10 Dec Mariana Carvalho
Residency period: September-October 2018
Mariana Carvalho is interested in exploring the sound of the world (beyond the musical instruments), and the involvement of the body in composing and producing that sonority. During the residency, she searched for the musicality of the natural and artificial elements of the environment: the trees, the wire clotheslines, barrels or window bars, can act as a string instrument, percussion or a box that amplifies the sound.
At her first open studio, she has worked with nylon thread and resins, making the structure of the space the sound box; and of the touch and movement her ways of operating, highlighting the role of the body in the composition.
An installation from which extracting harmonic sounds and resonances, in which we simultaneously perceive two forms of being, just as light is wave and particles at the same time, these sounds contain a smooth and striated texture at once.
The fundamental interest that underlies Marianas research goes beyond making audible the sounds that can emerge from the world, it is an interest that requires a new concept that highlights the potential and importance of the sound, something we could call “auditing” “In the sense that we use visibilizing, that is, to create awareness.
Since 2017, Mariana has been immersed in her research ‘fugal lines’, exploring sonorities and corporealities with nylon thread through performance and installation.
During her second month, Mariana has experimented with the internal resonance of the cranial cage, biting a nylon thread and playing it like a string instrument, to observe how the sound vibration propagates through the bones.
With the use of binaural microphones oriented towards the interior of the body, she shares her point of listening – intimate, internal and particular – playing with people and elements found in her drifts through the landscape of Blanca.
This work is presented in an audiovisual and performative format.
She has created a device in which person-object-person relationships are shared, in order to make us aware of proprioception -a sense that intervenes in the development of the body schema, and in the relationship of the latter with space.
People can participate in a sound improvisation with the nylon and the artist, or manage the mixer to perceive the differences between the resonance of each one of the participating bodies.
Meanwhile, there are two audiovisual projections: one featuring a series of improvisations with different people, captured from the listening point of the artist; and another featuring interventions with the landscape, with the sound and image captured from a panoramic perspective, interweaving images and sound subjectively.
This work reflects the particularities of each body or element, through the vibration of sound in it. A poetic approach to the diversity of bodies and the musicality of the world.
