminska, Director of City of Gardens, Katowice; Peter Cusack, London, legendary environmentalist sound artist and Alexander Meurer, Berlin, founder of the innovative Bohemian Drips label; participated in these three intense days of activity.
“We believe that Spain is generating an artistic material and educational models -guided by artists and independent organizations- that should be visible beyond our borders,” announced in the program the artists platform AADK.
The conference began at the Victoria Theater with an original and emotional concert by the Peña Huertana “La Capaza”, led by the Galician sound artist Nacho Muñoz. From the hand of amateur musicians of all ages, we could hear a deconstruction of the Blanca´s jota accompanied by synthesized music, soundscape and percussion with the body. An encounter between folk and experimental music that opens new fields of creation for the performers bringing together audiences with very diverse musical interests.
In Space 5 of Centro Negra, one could play the sound sculptures created in the workshop guided by Carlos Suárez, in which the participants were Lola Nieto, Shakira Benavides, Paquito Nogales, Salva Alambre, Aurora Rodriguez and Patricia Raijenstein.
In space 6, the “Sonic Info point” gave access to the work of other sound experimenters from the region such as Kaverna, Salva Alambre, Beatrix, Bartolomé, La Josephine, Descendimiento, Flamante or the local labels Holy Sun Label and Vulture Culture Label.
For two hours, Daniel Hernández, artist of the platform, presented his first collaboration with the musician Flamante (Derek Van Den Bulcke). Daniel showed a work with the body consisting of a deconstruction of flamenco. This genre has formed a solid part of his artistic career, and that after leaving this practice behind in search for other languages, he returns to transforming it into an expression of his own.
The evening was opened by the young Berlin musician Pia Achternkamp with an electro-acoustic proposal. She combined a first part consisting of twenty minutes loops of classical guitar picking, to later merge into purely electronic sounds. A concert that made the audience dive into a delicate trance. After dinner, the experienced sound artist Carlos Suárez gave a concert in which sounds of animals and his instrument “wood and springs” took us from atmospheres of distant natures to synthesized ancestral rhythms. The evening ended with a concert by Susana López, whose proposal was to maintain, throughout the whole concert, an oscillating drone from which multiple sound nuances emerged. The sounds created with her analog instruments and synthesizers held the breath of the listeners.
Saturday was an intense day in which the invited experts presented their work and career, addressing issues ranging from education to creation, going through the research, different formats of exhibition, or dissemination of sound experimentation works.
The feeling of urgency to generate more encounters like this in which to share experiences, desires and needs was unanimous.
Throughout the day we had the opportunity to learn from other models, to make visible the need to create professional and affective ties in a field where, as in almost all the arts, everyone works on their own. It was astonishing to hear the difficulties that someone with a career like Llorenç Barber‘s had gone through to legitimize other approaches to sound than that of conventional music. At the same time, it was encouraging to see how at this moment, on a national level, but particularly in the Region of Murcia, sound experimentation is generating a community of knowledge exchange with strong links.
In one of the breaks we had a concert of the children of the “Active Listening classroom” of the “Sonora” program directed by Selu Herraiz. The children is showed to the audience the practices developed with their trainer Patricia Valcárcel alonge the past course. A soundscape created with the objects of the environment in which responding and interacting with the sound made by others, creating an atmosphere that left open-mouthed everyone who witnessed it.
For the closing of the talks, Elena Azzedin, artist of AADK and moderator of the meeting, invited the audience and the speakers to “touch her”. With the collaboration of the local craftsman Rafael de la Peña, she built a costume that carries sensorial sound circuits. With this proposal, a collective creation device is deployed, in which the body and the closeness to others took its place in this space for thinking.
After the dinner, Lilith shared his set “Todo gira”, a conceptual work about the stillness-movement dichotomy, in which the soundscape and the music transit from recorded samples to synthesis and electronics. His concert closed with “El Punto (alrededor del cual)”, a track that invites to dance and that is already becoming a “hit”, something quite unusual in experimental music.
Right after, we were able to attend a new proposal by Abraham Hurtado, “False Prophets”, together with the sound artist Selu Herráiz. A risky and moving bet: poetry brought to the universe of sound experimentation, in which each poem was approached with a different register, wrapped in sounds of synthesizers, electric guitar, voice games, breathing, and video projections.
A work in process that they presented for the first time and that made difficult to stay still in our chairs when they ended up urging us to get up and reveal ourselves against what is expected of us.
His heartrending poems and a language of our times, both in its content and structure, revealed the ability of this artist to travel between disciplines with an overwhelming dexterity.
To close the event, Flamante made us move the bodies with one of his sets of experimentation with flamenco, Latin rhythms and trap, with a singularity that gives to his work a recognizable personal style.
The interludes were the moments in which to share impressions of what was happening, where to talk about the situation of art in our countries, where to think about new encounters. The magic of this three days event would not have been the same, without Juan Conesa behind the entire organization. He, once again, elevated our meals and dinners to art, a conceptualization and care that invaded us from the skin of space to our guts.
The conclusion of these intense days were: to make, to risk, to exchange, to gather, to commit, to take care of each other, this is how we change things towards desirable horizons.